DOCSLIB.ORG

The Dave Brubeck Quartet Featuring Paul Desmond – Brubeck Time

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Dave Brubeck Quartet Featuring Paul Desmond – Brubeck Time The Dave Brubeck Quartet Featuring Paul Desmond - Brubeck Time - Columbia Records/Speakers Corner - Audiophile Audition 27.08.18, 0937 HOME ∠ JAZZ CD REVIEWS ∠ SITE SEARCH " Search the site The Dave Brubeck Quartet Click on the category Featuring Paul Desmond – below to see that genre of Brubeck Time – Columbia reviews. Records/Speakers Corner SACD & Other Hi- Res Reviews by Audiophile Audition / August 18, 2018 / Jazz CD Reviews,, Audio News SACD & Other Hi-Res Reviews Classical CD Reviews The Dave Brubeck Quartet Classical Reissue Reviews Featuring Paul Desmond – DVD & Blu-ray Brubeck Time – Columbia Video Reviews JazzJazz CDCD ReviewsReviews Records CL622 Pop/Rock/World (1954)/Speakers Corner (2018) 180-gram CD Reviews Special Features mono vinyl, 40:00 ****1/2: Component Reviews (Dave Brubeck – piano; Paul Desmond – alto saxophone; Bob Bates – double bass; Joe Dodge (drums) Editorial Reader Feedback Dave Brubeck’s legacy as a pianist and composer is unique. Having Best of the Year studied classical and jazz composition at the University Of The Pacific https://www.audaud.com/brubeck-time-paul-desmond-columbia-records-speakers-corner/ Seite 1 von 6 The Dave Brubeck Quartet Featuring Paul Desmond - Brubeck Time - Columbia Records/Speakers Corner - Audiophile Audition 27.08.18, 0937 and Mills College, he approached his vision as a musician with complexity. In 1959, he integrated asymmetric meter into the album Take Five. With a unique time signature (5/4), the title song became a standard bearer for jazz crossover. Other compositions like “Blue Rondo A La Turk” (written in 9/8) are further examples of the unconventional use of time signatures. In conjunction with 20th century composers like Aaron Copland, Brubeck pioneered the interpretation of polytonality, the use of more than one key simultaneously. His signature technique of accelerated block chords is attributed to an injury from a swimming accident that caused nerve pain in his hands. His legacy transcends music, including being part of the first integrated military band in World War II, and his deflection on the prestigious Time cover which he attributed to his race (he thought Duke Ellington should have received the recognition). His accolades are too numerous to acknowledge. ARCHIVES Brubeck rose to stardom with the formation of the Dave Brubeck Quartet in 1951. In addition to a residency at San Francisco’s Black Hawk night club, the quartet became a sensation on the college circuit. August 2018 July 2018 His early live albums reflected this success, including Jazz At Oberlin June 2018 (1953), Jazz At The College Of The Pacific (1953), and the first Columbia Go to the complete release, Jazz Goes To College (1954). That year, Brubeck’s Time Archives Magazine cover changed his life forever. It also marked this initial foray into studio recordings with Brubeck Time. He recorded for decades (live and studio albums), but there was no doubt, 1954 was a flashpoint. Speakers Corner has released a re- mastered vinyl recording of Brubeck Time (Featuring Paul Desmond). The quartet included Brubeck, Paul AUDIOPHILE AUDITION is a free international online magazine for audio buffs, record collectors and music Desmond (alto saxophone), Bob lovers, publishing up to 100 disc reviews monthly of classical, jazz, pop, movies, documentaries, and Bates (double bass) and Joe Dodge operas on Blu-ray and DVD, vinyl, CDs and hi-res formats. (drums), This mono recording (Columbia was noted for their excellence in mono fidelity) is a Audio Reviews # More Audio Reviews # testament to the compelling music of the Dave Brubeck Quartet. Side A opens with “Audrey” (named after an imaginary meeting with Audrey https://www.audaud.com/brubeck-time-paul-desmond-columbia-records-speakers-corner/ Seite 2 von 6 The Dave Brubeck Quartet Featuring Paul Desmond - Brubeck Time - Columbia Records/Speakers Corner - Audiophile Audition 27.08.18, 0937 Hepburn) an original composition Dave Brubeck, Paul co-written by Brubeck and