Lou Donaldson Blues Walk Mp3, Flac, Wma

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Lou Donaldson Blues Walk mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Blues Walk Country: US Released: 1966 Style: Bop, Hard Bop MP3 version RAR size: 1850 mb FLAC version RAR size: 1407 mb WMA version RAR size: 1616 mb Rating: 4.9 Votes: 394 Other Formats: AA DMF APE DTS WMA MPC DXD Tracklist Hide Credits Blues Walk 1 6:40 Written-By – Lou Donaldson Move 2 5:50 Written-By – Denzil Best The Masquerade Is Over 3 5:50 Written-By – Wrubel*, Magidson* Play Ray 4 5:29 Written-By – Lou Donaldson Autumn Nocturne 5 4:51 Written-By – J. Myrow*, K. Gannon* Callin' All Cats 6 5:10 Written-By – Lou Donaldson Companies, etc. Copyright (c) – Manhattan Records Phonographic Copyright (p) – Manhattan Records Manufactured By – Capitol Records, Inc. Manufactured For – Manhattan Records Recorded At – Van Gelder Studio, Hackensack, New Jersey Credits Alto Saxophone – Lou Donaldson Bass – 'Peck' Morrison* Congas [Conga] – Ray Barretto Drums – Dave Bailey Liner Notes – Ira Gitler Photography By [Cover Photo] – Francis Wolff Piano – Herman Foster Producer – Alfred Lion Recorded By – Rudy Van Gelder Transferred By [Digital Transfer] – Ron McMaster Notes Recorded on July 28, 1958 On CD: Made in U.S.A. P C 1985 Manhattan Records, a division of Capitol Records, Inc. On back cover: © ℗ 1987 Manhattan Records, a division of Capitol Records, Inc. Printed un U.S.A. This reissue, probably released circa 2008-2009. Barcode and Other Identifiers Barcode (Text): 0 7777-46525-2 0 Matrix / Runout: A02 DIDX-223563 2 Mastering SID Code: IFPI L328 Mould SID Code: IFPI 50A8 Other (Printed on back cover, back booklet and CD): DIDX 1138 Other versions Category Artist Title (Format) Label Category Country Year Blues Walk (LP, BLP 1593 Lou Donaldson Blue Note BLP 1593 US 1958 Album, Mono) Blues Walk (CD, CDP 7 46525 2 Lou Donaldson Blue Note CDP 7 46525 2 US 1987 Album, RE) Blues Walk (LP, Rat Pack 1593 Lou Donaldson Album, Mono, Ltd, 1593 Europe 2017 Records RE) K18P 9204, BLP Blues Walk (LP, Blue Note, K18P 9204, BLP Lou Donaldson Japan 1983 1593 Album, Mono, RE) Blue Note 1593 Blues Walk (CD, UCCU-40038 Lou Donaldson Album, Mono, Ltd, Blue Note UCCU-40038 Japan 2016 RE, RM, Pap) Related Music albums to Blues Walk by Lou Donaldson Lou Donaldson - Pretty Things Lou Donaldson - Everything I Play Is Funky Lou Donaldson - New Faces - New Sounds Lou Donaldson - Watusi Jump Lou Donaldson - Light-Foot Lou Donaldson - Sunny Side Up Lou Donaldson - Sputnik Jimmy Smith - Jimmy Smith's Greatest Hits! Lou Donaldson - Sweet Poppa Lou Jimmy Smith - Jimmy Smith At The Organ, Volume 2.

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Lou Donaldson
BIO LOU DONALDSON --------------------------------------- "My first impulse is always to describe Lou Donaldson as the greatest alto saxophonist in the world." -- Will Friedwald, New York Sun Jazz critics agree that “Sweet Poppa Lou” Donaldson is one of the greatest alto saxophonists of all time. He began his career as a bandleader with Blue Note Records in 1952 and, already at age 25, he had found his sound, though it would continue to sweeten over the years -- earning him his famed nickname -- “Sweet Poppa Lou.” He made a series of classic records for Blue Note in the 50’s, and takes pride in having showcased many musicians who made their first records as sidemen for him: Horace Silver, Clifford Brown, Grant Green, Blue Mitchell, Donald Byrd, Horace Parlan, and others. After also making some excellent recordings for Cadet and Argo Records in the early 60s, Lou’s return to Blue Note in 1967 was marked by one of his most famous recordings, Alligator Bogaloo. Lou was awarded an honorary Doctorate of Letters by North Carolina A & T University and a scholarship was established in his name that is awarded to the most gifted jazz musician at North Carolina A & T University each year. He was inducted into the International Jazz Hall of Fame, is an NEA Jazz Master – our nation’s highest award bestowed upon jazz artists, and is the recipient of countless other honors and awards for his outstanding contributions to jazz, America’s “classical music.” Lou was born in Badin, North Carolina on November 1, 1926 -- the second of 4 children born to father Andrew, a minister and graduate of Livingstone College, and mother, Lucy, graduate of Cheney University who was a teacher, music director and concert pianist who recognized Lou’s expert ear for music and introduced him to the clarinet.
