John Scofield Still Warm Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

John Scofield Still Warm mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Still Warm Country: US Released: 1986 Style: Post Bop, Fusion, Jazz-Rock, Contemporary Jazz MP3 version RAR size: 1562 mb FLAC version RAR size: 1748 mb WMA version RAR size: 1200 mb Rating: 4.1 Votes: 570 Other Formats: MIDI AHX ADX DTS MP1 MP4 VOC Tracklist 1 Techno 7:29 2 Still Warm 6:00 3 High And Mighty 5:14 4 Protocol 3:20 5 Rule Of Thumb 7:22 6 Picks And Pans 5:23 7 Gil B643 6:41 Credits Bass – Darryl Jones Drums, Percussion [Electric] – Omar Hakim Engineer [Recording], Mixed By – Alec Head Executive-Producer – Jonathan F. P. Rose Guitar, Composed By – John Scofield Keyboards – Don Grolnick Mastered By – Bob Ludwig Producer – Steve Swallow Notes ℗1986 WEA International Inc. Recorded at Media Sound, NYC, on June, 1985 24-bit Digital Remastering Barcode and Other Identifiers Barcode: 081227956981 Other versions Category Artist Title (Format) Label Category Country Year Still Warm (LP, 18-8508-1 John Scofield Gramavision 18-8508-1 US 1986 Album) Still Warm (LP, Gramavision, Nuevos 83 185 L John Scofield 83 185 L Spain 1986 Album) Medios Still Warm (LP, 18-8508-1 John Scofield Gramavision 18-8508-1 Japan 1986 Album) Still Warm (CD, GV 8508-2 John Scofield Gramavision GV 8508-2 Switzerland 1990 Album) Still Warm (LP, SNTF 980 John Scofield Sonet, Gramavision SNTF 980 Germany 1987 Album) Related Music albums to Still Warm by John Scofield William Shakespeare, Paul Scofield - Hamlet John Scofield - Bar Talk John Scofield & Pat Metheny - I Can See Your House From Here John Scofield - Quiet John Scofield - Hand Jive John Scofield - Past Present John Scofield - Time On My Hands John Scofield - Who's Who? Gov't Mule Featuring John Scofield - Sco-Mule Miles Davis - Decoy John Scofield - This Meets That The John Scofield Band - Pick Hits Live.

Copy Link

Recommended publications

Jazz Festival Pr
! ! ! ! ! ! ! ! DC Jazz Festival Neighborhood Venues Host More Than 80 Performances Citywide Jazz in the ‘Hoods, a major feature of the DC Jazz Festival, annually attracts a vibrant audience of thousands of music enthusiasts and highlights the city as a vibrant cultural capital by bringing jazz to all four quadrants of the nation’s capital, with over 80 performances at more than !40 neighborhood venues. View full schedule. !RAMW Member Jazz Festival Venues & Specials: Carmine’s DC 425 7th Street NW Washington, DC 20004 (202) 737-7770 http://www.carminesnyc.com !Special: Groups of 6 or more, show your ticket stub to receive a free desert. Bistrot Lepic & Wine Bar 1736 Wisconsin Ave NW Washington, DC 20007 (202) 333-0111 !http://www.bistrotlepic.com !June 10th & 15th- Jazz in the ‘Hoods Presents: Jazz in the Wine Room (7:00 pm) Acadiana 901 New York Ave NW Washington, DC 20001 (202) 408-8848 !http://www.acadianarestaurant.com/acadiana.html !June 14th - Jazz in the ‘Hoods Presents: Live Jazz Brunch (11:00 am) ! ! The Hamilton Live 600 14th St NW Washington, DC 20005 (202) 787-1000 !http://www.thehamiltondc.com June 10th - John Scofield ÜberJam Band featuring Andy Hess, Avi Bortnick & Tony !Mason: 7:30 pm (Doors open at 6:30 pm) June 11th - Paquito D’Rivera with Special Guest Edmar Castañeda: 7:30 pm (Doors !open at 6:30 pm) June 12th - The Bad plus Joshua Redman with Opener Underwater Ghost featuring !Allison Miller: 8:30 pm (Doors open at 7 pm) June 13th - (Early and Late Shows) Jack DeJohnette Trio featuring Ravi Coltrane & Matthew Garrison: 7:30 pm (Doors open at 6:30 pm) & 10:30 pm (Doors open at 9:30 !pm) June 14th - Stanton Moore Trio & Charlie Hunter Trio featuring Bobby Previte & Curtis !Fowlkes: 7:30 pm (Doors open at 6:30 pm) !June 15th - An Evening with Snarky Puppy (First Night): 8 pm (Doors open at 6:30 pm) June 16th - An Evening with Snarky Puppy (Second Night): 8 pm (Doors open at 6:30 pm).
