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Bootsie Barnes, All About Philly Jazz | Philadelphia Inquirer | 01/15/2011
Bootsie Barnes, all about Philly jazz | Philadelphia Inquirer | 01/15/2011 Sign In Register Mobile Home Delivery Search for : Mob Scene - New flash opera - Jobs Feb 21, 10:25 AM | Traffic News Sports Entertainment Business Restaurants & Food Living Video Classifieds Shopping Video Movies Music/Nightlife The Arts Celebrities Television Horoscopes Comics & Games Contests Event Calendar The Cappies MUSIC/NIGHTLIFE EMAIL PRINT FONT SIZE Recommend 1 pe Posted on Sat, Jan. 15, 2011 Bootsie Barnes, all about Philly jazz By David R. Stampone For The Inquirer Even without the recent passing of several revered Philadelphia jazz artists - pianist Sid Simmons, organist Trudy Pitts, bassist Charles Fambrough - a trek up Germantown Avenue Thursday evening to catch Philly's veteran tenor- sax master Robert "Bootsie" Barnes, 73, seemed Advertise Here like the right idea. Barnes' rich tone, sympathetic ensemble ENTERTAINMENT VIDEOS interplay, and living-legacy status make him a local icon best experienced sooner rather than later. Although he's likened to both Coleman Hawkins and such soul-jazz tenors as Gene Ammons, Barnes' sound entails a classic bop capacity with ample ability to swing or soften as desired. And his gigs showcase an edifying knowledge of Philly jazz, and beyond. Saxophonist Bootsie Barnes played Mount Airy Over 90 minutes, Barnes led a quartet through Presby- terian Church on Thursday. five leisurely paced numbers within the woody confines of Mount Airy Presbyterian Church. It marked the venue's debut hosting a community Neighborhood Concerts Series show presented by Glenside's Jazz Bridge, a nonprofit organization that assists area jazz musicians with their "health, legal, financial, personal, and professional needs." Barnes, of course, has played with a who's who in local jazz over the last half-century, including an aspiring drummer pal with whom he grew up, in North Philadelphia's Richard Allen Homes, named Bill Cosby. -
Jazzletter I PO Box 240, Ojai CA 93024-0240 March 2005“ Vol
GeneLeasAdLibitum 6- I Jazzletter I PO Box 240, Ojai CA 93024-0240 March 2005“ Vol. 23 No. 3 must look to black authority figures to validate the life and The Worlds of Paul Desmond work ofajazz musician, it is notable that Charlie Parker, one of the supreme icons of this music, was several times on In the first paragraph of a Foreword to Take Five, Doug record that Paul was his favorite alto player. That they were Rarnsey’s superbly researched biography ofPaul Desmond, also friends is something I did not know. That is documented Dave Brubeck asserts: in this book. ’ “Paul Desmond was an enigma. I considered him my best I once did a radio interview with Paul in which he said he friend. Yet, for a couple ofyears in my life I vowed I would went far out of his way not to sound like Charlie Parker, in never speak to him again. The rifi eventually healed and for a time when seemingly every young player was trying to do three decades we were as close as brothers.” so. He said there was enormous pressure on young players, Darius Brubeck, one of Dave’s sons, for many years a during his fonnative years, to emulate Parker. He called it “a jazz teacher in South Africa and England, told me he was kind ofmusical McCarthyism.” Much ofwhat Paul said was about twelve before he realized that Paul wasn’t actually his frmny not only for its content but his manner of speech, his uncle. idiosyncratic inflections, which ofcourse cannotbe captured “From the very first,” Dave says in that introduction, “we on paper. -
Hank Mobley Éÿ³æ¨‚Űˆè¼¯ ĸ²È¡Œ (ĸ“Ⱦ‘ & Æ—¶É—´È¡¨)
