SKIP WILKINS BIOGRAPHY (Long Version)
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The Sugar Shoppe the Sugar Shoppe Mp3, Flac, Wma
The Sugar Shoppe The Sugar Shoppe mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop Album: The Sugar Shoppe Country: UK Released: 2013 Style: Easy Listening, Vocal MP3 version RAR size: 1914 mb FLAC version RAR size: 1871 mb WMA version RAR size: 1786 mb Rating: 4.6 Votes: 264 Other Formats: ADX MMF MP4 ASF AU MPC VQF Tracklist Hide Credits The Original Album Skip-a-long Sam 1 3:00 Written-By – Donovan Leitch* The Attitude 2 2:18 Written-By – Peter Mann Baby Baby 3 3:18 Written-By – Helen Lewis, Kay Lewis Take Me Away 4 2:59 Written-By – Jackie Trent, Tony Hatch Let The Truth Come Out 5 2:57 Written-By – Peter Mann Follow Me (From "Camelot") 6 2:30 Written-By – F. Loewe - A.J. Lerne* Poor Papa 7 2:24 Written-By – Billy Rose, Harry Woods Privilege (From The Film "Privilege") 8 3:08 Written-By – Michael Leander* Papa, Won't You Let Me Go To Town With You 9 3:30 Written-By – Bobbie Gentry The Candy Children Song 10 2:35 Written-By – L. Hood*, P. Mann*, V. Garber* Hangin' Together 11 2:29 Written-By – L. Hood*, P. Mann*, V. Garber* The Bonus Tracks Skip A Long Sam (Mono 45) 12 3:02 Written-By – Donovan Leitch* Let The Truth Come Out (Mono 45) 13 2:59 Written-By – Peter Mann Privilege (From The Film "Privilege") (Mono 45) 14 3:12 Written-By – Michael Leander* Poor Papa (Mono 45) 15 2:26 Written-By – Billy Rose, Harry Woods Save The Country (Acetate) 16 3:04 Written-By – Laura Nyro Easy To Be Hard (Acetate) 17 3:51 Written-By – G. -
Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
1993 February 24, 25, 26 & 27, 1993
dF Universitycrldaho LIoNEL HmPToN/CHEVRoN JnzzFrsrr\Al 1993 February 24, 25, 26 & 27, 1993 t./¡ /ìl DR. LYNN J. SKtNNER, Jazz Festival Executive Director VtcKt KtNc, Program Coordinator BRTNoR CAtN, Program Coordinator J ¡i SusnN EHRSTINE, Assistant Coordinator ltl ñ 2 o o = Concert Producer: I É Lionel Hampton, J F assisted by Bill Titone and Dr. Lynn J. Skinner tr t_9!Ð3 ü This project is supported in part by a grant from the National Endowment for the Arts We Dedicate this 1993 Lionel Hømpton/Chevron Jøzz Festivül to Lionel's 65 Years of Devotion to the World of Juzz Page 2 6 9 ll t3 r3 t4 l3 37 Collcgc/Univcrsity Compctition Schcdulc - Thursday, Feh. 25, 1993 43 Vocal Enserrrbles & Vocal Conrbos................ Harnpton Music Bldg. Recital Hall ...................... 44 45 46 47 Vocal Compctition Schcrlulc - Fridav, Fcli. 2ó, 1993 AA"AA/AA/Middle School Ensenrbles ..... Adrrrin. Auditoriunr 5l Idaho Is OurTenitory. 52 Horizon Air has more flights to more Northwest cities A/Jr. High/.Ir. Secondary Ensenrbles ........ Hampton Music Blclg. Recital Hall ...............,...... 53 than any other airline. 54 From our Boise hub, we serve the Idaho cities of Sun 55 56 Valley, Idaho Falls, Lewiston, MoscowÆullman, Pocatello and AA/A/B/JHS/MIDS/JR.SEC. Soloists ....... North Carnpus Cenrer ll ................. 57 Twin Falls. And there's frequent direct service to Portland, lnstrurncntal Corupctilion'Schcrlulc - Saturday, Fcll. 27, 1993 Salt Lake City, Spokane and Seattle as well. We also offer 6l low-cost Sun Valley winter 8,{. {ÀtûåRY 62 and summer vacation vt('8a*" å.t. 63 packages, including fOFT 64 airfare and lodging. -
Toto's Shannon Forrest