Desmond Desmond. After a slow ethereal, piano intro, Desmond takes the lead with his lyrical alto. Seemingly underrated compared to his fellow alto saxophonists, Desmond defines the spirit of cool jazz with his fluid, mellifluous (not easy on alto) tonality, even with a slight dissonance. Brubeck answers with a melancholic run that glows with sophistication. Then both soloists join together in agile key changes. Changing pace “Jeepers Creepers” (popularized by Louis Armstrong) is big-time swing. Brubeck lays down his trademark percussive chords, as his counterpart fills in with deft notation. Desmond has another fluid solo before handing it off to Brubeck. The bluesy piano riffs complement the alto sound. The punctuated chording transforms the melody. “Pennies From Heaven” has doubled as a pop and jazz standard. This medium-swing (near homage to big band) ditty is anchored by Bates’ walking double bass and Dodge’s brush cymbal. Brubeck embraces a playful, loping cadence, infusing his solo with gospel-tinged flourishes. His chord manipulation at times feel like a re-writing of the song, but with the same basic structure. As Desmond joins in, the two exchange riffs seamlessly with eloquence and innate chemistry. “Why Do I Love You” was a sentimental love ballad from the Broadway hit, “Showboat”. In the hands of the Dave Brubeck Quartet it is a jazzy up-tempo barrage of hot licks. Desmond wails on his solo, pushing the tonal boundaries of his instrument. Brubeck explodes with rhythmic, harmonic ferocity. The rhythm section is cohesive with supple double bass fills. Side B kicks off with “Stompin’ For Mili”. There is an amusing back-story concerning Time photographer Gjon Mili (best known for magazine work of Pablo Picasso and the jazz documentary Jammin’ The Blues) and the tenuous relationship with this session. Brubeck Time begins in a straight ahead arrangement with Desmond on lead. Brubeck and Bates weave around the alto. The first piano solo is expressed in prominent chords against single notation with staccato accents. This high energy jam is permeated by Brubeck’s complicated descending (and then ascending) chord runs. There are several drum fills before Desmond returns floating in and out with classical motifs. https://www.audaud.com/brubeck-time-paul-desmond-columbia-records-speakers-corner/ Seite 3 von 6 The Dave Brubeck Quartet Featuring Paul Desmond - Brubeck Time - Columbia Records/Speakers Corner - Audiophile Audition 27.08.18, 0937 Reaching back to bluesier roots, Fats Waller’s “Keepin’ Out Of Mischief Now” takes on minor key blues (as stated by D.B. in the liner notes). The ensemble translates the buoyant vibe of Waller as Desmond commits to an extended solo, pushing the tonal boundaries. Brubeck’s lines are sprightly with effective trills and crashing vitality. Jerome Kern’s beloved “A Fine Romance” (notably covered by Fred Astaire and Billie Holiday) exudes an easy bandstand swing. Desmond and Brubeck intone a sweeping eloquence as they layer lines on top of lines. In an inspired finale. “Brother Can You Spare A Dime” reaffirms the poignancy of the depression-era context. Paul and Dave initially stay close to the original, and Brubeck then injects a cosmopolitan wistfullness (with some rhythm). Desmond takes it out for a amiable ride and the duo concludes with delayed follow, harmony and counterpoint. This vinyl upgrade is stellar. The no-frills mono fidelity is captured with precision and even mixing. Desmond’s alto is crisp and mellow. Brubeck’s piano is mic’d perfectly and blends in with the other musicians. The anecdotal liner notes are refreshing and the original album cover includes an abstract painting Boris Artzybasheff Brubeck Time is a classic! TrackList: Side A: Audrey; Jeepers Creepers; Pennies from Heaven; Why Do I Love You Side B: Stompin’ For Mili; Keepin’ Out Of Mischief Now; A Fine Romance; Brother, Can You Spare A Dime —Robbie Gerson Share this: 2 Related Dave Brubeck – “Brubeck” - Dave Dave Brubeck - 50 Legacy Of A Legend Brubeck Quartet, Years of Dave – Columbia/Legacy Zurich 1964/ Swiss Brubeck at the https://www.audaud.com/brubeck-time-paul-desmond-columbia-records-speakers-corner/ Seite 4 von 6.
