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												THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography………………………………………………………………………………. - 
												
												Michael Brecker Chronology
Michael Brecker Chronology Compiled by David Demsey • 1949/March 29 - Born, Phladelphia, PA; raised in Cheltenham, PA; brother Randy, sister Emily is pianist. Their father was an attorney who was a pianist and jazz enthusiast/fan • ca. 1958 – started studies on alto saxophone and clarinet • 1963 – switched to tenor saxophone in high school • 1966/Summer – attended Ramblerny Summer Music Camp, recorded Ramblerny 66 [First Recording], member of big band led by Phil Woods; band also contained Richie Cole, Roger Rosenberg, Rick Chamberlain, Holly Near. In a touch football game the day before the final concert, quarterback Phil Woods broke Mike’s finger with the winning touchdown pass; he played the concert with taped-up fingers. • 1966/November 11 – attended John Coltrane concert at Temple University; mentioned in numerous sources as a life-changing experience • 1967/June – graduated from Cheltenham High School • 1967-68 – at Indiana University for three semesters[?] • n.d. – First steady gigs r&b keyboard/organist Edwin Birdsong (no known recordings exist of this period) • 1968/March 8-9 – Indiana University Jazz Septet (aka “Mrs. Seamon’s Sound Band”) performs at Notre Dame Jazz Festival; is favored to win, but is disqualified from the finals for playing rock music. • 1968 – Recorded Score with Randy Brecker [1st commercial recording] • 1969 – age 20, moved to New York City • 1969 – appeared on Randy Brecker album Score, his first commercial release • 1970 – co-founder of jazz-rock band Dreams with Randy, trombonist Barry Rogers, drummer Billy Cobham, bassist Doug Lubahn. Recorded Dreams. Miles Davis attended some gigs prior to recording Jack Johnson. - 
												
												Muni 20081106
MUNI 20081106 JAZZ ROCK, FUSION… 01 Ballet (Mike Gibbs) 4:55 Gary Burton Quartet : Gary Burton-vibes; Larry Coryell-g; Steve Swallow-b; Roy Haynes-dr. New York, April 18, 1967. RCA LSP-3835. 02 It’s All Becoming So Clear Now (Mike Mainieri) 5:25 Mike Mainieri -vib; Jeremy Steig-fl; Joe Beck-elg; Sam Brown-elg,acg; Warren Bernhardt-p,org; Hal Gaylor-b; Chuck Rainey-elb; Donald MacDonald-dr. Published 1969. Solid State SS 18049. 03 Little Church (Miles Davis) 3:17 Miles Davis -tp; Steve Grossman-ss; Chick Corea, Herbie Hancock-elp; Keith Jarrett-org; John McLaughlin-g; Dave Holland-b,elb; Jack DeJohnette-dr; Airto Moreira-perc; Hermeto Pascoal-dr,whistling,voc,elp. New York, June 4, 1970. Columbia C2K 65135. 04 Medley: Gemini (Miles Davis) /Double Image (Joe Zawinul) 5:56 Miles Davis -tp; Wayne Shorter-ss; Joe Zawinul, Chick Corea-elp; John McLaughlin-g; Dave Holland-b; Khalil Balakrishna-sitar; Billy Cobham, Jack DeJohnette-dr; Airto Moreira-perc. New York, February 6, 1970. Columbia C2K 65135. 05 Milky Way (Wayne Shorter-Joe Zawinul) 2:33 06 Umbrellas (Miroslav Vitouš-W. Shorter-J. Zawinul) 3:26 Weather Report : Wayne Shorter -ss,ts; Miroslav Vitouš-b; Joe Zawinul -p,kb; Alphonse Mouzon-dr; Airto Moreira-perc. 1971. Columbia 468212 2. 07 Birds of Fire (John McLaughlin) 5:39 Mahavishnu Orchestra : John McLaughlin -g; Jerry Goodman-vio; Jan Hammer-kb,Moog syn; Rick Laird-b; Billy Cobham-dr. New York, 1973. Columbia KC 31996. 08 La Fiesta (Chick Corea) 7:49 Return to Forever : Joe Farrell-ss; Chick Corea -elp; Stanley Clarke-b; Airto Moreira-dr,perc; Flora Purim-perc. - 
												
