George Russell Sextet Featuring Don Ellis & Eric Dolphy

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George Russell Sextet 1 2 3 4 5 6extet mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: 1 2 3 4 5 6extet Country: US Released: 1969 Style: Post Bop, Modal MP3 version RAR size: 1269 mb FLAC version RAR size: 1231 mb WMA version RAR size: 1326 mb Rating: 4.7 Votes: 644 Other Formats: VOC WAV AAC DXD ASF MOD MP2 Tracklist Hide Credits Nardis A1 Bass – Steve SwallowBass Clarinet – Eric DolphyDrums – Joe HuntPiano – George 4:34 RussellTrombone – Dave Baker*Trumpet – Don EllisWritten-By – Miles Davis Au Privave A2 Bass – Steve SwallowDrums – Pete La RocaPiano – George RussellTenor Saxophone – Paul 6:21 PlummerTrombone – Garnett BrownTrumpet – Don EllisWritten-By – Charlie Parker 'Round Midnight A3 Alto Saxophone – Eric DolphyBass – Steve SwallowDrums – Joe HuntPiano – George 6:29 RussellTrombone – Dave Baker*Trumpet – Don EllisWritten-By – Williams*, Monk* Blues In Orbit Alto Saxophone – John Pierce Bass – Steve SwallowDrums – Joe HuntTenor Saxophone – B1 7:24 Paul PlummerTrombone – Dave Baker*Trumpet – Don EllisWritten-By, Piano – George Russell The Stratus Seekers Alto Saxophone – John Pierce Bass – Steve SwallowDrums – Joe HuntTenor Saxophone – B2 6:52 Paul PlummerTrombone – Dave Baker*Trumpet – Don EllisWritten-By, Piano – George Russell Thoughts B3 Bass – Steve SwallowBass Clarinet – Eric DolphyDrums – Joe HuntTrombone – Dave 5:26 Baker*Trumpet – Don EllisWritten-By, Piano – George Russell Companies, etc. Copyright (c) – ABC Records, Inc. Distributed By – ABC Records, Inc. Credits Cover [Art], Design – Byron Goto, Henry Epstein Design [Liner] – Joe Lebow Engineer [Re-recording] – Jimmy Czak* Liner Notes – Martin Williams Producer – Orrin Keepnews Notes A1, A3, B3 from Ezz-thetics (Riverside Records RLP-9375) A2 from The Outer View (Riverside Records RLP-9440) B1, B2 from The Stratus Seekers (Riverside Records RLP-9412) © 1969 ABC Records, Inc. Riverside Records distributed by ABC Records, Inc Made in U.S.A. On front cover : George Russell featuring Don Ellis & Eric Dolphy "1 2 3 4 5 6extet" On rear cover : George Russell Sextet featuring Don Ellis & Eric Dolphy On labels : George Russell Sextet featuring Don Ellis & Eric Dolphy On spine : George Russell Sextet Related Music albums to 1 2 3 4 5 6extet by George Russell Sextet Bill Evans, George Russell Orchestra - Living Time Oliver Nelson Sextet Featuring: Eric Dolphy / Richard Williams - Screamin' The Blues Eric Dolphy - Out There George Gee - Swingin' At Swing City Zurich Eric Dolphy Quintet Featuring John Coltrane - Live On Mount Meru Chet Baker - Jazz Moods - Cool Eric Dolphy - "Live" 1961 George Russell Sextet - Ezz-thetics.

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Open Dissertation Holt Format Final

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Recorded Jazz in the 20Th Century

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Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris

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Carla Bley Wurde Im Kalifornischen Oakland Geboren Und Lebt Heute in Den Catskill Mountains Im US-Bundes- Staat New York

