The Dave Brubeck Quartet Featuring Paul Desmond – Brubeck Time
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AP1 Companies Affiliates
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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. -
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. -
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 .................................................................................................... -
Testament Live at the Fillmore Dvd
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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. -
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. -
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. -
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. -
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. -