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Lou Donaldson the Natural Soul Mp3, Flac, Wma
Lou Donaldson The Natural Soul mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: The Natural Soul Country: US Released: 1986 Style: Soul-Jazz, Hard Bop MP3 version RAR size: 1767 mb FLAC version RAR size: 1621 mb WMA version RAR size: 1543 mb Rating: 4.2 Votes: 259 Other Formats: MP3 VOC WMA MP4 DTS DXD AA Tracklist Hide Credits Funky Mama A1 9:05 Written-By – John Patton Love Walked In A2 5:10 Written-By – George & Ira Gershwin Spaceman Twist A3 5:35 Written-By – Lou Donaldson Sow Belly Blues B1 10:11 Written-By – Lou Donaldson That's All B2 5:33 Written-By – Alan Brandt, Bob Haymes Nice 'N Greasy B3 5:24 Written-By – Johnny Acea Companies, etc. Copyright (c) – Manhattan Records Phonographic Copyright (p) – Manhattan Records Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Alto Saxophone – Lou Donaldson Design [Cover] – Reid Miles Drums – Ben Dixon Guitar – Grant Green Liner Notes – Del Shields Organ – John Patton Photography By [Cover Photo] – Ronnie Brathwaite Producer – Alfred Lion Recorded By [Recording By] – Rudy Van Gelder Trumpet – Tommy Turrentine Notes Recorded on May 9, 1962. 1986 Manhattan Records, a division of Capitol Records, Inc. Other versions Category Artist Title (Format) Label Category Country Year The Natural Soul (LP, BLP 4108 Lou Donaldson Blue Note BLP 4108 US 1963 Album, Mono) The Natural Soul (CD, CDP 7 84108 2 Lou Donaldson Blue Note CDP 7 84108 2 US 1989 Album, RE) TOCJ-7176, The Natural Soul (CD, Blue Note, TOCJ-7176, Lou Donaldson Japan 2008 BST-84108 Album, RE) Blue Note BST-84108 The Natural Soul 4BN 84108 Lou Donaldson Blue Note 4BN 84108 US 1986 (Cass, Album, RM) The Natural Soul (LP, BST-84108 Lou Donaldson Blue Note BST-84108 US 1973 Album, RE) Related Music albums to The Natural Soul by Lou Donaldson Lou Donaldson - Mr.
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COMPLETE CATALOG with All Information
Available Pat Martino transcription books: PM #1 € 9,95/$ 15,95 Pat Martino: Solos 1968-1974 Bebop & Beyond: Sideman Years I (40 pages) PM #2 € 9,95/$ 15,95 Pat Martino: Solos 1963-1964 Swing To Bop: Sideman Years II (42 pages) PM #3 € 9,95/$ 15,95 Pat Martino: Solos 1964/1965 More Swing To Bop: Sideman Years III (38 pages) PM #4 € 9,95/$ 15,95 Pat Martino: Solos 1965 - 1967 Organ Standards: Sideman Years IV (41 pages) PM #5 € 9,95/$ 15,95 Pat Martino: Solos 1973-1977 In The Seventies: Sideman Years V (43 pages) PM #6 € 9,95/$ 15,95 Pat Martino: EL HOMBRE [1967] (34 pages) PM #7 € 9,95/$ 15,95 Pat Martino: STRINGS! [1967] (27 pages) PM #8 € 9,95/$ 15,95 Pat Martino: EAST! [1968] (35 pages) PM #9 € 9,95/$ 15,95 Pat Martino: FOOTPRINTS [1972] (36 pages) PM #10 € 9,95/$ 15,95 Pat Martino: LIVE! [1972] (29 pages) PM #11 € 9,95/$ 15,95 Pat Martino: CONSCIOUSNESS [1974] (38 pages) PM #12 € 9,95/$ 15,95 Pat Martino: WE'LL BE TOGETHER AGAIN [1976] (34 pages) PM #13 € 9,95/$ 15,95 Pat Martino: JOYOUS LAKE [1976] (32 pages) PM #14 € 14,95/$ 22,95 Pat Martino: THE RETURN [1987] (58 pages) PM #15 € 5,95/$ 8,95 P.M.'s solos on Bob Kenmotsu's BRONX TALE [1994] (17 pages) PM #16 € 9,95/$ 15,95 Pat Martino: INTERCHANGE [1994] (44 pages) PM #17 € 9,95/$ 15,95 Pat Martino: NIGHTWINGS [1994] (32 pages) PM #18 € 9,95/$ 15,95 Pat Martino: THE MAKER [1994] (32 pages) PM #19 € 9,95/$ 15,95 Pat Martino: STONE BLUE [1998] (36 pages) PM #20 € 9,95/$ 15,95 Pat Martino: EXIT [1976] (35 pages) PM #21 € 19,95/$30,95 Pat Martino: LIVE AT YOSHI's [2000] (70 pages) PM
