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The Rock of Our Salvation
THE ROCK OF OUR SALWATION: A TREATISE - RESPECTING THE NATURES, PERSON, OFFICES, WORK SUFFERINGS, AND GLORY OF JESUS CHRIST. BY WILLIAM S. PLUMER, D.D., LL.D. A Let us make a joyful noise to the Rock of our salvation. PSA. 95:1. PUBLISHED BY THE AMERICAN TRACT SOCIETY, 150 NASSAU-STREET, NEW YORK. ENTERED according to Act of Congress, in the year 1867, by the AMERICAN TRACT SoCIETY, in the Clerk's Office of the District Court of the United States for - ern District of New York. CONTENTS. CHAPTER I. CHRIST ALL IN ALL, page 7: opposed, 8, 17; his Names and Titles, 10–13; Christ much loved, 13; what God's People say of Him, 18, 19. CHAPTER II. • THE DIVINITY of CHRIST, 22: proven by his Names, 22, 23; by his Attributes, 23–28; by his Works, 28–34; by his Worship, 35–38; Inferences, 38–40. CHAPTER III. THE SoNSHIP or CHRIST, 41: above that of Angels, of Adam, of Believers, 41; not merely because supernaturally conceived, 42; or by Designation to Office, or by his Resurrection, 43; or by being Heir of all Things. He has the same Nature with the Father, his Sonship real and proper, 45; eternal, 48; more than Mediatorship, ineffable, 49; long held, 51; proven, 53–56. CHAPTER IV. THE INCARNATION of CHRIST, 58: how effected, 59; true, 61; made under the Law, 62; foretold by Prophets, 64; often declared, 65; incomprehensible, 67–76; at the Right Time, 69; a Great Event, 73; perpetual, 76; Inferences, 76–79. CHAPTER W. THE MEssIAHSHIP or JESUs oF NAZARETH, 80: expected, 80; proven, 82–95; Remarks, 95–99. -
59Th Annual Critics Poll
Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [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, John McDonough Atlanta: Jon Ross; Austin: Michael Point, 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 Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Lockett, P.W. (1988). Improvising pianists : aspects of keyboard technique and musical structure in free jazz - 1955-1980. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/8259/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] IMPROVISING PIANISTS: ASPECTS OF KEYBOARD TECHNIQUE AND MUSICAL STRUCTURE IN FREE JAll - 1955-1980. Submitted by Mark Peter Wyatt Lockett as a thesis for the degree of Doctor of Philosophy The City University Department of Music May 1988 TABLE OF CONTENTS Page No I List of Figures 3 IIListofRecordings............,........ S III Acknowledgements .. ..... .. .. 9 IV Abstract .. .......... 10 V Text. Chapter 1 .........e.e......... 12 Chapter 2 tee.. see..... S S S 55 Chapter 3 107 Chapter 4 ..................... 161 Chapter 5 ••SS•SSSS....SS•...SS 212 Chapter 6 SS• SSSs•• S•• SS SS S S 249 Chapter 7 eS.S....SS....S...e. -
Eartrip7.Pdf Download
CONTENTS Editorial An internet-related rant and a summary of the delights to follow in the rest of the current issue. By David Grundy. [pp.3-4] Listening to Sachiko M 12,000 words (count' em) – a lengthy, and no-doubt futile attempt to get to grips with some of the recordings of empty-sampler player (or, in her own words, 'non-musician'), Sachiko M, including interminable ramblings on such albums as 'Bar Sachiko,' 'Filament 1', and 'Tears'. By David Grundy. [pp.5-26] The Drop at the Foot of the Ladder: Musical Ends and Meanings of Performances I Haven't Been To, Fluxus and Today 11,000 words (count 'em), covering the delicate and indelicate negotiations between music and performance, audience and performer, art and non-art, that take place in the 1960s works of Fluxus and their distant inheritors, Mattin and Taku Unami. By Lutz Eitel. [pp.27-52] Feature: Live in Seattle Two solo takes and a duo relating to Coltrane's 1965 recording, made at the breaking point of his 'Classic Quartet', poised between old and new, music that pushes at the limits and drops back only to push again with furious persistence. By David Grundy and Sean Bonney. [pp.53-74] Interview: The Rent To call The Rent a Steve Lacy 'tribute band' would be to do them an immense disservice, though their repertoire consists mainly of Lacy compositions. Their conversation with Ted Harms covers such topics as inter-disciplinarity, the Lacy legacy, and the notion of jazz repertoire. [pp.75-83] You Tube Watch: Billy Harper A feature devoted this issue to the great Texan tenor Billy Harper. -
