Various Something Black & Funky (Jazz-Grooves for the Dancefloor Vol. 1) Mp3, Flac

Total Page：16

File Type：pdf, Size：1020Kb

Various Something Black & Funky (Jazz-Grooves For The Dancefloor Vol. 1) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: Something Black & Funky (Jazz-Grooves For The Dancefloor Vol. 1) Country: UK & Europe Style: Soul-Jazz, Hard Bop, Jazz-Funk, Latin Jazz MP3 version RAR size: 1382 mb FLAC version RAR size: 1657 mb WMA version RAR size: 1362 mb Rating: 4.1 Votes: 571 Other Formats: ASF DXD DMF DTS MP1 WAV AA Tracklist 1-1 –Jack McDuff* Smut 6:14 1-2 –Side Effect Goin' Bananas 5:42 1-3 –Willis Jackson Stuffin' 7:11 1-4 –Side Effect Always There 5:05 1-5 –Mose Allison Parchman Farm 3:17 1-6 –Pucho & His Latin Soul Brothers Aye Mama 3:29 1-7 –Eddie "Lockjaw" Davis Jazz-A-Samba 4:16 1-8 –Joe Dukes With Jack McDuff* Two Bass Hit 7:14 1-9 –Funk, Inc.* Kool Is Back 8:15 1-10 –Sweet Thunder Everybody's Singin' Love Songs 4:57 1-11 –The Blackbyrds The Blackbyrds' Theme 4:09 2-1 –Patrice Rushen Let There Be Funk 4:14 2-2 –Joe Williams Sad Song 4:42 2-3 –The 3 Pieces* Vibes Of Truth 4:31 2-4 –Side Effect Keep That Same Old Feeling 7:01 2-5 –Pucho & His Latin Soul Brothers Something Black 4:20 2-6 –Gary Bartz Incident 2:58 2-7 –The 3 Pieces* Concrete Jungle 5:21 2-8 –Houston Person Blue Odyssey 7:34 2-9 –Maynard Parker Mama Told Me Not To Come 5:02 2-10 –Boogaloo Joe Jones* No Way 7:18 2-11 –Sonny Stitt Acid Funk Reprise 3:49 Companies, etc. Manufactured By – ZYX-Music GmbH Distributed By – ZYX Music Distributed By – Ace Records Ltd. Distributed By – WEA Music Distributed By – Amigo Distributed By – Nuevos Medios S.A. Distributed By – OM Discs Notes Made in Germany Germany & Benelux ZYX Music UK Ace Records Ltd. France WEA Music Skandinavia Amigo Spain Nuevos Medios, S. A. Italy OM Discs Manufactured under license for distribution by ZYX Music GmbH CD 1 Zeit total 59:41 CD 2 Zeit total 56:50 ——— Released sometime in the 1990s. An almost identical tracklist was also released on two Japanese compilations: “Always There” (VICJ-5032) and “Something Black” (VICJ-5033) in 1992. Barcode and Other Identifiers Barcode: 090204098583 Label Code: LC 0720 Rights Society: GEMA Related Music albums to Something Black & Funky (Jazz- Grooves For The Dancefloor Vol. 1) by Various Pucho And His Latin Soul Brothers - Sidewinder (Remix) / Got Myself A Good Man (Remix) Brother Jack McDuff - Silk And Soul Mose Allison - I’m Not Talkin’ (The Soul Stylings of Mose Allison 1957-1971) Side Effect - What You Need Jack McDuff - Jack McDuff Brother Jack McDuff - Funk Pie Cookin' Soul - Summer Waves Volume 5 Pucho & The Latin Soul Brothers - Big Stick Brother Jack McDuff - Do It Now! Various - The Prestige Soul/Jazz Encyclopedia Volume 1 Pucho & His Latin Soul Brothers - Rip A Dip The Blackbyrds - The Best Of The Blackbyrds.