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Lou Donaldson
BIO LOU DONALDSON --------------------------------------- "My first impulse is always to describe Lou Donaldson as the greatest alto saxophonist in the world." -- Will Friedwald, New York Sun Jazz critics agree that “Sweet Poppa Lou” Donaldson is one of the greatest alto saxophonists of all time. He began his career as a bandleader with Blue Note Records in 1952 and, already at age 25, had found his sound, though it would continue to sweeten over the years -- earning him his famed nickname --“Sweet Poppa Lou.” He made a series of classic records for Blue Note Records in the 50’s and takes pride in having showcased many musicians who made their first records as sidemen for him: Clifford Brown, Grant Green, Blue Mitchell, Donald Byrd, Ray Barretto, Horace Parlan, John Patton, Charles Earland, Al Harewood, Herman Foster, Peck Morrison, Dave Bailey, Leon Spencer, Idris Muhammad, and others. After also making some excellent recordings for Cadet and Argo Records in the early 60s, Lou’s return to Blue Note in 1967 was marked by one of his most famous recordings, Alligator Bogaloo. Lou’s hits on the label are still high demand favorites and, today at age 93, he is its oldest musician from that notable era of jazz. Though now retired, Lou continues to receive applause from fans worldwide who call and write to tell him how much they enjoy his soulful, thoroughly swinging, and steeped in the blues appearances over the years and still love listening to his recordings. Lou is the recipient of countless honors and awards for his significant contributions to jazz — America’s “classical music.”.
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Acoustic Sounds Catalog Update
WINTER 2013 You spoke … We listened For the last year, many of you have asked us numerous times for high-resolution audio downloads using Direct Stream Digital (DSD). Well, after countless hours of research and development, we’re thrilled to announce our new high-resolution service www.superhirez.com. Acoustic Sounds’ new music download service debuts with a selection of mainstream audiophile music using the most advanced audio technology available…DSD. It’s the same digital technology used to produce SACDs and to our ears, it most closely replicates the analog experience. They’re audio files for audiophiles. Of course, we’ll also offer audio downloads in other high-resolution PCM formats. We all like to listen to music. But when Acoustic Sounds’ customers speak, we really listen. Call The Professionals contact our experts for equipment and software guidance RECOMMENDED EQUIPMENT RECOMMENDED SOFTWARE Windows & Mac Mac Only Chord Electronics Limited Mytek Chordette QuteHD Stereo 192-DSD-DAC Preamp Version Ultra-High Res DAC Mac Only Windows Only Teac Playback Designs UD-501 PCM & DSD USB DAC Music Playback System MPS-5 superhirez.com | acousticsounds.com | 800.716.3553 ACOUSTIC SOUNDS FEATURED STORIES 02 Super HiRez: The Story More big news! 04 Supre HiRez: Featured Digital Audio Thanks to such support from so many great customers, we’ve been able to use this space in our cata- 08 RCA Living Stereo from logs to regularly announce exciting developments. We’re growing – in size and scope – all possible Analogue Productions because of your business. I told you not too long ago about our move from 6,000 square feet to 18,000 10 A Tribute To Clark Williams square feet.