												Zakir Hussain & Masters of Percussion
CAL PERFORMANCES PRESENTS Sunday, March 23, 2014, 7pm Zellerbach Hall Zakir Hussain & Masters of Percussion with Zakir Hussain tabla Selvaganesh Vinayakram kanjira & ghatam Steve Smith Western drums Niladri Kumar sitar Dilshad Khan sarangi Deepak Bhatt dhol Vijay Chavan dholki and special guest Antonia Minnecola Kathak dancer PROGRAM Tonight’s program will be announced from the stage. There will be one intermission. Cal Performances’ – season is sponsored by Wells Fargo. PLAYBILL ABOUT THE ARTISTS The foremost disciple of his father, the leg- endary Ustad Allarakha, Mr. Hussain was a child prodigy who began his professional career at the age of twelve and had toured internation- ally with great success by the age of 18. He has been the recipient of many awards, grants and honors, including Padma Bhushan (2002), Padma Shri (1988), the Sangeet Natak Akademi Award (1991), Kalidas Samman (2006), the 1999 National Heritage Fellowship Award, the Bay Area Isadora Duncan Award (1998–1999), and Grammy Awards in 1991 and 2009 for Best World Music Album for Planet Drum and Global Drum Project, both collaborations with Mickey Hart. His music and extraordinary con- tribution to the music world were honored in April 2009, with four widely heralded and sold- out concerts in Carnegie Hall’s “Perspectives” series. Also in 2009, Mr. Hussain was named a Susana Millman Susana Member in the Order of Arts and Letters by AKIR HUSSAIN (tabla) is today appreciated France’s Ministry of Culture and Commun - Zboth in the field of percussion and in the ication. Most recently, the National Symphony music world at large as an international phe- Orchestra with Christoph Eschenbach com- nomenon. - 
												
												Media Contact: Casey Blake 480-644-6620 [email protected]
Media Contact: Casey Blake 480-644-6620 [email protected] Performing Live at Mesa Arts Center The Art of Three in Conversation and Song: Billy Cobham, Kenny Barron, and Ron Carter July 25, 2018 Billy Cobham and The Crosswinds Project July 28, 2018 Jun 5, 2018 (Mesa, AZ) – Jazz fusion legend and drumming virtuoso Billy Cobham returns to the Valley in late July with two concert events and his Art of the Rhythm Section Retreat. The Art of Three in Conversation and Song, featuring Billy Cobham, Kenny Barron and Ron Carter on Wednesday July 25 at 7:30 p.m., will bring together jazz pioneers in an intimate evening of performance and conversation around the artists’ work and history of jazz as they have experienced firsthand. Billy Cobham and The Crosswinds Project, on Saturday, July 28 at 7:30 p.m., will bring Billy Cobham’s acclaimed national touring Crosswinds Project Band in a re-visitation and celebration of Cobham’s album Crosswinds released in 1974. Tickets to both events are on sale now at Mesa Arts Center’s Box Office, at mesaartscenter.com and by calling 480-644-6500. Cobham’s musical abilities have thrilled music lovers around the globe since the early ‘70s when he was a founding member of the Mahavishnu Orchestra and he contributed to four pivotal recordings by trumpeter Miles Davis. Today, after decades of musical exploration, the versatile Cobham continues to evolve and innovate as a master drummer, percussionist, composer, producer, educator and clinician. In The Art of Three in Conversation and Song, Cobham will be joined by Ron Carter and Kenny Barron—reuniting these living legends on the stage for the first time in many years. - 
												