WORTH WIN A TAMA/MEINL PACKAGE MORE THAN $6,000 THE WORLD’S #1 DRUM MAGAZINE 25 GR E AT ’80s DRUM TRACKS Toto’s Shannon ForrestThe Quest For Excellence NEW GEAR REVIEWED! BOSPHORUS • ROLAND • TURKISH OCTOBER 2016 + PLUS + STEVEN WOLF • CHARLES HAYNES • NAVENE KOPERWEIS WILL KENNEDY • BUN E. CARLOS • TERENCE HIGGINS PURE PURPLEHEARTTM 12 Modern Drummer June 2014 CALIFORNIA CUSTOM SHOP Purpleheart Snare Ad - 6-2016 (MD).indd 1 7/22/16 2:33 PM ILL SURPRISE YOU & ILITY W THE F SAT UN VER WIL HE L IN T SP IR E Y OU 18" AA SICK HATS New Big & Ugly Big & Ugly is all about sonic Thin and very dry overall, 18" AA Sick Hats are 18" AA Sick Hats versatility, tonal complexity − surprisingly controllable. 28 holes allow them 14" XSR Monarch Hats and huge fun. Learn more. to breathe in ways other Hats simply cannot. 18" XSR Monarch With virtually no airlock, you’ll hear everything. 20" XSR Monarch 14" AA Apollo Hats Want more body, less air in your face, and 16" AA Apollo Hats the ability to play patterns without the holes 18" AA Apollo getting in your way? Just flip ‘em over! 20" AA Apollo SABIAN.COM/BIGUGLY Advertisement: New Big & Ugly Ad · Publication: Modern Drummer · Trim Size: 7.875" x 10.75" · Date: 2015 Contact: Luis Cardoso · Tel: (506) 272.1238 · Fax: (506) 272.1265 · Email: [email protected] SABIAN Ltd., 219 Main St., Meductic, NB, CANADA, E6H 2L5 YOUR BEST PERFORMANCE STARTS AT THE CORE At the core of every great performance is Carl Palmer's confidence—Confidence in your ability, your SIGNATURE 20" DUO RIDE preparation & your equipment. -
Boz Scaggs Silk Degrees Mp3, Flac, Wma
Boz Scaggs Silk Degrees mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Pop Album: Silk Degrees Country: Canada Style: Pop Rock MP3 version RAR size: 1630 mb FLAC version RAR size: 1467 mb WMA version RAR size: 1577 mb Rating: 4.6 Votes: 740 Other Formats: MP3 AUD TTA MP2 ADX VOC XM Tracklist Hide Credits What Can I Say Backing Vocals – Augie Johnson, Carolyn Willis, Jim Gilstrap, Marty McCall*Guitar – Fred A1 2:59 TackettPercussion – Joe PorcaroTenor Saxophone, Soloist – Plas JohnsonWritten-By – B. Scaggs*, D. Paich* Georgia A2 3:54 Guitar – Fred TackettWritten-By – B. Scaggs* Jump Street A3 5:10 Percussion – Joe PorcaroSlide Guitar – Les DudekWritten-By – B. Scaggs*, D. Paich* What Do You Want The Girl To Do A4 Backing Vocals – Boz*, Maxine Green, Pepper SwensonGuitar – Louie SheltonPercussion – 3:49 Joe PorcaroTenor Saxophone – Jim HornWritten-By – A. Toussaint* Harbor Lights A5 5:55 Flugelhorn, Soloist – Chuck FindleyGuitar – Louie SheltonWritten-By – B. Scaggs* Lowdown B1 Backing Vocals – Augie Johnson, Carolyn Willis, Jim Gilstrap, Marty McCall*Guitar – Louie 5:15 SheltonSynthesizer [Mini-Moog And ARP] – David PaichWritten-By – B. Scaggs*, D. Paich* It's Over B2 2:48 Backing Vocals – Boz*, Maxine GreenWritten-By – B. Scaggs*, D. Paich* Love Me Tomorrow Backing Vocals – Boz*, Maxine GreenRhythm Guitar – Fred TackettSaxophone – Bud B3 3:14 Shank, Plas JohnsonSlide Guitar – Louie SheltonTimbales – Joe PorcaroWritten-By – D. Paich* Lido Shuffle B4 3:40 Guitar – Fred TackettSynthesizer [Moog] – David PaichWritten-By – Boz*, D. Paich* We're All Alone B5 4:10 Acoustic Guitar – Louie SheltonWritten-By – Boz* Companies, etc. Manufactured By – Columbia Records Manufactured By – CBS Inc. -
Airwaves (1980-06)