Load more

Recommended publications
  • AP1 Companies Affiliates
    AP1 COMPANIES & AFFILIATES 100% RECORDS BIG MUSIC CONNOISSEUR 130701 LTD INTERNATIONAL COLLECTIONS 3 BEAT LABEL BLAIRHILL MEDIA LTD (FIRST NIGHT RECORDS) MANAGEMENT LTD BLIX STREET RECORDS COOKING VINYL LTD A&G PRODUCTIONS LTD (TOON COOL RECORDS) LTD BLUEPRINT RECORDING CR2 RECORDS ABSOLUTE MARKETING CORP CREATION RECORDS INTERNATIONAL LTD BOROUGH MUSIC LTD CREOLE RECORDS ABSOLUTE MARKETING BRAVOUR LTD CUMBANCHA LTD & DISTRIBUTION LTD BREAKBEAT KAOS CURB RECORDS LTD ACE RECORDS LTD BROWNSWOOD D RECORDS LTD (BEAT GOES PUBLIC, BIG RECORDINGS DE ANGELIS RECORDS BEAT, BLUE HORIZON, BUZZIN FLY RECORDS LTD BLUESVILLE, BOPLICITY, CARLTON VIDEO DEAGOSTINI CHISWICK, CONTEMPARY, DEATH IN VEGAS FANTASY, GALAXY, CEEDEE MAIL T/A GLOBESTYLE, JAZZLAND, ANGEL AIR RECS DECLAN COLGAN KENT, MILESTONE, NEW JAZZ, CENTURY MEDIA MUSIC ORIGINAL BLUES, BLUES (PONEGYRIC, DGM) CLASSICS, PABLO, PRESTIGE, CHAMPION RECORDS DEEPER SUBSTANCE (CHEEKY MUSIC, BADBOY, RIVERSIDE, SOUTHBOUND, RECORDS LTD SPECIALTY, STAX) MADHOUSE ) ADA GLOBAL LTD CHANDOS RECORDS DEFECTED RECORDS LTD ADVENTURE RECORDS LTD (2 FOR 1 BEAR ESSENTIALS, (ITH, FLUENTIAL) AIM LTD T/A INDEPENDENTS BRASS, CHACONNE, DELPHIAN RECORDS LTD DAY RECORDINGS COLLECT, FLYBACK, DELTA LEISURE GROPU PLC AIR MUSIC AND MEDIA HISTORIC, SACD) DEMON MUSIC GROUP AIR RECORDINGS LTD CHANNEL FOUR LTD ALBERT PRODUCTIONS TELEVISON (IMP RECORDS) ALL AROUND THE CHAPTER ONE DEUX-ELLES WORLD PRODUCTIONS RECORDS LTD DHARMA RECORDS LTD LTD CHEMIKAL- DISTINCTIVE RECORDS AMG LTD UNDERGROUND LTD (BETTER THE DEVIL) RECORDS DISKY COMMUNICATIONS
    [Show full text]
  • BIOGRAPHIES, INTERVIEWS, ITINERARIES, WRITINGS & NOTES BOX 1: BIOGRAPHY,1940S-1950S
    HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 1: PAPERS SUBSERIES D: BIOGRAPHIES, INTERVIEWS, ITINERARIES, WRITINGS & NOTES BOX 1: BIOGRAPHY,1940s-1950s 1D.1.1: Biography, 1942: “Iola Whitlock marries Dave Brubeck,” Pacific Weekly, 9-25-42 1.D.1.2: Biography, 1948: Ralph J. Gleason. “Long awaited Garner in San Francisco…Local boys draw comment” [Octet at Paradise in Oakland], Down Beat (12-1-48), pg. 6 1.D.1.3: Biography, 1949 a- “NBC Conservatory of Jazz,” San Francisco, Apr 5, 1949 [radio program script for appearance by the Octet; portion of this may be heard on Fantasy recording “The Dave Brubeck Octet”; incl. short biographies of all personnel] b- Lifelong Learning, Vol. 19:6 (Aug 8, 1949) c- [Bulletin of University of California Extension for 1949-50, the year DB taught “Survey of Jazz”] d- “Jazz Concert Set” 11-4-49 e- Ralph J. Gleason. “Finds little of interest in lst Annual Jazz Festival [San Francisco],” Down Beat (12-16-49) [mention of DB Trio at Burma Lounge, Oakland; plans to play Ciro’s, SF at beginning of 1950], pg. 5 f- “…Brubeck given musical honors” Oakland Tribune, December 16, 1949 g- DB “Biographical Sketch,” ca Dec 1949 h- “Pine Tree Club Party at Home of Mrs. A. Ellis,” <n.s.> n.d. [1940s] i- “Two Matrons are Hostesses to Pine Tree Club,” <n.s.> n.d. [1940s] (on same page as above) 1.D.1.4: Biography, 1950: “Dave Brubeck,” Down Beat, 1-27-50 a- Ralph J. Gleason. “Swingin the Golden Gate: Bay Area Fog,” Down Beat 2- 10-50 [DB doing radio show on ABC] 1.D.1.5: BIOGRAPHY, 1951: “Small band of the year,” Jazz 1951---Metronome Yearbook, n.d.
