Showcase Recital: Works of Fred Katz Mary Palchak Chapman University, [email protected]
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Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Ken Nordine Vesle Hallvard Lørdag Kl
130 | KEN NORDINE VESLE HALLVARD LØRDAG KL. 21.00 CHRISTOPHER NIELSEN PRESENTERER KEN NORDINE THE EYE IS NEVER FILLED – WORD JAZZ IN MORPHING PICTURES CHRISTOPHER NIELSEN besøkte Kortfilmfestivalen i fjor CHRISTOPHER NIELSEN visited Grimstad last year with a med et work-in-progress-seminar om animasjonsfilmen work-in-progress seminar about his animation film Free Slipp Jimmy fri, som ble vist under Cannes-festivalens Jimmy, which was screened during the Critics’ Week in Can- Kritikeruke tidligere i år. Nå inviterer vi Nielsen til Grim- nes earlier this year. Now we have invited Nielsen to Grim- stad for å snakke om noe helt annet, nemlig den levende stad to talk about something entirely different: the living legenden Ken Nordine, word-jazzens konge. Christop- legend Ken Nordine, the king of word jazz. Christopher Ni- her Nielsen vil presentere Ken Nordines lydklassikere fra elsen will present Ken Nordine’s sound classics from his DVD-en «The Eye Is Never Filled – Word Jazz in Morphing DVD «The Eye Is Never Filled – Word Jazz in Morphing Pic- Pictures», som innholder 30 abstrakte data-animasjoner. tures», which contains thirty abstract computer animations. Nordine’s deep, resonant voice has been featured on many commercial advertisements. One critic wrote that «you may not know Ken Nordine by name or face, but you’ll almost certainly recognize his voice.» Ken Nordine is an American voiceover and recording artist, born in Chicago, Illinois on January 19, 1920. He initially attracted attention when he recorded the aural vignet- tes on Word Jazz (1957). Among his more than 20 solo albums, the most famous ones are Word Jazz (1966) and Colors (1995) which have an almost legendary cult status. -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
JREV3.6FULL.Pdf
KNO ED YOUNG FM98 MONDAY thru FRIDAY 11 am to 3 pm: CHARLES M. WEISENBERG SLEEPY I STEVENSON SUNDAY 8 to 9 pm: EVERYDAY 12 midnite to 2 am: STEIN MONDAY thru SATURDAY 7 to 11 pm: KNOBVT THE CENTER OF 'He THt fM DIAL FM 98 KNOB Los Angeles F as a composite contribution of Dom Cerulli, Jack Tynan and others. What LETTERS actually happened was that Jack Tracy, then editor of Down Beat, decided the magazine needed some humor and cre• ated Out of My Head by George Crater, which he wrote himself. After several issues, he welcomed contributions from the staff, and Don Gold and I began. to contribute regularly. After Jack left, I inherited Crater's column and wrote it, with occasional contributions from Don and Jack Tynan, until I found that the well was running dry. Don and I wrote it some more and then Crater sort of passed from the scene, much like last year's favorite soloist. One other thing: I think Bill Crow will be delighted to learn that the picture of Billie Holiday he so admired on the cover of the Decca Billie Holiday memo• rial album was taken by Tony Scott. Dom Cerulli New York City PRAISE FAMOUS MEN Orville K. "Bud" Jacobson died in West Palm Beach, Florida on April 12, 1960 of a heart attack. He had been there for his heart since 1956. It was Bud who gave Frank Teschemacher his first clarinet lessons, weaning him away from violin. He was directly responsible for the Okeh recording date of Louis' Hot 5. -
IUF 1000: WHAT IS the GOOD LIFE Spring 2016 Lecture: T/R: Period 6