AIRW\VES · A Service of Continuing Education and Extension - lm University of Minnesota, DL:Jluth VO~. 1, NUMBER 8 JUNE 1980 A CONVERSATION WITH SONNY ROLLINS SEE PAGE 6 Give a. Gift of Music Give a gift membership in WDTH to someone you love. They will receive "Airwaves" free of charge for a year, as well as the satisfaction of supporting a worthwhile cause. Your donation is TAX DEDUCTIBLE. I'd like to buy a gift membership for: Name ______________________ Street ------'--------------------- City _________ State _______ Zip ____ Enclosed is my membership check for: $20 regular $30 family $10 fixed income & students $50 sustaining $100 Century Club Other___ _ Mail to: WDTH, 130 H, UMD, Duluth, Minnesota 55812 2 \.... I SUPPORT PUBLIC the Listener RADIO Reoort Airwaves is a monthly publication of WDTH-FM, the public radio station at the University of Minne- MARATHON! to be sure that we weren't going coming months, and it could set the sota. Duluth. A yearly membership anywhere. stage for a renovation of our space in the in WDTH costs just $20. Member- Two hundred sixty-three new members future. ship entitles you to receive "Air- and 90 members ofWDTH from the fall It's impossible to stay disappointed waves" mailed directly to your marathon pledged $6,500 to WDTH with someone like that in your corner, SENIORS PROJECT home. during our pledge weekend May 16, 17, and with 900 people like that, I can't be and 18. While we fell short of our goal, anything but ecstatic. We were stunned to receive news that Write or call us at University of the total for the year still works out to an our seniors project would not be funded Minnesota, Duluth, 130 Humani- impressive $21,500 from 900 pledgers. -
BJ1362. Moonoogian, George. the King of Sax: the Best of BJ1379
Biographical Entries: J 539 BJ1362. Moonoogian, George. The King of Sax: The Best of BJ1379. Anon. Robert Johnson Complete: Piano, Voice, Plas Johnson. Austria: Wolf WBJ 021, 1996. Guitar. Milwaukee: Hal Leonard, 2004. 216 pp.; London: Music Sales, 2004. 216 pp. BJ1363. Trageser, Jim. “Johnson, Plas,” in Encyclopedia of the Blues. Vol. 1: A–J, ed. E. Komara, pp. 535–536 BJ1380. Anon. “Robert Johnson Film Fiasco.” Jefferson no. (Item E162). 119 (1999): 25. BJ1364. Wilmer, Val. “Plas: Rhythm of the Tenor.” Melody BJ1381. Anon. Robert Johnson: King of the Delta Blues. Maker (11 Sep 1976): 42. London: Immediate Music, 1969. 61 pp. See also: Bulletin du Hot Club de France no. 404 BJ1382. Anon. “Robert Johnson, 1911–1938.” Guitar World (1992): 2+. Goldmine no. 89 (Oct 1983). Now Dig 18, no. 7 (Jul 1998): 206. This no. 215 (Feb 2001). BJ1383. Anon. “The Rock and Roll Hall of Fame: Forefa- ROBERT JOHNSON (c1916–) thers.” Rolling Stone no. 467 (13 Feb 1986): 48. BJ1365. Mitchell, George. “Robert Johnson,” in Blow My BJ1384. Anon. “Roots of Rhythm and Blues: The Robert Blues Away, pp. 131–151. Baton Rouge: Louisiana Johnson Era,” in 1991 Festival of American Folklife, State University Press, 1971. June 28–July 1, July 4–July 7. Washington, DC: Smithsonian Inst., 1991. ROBERT JOHNSON BJ1385. Anon. “Searching for Robert Johnson.” JazzTimes BJ1366. Kochakian, Dan; Karampatsos, John ‘Bunky’. “Rob- 20, no. 5 (May 1990): 31–32. ert Johnson: New Hampshire Bluesman.” Whiskey, Women, and ... no. 6 (Mar 1974): 15. BJ1386. Anon. “Searching for Robert Johnson Records.” Discoveries no. 106 (1997): 22. -
17. Big Bands of the 19505