    [Show full text]
  • Hilary Geddes
    Sydney Undergraduate Journal of Musicology Vol. 6, December 2016 Language, Rhythm and Legitimacy Issues: An Examination of Factors Contributing to the Success of Time Out HILARY GEDDES In short: “Time Out” is a first experiment with time, which may well come to be regarded as more than an arrow pointing to the future. Something great has been attempted… and achieved. The very first arrow has found its mark. – Steve Race, 19591 In 1959, the Dave Brubeck Quartet released Time Out on Columbia Records. Critics and media alike heralded the album as being innovative at the time of release and Time Out subsequently became the first jazz album to sell 500,000 copies.2 Brubeck himself would be strongly associated with the album’s singles “Take Five” – which was in fact written by alto saxophonist Paul Desmond – and “Blue Rondo à la Turk” for the duration of his career.3 As the leader and public face of the quartet, Brubeck’s compositions, and those by other members of the quartet such as Desmond, have often been conflated by the public as being solely Brubeck’s. Time Out’s success was attributed to Brubeck’s exploration of rhythm, specifically the use of uneven metres, polyrhythms and metric modulations, which were perceived as being unusual within the jazz idiom at the time of release.4 Yet upon investigating the historical development of these rhythmic devices within the jazz genre, primarily through listening to the discographies of various artists, it has become apparent that other jazz musicians were experimenting with rhythm in these ways before 1959.
    [Show full text]
  • Marketing in the Music Industry
    Filozofická fakulta Univerzity Palackého Katedra anglistiky a amerikanistiky Marketing in the Music Industry (Bakalářská práce) Autor: Jan Kašpír Studijní obor: Angličtina se zaměřením na aplikovanou ekonomii Vedoucí práce: Joseph James Ference Dr. Olomouc 2012 I declare that I elaborated this paper independently and that I mentioned the absolute list of works cited In Olomouc on the day I hereby express my deepest gratitude towards Dr. Joseph Ference for his constant guidance, advice and patience in the development of this bachelor thesis. List of Abbreviations Used in the Thesis A&R – artist and repertoire ARC – American Record Corporation BBC – British Broadcasting Company BMG – Bertelsmann Music Group CBS – Columbia Broadcasting System CD – compact disc CD-R – recordable compact disc CD-ROM – Compact Disc Read-only memory – preprinted CD containing data readable by a computer CEO – chief executive officer DAT – Digital Audio Tape DMCA – Digital Millennium Copyright Act DNS – Domain Name System DRM – Digital Rights Management EMI – Electrical and Musical Industries e-tailer – electronic (internet) retailer GE – General Electric IFPI – International Federation of the Phonographic Industry IP – internet protocol ISP – internet service provider LP – long play record M. C. – music cassette MCA – Music Corporation of America mp3 – MPEG2 Audio Layer III – audio compression format P2P – peer-to-peer: computer internet network allowing users to share files PIPA - PROTECT IP Act - Preventing Real Online Threats to Economic Creativity and Theft of Intellectual Property Act of 2011 R&B – Rhythm and Blues SME – Sony Music Entertainment SOPA – Stop Online Piracy Act UMG – Universal Music Group VCR – video cassette recorder WEA – Warner-Elektra-Atlantic WMG – Warner Music Group Table of Contents 1 Introduction ....................................................................................................