The Bad Ass Pulse by Martin Longley
December 2010 | No. 104 Your FREE Monthly Guide to the New York Jazz Scene aaj-ny.com The THE Bad Ass bad Pulse PLUS Mulgrew Miller • Microscopic Septet • Origin • Event Calendar Many people have spoken to us over the years about the methodology we use in putting someone on our cover. We at AllAboutJazz-New York consider that to be New York@Night prime real estate, if you excuse the expression, and use it for celebrating those 4 musicians who have that elusive combination of significance and longevity (our Interview: Mulgrew Miller Hall of Fame, if you will). We are proud of those who have graced our front page, lamented those legends who have since passed and occasionally even fêted 6 by Laurel Gross someone long deceased who deserved another moment in the spotlight. Artist Feature: Microscopic Septet But as our issue count grows and seminal players are fewer and fewer, we must expand our notion of significance. Part of that, not only in the jazz world, has by Ken Dryden 7 been controversy, those players or groups that make people question their strict On The Cover: The Bad Plus rules about what is or what is not whatever. Who better to foment that kind of 9 by Martin Longley discussion than this month’s On The Cover, The Bad Plus, only the third time in our history that we have featured a group. This tradition-upending trio is at Encore: Lest We Forget: Village Vanguard from the end of December into the first days of January. 10 Bill Smith Johnny Griffin Another band that has pushed the boundaries of jazz, first during the ‘80s but now with an acclaimed reunion, is the Microscopic Septet (Artist Feature). -
The Avant-Garde 15
CURRENT A HEAD ■ 407 ORNETTE COLEMAN lonely woman CECIL TAYLOR bulbs CECIL TAYLOR willisau concert, part 3 ALBERT AYLER ghosts DAVID MURRAY el matador THE AVANT-GARDE 15 Forward March T e word “avant-garde” originated in the French military to denote the advanced guard: troops sent ahead of the regular army to scout unknown territory. In English, the word was adapted to describe innovative composers, writers, painters, and other artists whose work was so pioneering that it was believed to be in the vanguard of contemporary thinking. Avant-gardism represented a movement to liberate artists from the restraints of tradition, and it often went hand-in-hand with progressive social thinking. T ose who championed avant-garde art tended to applaud social change. T ose who criticized it for rejecting prevailing standards couched their dismay in warnings against moral laxity or political anarchy. In the end, however, all art, traditional or avant-garde, must stand on its merit, inde- pendent of historic infl uences. T e art that outrages one generation often becomes the tradition and homework assignments of the next: the paintings of Paul Cézanne and Pablo Picasso, music of Gustav Mahler and Claude Debussy, and writings of Marcel Proust and James Joyce were all initially considered avant-garde. Two especially promi- nent twentieth-century avant-garde movements gathered steam in the decades follow- ing the world wars, and jazz was vital to both. Sonny Rollins combined the harmonic progressions of bop with the freedom of the avant-garde and sustained an international following. He appeared with percussionist Victor See Yuen and trombonist Clifton © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM Anderson at a stadium in Louisiana, 1995. -
Stephen Spender: Aspects of the Quest for Reality
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1970 Stephen Spender: Aspects of the Quest for Reality Marion King Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation King, Marion, "Stephen Spender: Aspects of the Quest for Reality" (1970). Dissertations. 1032. https://ecommons.luc.edu/luc_diss/1032 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © Marion. King STEPHEN SP&NDER: ASPECTS OF THE QU&ST FOR REALITY By Marion King A Dissertation Submitted to the Faculty of the Graduate School of Loyol~ University in Partial Fulfillment of the Requirements for the Degree ot Doctor of Philosophy June ,._, ~ : ·" t~.·,-11;.·~,,.,~__. .. ..,.....-··· 1970 ACKNOWLEDGEMENTS Deep gratitude goes to Dr. Joseph J. Wol££ £or his kindness and encouragement in the preparation of this dissertation, and to Miss Rita Clarkson £or making the writing or it possible. iii TABLE OF CONTENTS Chapter Page I. ANTECEDENTS. • • • • • • • • • • • • • • • • • • 1 II. THE EGO. • • • • .. • • • • • • • • • • • • • • • '' III. LOVE .. • • • • • • • • • • • • • • • • • • • • • 116 IV. THE WORLD OUTSIDE. • • • • • • • • • 147 v. CONCLUSION • • • • • • • • • • • • • • • • • • 190 SELECTED BIBLIOGRAPHY. • • • • • • • • • • • • J.96 iv CHAPTER I ANTECEDS£NTS The roots ot w. a. Yeats reach far back into lreland•s legendary past; T. s. Eliot'• mind is drawn to ancient fertility cults, to medieval conflicts between the realms of God and Caesars in the poetry ot w. -