[Show full text]
An Evening with Lettuce & John Scofield
FOR IMMEDIATE RELEASE CAP UCLA presents An Evening with Lettuce & John Scofield March 20 at The Theatre at Ace Hotel DTLA "(Lettuce is} everyone's favorite funk band..." — Red Bull Music “During the course of his storied career, guitarist/composer John Scofield has never shown much of a predilection to repeat himself. Rather, he navigates through projects as diverse as trio outings, experiments with horns, collections of ballads and collaborations with the likes of Gov't Mule and the Grateful Dead's Phil Lesh in a such a way that, when he completes a cycle of activity, he's grown discernibly as an artist.” — All About Jazz UCLA’s Center for the Art of Performance (CAP UCLA) presents An Evening with Lettuce & John Scofield, on Wednesday, March 20 at 8 p.m. at The Theatre at Ace Hotel Downtown Los Angeles. Tickets for $29–$59 are available now at cap.ucla.edu and theatre.acehotel.com, 310-825-2101 and The Theatre at Ace Hotel box office. Influenced by Earth, Wind and Fire and Tower of Power, among others, undergrads started Lettuce following a music program at Berklee College of Music. Jamming out the summer of 1992 led to engagements in New York, San Francisco, Chicago, and even a following in Tokyo. Their first album Outta Here began Lettuce’s mission of bringing vigor and spunk to classic funk. For their Theatre at Ace Hotel debut, Lettuce will be joined by renowned guitarist John Scofield. An influencer of jazz, Scofield has collaborated with Pat Metheny who performed at CAP UCLA earlier this season.
[Show full text]
Eddie Who? - Eddie Harris Amerikansk Tenorsaxofonist, Født 20.10.1934 I Chicago, IL, D
Eddie Who? - Eddie Harris Amerikansk tenorsaxofonist, født 20.10.1934 i Chicago, IL, d. 5.11.1996 Sanger og pianist som barn i baptistkirker og spillede senere vibrafon og tenorsax. Debuterede som pianist med Gene Ammons før universitetsstudier i musik. Spillede med bl.a. Cedar Walton i 7. Army Symphony Orchestra. Fik i 1961 et stort hit og jazzens første guldplade med filmmelodien "Exodus", hvad der i de følgende år gav ham visse problemer med accept i jazzmiljøet. Udsendte 1965 The in Sound med bl.a. hans egen komposition Freedom Jazz Dance, som siden er indgået i jazzens standardrepertoire. Spillede fra 1966 elektrificeret saxofon og hybrider af sax og basun. Flirtede med rock på Eddie Harris In the UK (Atlantic 1969). Spillede 1969 på Montreux festivalen med Les McCann (Swiss Movement, Atlantic) og skrev 1969-71 musik til Bill Cosbys tv-shows. Spillede i 80'erne med bl.a. Tete Montoliu og Bo Stief (Steps Up, SteepleChase, 1981) og igen med Les McCann. Som sideman med bl.a. Jimmy Smith, Horace Silver, Horace Parlan og John Scofield (Hand Jive, Blue Note, 1993). Optrådte trods sygdom, så sent som maj 1996. Indspillede et stort antal plader for mange selskaber, fra 80'erne mest europæiske. Med udgangspunkt i bopmusikken udviklede Harris sine eksperimenter til en meget personlig stil med umiddelbart genkendelig, egenartet vokaliserende tone, fra 70'erne krydret med (ofte lange), humoristisk filosofisk/satiriske enetaler. Følte sig ofte underkendt som musiker og satiriserede over det i sin "Eddie Who". Kilde: Politikens Jazz Leksikon, 2003, red. Peter H. Larsen og Thorbjørn Sjøgren There's a guys (Chorus) You ought to know Eddie Harris ..
[Show full text]
DVD Review: John Scofield: New Morning – the Paris Concert
http://ffanzeen.blogspot.com/2010/11/dvd-review-john-scofield-new-morning.html DVD Review: John Scofield: New Morning – The Paris Concert Text © Robert Barry Francos/FFanzeen, 2010 Images from the Internet John Scofield: New Morning – The Paris Concert Produced and directed by Daniel Farhi Inakustik / New Morning Productions, 2010 135 minutes, USD $19.95 In-akustik.de MVDvisual.com New Morning is a large club in Paris, a natural venue for jazz artists like John Scofield. Ohio born-Connecticut raised Scofield celebrates his last year in his 50s by jazzing on the City of Lights, and fortunately, it was captured in High Def on April 23, 2010. There is no preamble here, as the DVD pretty much starts as the two-hour long concert begins. There is little conversation throughout, and all pieces are instrumental, lasting on average about 10 minutes each. John is not alone, though. Yep, he’s packin’. For drums, he has Bill Stewart, who has played with him on and off for about 20 years. He also refers to Stewart is the best drummer he’s ever worked with. On fretless standup bass, there’s Ben Street, who’s tall and gaunt, and plucks the hell outta the thing. Last is Michael Eckroth on drums, who is in Paris for the first time. A former NYU student of Scofield, Michael is the first in this situation John has ever invited on tour, which is saying something. Despite some pretty stubby fingers, Michael is a definite piano wiz, mostly playing a Yamaha piano, and twice switching to a Nord Electro 3 organ.