												Miles Davis (1926-1991)
Roots of American Music Biography: Miles Davis (1926-1991) Miles Davis is the most revered jazz trumpeter of all time, not to mention one of the most important musicians of the 20th century. He was the first jazz musician of the post-hippie era to incorporate rock rhythms, and his immeasurable influence on others, in both jazz and rock, encouraged a wealth of subsequent experiments. From the bebop licks he initially played with saxophonist Charlie Parker to the wah-wah screeds he concocted to keep up with Jimi Hendrix, Davis was as restless as a performer could get. Davis was raised in an upper-middle-class home in an integrated East St. Louis neighborhood. His father was a dentist; his mother, a music teacher. In 1941 he began playing the trumpet semiprofessionally with St. Louis jazz bands. The skills were there. Four years later, his father sent him to study at New York's Juilliard School of Music. Immediately upon arriving in New York City, Davis sought out alto saxophonist Parker, whom he had met the year before in St. Louis. He became Parker's roommate and protégé, playing in his quintet on the 1945 Savoy sessions, the definitive recordings of the bebop movement. He dropped out of Juilliard and played with Benny Carter, Billy Eckstine, Charles Mingus, and Oscar Pettiford. As a trumpeter Davis was far from virtuosic, but he made up for his technical limitations by emphasizing his strengths: his ear for ensemble sound, unique phrasing, and a distinctively fragile tone. He started moving away from speedy bop and toward something more introspective. - 
												
												We Offer Thanks to the Artists Who've Played the Nighttown Stage
www.nighttowncleveland.com Brendan Ring, Proprietor Jim Wadsworth, JWP Productions, Music Director We offer thanks to the artists who’ve played the Nighttown stage. Aaron Diehl Alex Ligertwood Amina Figarova Anne E. DeChant Aaron Goldberg Alex Skolnick Anat Cohen Annie Raines Aaron Kleinstub Alexis Cole Andrea Beaton Annie Sellick Aaron Weinstein Ali Ryerson Andrea Capozzoli Anthony Molinaro Abalone Dots Alisdair Fraser Andreas Kapsalis Antoine Dunn Abe LaMarca Ahmad Jamal ! Basia ! Benny Golson ! Bob James ! Brooker T. Jones Archie McElrath Brian Auger ! Count Basie Orchestra ! Dick Cavett ! Dick Gregory Adam Makowicz Arnold Lee Esperanza Spaulding ! Hugh Masekela ! Jane Monheit ! J.D. Souther Adam Niewood Jean Luc Ponty ! Jimmy Smith ! Joe Sample ! Joao Donato Arnold McCuller Manhattan TransFer ! Maynard Ferguson ! McCoy Tyner Adrian Legg Mort Sahl ! Peter Yarrow ! Stanley Clarke ! Stevie Wonder Arto Jarvela/Kaivama Toots Thielemans Adrienne Hindmarsh Arturo O’Farrill YellowJackets ! Tommy Tune ! Wynton Marsalis ! Afro Rican Ensemble Allan Harris The Manhattan TransFerAndy Brown Astral Project Ahmad Jamal Allan Vache Andy Frasco Audrey Ryan Airto Moreira Almeda Trio Andy Hunter Avashai Cohen Alash Ensemble Alon Yavnai Andy Narell Avery Sharpe Albare Altan Ann Hampton Callaway Bad Plus Alex Bevan Alvin Frazier Ann Rabson Baldwin Wallace Musical Theater Department Alex Bugnon Amanda Martinez Anne Cochran Balkan Strings Banu Gibson Bob James Buzz Cronquist Christian Howes Barb Jungr Bob Reynolds BW Beatles Christian Scott Barbara Barrett Bobby Broom CaliFornia Guitar Trio Christine Lavin Barbara Knight Bobby Caldwell Carl Cafagna Chuchito Valdes Barbara Rosene Bobby Few Carmen Castaldi Chucho Valdes Baron Browne Bobby Floyd Carol Sudhalter Chuck Loeb Basia Bobby Sanabria Carol Welsman Chuck Redd Battlefield Band Circa 1939 Benny Golson Claudia Acuna Benny Green Claudia Hommel Benny Sharoni Clay Ross Beppe Gambetta Cleveland Hts. - 
												