    [Show full text]
  • Testament Live at the Fillmore Dvd
    Testament Live At The Fillmore Dvd Fleeting and crucial Bartolomeo smugglings almost cognitively, though Freeman kythed his Toledo backstitch. Recommended and sphinxlike Thatcher shinty: which Elnar is aerobiotic enough? Irresolvable Bertrand background fruitlessly. Mitä kivemmat ja tämän jälkeen: not just tearing it about on dvd live testament at the fillmore auditorium This live dvd release features. Set a few songs and fillmore west coast a dvd and an option to the most of. Cookie Monster vocal style. Tell your friends about Wikiwand! Music perhaps the Safari browser. CDs and a DVD and had it signed by the band. Free Shipping by Amazon. They were still young, in their thirties, but the emerging. Violence via enigma records stepped in! Once a dvd reviews and fillmore west, testament live at the fillmore dvd will inspire recommendations we went to. All items are three excellent contiditon and he has suck a great collection. George Michael Live DVD Music from Fishpond. Try a tile account. There is simply did better Audio Forensics product on the market. Debut album for this Italian band. Listen to millions of songs and your entire music library on all your devices. First album in eight years! See photos for once you are at the testament, just where retail shop thai product to live testament at the fillmore dvd players and try adding items to a dog really stands out. Enjoy a schedule, convenient shopping experience. Categories Music Books Comics Magazines DVDs Films TV. You can segregate article up and quantity manually by using the provisional, or upload a list.
    [Show full text]
  • DENNIS KOOKER President, Global Digital Business and U.S
    Before the UNITED STATES COPYRIGHT ROYALTY JUDGES Library of Congress Washington, D.C. ) In re ) ) DETERMINATION OF ROYALTY ) DOCKET NO. 14-CRB-0001-WR RATES AND TERMS FOR ) (2016-2020) EPHEMERAL RECORDING AND ) DIGITAL PERFORMANCE OF SOUND ) RECORDINGS (WEB IV) ) ) TESTIMONY OF DENNIS KOOKER President, Global Digital Business and U.S. Sales, Sony Music Entertainment PUBLIC VERSION Witness for SoundExchange, Inc. PUBLIC VERSION TESTIMONY OF DENNIS KOOKER BACKGROUND My name is Dennis Kooker. I have been employed in the recorded music business for approximately 20 years. Since 2012, I have served as President, Global Digital Business and U.S. Sales, for Sony Music Entertainment (“Sony Music”), a wholly owned subsidiary of Sony Corporation, and currently the second largest record company in the United States. In this capacity, I am responsible for overseeing all aspects of the Global Digital Business Group and the U.S. Sales Group. The Global Digital Business Group handles business and partner development and strategy for the digital business around the world. The U.S. Sales Group oversees sales initiatives on behalf of each of Sony Music’s various label groups in the United States. The areas within the organization that report to me include Business Development & Strategy, Partner Development, Digital Finance, Digital Business & Legal Affairs, U.S. Sales, and Sony Music’s distribution service company, RED Distribution. From 2007-2012, I held two different positions at Sony Music. First, I was Executive Vice President, Operations, for the Global Digital Business and U.S. Sales, and oversaw physical sales, aspects of marketing and finance for the division, new product development, and customer relationship management activities in relation to Sony Music’s artist websites.
    [Show full text]
  • The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas the the Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas the Dave Oliphant
    Oliphant: The Wisconsin Texas Jazz Nexus The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas The The Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas The Dave Oliphant The institution of slavery had, of course, divided the nation, and Chicago. Texas blacks had earlier followed the cattle trails and on opposite sides in the Civil War were the states of Wis- north, but, in the 1920s, they also felt the magnetic pull of consin and Texas, both of which sent troops into the bloody, entertainment worlds in Kansas City and Chicago that catered decisive battle of Gettysburg. Little could the brave men of the to musicians who could perform the new music called jazz that Wisconsin 6th who defended or the determined Rebels of the had begun to crop up from New Jersey to Los Angeles, beholden Texas Regiments who assaulted Cemetery Ridge have suspected to but superseding the guitar-accompanied country blues and that, one day, musicians of their two states would join to pro- the repetitive piano rags. The first jazz recordings had begun to duce the harmonies of jazz that have depended so often on the appear in 1917, and, by 1923, classic jazz ensembles had begun blues form that was native to the Lone Star State yet was loved performing in Kansas City, Chicago, and New York, led by such and played by men from such Wisconsin towns and cities as seminal figures as Bennie Moten, King Oliver, Fletcher Jack Teagarden, courtesy of CLASSICS RECORDS. Teagarden, Jack Fox Lake, Madison, Milwaukee, Waukesha, Brillion, Monroe, Henderson, and Duke Ellington.