IUF 1000: WHAT IS THE GOOD LIFE Spring 2016 Lecture: T/R: Period 6. Location: Turlington L007 INSTRUCTOR Dr. Craig Smith, Associate Professor, School of Art and Art History Contact Info: [email protected], 273-3025, 335 Fine Arts Bldg. D Office Hours: Mondays 9-10. TEACHING ASSISTANTS TA 1. Dominguez, M. Office Hours: M 9am-11am/ Location Turlington B333 TA 2. Deij Prado, M. Ofice Hours/Location: TBD TA 3. Casler, J. Offie Hours: F Periods 8-9/ Location: Turlington B333 TA 4. Goodwiin, J. Office Hours TBD/Location: Turlington B333 TA 5. Ghonim, A. fice Hours/Location: TBD Section Time Location Teaching Assistant 0614 R7 CHE 237 Dominguez, Miriam 064H F4 NPB 1011 Dominguez, Miriam 0641 F5 NPB 1216 Dominguez, Miriam 0619 R7 FAC 127 Deij Prado, Macarena 064A R8 MAT 13 Deij Prado, Macarena 065F F5 ROL 115 Deij Prado, Macarena 062B R7 LEI 242 Casler, Jessica Jean 066G F6 MAT 12 Casler, Jessica Jean 064F F7 MAT 112 Casler, Jessica Jean 0622 R8 LIT 239 Goodwin, Joshua 0640 F4 MAEB 238 Goodwin, Joshua 0647 F5 NSC 227 Goodwin, Joshua 0637 R8 FLG 285 Ghonim, Asmaa 065G F6 MAT 10 Ghonim, Asmaa 0665 F7 TUR 2346 Ghonim, Asmaa COURSE DESCRIPTION Drawing on the cluster of disciplines that make up the Humanities and the considerable resources at UF in support of the Humanities, this course inquires into the very nature and experience of being human. Applying multi-disciplinary and cross-cultural approaches to explore the question “What is the good life?,” students consider the cost of the good life, examine how people have chosen to live as members of local and global communities, and analyze conceptions and expressions of beauty, power, love, and health. -
ARSC Journal, Vol
NATIONAL PUBLIC RADIO ARTS AND PERFORMANCE PROGRAMS By Frederica Kushner Definition and Scope For those who may be more familiar with commercial than with non-commercial radio and television, it may help to know that National Public Radio (NPR) is a non commercial radio network funded in major part through the Corporation for Public Broadcasting and through its member stations. NPR is not the direct recipient of government funds. Its staff are not government employees. NPR produces programming of its own and also uses programming supplied by member stations; by other non commercial networks outside the U.S., such as the British Broadcasting Corporation (BBC) and the Canadian Broadcasting Corporation (CBC); by independent producers, and occasionally by commercial networks. The NPR offices and studios are located on M Street in Washington, D.C. Programming is distributed via satellite. The radio programs included in the following listing are "arts and performance." These programs were produced or distributed by the Arts Programming Department of NPR. The majority of the other programming produced by NPR comes from the News and Information Department. The names of the departments may change from time to time, but there always has been a dichotomy between news and arts programs. This introduction is not the proper place for a detailed history of National Public Radio, thus further explanation of the structure of the network can be dispensed with here. What does interest us are the varied types of programming under the arts and performance umbrella. They include jazz festivals recorded live, orchestra concerts from Europe as well as the U.S., drama of all sorts, folk music concerts, bluegrass, chamber music, radio game shows, interviews with authors and composers, choral music, programs illustrating the history of jazz, of popular music, of gospel music, and much, much more. -
Legends of West Brochure
JAZZ AID P U.S. POSTAGE presents WEST NONPROFIT ORG. PERMIT NO. 1260 LONG BEACH, CA. COAST 3 LEGENDS OF THE WEST 17 Concerts 8 Panel Discussions A Four Day 5 Film Showings Jazz Festival September 29 ~ October 2, 2005 8-0038 Four Points Sheraton-LAX NG BEACH, CA 9080 CA BEACH, NG .O. BOX 8038.O. BOX LO THE ANGELES LOS JAZZ INSTITUTE P WAY OUT WEST 1957 BY WILLIAM CLAXTON lajazzinstitute.org Bud Shank | Johnny Mandel | Chico Hamilton Quintet | Paul Horn BONUS EVENT Frank Morgan | Buddy Collette | Med Flory | Howard Rumsey In our continuing effort to pay tribute to the Lennie Niehaus | Jack Costanzo | Dave Pell Octet | Herb Geller brilliant artists