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How to Incorporate Bebop Into Your Improvisation by Austin Vickrey Discussion Topics
How to Incorporate Bebop into Your Improvisation By Austin Vickrey Discussion Topics • Bebop Characteristics & Style • Scales & Arpeggios • Exercises & Patterns • Articulations & Accents • Listening Bebop Characteristics & Style • Developed in the early to mid 1940’s • Medium to fast tempos • Rapid chord progressions / changes • Instrumental “virtuosity” • Simple to complex harmony - altered chords / substitutions • Dominant syncopation of rhythms • New melodies over existing chord changes - Contrafacts Scales & Arpeggios • Scales and arpeggios are the building blocks for harmony • Use of the half-step interval and rapid arpeggiation are characteristic of bebop playing • Because bebop is often played at a fast tempo with rapidly changing chords, it’s crucial to practice your scales and arpeggios in ALL KEYS! Scales & Arpeggios • Scales you should be familiar with: • Major Scale - Pentatonic: 1, 2, 3, 5, 6 • Minor Scales - Pentatonic: 1, b3, 4, 5, b7; Natural Minor, Dorian Minor, Harmonic Minor, Melodic Minor • Dominant Scales - Mixolydian Mode, Bebop Scales, 5th Mode of Harmonic Minor (V7b9), Altered Dominant / Diminished Whole Tone (V7alt, b9#9b13), Dominant Diminished / Diminished starting with a half step (V7b9#9 with #11, 13) • Half-diminished scale - min7b5 (7th mode of major scale) • Diminished Scale - Starting with a whole step (WHWHWHWH) Scales & Arpeggios • Chords and Arpeggios to work in all keys: • Major triad, Maj6/9, Maj7, Maj9, Maj9#11 • Minor triad, m6/9, m7, m9, m11, minMaj7 • Dominant 7ths • Natural extensions - 9th, 13th
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Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
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The Register, 1963-10-18
North Carolina Agricultural and Technical State University Aggie Digital Collections and Scholarship NCAT Student Newspapers Digital Collections 10-18-1963 The Register, 1963-10-18 North Carolina Agricutural and Technical State University Follow this and additional works at: https://digital.library.ncat.edu/atregister Recommended Citation North Carolina Agricutural and Technical State University, "The Register, 1963-10-18" (1963). NCAT Student Newspapers. 221. https://digital.library.ncat.edu/atregister/221 This Book is brought to you for free and open access by the Digital Collections at Aggie Digital Collections and Scholarship. It has been accepted for inclusion in NCAT Student Newspapers by an authorized administrator of Aggie Digital Collections and Scholarship. For more information, please contact [email protected]. VOLUME XXXV, No. 5, GREENSBORO, N. C, OCTOBER 18,1963 1* "The Cream of College News" WELCOME HOME, ALUMNI! Register Staff SB 1551 Coronation Of Miss A & T Is Represented ~~~ Sets Stage For Weekend At AC? Confab Aggies Tackle Hawks Tomorrow Seven members of the Register staff let Wednesday night to at In Annual Honecoming Contest tend tis 39th conference of the Homecoming 1963-style go into Her attendants, aU from Greens Associaed Collegiate Press. full swing last night with the coro boro, included Patsy Moore, fresh Commencing last night with a nation of Peggy Martin as Miss man; NelUe Ruth Featster, sopho genera convocation, the conference A&T. more; Beverly Brown, junior; and is to jun until tomorrow afternoon. It was aU Peggy's night as she Nancy Ingram, senior. Cary P. BeU, editor; Moses Kam was crowned in a guttering ere- An all-student homecoming din ara, issociate editor; Wesley Mot mony in Moore Gymnasium.