Occasions of Cecil Taylor's Poetry
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLIX, Issue 1 Fall 2019 “The Scented Parabola”: Occasions of Cecil Taylor’s Poetry David Grubbs It was, in retrospect, an especially inapt introduction. On the occasion in the spring of 2012 of Brooklyn College awarding Cecil Taylor, longtime resident of the borough of Brooklyn, an honorary doctorate of Fine Arts, Taylor’s contributions—introduced with the caveat “Some contend . .”— were described exclusively in terms of the development of jazz, and with various incongruities, including John Coltrane inexplicably referred to in the introduction as “Johnny.” As Taylor approached the microphone, one might have anticipated his remarks to center on a lifetime in music. And, in a way, they did. After a brief greeting, Taylor began: it leans within the scented parabola of a grey slated rising palm of dampened mud impossible to discern the trigonal or endomorphism set and the architectural grid [ . ]1 Seated among the faculty close to the dais, and thus with my back to the thousands of attendees on the quad at Brooklyn College on a late May morning so perfect that I still recall the sunburn on the top of my head, I turned around and saw several thousand mouths to varying degrees agape at the spectacle of this unexpected performance. It seems impossible to overstate how unprepared the crowd was to receive Cecil Taylor’s delivery of his poetry, and I imagine that I will never again see an audience of that size so mystified—but also concerned. -
Friday, Oct. 25 at the Graduate Center, Elebash Hall
1 Friday, Oct. 25 at The Graduate Center, Elebash Hall Session 1: the 1950s & 60s in context 9:00-9:30 am, Eric Charry, “The Development of Cecil Taylor’s Musical Language in the 1950s and 1960s” Cecil Taylor’s new musical language is audible from his very first album, Jazz Advance, recorded in fall 1956 when he was 27 years old. By exploring the interplay of pianistic textures (interactions between the two hands) and directional gestures and contours (ascending or descending lines, moving or static clusters), Taylor created new stories to be told and laid the foundation for developments that have resounded to the present day. Taylor’s approach precluded the necessity for a steady pulse and meter, and with the arrival of drummer Sunny Murray in 1960 and bassist Henry Grimes in 1961 his unit began to join him in breaking through the musical forms of the day and forging new ones. Taylor’s innovations yielded an extraordinary burst of extended solo piano recordings, from Carmen with Rings (1967) and Praxis (1968) through Indent (1973) and Silent Tongues (1974). Few in Taylor’s generation systematized and wrote down the codes to their language for others to decipher, with exceptions like George Russell (1923-2009). Anthony Braxton (1945-) would do just that for his own music in his 5-volume Composition Notes (1988), which codified a system of 99 “sound classifications,” including gestures such as accelerating, gliss, long, low, parallel, and trills. The intellectual underpinnings of Braxton’s music from the late 1960s onward can be linked directly to Taylor’s breakthroughs. -
Cecil Taylor: Life As