who have Allyn Ferguson’s Chamber Jazz Sextet | Anthony Ortega | Bill Trujillo been significant figures of the Los Angeles Jazz Scene, FEATURING Claude Williamson | Chuck Flores | John Pisano | Fred Katz we are pleased to announce Jazz West Coast 3- ABOUT THE Legends of the West. Festival Los Angeles Legends of the West is a musical celebration of Facts Jazz Institute both the musicians and The Los Angeles Jazz Institute houses the behind the scenes people Dates and maintains one of the largest whose innovative explorations SEPTEMBER 29-OCTOBER 2, 2005 jazz archives in the world.All styles created a unique jazz scene and eras are represented with a here on the west coast. Place special emphasis on the preservation The Four Points Sheraton at LAX and documentation of jazz in southern In addition to 17 concerts, 9750 Airport Blvd., California. Many artists personal there will also be film showings, Los Angeles, CA 90045 collections are being preserved at panel discussions, photo exhibits The special convention rate is the Institute including the archives and special presentations where $82 and $92 per night. -
Jerry Garcia from Wikipedia, the Free Encyclopedia
Jerry Garcia From Wikipedia, the free encyclopedia Background information Birth name Jerome John Garcia Born August 1, 1942, San Francisco, California, United States Died August 9, 1995 (aged 53), Forest Knolls, California, United States Genres Folk rock, bluegrass, progressive rock Occupation(s) Musician, songwriter Instruments Guitar, vocals, pedal steel guitar, banjo Years active 1960–1995 Labels Rhino, Arista, Warner Bros., Acoustic Disc, Grateful Dead Associated acts Grateful Dead, Legion of Mary, Reconstruction, Jerry Garcia Band, Old and in the Way, Jerry Garcia Acoustic Band, New Riders of the Purple Sage͵ Garcia Grisman Band Notable instruments Fender Stratocaster "Alligator" Doug Irwin-modified Alembic "Wolf" Gibson SGs Guild Starfire 1957 Gibson Les Paul Gold-top Les Paul with P-90 Doug Irwin Custom "Tiger" Doug Irwin Custom "Rosebud" Stephen Cripe Custom "Lightning Bolt," Martin D-28, Takamine acoustic-electric guitars Travis Bean TB1000S, TB500[1] Jerome John "Jerry" Garcia (August 1, 1942 – August 9, 1995) was an American musician best known for his lead guitar work, singing and songwriting with the band the Grateful Dead, which came to prominence during the counterculture era. Though he disavowed the role, Garcia was viewed by many as the leader or "spokesman" of the group. One of its founders, Garcia performed with the Grateful Dead for their entire thirty-year career (1965–1995). Garcia also founded and participated in a variety of side projects, including the Saunders-Garcia Band (with longtime friend Merl Saunders), the Jerry Garcia Band, Old and in the Way, the Garcia/Grisman acoustic duo, Legion of Mary, and the New Riders of the Purple Sage (which Garcia co-founded with John Dawson and David Nelson). -
Chico Hamilton Quintet South Pacific in Hi-Fi Mp3, Flac, Wma
Chico Hamilton Quintet South Pacific In Hi-Fi mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: South Pacific In Hi-Fi Country: UK Style: Post Bop, Fusion MP3 version RAR size: 1380 mb FLAC version RAR size: 1290 mb WMA version RAR size: 1176 mb Rating: 4.1 Votes: 227 Other Formats: VOC MP3 MPC MMF DTS VOX MOD Tracklist Hide Credits A Wonderful Guy A1 3:12 Arranged By – Hal Gaylor* This Nearly Was Mine A2 3:45 Arranged By – Paul Horn Dites Moi A3 2:57 Arranged By – Calvin Jackson Some Enchanted Evening A4 3:13 Arranged By – John Pisano Bali Ha'i A5 4:42 Arranged By – John Pisano There Is Nothing Like A Dame B1 3:00 Arranged By – Carson Smith Younger Than Springtime B2 3:27 Arranged By – Carson Smith Happy Talk B3 2:55 Arranged By – Paul Horn A Cockeyed Optimist B4 1:50 Arranged By – Fred Katz Honey Bun B5 4:17 Arranged By – Hal Gaylor* I'm Gonna Wash That Man Right Out Of My Hair B6 2:35 Arranged By – Calvin Jackson Credits Alto Saxophone, Flute – Paul Horn Bass – Hal Gaylor* Cello – Fred Katz Drums – Chico Hamilton Guitar – John Pisano Liner Notes – Charles Edward Smith Producer – Richard Bock Written-By – Rodgers-Hammerstein* Notes All material by Rodgers and Hammerstein. This is a Strobophonic High Fidelity recording with a frequency response of 30 to 15,000 cycles per second. Users of wide range equioment should employ the RIAA or NARTB curve position. VOGUE RECORDS LIMITED . 113-115 FULHAM ROAD . LONDON SW3 . -