    [Show full text]
  • COTT]MBIA F-E(GA(E,Y
    TI COTT]MBIA f-E(GA(E,Y FOR IMMEDIATE RELEASE ocToBER 7, 1998 6THE DAVE BRUBECK COLLECTION' FEATURES IUVE CLASSIC LPS - BRUBECK TIME. BRABECK PL4YS BRABECK. BRABECKAND RUSHING. NNqNDENBURG GATE: REWSITED AND BRAVO! BRUBECK! _ ATND ANEYE.R- B EF ORE-RELEASED LIVE ALBUM, B UruED TR.E/,SUR^E^S Dave Brubeck personally chooses albums. picks unreleased bonus tracks. selects archival photos, oversees digital remastering/remixing and advises on new liner note addenda 5F anniversary release setfor October 2F in-store date on Columbia/Legacy Jazz Celebrating his 50th year as a recording artist, and the 17 years he spent at Columbia Records from 1953 to l970,The Dave Brubeck Collection presents the most ambitious jazz restoration series of the year. Five of Brubeck's classic, long out-of-print Columbia LPs of the 1950s and '60s (three of the five including rare, previously unreleased material) have been remastered and remixed under the personal supervision of Brubeck (and his musical director Russell Gloyd). The first edition of The Dave Brubeck Collection includes BRaBECK TIME (the Dave Brubeck Quartet's first studio recording); BRUBECK PLAYS BRUBECK (his first solo piano outing); BRUBECK AND RaSHING (with blues shouter Jimmy Rushing); BRANDENBaRG GATE: REWSITED (featuring a l0-part suite); andBRAVO| BRUBECK! (performed live in Mexico with local musicians). Joining these is BURIED TREASIIRES, an entire album's worth of material from 1967, representing the Dave Brubeck Quartet's final known previously unreleased recordings for the label. All six CDs, which include bonus tracks where available, newly-written addenda to the original reprinted liner notes, and previously uncirculated archival photography personally selected by Brubeck, are scheduled for October 20'h in-store date on Columbia/Legacy lazz, a division of Sony Music.
    [Show full text]
  • Jazz at the Crossroads)
    MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs.
    [Show full text]
  • Los Angeles: Recorded Magic (1945-1960)
    Los Angeles: Recorded Magic (1945-1960) Essential Questions How did advances in technology impact jazz? How did Los Angeles (LA) become a segregated city? How did Los Angeles (LA) become a city of recorded jazz? What is West Coast bop? How does it reflect the black jazz scene in segregated LA? What is West Coast jazz? How is it a product of postwar Southern California? How does the music and literature of Los Angeles reflect its history and culture? How do you listen to jazz? The importance of listening Obtaining a jazz vocabulary Understanding and appreciating major movements in jazz Understanding and appreciating the life and sounds of jazz innovators Historical context of jazz Objectives: 1. Determine how advances in technology impacted jazz and the recording industry. 2. Rank the local, state and federal policies that contributed to the segregation of Los Angeles. 3. Explain how the music and of Los Angeles reflected its segregated population. 4. Analyze West Coast jazz and bop in historical context. Historical Context: Postwar Los Angeles (Marcie Hutchinson) Based on Why Jazz Happened by Marc Myers (social history of jazz) Introduction Profound impact of technology on the history of jazz Radio, records, the phonograph, the jukebox, film Music more accessible, more convenient, pleasing to the ear Postwar Period Jazz transformed from dance music to a sociopolitical movement Major jazz styles: bebop, jazz-classical, cool, West Coast jazz, hard bop, jazz-gospel, spiritual jazz, jazz- pop, avant-garde jazz and jazz-rock fusion Jazz reshaped from 1945-1972 Grip of 3 major record companies (Victor, Columbia, Decca) weakened by labor actions Increased competition from new labels Jazz musicians gain greater creative independence due to competition.