												Carlos Santana & John Mclaughlin's 1973 Masterpiece Love Devotion
Sound Colour Vibration Carlos Santana & John McLaughlin’s 1973 Masterpiece Love Devotion Surrender Reissued As Gatefold LP With Speakers Corner | Music Reissues Posted by Sound Colour Vibration on May 5, 2015 · Leave a Comment Carlos Santana & John McLaughlin’s 1973 Masterpiece Love Devotion Surrender Reissued As Gatefold LP With Speakers Corner | Music Reissues by Erik Otis When I first read the John McLaughlin biography Go Ahead John, author Paul Stump gave the 1973 LP Love Devotion Surrender a fairly bad review and it was shortly after this lasting impression that I was exposed to the collaborative record between guitar icons Carlos Santana and John McLaughlin. Many reviews upon its release were in a more negative slant then positive and it was a shock after initially hearing it, considering how soulful, spiritual and sophisticated the music is and how much I fell in love with the album right away. In a world full of expectations and concrete view points, I can see how this album would fly over some heads during the day, taking on a much different route then pop structures spoke for of the era and even going beyond the fusion voyages of many musicians around them. An enactment of the full spiritual awakening both musicians were finding through guru Sri Chinmoy, these teachings brought them together in a unique way and they executed on stunning levels with a cast that included Larry Young (org), Doug Rauch (b), Armando Peraza (cga), Billy Cobham, Don Alias, Jan Hammer and Mike Shrieve. The incorporation of John Coltrane covers and themes inspired form his works is a staple of the record’s identity, produced and released for those who were tapping into energy far outside of the radio waves of the day. - 
												
												1 RON CARTER NEA Jazz Master (1998) Interviewee: Ron Carter
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. RON CARTER NEA Jazz Master (1998) Interviewee: Ron Carter (May 4, 1936 - ) Interviewer: Devra Hall Levy with recording engineer Ken Kimery Date: May 16, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 47 pp. Levy: It's May 16th, we're sitting in the home of Ron Carter, Jazz Master, to get the oral history for the Smithsonian Jazz Oral History Project. Ron, this is your story so please feel free to take it in any direction that you want as I go. Carter: I'll follow the questions. Levy: Okay. Well, we might as well start at the beginning. I know that you were born on May 4th of 1937 near Detroit. Tell us … you came from a large family … Carter: I'm from a family of six girls and two boys. I'm in the middle, I guess. Several of them have passed away in the intervening years. I have a sister who plays piano and flute. I have a sister who played viola, one who played violin, who passed away. I'm the only one who decided to try to make a living at this foolishness. Family of ten. Levy: That's a big family. Was it a struggle in those times financially? Was it comfortable? Carter: I think when you're that age – ten, twelve – you don't know those issues. I can assure you that my father, who had to work around the clock in those jobs given the racial tenor of the times, managed always to make sure we had plenty to eat, healthy foods. - 
												
												Drummerissue
APRIL 2016—ISSUE 168 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM drumMER issue BILLYBILLY COBHAMCOBHAM DRUMDRUM SPECTRUMSPECTRUM DAVE CHAD BERNARD DONALD WECKL TAYLOR PURDIE BAILEY Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2016—ISSUE 168 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Dave Weckl 6 by ken micallef [email protected] Andrey Henkin: [email protected] Artist Feature : Chad Taylor 7 by ken waxman General Inquiries: [email protected] On The Cover : Billy Cobham 8 by john pietaro Advertising: [email protected] Encore : Bernard Purdie by russ musto Editorial: 10 [email protected] Calendar: Lest We Forget : Donald Bailey 10 by donald elfman [email protected] VOXNews: LAbel Spotlight : Amulet by mark keresman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above FESTIVAL REPORT or email [email protected] 13 Staff Writers CD Reviews 14 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Miscellany 36 Ken Dryden, Donald Elfman, Philip Freeman, Kurt Gottschalk, Event Calendar Tom Greenland, Anders Griffen, 38 Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, As we head into spring, there is a bounce in our step. - 
												