Cecil Taylor: Life As... Structure within a free improvisation Kaja Draksler Trboje, Slovenia, june 2013 Cecil Taylor: Life As... Structure within a free improvisation Acknowledgements! 2 Introduction! 3 Biography and influences! 4 Biography! 4 Influences! 5 Cecil Taylor: Life As... (Momentum Space, Verve 1999)! 8 Language! 8 Four main behaviors! 8 Intervals! 16 Register! 18 Rhythm! 18 Expression Tools! 21 Dynamics! 21 Pedaling! 22 Personal technique! 24 Structure! 28 Introduction! 29 Development! 30 Recapitulation! 35 Implications of tonalities! 37 Notation and its relation to music! 40 Cecil Taylor’s relationship with the European classical music! 42 Conclusion! 45 Sources! 47 Appendix! 50 2 Acknowledgements The majority of the material in this research, was written for my master’s degree thesis, during the study of classical composition at the Conservatorium van Amsterdam. The research coordinator was Michiel Schuijer and the external advisor was Vijay Iyer. The original work has been revised and enriched, resulting in the version you are about to read. I wish to express my deepest gratitude to my mentor Vijay Iyer for his enthusiasm, support, guidance and advising. His precious insights were essential for this research. I would like to extend my sincere thanks to Trevor Grahl for the language revision and refinements made to the text. Finally, my heartfelt thanks to George Dumitriu for his care, encouragement and understanding. 3 Introduction “To play with Cecil Taylor, you need the stamina of an athlete and the imagination of a God!” (Tony Oxley in an interview with Panken, 2001) Cecil Taylor’s free improvisations are beautifully structured compositions. The material Taylor is using is pre-considered and fairly restricted; therefore, cohesive and at the same time, colorful and varied. -
Pop / Rock Misto
CATALOGO LP prezzo POP / ROCK MISTO 2967 BRITISH EUROPEAN LP 3LP 100-TH WINDOW - MASSIVE ATTACK EUR 120,00 209 CASTLE BRITISH EUROPEAN 2LPLP ACKER BILK:THE COLLECTION EUR 23,30 35 BRITISH EUROPEAN LP AGNES BERNELLE - FATHER'S LYING DEAD ON THE IRONINGEUR BOARD 15,50 8283 ARISTA AIR SUPPLY - JUST AS I AM EUR 19,50 9564 ARISTA (Audiophile LP) ALLMAN BROTHERS BAND - BROTHERS ON THE ROAD EUR 19,50 505 FLYING FISH USA AZTEC TWO-STEP/SEE IT WAS LIKE THIS...AN ACOUSTIC RETROSPEC.EUR 14,50 163 CASTLE BRITISH EUROPEAN 2LPLP BARBARA DICKSON EUR 23,30 8620 ART BILL HALEY - GREATEST HITS EUR 15,50 15 BRITISH EUROPEAN LP - Heavy VinylBILL WELLS TRIO - ALSO IN WHITE EUR 22,50 4 AUDIOPHARM 3 LP BRAZILECTRO 3 - Artisti Vari - Jazz-Samba and Electronic Music: EURBossa & Latin 34,00 - composta da uno dei più popolari DJ nel mondo - Paco De La Cruz 5 AUDIOPHARM 3 LP BRAZILECTRO 4 - Artisti Vari - Jazz-Samba and Electronic Music: EURBossa & Latin 34,00 - - composta da uno dei più popolari DJ nel mondo - Paco De La Cruz 18 CASTLE BRITISH EUROPEAN LP CHICAGO: CHICAGO 8 \ STREET PLAYER EUR 23,30 8619 ART CLIFF RICHARD - GREATEST HITS EUR 15,50 71302 GOLD CASTLE COLLINS JUDY /TRUST YOUR HEART EUR 13,90 166 CASTLE BRITISH EUROPEAN 2LPLP ELKIE BROOKS EUR 23,30 74213 BRITISH EUROPEAN LP 2 LP FRANK ZAPPA - SAMPLER - YOU CAN'T DO THAT ON STAGE ANYMOREEUR 18,50 229 CASTLE BRITISH EUROPEAN 2LPLP GARY NUMAN - THE COLLECTION EUR 23,30 129 CASTLE BRITISH EUROPEAN 2LPLP JUDY GARLAND - THE COLLECTION - LIVE! EUR 23,30 130 CASTLE BRITISH EUROPEAN 2LPLP MANTOVANI AND HIS ORCHESTRA - THE COLLECTION EUR 23,30 4402 CARTHAGE REC. -
Lew TABACKIN: Tatsuya TAKAHASHI
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Lew TABACKIN: "Lew Tabackin" Lew Tabackin -ts,fl; Bob Dougherty -b; Bill Goodwin -d; recorded December 19, 1974 in Tokyo 11925 BYE BYE BLUES 7.22 RCA 6271 11926 SOLILOQUI 6.00 --- 21816 COME RAIN OR COME SHINE 7.36 --- 21817 MORNING 6.12 --- 21818 HOW DEEP IS THE OCEAN 5.52 --- 21821 LET THE TAPE ROLL 5.42 --- Lew Tabackin -ts; recorded December 19, 1974 in Tokyo 21822 GHOST OF A CHANCE 5.52 --- "Dual Nature" Lew Tabackin -fl,afl,ts[2]; Don Friedman -p; Bob Daugherty -b; Shelly Manne -d, perc; recorded August 31 and September 03, 1976 in Hollywood 69549 EUTERPE 7.15 Empathy EMP1001 69550 YELLOW IS MEOOW 5.48 --- 69551 OUT OF THIS WORLD 9.40 --- 69552 NO DUES BLUES (2) 9.22 --- 69553 MY IDEAL (2) 6.52 --- 69554 RUSSIAN LULLABY (2) 5.47 --- "Trackin'" Lew Tabackin -ts,fl; Toshiko Akiyoshi -p; Bob Daugherty -b; Shelly Manne -d; recorded September 03, 1976 in Hollywood 17075 I'M ALL SMILES 6.35 RCA RDC-3 17076 COTTON TAIL 5.49 --- 17077 TRACKIN' 6.16 --- 17078 SUMMERTIME 4.42 --- "Rites of Pan" Lew Tabackin -fl; Toshiko Akiyoshi -p; John Heard -b; Shelly Manne -d; recorded September 26 and 27, 1977 in Los Angeles 64263 BE-BOP 2.24 Inner City IC6052 64264 JITTERBUG WALTZ 6.39 --- 64265 RITES OF PAN 5.09 --- 64266 NIGHT NYMPH 2.17 --- 64267 ELUSIVE DREAM 4.05 --- Lew Tabackin -fl; Toshiko Akiyoshi -p; Bob Dougherty -b; Shelly Manne -d; recorded February 1978 in Los Angeles 64261