[Show full text]
R. 2013, Č. 01-02
(( 1–2 2013 M Spravodajstvo: Next, Nová slovenská hudba / Andrej Gál / < ISCM World New Music Days v Bruseli / História: L. M. Gottschalk / Jazz: Ján Hajnal N „” Richard H. Hoppin Hudba stredoveku Antológia stredovekej hudby $ % 8 ! 8 $ & ! 8% 8 ( ) * ! $ $ .$/0 12343543333643247 .$/0 12343543168245349 Editorial Obsah Vážení itatelia, Spravodajstvo, koncerty, festivaly 2 Slovenská lharmónia, Symfonický orchester Slovenského rozhlasu, prvé dvojíslo asopisu Hudobný Viva zbor! SOOUZVUK 2012, Nede5né matiné v Mirbachovom paláci, Hommage život v roku 2013 prináša viacero à Claude Debussy alebo nový Steinway vo Dvorane, Albrechtina, ažiskových materiálov. Zaiatkom Štátny komorný orchester Žilina, Galéria hudby v Nitre, Štátna lharmónia Košice, Trio Mediaeval, Ars Nova Cassoviae, Akadémia januára zomrel skladate Pavol súasnej hudby, NEXT 2012, Za Pavlom Baginom, Medzinárodný Bagin, ktorý pôsobil poas komunis- festival gregoriánskeho chorálu, Prehliadka mladých organistov, Nová tického režimu na viacerých význam- slovenská hudba 2012, ISCM World New Music Days 2012, Anketa: ných postoch. Pre niektorých vený Slovenská hudba 2012 funkcionár, pre iných talentovaný skladate a slušný lovek. Osobná Roman Berger Téma skúsenos nám neumožuje posúdi, 13 Viva Sitnianski rytieri!? A. Šuba aký bol Pavol Bagin. Nechceme mu Rozhovor stava pomník, ani ho súdi. Ale ke 18 Pavol Bagin: „Nechajte súdruha, ve sú tu zahraniní hostia...” sa raz bude niekto zaobera obdo- D. Jakubcová bím, od ktorého nám stále chýba dostatoný odstup, v poslednom Esej rozhovore s predstaviteom jednej 30 Raport z cesty R. Berger generácie nájde v našom asopise ISCM WNMD 2012 svedectvo pamätníka. Minipro l 33 Andrej Gál J. Kubandová Na rozdiel od Pavla Bagina je skladate a myslite Roman Berger vnímaný v hudobnej História komunite jednoznane ako lovek étosu.
[Show full text]
Dejohnette/Coltrane/Garrison
FOR IMMEDIATE RELEASE CAP UCLA presents DeJohnette/Coltrane/Garrison December 7 at Royce Hall "Drummer and jazz legend Jack DeJohnette pairs up with saxophonist Ravi Coltrane and bassist (and electronics whiz) Matthew Garrison, to spellbinding and haunting results." —Pitchfork UCLA’s Center for the Art of Performance (CAP UCLA) presents Jack DeJohnette, Ravi Coltrane and Matthew Garrison on Saturday, Dec 7 at 8 p.m. at Royce Hall. Tickets starting at $28 are available now at cap.ucla.edu, 310-825-2101 and the Royce Hall box office. Representing the prestigious lineage of today’s great jazz families, DeJohnette/Coltrane/Garrison explore open improvisation as well as their own compositions. A NEA Jazz Master and Grammy Award-winner, Jack DeJohnette makes his return to the CAP UCLA family and Royce Hall where he previously performed as part of a jazz trio in 2013 with Keith Jarrett and Gary Peacock. DeJohnette/Coltrane/Garrison went through a rebirth in 2016 and have been touring ever since. They first performed the music of the late John Coltrane, Ravi’s father at The Brooklyn Museum. Named after the master sitarist Ravi Shankar, Coltrane is a Grammy nominated saxophonist who has released six albums to date. Matthew Garrison, son of the late Jimmy Garrison who was John Coltrane’s bassist, became a talented bass guitarist in part thanks to his godfather Jack DeJohnette. Garrison has collaborated with several jazz musicians including CAP Alums John Scofield and Pat Metheny. In 1998 Garrison founded GarrisonJazz Productions where he produces, promotes, and markets his music as well as providing music education.