Hank Mobley 音樂專輯 串行 (专辑 & 时间表) Roll Call https://zh.listvote.com/lists/music/albums/roll-call-7360871/songs Tenor Conclave https://zh.listvote.com/lists/music/albums/tenor-conclave-3518140/songs Hi Voltage https://zh.listvote.com/lists/music/albums/hi-voltage-5750435/songs No Room for Squares https://zh.listvote.com/lists/music/albums/no-room-for-squares-7044921/songs Hank Mobley Sextet https://zh.listvote.com/lists/music/albums/hank-mobley-sextet-5648411/songs Mobley's Message https://zh.listvote.com/lists/music/albums/mobley%27s-message-6887376/songs Straight No Filter https://zh.listvote.com/lists/music/albums/straight-no-filter-7621018/songs Jazz Message No. 2 https://zh.listvote.com/lists/music/albums/jazz-message-no.-2-6168276/songs Breakthrough! https://zh.listvote.com/lists/music/albums/breakthrough%21-4959667/songs A Slice of the Top https://zh.listvote.com/lists/music/albums/a-slice-of-the-top-4659583/songs The Turnaround! https://zh.listvote.com/lists/music/albums/the-turnaround%21-7770743/songs A Caddy for Daddy https://zh.listvote.com/lists/music/albums/a-caddy-for-daddy-4655701/songs https://zh.listvote.com/lists/music/albums/the-jazz-message-of-hank-mobley- The Jazz Message of Hank Mobley 7743041/songs https://zh.listvote.com/lists/music/albums/hank-mobley-and-his-all-stars- Hank Mobley and His All Stars 5648413/songs Far Away Lands https://zh.listvote.com/lists/music/albums/far-away-lands-5434501/songs Third Season https://zh.listvote.com/lists/music/albums/third-season-7784949/songs Hank Mobley Quartet -
Polish Musicians Merge Art, Business the INAUGURAL EDITION of JAZZ FORUM SHOWCASE POWERED by Szczecin Jazz—Which Ran from Oct
DECEMBER 2019 VOLUME 86 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Discografía De BLUE NOTE Records Colección Particular De Juan Claudio Cifuentes
CifuJazz Discografía de BLUE NOTE Records Colección particular de Juan Claudio Cifuentes Introducción Sin duda uno de los sellos verdaderamente históricos del jazz, Blue Note nació en 1939 de la mano de Alfred Lion y Max Margulis. El primero era un alemán que se había aficionado al jazz en su país y que, una vez establecido en Nueva York en el 37, no tardaría mucho en empezar a grabar a músicos de boogie woogie como Meade Lux Lewis y Albert Ammons. Su socio, Margulis, era un escritor de ideología comunista. Los primeros testimonios del sello van en la dirección del jazz tradicional, por entonces a las puertas de un inesperado revival en plena era del swing. Una sentida versión de Sidney Bechet del clásico Summertime fue el primer gran éxito de la nueva compañía. Blue Note solía organizar sus sesiones de grabación de madrugada, una vez terminados los bolos nocturnos de los músicos, y pronto se hizo popular por su respeto y buen trato a los artistas, que a menudo podían involucrarse en tareas de producción. Otro emigrante aleman, el fotógrafo Francis Wolff, llegaría para unirse al proyecto de su amigo Lion, creando un tandem particulamente memorable. Sus imágenes, unidas al personal diseño del artista gráfico Reid Miles, constituyeron la base de las extraordinarias portadas de Blue Note, verdadera seña de identidad estética de la compañía en las décadas siguientes mil veces imitada. Después de la Guerra, Blue Note iniciaría un giro en su producción musical hacia los nuevos sonidos del bebop. En el 47 uno de los jóvenes representantes del nuevo estilo, el pianista Thelonious Monk, grabó sus primeras sesiones Blue Note, que fue también la primera compañía del batería Art Blakey. -
Lee Morgan Chronology 1956–1972 by Jeffery S
Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC). -
Bobby Watson Kirk Knuffke Guillermo Gregorio Horace Silver Coltrane