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National Endowment of the Arts Jazz Masters
NATIONALNATIONAL ENDOWMENTENDOWMENT FORFOR THETHE ARTSARTS 2014 2014 Scenes from the 2013 Ceremony Annie Ross, Joe Wilder Candido Camero Ahmad Jamal, Randy Weston Roy Haynes, Lou Donaldson (foreground), Branford and Delfeayo Marsalis (background) David Baker, Jimmy Owens Mose Allison All photos by Michael G. Stewart 2014 Annie Ross, Joe Wilder NATIONAL ENDOWMENT FOR THE ARTS 2014 FELLOWS 2014 NEA Jazz Master Sheila Jordan performs at the 2013 awards ceremony and concert with the NEA Jazz Masters Trio (Kenny Barron, Ron Carter, Jimmy Cobb). Photo by Michael G. Stewart CONTENTS Introduction .............................................. 1 A Brief History of the Program ................ 2 Program Overview ................................... 5 2014 NEA Jazz Masters .............................7 Jamey Aebersold ..............................................8 Anthony Braxton ..............................................9 Richard Davis ...................................................10 Keith Jarrett ........................................................11 NEA Jazz Masters, 1982–2014 ................ 13 NEA Jazz Masters Awards Ceremony .....14 2014 IV 2014 ELCOME TO THE 2014 NEA Jazz Masters Awards Ceremony and Concert. This unique program is the outcome of a collaboration between the National Endowment for the Arts (NEA) and Jazz at Lincoln WCenter (JALC) under the direction of Artistic and Managing Director (and NEA Jazz Master) Wynton Marsalis. The NEA Jazz Masters program is the nation’s highest recognition of jazz in America—and the
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Grant Green: an Analysis of the Blue Note Guitaristâ•Žs Musical
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2018 Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary Teague Stefan Bechtel Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Bechtel, Teague Stefan, "Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary" (2018). Dissertations. 479. https://digscholarship.unco.edu/dissertations/479 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2018 TEAGUE STEFAN BECHTEL ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School GRANT GREEN: AN ANALYSIS OF THE BLUE NOTE GUITARIST’S MUSICAL VOCABULARY A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Teague Stefan Bechtel College of Performing and Visual Arts School of Music Jazz Studies May 2018 This Dissertation by: Teague Stefan Bechtel Entitled: Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary has been approved as meeting the requirements for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies. Accepted by the Doctoral Committee Steven G. Kovalcheck, M.M., Research Advisor H. David Caffey, M.M., Co-Research Advisor Socrates Garcia, D.A., Committee Member Mary Schuttler, Ph.D., Faculty Representative Date of Dissertation Defense________________________________________________ Accepted by the Graduate School _________________________________________________ Linda L.
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Donaldson, Your Full Name and Your Parents’ Names, Your Mother and Father
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. LOU DONALDSON NEA Jazz Master (2012) Interviewee: Louis Andrew “Lou” Donaldson (November 1, 1926- ) Interviewer: Ted Panken with recording engineer Ken Kimery Dates: June 20 and 21, 2012 Depository: Archives Center, National Music of American History, Description: Transcript. 82 pp. [June 20th, PART 1, TRACK 1] Panken: I’m Ted Panken. It’s June 20, 2012, and it’s day one of an interview with Lou Donaldson for the Smithsonian Institution Oral History Jazz Project. I’d like to start by putting on the record, Mr. Donaldson, your full name and your parents’ names, your mother and father. Donaldson: Yeah. Louis Andrew Donaldson, Jr. My father, Louis Andrew Donaldson, Sr. My mother was Lucy Wallace Donaldson. Panken: You grew up in Badin, North Carolina? Donaldson: Badin. That’s right. Badin, North Carolina. Panken: What kind of town is it? Donaldson: It’s a town where they had nothing but the Alcoa Aluminum plant. Everybody in that town, unless they were doctors or lawyers or teachers or something, worked in the plant. Panken: So it was a company town. Donaldson: Company town. For additional information contact the Archives Center at 202.633.3270 or [email protected] Page | 1 Panken: Were you parents from there, or had they migrated there? Donaldson: No-no. They migrated. Panken: Where were they from? Donaldson: My mother was from Virginia. My father was from Tennessee. But he came to North Carolina to go to college.
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A Night at Birdland, Volumes 1 and 2”—Art Blakey Quintet (1954) Added to the National Registry: 2013 Essay by Alan Goldsher (Guest Post)*
“A Night at Birdland, Volumes 1 and 2”—Art Blakey Quintet (1954) Added to the National Registry: 2013 Essay by Alan Goldsher (guest post)* Original album Original label Art Blakey Due to its improvisational nature—and the nature of improvisation—jazz, when performed in a club or a concert hall for a throng of paying customers, can be exhilarating, or infuriating, or transcendent, or tedious, all in the span of 32 bars. But live jazz’s most endemic characteristic is that of the ephemeral, because the moment an improvised solo leaves the musician’s instrument, it’s gone, off into the ozone, never to be repeated in the exact manner. The instrumentalist can play the identical lick in the identical part of the identical song at the identical venue for seven consecutive nights, but it will never sound the same, never: maybe the tune’s tempo will be slightly slower, compelling the soloist to hold back, where he might have otherwise jumped the beat; maybe the temperature on the bandstand caused the bassist’s instrument to drift incrementally out of tune, which unconsciously tweaked the soloist’s attack to the point that he placed an accent on the high Bb rather than the high C, as he’d intended; maybe the lubricated gentleman in the front row shouted, “Blow, saxophone player, blow!” which broke the soloist’s concentration, which led to a cracked note. For the vast majority of the time, none of these factors make the improvisation any better or worse, just different. Not only is live jazz ephemeral, it’s also elusive—some nights it’s there, and some nights, it ain’t.
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