17. Big Bands of the 19505 he big bands were losing their great popularity in Anthony, meanwhile went into the Navy in 1942 for the early 1950s for many reasons, most of them four years. Teconomic. But there were a number ofbig bands After World War II, Anthony returned to Cleveland, still recording and some were still touring. Two of the formed another band, and signed a contract with Capitol most popular were from Greater Cleveland and one, Records. It was during this period, the late 1940s, that launched in 1952, performed not only for a high school there was a revival of Glenn Miller music. Anthony prom in Cleveland, but also with the Cleveland began playing many of the old Miller tunes, including Orchestra. his own arrangement of "Tuxedo Junction." His band was not playing much jazz, but it did swing at times and Ray Anthony became very popular, making dozens of records and Anthony was born playing countless college proms. For his recording Raymond Antonini in dates, Anthony frequently used top studio jazz Bentleyville, musicians including Conrad Gozzo, Georgie Auld, Pennsylvania January Skeets Herfurt, Mel Lewis and Plas Johnson, who later 20, 1922 and moved played Clevelander Henry Mancini's "Pink Panther to Cleveland with Theme" for the movie soundtrack. Anthony's most his parents and five popular record was the theme song of a popular radio brothers when he and television series Dragnet. was very young. His Leading a band through the 1950s, Anthony helped father, who led a extend the big band era. He eventually settled in band in Cleveland, California and in the 1980s was conducting a mail order gave him trumpet service for big band and jazz records. -
The Wrecking Crew
Magnolia Pictures Present A MAGNOLIA PICTURES RELEASE THE WRECKING CREW A film by Denny Tedesco 101 minutes; 1.78 Official Selection: SXSW Film Festival International Documentary Association – Best Music Documentary Nominee Docuweek – Official Selection Seattle International Film Festival – Golden Space Needle Audience Award Winner Tallgrass Film Festival – Audience Award Winner Mill Valley Film Festival Nashville International Film Festival Florida Film Festival FINAL PRESS NOTES Distributor Contact: Press Contact NY/Nat’l: Press Contact LA/Nat’l: Matt Cowal Steve Beeman Marina Bailey Arianne Ayers Falco Ink Marina Bailey Film Publicity Magnolia Pictures 250 West 49th Street, Ste. 704 6569 De Longpre Avenue (212) 924-6701 phone New York, NY 10019 Los Angeles, CA 90028 [email protected] (212) 445-7100 phone (323) 962-7511 phone [email protected] [email protected] 49 west 27th street 7th floor new york, ny 10001 tel 212 924 6701 fax 212 924 6742 www.magpictures.com SYNOPSIS What the Funk Brothers did for Motown…The Wrecking Crew did, only bigger, for the West Coast Sound. Six years in a row in the 1960’s and early 1970’s, the Grammy for “Record of the Year” went to Wrecking Crew recordings. And now, THE WRECKING CREW tells the story in pictures and that oh, so glorious sound. The favorite songs of a generation are all here, presented by the people who made them for you. THE WRECKING CREW is a documentary film produced and directed by Denny Tedesco, son of legendary late Wrecking Crew guitarist Tommy Tedesco. The film tells the story of the unsung musicians that provided the backbeat, the bottom and the swinging melody that drove many of the number one hits of the 1960’s. -
MEIEA 2008.Indd