AUGUST 2019—ISSUE 208 YOUR FREE GuiDe TO THE NYC JaZZ SCENE NYCJaZZRECORD.COM RAVICOLTRANE next trane comin’ bobby kirk GuiLLERMo horace watson knuffke GREGorio siLver Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East AUGUST 2019—ISSUE 208 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 new york@niGht 4 Laurence Donohue-Greene: interview : bobby watson 6 by ken dryden [email protected] Andrey Henkin: artist feature : kirk knuffke 7 by john sharpe [email protected] General Inquiries: on the cover : ravi coLtrane 8 by russ musto [email protected] Advertising: encore : GuiLLERMo GREGORIO 10 by steven loewy [email protected] Calendar: Lest we forGet : horace siLver 10 by scott yanow [email protected] VOXNews: LabeL spotLiGht : aLeGre recorDs 11 by jim motavalli [email protected] VOXNEWS by suzanne lorge US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or obituaries 12 by andrey henkin money order to the address above or email [email protected] festivaL report 13 Staff Writers Duck Baker, Stuart Broomer, Robert Bush, Kevin Canfield, cD reviews 14 Marco Cangiano, Thomas Conrad, Pierre Crépon, Ken Dryden, Donald Elfman, Phil Freeman, Miscellany Kurt Gottschalk, Tom Greenland, 31 George Grella, Tyran Grillo, Alex Henderson, Robert Iannapollo, event caLenDar Mark Keresman, Marilyn Lester, 32 Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Anna Steegmann, Scott Yanow Contributing Writers Brian Charette, George Kanzler, Improvisation is the magic of jazz. -
Hank Mobley No Room for Squares Mp3, Flac, Wma
Hank Mobley No Room For Squares mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: No Room For Squares Country: Japan Released: 2015 Style: Hard Bop MP3 version RAR size: 1501 mb FLAC version RAR size: 1985 mb WMA version RAR size: 1349 mb Rating: 4.6 Votes: 825 Other Formats: MMF DXD AIFF WMA AUD FLAC MP3 Tracklist Hide Credits Three Way Split 1 7:47 Written-By – Hank Mobley Carolyn 2 5:28 Written-By – Lee Morgan Up A Step 3 8:29 Written-By – Hank Mobley No Room For Squares 4 6:55 Written-By – Hank Mobley Me 'N You 5 7:15 Written-By – Lee Morgan Old World, New Imports 6 6:05 Written-By – Hank Mobley Carolyn (alt. take) 7 Written By – Lee Morgan No Room For Squares 8 Written By – Hank Mobley Syrup & Biscuits 9 Written By – Hank Mobley Comin' Back 10 Written By – Hank Mobley Credits Bass – Butch Warren, John Ore Design [Cover] – Reid Miles Drums – Philly Joe Jones* Liner Notes – Joe Goldberg Photography By [Cover Photo] – Francis Wolff Piano – Andrew Hill, Herbie Hancock Producer – Alfred Lion Recorded By [Recording By], Remastered By – Rudy Van Gelder Tenor Saxophone – Hank Mobley Trumpet – Donald Byrd, Lee Morgan Notes 2015 Japanese SHM-CD with 4 bonus tracks. Barcode and Other Identifiers Barcode: 4988005850980 Other versions Category Artist Title (Format) Label Category Country Year Hank No Room For Squares BLP 4149 Blue Note BLP 4149 US 1964 Mobley (LP, Album, Mono) Hank No Room For Squares BST 84149 Blue Note BST 84149 US 1966 Mobley (LP, Album, RE) Blue Note, BST-84149, Hank No Room For Squares BST-84149, Heavenly France -
1 WDR 3 Jazz&World 21.04.2017 No Place for Squares – Der
WDR 3 Jazz&World 21.04.2017 No Place For Squares – Der Tenorsaxofonist Hank Mobley 22.04-24.00 Stand: 26.04.2017 E-Mail: [email protected] | Online: jazz.wdr.de Moderation: Hans W. Ewert Redaktion: Dr. Bernd Hoffmann Laufplan 1. This I dig of you K: Hank Mobley 6:25 HANK MOBLEY Blue Note 2434953432; LC: 00133 CD: Soul Station 2. Hankerin’ K: Hank Mobley 5:15 HORACE SILVER’S JAZZ MESSENGERS Membran 232097/054; LC: 29384 CD: Modern Jazz – Hard Bop – Horace Silver, Vol.2 3. No Blues K: Miles Davis 10:40 MILES DAVIS QUINTET Columbia CL 1812; LC: 00162 LP: Miles Davis at Carnegie Hall 4. Soul Station K: Hank Mobley 9:05 HANK MOBLEY QUARTET Blue Note 2434953432; LC: 00133 CD: Soul Station 5. Remember K: Irving Berlin 5:40 HANK MOBLEY QUARTET Blue Note BST 84031; LC: 00133 LP: Soul Station 6. If I should lose you K: Leo Robin 5:10 HANK MOBLEY QUARTET Blue Note BST 84031; LC: 00133 LP: Soul Station 7. Au privave K: Charlie Parker 7:30 HANK MOBLEY SEXTET Prestige 7061; LC: 00313 LP: Mobley’s Message 8. Message from the border K: Hank Mobley 6:00 HANK MOBLEY QUINTET Prestige 7082; LC: 00313 LP: Mobley’s 2 nd Message 9. Smokin’ K: Hank Mobley 7:30 HANK MOBLEY Prestige 7082; LC: 00313 LP: Workout 10. No room for squares K: Hank Mobley 6:55 HANK MOBLEY Blue Note BST-84149; LC: 00133 LP: No room for Squares Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. -