Fred Katz •Herbie Mann
PAG 4 PAG 1 FRED KATZ • HERBIE MANN A COMMON GROUND FRED KATZ: African Folk Tunes (1. 4, 7): (drums), Ray Barretto (congas), Ray FOLK SONGS Pete Candoli, lrving Goodman, Mantilla (bongos), Michael Olatunji FOR FAR OUT FOLK Don Fagerquist (trumpets), (percussion, vocals), Maya Angelou, George Roberts, Harry Betts, Bob Dolores Parker (vocals). 1. Mate’ka 6:35 Enevoldsen (trombones), Fred Katz New York, August 2-3, 1960. 2. Sometimes I Feel Like (cello), Larry Bunker, Gene Estes, A Motherless Child 4:05 Jack Costanzo, Carlos Mejia, Lou 3. Been In The Pen So Long 3:09 Singer (percussion). Hollywood, 4. Chili’lo (Lament) 3:54 September 17, 1958. 5. Rav’s Nigun 2:56 6. Old Paint 4:55 7. Manthi-Ki 5:06 8. Baal Shem Tov 3:57 9. Foggy, Foggy Dew 5:20 HERBIE MANN THE COMMON GROUND S.I.A.E. MJCD 1376 All tunes adapted, arranged © 2020 – 22PUBLISHING S.R.L. and conducted by Fred Katz 10. Baghdad/Asia Minor MUSICAJAZZ.IT FRED KATZ • HERBIE MANN (Ad Lib Music Publishing, ASCAP). (Herbie Mann/Roger Mozian) 5:09 A COMMON GROUND 11. Walkin’ (Richard Carpenter) 5:23 Selected by Luca Conti American Folk Tunes (2, 3, 6, 9): 12. Sawa Sawa De’ Design by Silvano Belloni Gene Estes (vibraphone), Billy Bean (Herbie Mann) 3:05 (guitar), John Williams (piano), Fred 13. St. Thomas (Sonny Rollins) 3:24 Photo by Elena Carminati (Fred Katz) Katz (cello), Mel Pollen (bass), Jerry 14. High Life (Herbie Mann) 2:11 Williams (drums). 15. Uhuru Hollywood, July 21, 1958. (Herbie Mann, Michael Olatunji). -
Introducing Man Or Billy May Trumpet Section, but 1G CHICO HAMILTON QUINTET This Simply Isn’T the Type of Recorded Surrounding for Him
Hodges-like alto. This and three others are quintet sides, four more are done by big band, four with strings. It almost got one more star because of the times 1 have been chilled by hearing Gozzo spur on a Woody Her Introducing man or Billy May trumpet section, but 1g CHICO HAMILTON QUINTET this simply isn’t the type of recorded surrounding for him. (J. T.) (RCA FZATURING BUDDY COLLETTE Victor 12" I P LPM-1124) PACIFIC JAZZ RECORDS ir p/ i.^ jt*» r fp, w i Pt s. r<j Chico Hamilton t Nice Dayj hinny Valentine; Blue Sanda; The Sage; The Morning After; I II ant to Be Happy; Spectacular; Free Form; Walking Faraón Bluet; Buddy Boo Rating: Chico Hamilton's new quintet is re sponsible for one of the most stimu lating, consistently inventive and unique jazz recordings of this or any recent year. There is, first of all, superb mu sicianship on the part of Buddy Col -Fl lette, flute, clarinet, tenor and alto; Jim Hall, guitar; Fred Katz, cello; n fa- Carson Smith, bass, and Hamilton, great drums. There is also the fresh writing .G.” by all five. As Katz points out in the :hest, notes, . each one writes with feel- >P by ing. Each original composition has :d in warmth, has meaning, has a reason for being; it’s not just u series of clever chords or clever ideas.” The third quality of excellence evi dent here is the collective emotional empathy of the quintet. This is really a unit, and while each of the men in it expresses his own individuality eloqueiftly, they reach their total ful fillment in the cohesive, partly impro visational interplay that is so vitally basic to the best jazz. -
Make It New: Reshaping Jazz in the 21St Century
Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of