Journal of the Music & Entertainment Industry Educators Association Volume 8, Number 1 (2008) Bruce Ronkin, Editor Northeastern University Published with Support from Reviews Arthur Bernstein, Naoki Sekine, and Dick Weissman. The Global Music Industry: Three Perspectives. New York: Routledge, 2007. Tad Lathrop. This Business of Global Music Marketing: Global Strat- egies for Maximizing Your Music’s Popularity and Profi ts. New York: Billboard Books, 2007. https://doi.org/10.25101/8.9 The introduction to The Global Music Industry: Three Perspectives points out that many of the books having to do with music on a global scale are “academic books that discuss the relationship between music and politics.” Few titles approach the music industry from a world perspective, and only a handful attempt to parse out the diffi cult relationships that ex- ist between the cultural and political issues in non-Western music and the business of music in those cultures. The challenge, it seems, is to write a book on the global music in- dustry that deals with the micro and the macro; the political, cultural, and geographic; the nuts and bolts of how business is done in every corner of the “known universe” and the vagaries of doing business the way it’s done outside the mainstream “Western” way. It is a daunting task, but luckily not so intimidating that no one is willing to try; two books were released in 2007 that made the attempt. The Global Music Industry: Three Perspectives tries to tackle the whole world and cover the entire global industry (with the exception of Australia…more on that later). -
Todd Johnson's Full Biography
Todd Johnson’s Biography Todd Johnson is recognized as a pioneer of the six-string electric bass. With his Zon signature model six-string bass, Todd has developed an innovative technique where he plays chord changes and bass lines simultaneously, plus his ability to play "chord melody" gives him an uniquely rich and fuller sound that proves extremely useful in both solo and small combo work. In his CD review, Cliff Engle of www.bassically.net notes that "Johnson's sophisticated chord melodies are unrivaled amongst his contemporaries. (He) has demonstrated that his innovative bass playing style is anything but traditional. (His) guitar-like chordal accompaniment style is reminiscent to that of the legendary jazz guitarists including Joe Pass, Wes Montgomery, and Ron Eschete. Johnson's guitar-like performance is so convincing that as a listener, if you were not made aware that Johnson was not a jazz guitarist, you would never to able to decipher the difference." Todd has been an integral member of the critically acclaimed jazz trio of guitarist Ron Eschete since 1991. Then in 2004, Johnson also joined forces with acclaimed bassist and singer Kristin Korb to form The Kristin Korb/Todd Johnson Trio. Johnson has also performed and/or recorded with other such artists as, Mike Stern, Poncho Sanchez, Frank Potenza, Dave Weckl, Scott Henderson, Plas Johnson, Lew Tabackin, Jack Sheldon, Rufus Reid, Mundell Lowe, Michael Manring, Paul Humphrey, and Frank Gambale. Though Johnson dedicates himself largely to performing and recording, he also teaches courses and workshops in a variety of settings. Since 1991 Johnson has served as a faculty member at such notable schools as Musicians Institute (BIT) 1991-1999, California Institute of the Arts 1998-2004, College of the Canyons 1999-2004 and The Master's College 2002 - present.