Bley, Carla Carla Bley wurde im kalifornischen Oakland geboren und lebt heute in den Catskill Mountains im US-Bundes- staat New York. Mit verschiedenen Bands, kammermusi- kalischen Ensembles und Orchestern hat sie die ganze Welt bereist, vor allem Europa und Südostasien. Als „composer-in-residence“ war sie unter anderem beim Glasgow Festival und wurde in die Essener Philharmo- nie eingeladen. Biografie Carla Bley wurde am 11. Mai 1936 als Lovella May Borg in Oakland, Kalifornien, als Tochter zweier Musiker gebo- ren. Bei ihrem Vater Emil Borg erhielt sie ersten Klavier- und Orgelunterricht und begleitete bereits im Alter von vier Jahren Hochzeiten und Begräbnisse. Mit acht Jah- ren verweigerte sie jeden weiteren Unterricht (Carla Bley betrachtet sich selbst als Autodidaktin). Im selben Jahr starb ihre Mutter Arline Borg. Fünfzehnjährig brach sie die Schule ab und jobbte in einem Plattenladen. Zusätzli- ches Geld verdiente sie mit Auftritten in örtlichen Piano- Bars. Insbesondere die Musik Erik Saties, die sie zufällig Carla Bley im Radio gehört hatte, beschäftigte ihre Fantasie. Carla Bley 1957 verließ sie Kalifornien und ging nach New York, wo Geburtsname: Carla Lovella Borg sie sich Carla Borg nannte. In den einschlägigen Jazz- clubs der Stadt nahm sie diverse Jobs von der Zigaretten- * 11. Mai 1936 in Oakland, Kalifornien, USA verkäuferin bis zur Tischfotografin an, um so die großen Musiker live hören zu können: „That is where I learned Komponistin, Pianistin, Organistin, Bandleaderin, everything“, sagte sie über diese intensive Zeit, in der sie Improvisateurin, Arrangeurin, Musik-Verlegerin, alles wie einen Schwamm aufgesogen habe (Frank Oteri, Herausgeberin On Her Own. New York, 2003, S.
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WDR 3 Jazz & World, 14. Feb. 2017

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Interview Rob Scheps

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A Room of One's Own, Revisited: an Existential-Hermeneutic Study of Female Solitude (Doctoral Dissertation, Duquesne University)

Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Fall 2013 A room of one's own, revisited: An existential- hermeneutic study of female solitude Karin Arndt Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Arndt, K. (2013). A room of one's own, revisited: An existential-hermeneutic study of female solitude (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/287 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. A ROOM OF ONE’S OWN, REVISITED: AN EXISTENTIAL-HERMENEUTIC STUDY OF FEMALE SOLITUDE A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Karin Leah Arndt December 2013 Copyright by Karin Leah Arndt 2013 A ROOM OF ONE’S OWN, REVISITED: AN EXISTENTIAL-HERMENEUTIC STUDY OF FEMALE SOLITUDE By Karin Leah Arndt Approved November 8, 2013 ________________________________ ________________________________ Eva Simms, Ph.D. Will Adams, Ph.D. Professor of Psychology Associate Professor of Psychology (Committee Chair) (Committee Member) ________________________________ ________________________________ Anthony Barton, Ph.D. Leswin Laubscher, Ph.D. Professor of Psychology Chair, Psychology Department (Committee Member) Associate Professor of Psychology ________________________________ James C. Swindal, Ph.D. Dean, McAnulty College and Graduate School of Liberal Arts iii ABSTRACT A ROOM OF ONE’S OWN, REVISITED: AN EXISTENTIAL-HERMENEUTIC STUDY OF FEMALE SOLITUDE By Karin Leah Arndt December 2013 Dissertation supervised by Eva Simms, Ph.D.
267 X. George Russell Although Gunther Schuller Was Also One of George Russell's Greatest Fans and Boosters, and in Fact Was I

X. George Russell Although Gunther Schuller was also one of George Russell’s greatest fans and boosters, and in fact was instrumental in finally getting him a job teaching the Lydian Chromatic Concept, he and millions of other writers and critics have somehow missed the fact that Russell was one of America’s greatest composers and, in fact, one of the most important in the fusion of jazz and classical music. Perhaps this is because he, like so many artists who worked in jazz, was largely self-taught, although in the early 1950s he studied briefly with Stefan Wolpe at the recommenda- tion of Miles Davis. Perhaps it is because he was something of a loner, considered by some a “difficult” personality; or perhaps it is because, as we shall see in this chapter, Russell had by far the widest range of compositional styles and not all of them appealed to listeners who wanted jazz to be fun or enjoyable. I will say at the outset that I myself am not convinced by everything he wrote. I don’t respond particularly well to his most abstract works, nor to most of those using funk or rock as their basis (like the Electronic Sonata for Souls Loved by Nature), but even within the range of those works I do like—and there are many—I also admit that Russell’s mu- sic, like that of Schoenberg, Webern and Wolpe, sometimes tended to be cerebral and not always appealing from an emotional standpoint. That being said, as a composer and as a musical theorist I believe he deserves to be recognized not just nationally but internationally as one of the most important musical thinkers of all time, regardless of genre.
Brazil Comes to the Future: Living Time and Space in the International Order of Competition

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