												Designed the Tempo That Jerry Lee Lewis Alwaysuses Merger That Produces a Highly Rhythmic, So- and Stayed with It All Night Long
Lot Better, and his rendering of Curtis May- What do you do if the Emperor has plenty field's It's All Right just proves how good of clothes but won't wear them? What hap- Mayfield was before he decided to get Signifi- pens when the artist simply can't do one more cant. The band, which is excellent throughout, cheap turn for those who applaud madly when defers to Rivers' vocals on sideone, but on the same two -note riff is hit harder but miss side two they become equal partners, andthe most everything else? Playing Fifties rock as musicians really cook on Willie and the Hand if Sixties rock had never existed doesn't make Jive, Got My Mojo Workin', Over the Line, much sense to me; I think it will eventually and Turn on Your Love Light. This isa very prove disastrous to assume that rock and satisfying album. J.V. nuance are mutually exclusive. Russell appar- ently agreed with me when he wrote such DIANA ROSS: Touch Me in the Morning (see songs as Delta Lady-which he sings here as Best of the Month, page 75) if it were a meaningless jumble of syllables wired into the conditioning of those whose LEON RUSSELL: Leon Live. Leon Russell need is not for music but for key words, (vocals, piano); Don Preston (guitar); Joey names, trappings, hardware, statistics, data, Cooper (guitar): John Gallie (organ): Carl something not to listen to tonight but to talk Radle(bass); Chuck Blackwell(drums); about tomorrow. Black Grass (backing vocals); various others. - 
												
												Vol. 57, No. 1 . March 2019 PERCUSSIVE NOTES
Vol. 57, No. 1 . March 2019 PERCUSSIVE NOTES DRUMSET 6 Cultural Bridges Through Rhythm: Indian Percussion and the Drumset with Rohan Krishnamurthy By Craig Woodson RESEARCH 10 Evolution of the Drumset in the African-American TraditionBy royal hartigan CAREER DEVELOPMENT 18 Submittingour Y Resume for a Professional Orchestra Audition By Scott Pate KEYBOARD 22 Composing Suggestions for Vibraphone By Bart Quartier 26 The Art of Practice By Mark Boseman TECHNOLOGY 28 Introducing the MechDrum™ By Annie Stevens SYMPHONIC 32 Brazilian Percussion Instruments Used by Heitor Villa-Lobos: Part 2 By Dr. Pedro Sá and Janaína Sá 35 The Glockenspiel Part to “Waldweben By Richard Weiner EDUCATION 36 The Portfolio in University Percussion Studies By Steve Hemphill MARCHING 44 Snare Drum “Taxonomy”: A FUNdamental Approach to Rudiments By Robert James Roche WORLD 50 Creole Drumming in Belize, and the Drums Not Guns Progressive Youth Movement By Dr. Michael B. Vercelli columns 5 President's Message 54 New Percussion Literature and Recordings 74 From the Rhythm! Discovery Center Collection “Falling Rain” Nature Chimes Music Box PERCUSSIVE NOTES 2 MARCH 2019 PERCUSSIVE NOTES 3 MARCH 2019 Evolution of the Drumset in the African-American Tradition By royal hartigan This article is excerpted from the author’s disserta- as a “truly American instrument,” having originated eventual availability of European instruments and the tion, Blood Drum Spirit: Drum Languages of West in the United States. opportunity to perform, African-Americans also as- Africa, African America, Native America, Central Prior to the introduction of the drumset at the end similated European musical instruments and musical Java, and South India, a 1700-page analysis of world of the nineteenth century, African-Americans had a forms, but with a non-European approach.