Readers Poll
84 READERS POLL DOWNBEAT HALL OF FAME One night in November 1955, a cooperative then known as The Jazz Messengers took the stage of New York’s Cafe Bohemia. Their performance would yield two albums (At The Cafe Bohemia, Volume 1 and Volume 2 on Blue Note) and help spark the rise of hard-bop. By Aaron Cohen t 25 years old, tenor saxophonist Hank Mobley should offer a crucial statement on how jazz was transformed during Aalready have been widely acclaimed for what he that decade. Dissonance, electronic experimentation and more brought to the ensemble: making tricky tempo chang- open-ended collective improvisation were not the only stylis- es sound easy, playing with a big, full sound on ballads and pen- tic advances that marked what became known as “The ’60s.” ning strong compositions. But when his name was introduced Mobley’s warm tone didn’t necessarily coincide with clichés on the first night at Cafe Bohemia, he received just a brief smat- of the tumultuous era, as the saxophonist purposefully placed tering of applause. That contrast between his incredible artistry himself beyond perceived trends. and an audience’s understated reaction encapsulates his career. That individualism came across in one of his rare inter- Critic Leonard Feather described Mobley as “the middle- views, which he gave to writer John Litweiler for “Hank Mobley: weight champion of the tenor saxophone.” Likely not intended The Integrity of the Artist–The Soul of the Man,” which ran in to be disrespectful, the phrase implied that his sound was some- the March 29, 1973, issue of DownBeat. -
Monterey Jazz Festival
DECEMBER 2018 VOLUME 85 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; -
The Royal Conservatory Announces the 2010.11 Season at Koerner Hall
Embargoed for 11:30am on Wednesday, April 21, 2010 Please include in your listings/announcements THE ROYAL CONSERVATORY ANNOUNCES THE 2010.11 SEASON AT KOERNER HALL YO-YO MA WILL OPEN THE SECOND SEASON WITH A GALA CONCERT OSCAR PETERSON’S LEGACY WILL BE EXPLORED AMERICAN SUPERSTAR VIOLINIST HILARY HAHN WILL MAKE HER KOERNER HALL DEBUT Following on the immense success of the inaugural Koerner Hall season at the TELUS Centre for Performance and Learning, The Royal Conservatory (The RCM) President, Dr. Peter Simon, is thrilled to announce more inspiring and diverse concerts for 2010.11. Mervon Mehta, Executive Director, RCM Performing Arts, has once again assembled a wide array of artists of different backgrounds, performing a variety of musical genres, in order to present audiences with the highest quality of rich and diverse musical experiences. The journey will go from South Africa through France and Ireland to the Americas, from the earliest Baroque through jazz to Broadway and pop. Along the way we will celebrate an icon, introduce new artists to Toronto, present the next generation of classical artists, focus the attention on the varied aspects of Beethoven and Bach, revel in the solo piano works of Liszt, feast on works from Canadian composers, and offer a chance to hear the best music from Africa. Grand Opening Weekend The 2010.11 Koerner Hall season will open with a very special Grand Opening Weekend of performances and events. On Thursday, October 14, 2010, one of the world’s most beloved cellists and a favourite of Toronto’s audiences, the incomparable Yo-Yo Ma, will give a recital accompanied by pianist Kathryn Stott.