[Show full text]
Though I Know the River Is Dry
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2016 Though I Know the River is Dry Victoria Campbell University of Central Florida Part of the Creative Writing Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Campbell, Victoria, "Though I Know the River is Dry" (2016). Electronic Theses and Dissertations, 2004-2019. 4988. https://stars.library.ucf.edu/etd/4988 THOUGH I KNOW THE RIVER IS DRY by VICTORIA CAMPBELL B.A. College of Charleston, 2011 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2016 Major Professor: David Poissant © 2016 Victoria Campbell ii ABSTRACT Though I Know the River is Dry is a place-oriented collection of short fiction. The included stories follow female protagonists as they struggle with identity, relationships, and place in the world. The women in these stories frequently grapple with the fear of being loved in the wrong way, often unearthing a deeper examination of what it means to be tethered to a person or a place, along with the ramifications of these ties. All tangentially related to the island of Martha’s Vineyard, place serves as a grounding element in this collection, as well as an entity with which the women interact.
[Show full text]
(POETRY MANUSCRIPT) by JEFF NEWBERRY
TRANSPOSING THE TRADITION: JAZZ, LYRIC POETRY, AND THE INDIVIDUAL TALENT & BRACKISH (POETRY MANUSCRIPT) by JEFF NEWBERRY (Under the Direction of Edward Pavlić) ABSTRACT Brackish is a collection of poems preceded by the critical introduction, “Transposing the Tradition: Jazz, Lyric Poetry, and the Individual Talent.” Brackish explores the writer’s experiences coming of age on the coast of Northwest Florida, using brackish water as its central metaphor. Neither fresh nor salty, brackish water is a mixture of both. It retains elements of salt water and fresh water and finds identity in the fact that it is neither. The lyric voice in Brackish moves in this way: it is neither a child’s voice nor an adult’s voice, but a voice that stands between those two poles, retaining a child’s sense of discovery and mystery and an adult’s awareness of the larger world. In this way, the poems explore the tenuous gap between innocence and experience. “Transposing the Tradition: Jazz, Lyric Poetry, and the Individual Talent” develops the theory of lyric transposition, a way of understanding jazz-influenced poetry. Like jazz standards, poems often cover familiar territory; and like a jazz musician, a poet develops an individual voice in the context of familiar material. What separates a poem from others on similar subjects or themes is the poet’s voice. Lyric transposition describes the movement from subject matter to the poet’s register, the way that musical transposition describes the movement from a song’s original key to another key, more appropriate for a particular musician. This theoretical perspective frames a discussion and reading of three jazz-influenced works of poetry: Michael S.
[Show full text]
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
[Show full text]
Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures.
[Show full text]
STILL STOMPING STRONG New Jersey Jazz Society Marks 50 Years of Annual Pee Wee Russell Memorial Benefit
Recorder Community Newspapers Out&About GUIDE TO THE ARTS AND LEISURE • THURSDAY, FEBRUARY 28, 2019 STILL STOMPING STRONG New Jersey Jazz Society marks 50 years of annual Pee Wee Russell Memorial benefit By SANFORD JOSEPHSON His legacy will be celebrated at this CONTRIBUTING WRITER year’s Stomp with music by Andy Far- ber and his Orchestra featuring spe- In 1968, Pluckemin resident Jack Stine cial guests, vocalist Catherine Russell, had an idea. One of his favorite musical multi-reedist Adrian Cunningham, and performers, jazz clarinetist Pee Wee Rus- trumpeter Warren Vache. sell, had died on Feb. 15, and Stine want- Vocalist Roseanna Vitro, a resident of ed to honor him with a memorial concert. Warren, will be presented with this year’s The first Pee Wee Russell Memorial Stomp Distinguished Musician Award, and jazz was held that year, and two years later, radio station WBGO 88.3FM will be hon- Stine founded the New Jersey Jazz Society. ored as this year’s jazz advocate. From noon to 5 p.m. on Sunday, April 7, And, as is the tradition, dancing is wel- the 50th annual Pee Wee Russell Memori- come and encouraged, spurred by a group al Stomp will be held at the Hyatt Regency of vintage-clad dancers who annually in Morristown by the Jazz Society. Stine, grace the Pee Wee stage. who died last June at the age of 96, com- bined the first concert with a fundraiser Youth Group and raised more than $3,000 for a scholar- A new feature of this year’s Stomp will ship in Russell’s name at Rutgers Univer- be a performance by the New Jersey Youth sity.
[Show full text]
0 Musical Borrowing in Hip-Hop
MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch.
[Show full text]