    [Show full text]
  • Original Television Soundtrack Recording - Columbia Records/Speakers Corner - Audiophile Audition 10.09.18, 0950
    Liza With A “Z” - Original Television Soundtrack Recording - Columbia Records/Speakers Corner - Audiophile Audition 10.09.18, 0950 AUDIOPHILE AUDITION is a free international online magazine for audio buffs, record collectors and music lovers, publishing up to 100 disc reviews monthly of classical, jazz, pop, movies, documentaries, and HOME ∠ JAZZ CD REVIEWSoperas on∠ Blu-ray and DVD, vinyl, CDs and hi-res formats.SITE SEARCH " Search the site Liza With A “Z” – OriginalAudio Reviews # More Audio Reviews # Click on the category Television Soundtrack below to see that genre of Recording – Columbia reviews. Records/Speakers Corner SACD & Other Hi- Res Reviews by Audiophile Audition / September 4, 2018 / Jazz CD Reviews,, Audio News Pop/Rock/World CD Reviews Classical CD Reviews Liza With A “Z” – Original Classical Reissue Reviews Television Soundtrack DVD & Blu-ray Recording – Columbia Video Reviews JazzJazz CDCD ReviewsReviews Records KC 31762 Pop/Rock/World (1972)/Speakers Corner (2015) 180-gram CD Reviews Special Features stereo vinyl, 48:22 ****: Component Reviews (Starring Liza Minelli; Bob Fosse – director, choreography; Fred Ebb – writer, original musical material; John Kander – original musical Editorial material; Phil Ramone – engineer; Arthur Kendy – engineer; Marvin Reader Feedback Hamlisch – musical coordinator) Best of the Year https://www.audaud.com/liza-with-a-z-original-television-soundtrack-recording-columbia-records-speakers-corner/ Seite 1 von 6 Liza With A “Z” - Original Television Soundtrack Recording - Columbia Records/Speakers Corner - Audiophile Audition 10.09.18, 0950 As the 1960’s unfolded, the classic mainstream “big shows” were disappearing from film, Broadway and concert forums. There were a few notable exceptions, including Barbra Streisand (My Name Is Barbra), Frank Sinatra (A Man And His Music, Francis Albert Sinatra Does His Thing) and Julie Andrews/Carol Burnett (Julie And Carol At Carnegie Hall).
    [Show full text]
  • Sony Music Entertainment and Tencent Announce a Strategic Distribution Arrangement for Mainland China
    SONY MUSIC ENTERTAINMENT AND TENCENT ANNOUNCE A STRATEGIC DISTRIBUTION ARRANGEMENT FOR MAINLAND CHINA Landmark Agreement to bolster China’s fast developing consumer digital music market SHENZHEN/HONG KONG/NEW YORK, Tuesday, 16th December, 2014 Sony Music Entertainment (Sony Music) and Tencent Holdings Limited (“Tencent”, SEHK stock code: 0700) today announced an exciting strategic cooperation arrangement for the online digital distribution of Sony Music’s audio music master recordings in mainland China. Under the main terms of this major initiative, Tencent will distribute Sony Music’s repertoire via Tencent’s QQ Music services and manage the online distribution of Sony Music’s repertoire to legitimate local Chinese audio online music services in mainland China. Through Tencent’s advanced technological infrastructure and massive user-base and Sony Music’s music entertainment expertise and highly-talented artists’ music content, this new strategic arrangement will enable Tencent to provide an enhanced consumer experience music model in mainland China. Under the new strategic arrangement, Tencent will also promote Sony Music’s artists extensively on its platforms as well as license to other local online music service providers to sub-distribute Sony Music’s repertoire releases to their consumers in mainland China. Tencent will also leverage its popular gaming, mobile and social platforms (such as China’s leading social media service QQ that has more than 820 million monthly active uers) as well as its distribution capabilities to promote both Sony Music’s highly talented local and international artists and their music in mainland China. From a broader marketing perspective, Sony Music will continue to market its artists across a multitude of on-ground, online and other media platforms to connect with music fans right across the country with the aim to enhance the consumer experience and access to music and artists information.
    [Show full text]