Copy Link

Recommended publications

Grant Green Grantstand Mp3, Flac, Wma
Grant Green Grantstand mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Grantstand Country: US Released: 1961 Style: Soul-Jazz, Hard Bop MP3 version RAR size: 1122 mb FLAC version RAR size: 1402 mb WMA version RAR size: 1247 mb Rating: 4.2 Votes: 707 Other Formats: WAV MP3 MP1 MIDI AIFF VQF DTS Tracklist Hide Credits Grantstand A1 Written-By – Green* My Funny Valentine A2 Written-By – Rodgers-Hart* Blues In Maude's Flat B1 Written-By – Green* Old Folks B2 Written-By – Hill*, Robison* Companies, etc. Published By – Groove Music Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Drums – Al Harewood Guitar – Grant Green Liner Notes – Nat Hentoff Organ – Jack McDuff* Photography By [Cover Photo] – Francis Wolff Producer – Alfred Lion Recorded By [Recording By] – Rudy Van Gelder Tenor Saxophone, Flute – Yusef Lateef Notes Recorded on August 1, 1961, Van Gelder Studio, Englewood Cliffs, New Jersey Blue Note Records Inc., 43 W 61st St., New York 23 (Adress on Back Cover) Barcode and Other Identifiers Matrix / Runout (Side A Label): BN 4086-A Matrix / Runout (Side B Label): BN 4086-B Matrix / Runout (Side A Runout etched): BN-LP-4086-A Matrix / Runout (Side B Runout etched): BN-LP-4086-B Rights Society: BMI Other versions Category Artist Title (Format) Label Category Country Year Blue Grant Grantstand (LP, BN 84086, BN 4086 Note, BN 84086, BN 4086 Japan 1992 Green Album, Ltd, RE) Blue Note Grant Grantstand (CD, 7243 5 80913 2 8 Blue Note 7243 5 80913 2 8 US 2003 Green Album, RE, RM) Grantstand (CD, Blue TOCJ-9244,
[Show full text]
60 / Running Head
60 / running head RahsaRahsaaRahsaan Roland Kirk Photo by Michael Wilderman monstrosioso 1965: The Creeper The fussy encyclopedic gravity of the Hammond B-3 overcome and the electric organ lofted to hard-bop orbit, still trailing diapasons of his mother’s church music and the boogie-woogie tap-dance routines of his father’s band—The Incredible Jimmy Smith proclaimed the block letters on a score of albums since the 1956 breakout recordings on Blue Note, those words celebrating a nearly miraculous mating of technology and soul. The thing had ﬁrst stirred to life at a club in Atlantic City where he heard Wild Bill Davis make the Hammond roar like a big wave. It was a monster, upsurged through chocked, choppy chords and backwashed through rilling legatos, wattage enough there to power the entire Basie band. Davis was gruff, brash, gloriously loud, a bumptious lumbering at- tack, great swoops down on the keys and shameless ripsaw goosings of reverb and tremolo, the organ not so much singing as signaling, the music stripped to pure swelling impulse. For a piano player schooled in the over- brimming muscular lines of Art Tatum and the stabbing, nervous prances of Bud Powell, it was almost risible, the goddamned wired-up thing rock- ing on stage like a gurgling showboat. Fats Waller on “Jitterbug Waltz” coaxed over the organ with a percolating ﬁnesse as if running a trapeze artist up a swaying wire, but Davis almost seemed clumsy by design, as if in awe of the organ’s powers yet unable to forego provoking them.
[Show full text]
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
[Show full text]
Hammond Jazz Empfehlungen
Hammond Jazz Empfehlungen Vorname Name Album Label B-3in' Organ Jazz 32Jazz George Benson It's Uptown Columbia George Benson The George Benson Cookbook Columbia George/"Brother" Jack Benson/McDuff George Benson & Jack McDuff Prestige Pat Bianchi East Coast Roots Jazzed Media Earl Bostic Complete Quintet Recordings Lonehilljazz Terence Brewer Groovin' Wes StrongBrewMusic Gloria Coleman Sweet Missy Doodlin' Records Linda Dachtyl For Hep Cats Chicken Coup Wild Bill Davis The Zurich Concert Jazz Connaisseur Deep Blue Organ Trio Wonderful Origin Records Moe Denham The Soul Jazz Sessions Thortch Recordings Joey DeFrancesco All About My Girl Muse Records Joey DeFrancesco All or Nothing at All Big Mo Joey DeFrancesco Ballads and Blues Concord Papa John DeFrancesco Desert Heat High Note Joey DeFrancesco Goodfellas Concord Joey DeFrancesco Joey DeFrancesco plays Sinatra his way High Note Joey DeFrancesco Legacy Concord Joey DeFrancesco One For Rudy High Note Joey DeFrancesco Plays Sinatra His Way High Note Joey DeFrancesco Singin' and Swingin' Concord Joey DeFrancesco The Champ Round 2 High Note Joey DeFrancesco The Philadelphia Connection High Note Bob De Vos Breaking the ice Savant Barbara Dennerlein Junkanoo Verve www.b-tonic.ch Seite 1 von 7 Hammond Jazz Empfehlungen Barbara Dennerlein Love Letters Bebab Lou Donaldson Everything I Play Is Funky Blue Note Lou Donaldson Good Gracious! Blue Note Lou Donaldson Here 'Tis Blue Note Lou Donaldson Midnight Creeper Blue Note Lou Donaldson The Natural Soul Blue Note Charles Earland Cookin' With the Mighty
[Show full text]
And the Future of Jazz!
gram JAZZ PROMOTING AND NURTURING JAZZ IN CHICAGO NOVEMBER 2019 WWW.JAZZINCHICAGO.ORG MUHAL'S JAZZ PROGENY CELEBRATE HIS LEGACY - AND THE FUTURE OF JAZZ! JAZZCITY 2019: A JOURNEY THROUGH JAZZ - PLAY IT FORWARD NOVEMBER 1 AT 7PM Hamilton Park | 513 W. 72nd St. KEYBOARDIST JUSTIN DILLARD STUDIED with Muhal Richard Abrams, one of the dedicatees of JazzCity’s Nov. 1 show at Hamilton Park for only a short time. And the lessons that Dillard learned from the late avant-gardist and AACM legend can't always be easily detected in his handsome mainstream sound. But when you're around an artist and educator of Abrams’ stature, you absorb more than you may think, whatever stylistic direction you choose. “He was a very quiet, humble cat,” said Dillard. “Sometimes, he could be very particular in pointing things out. At other times, he could be quite aloof. But whenever you were in his presence, you couldn’t help but be inspired to reach higher.” Having played with such stellar AACM ensembles as Nicole Mitchell’s Black Earth Ensemble, Ernest Dawkins’ Chicago 12 and the Kahil El’Zabar Quartet, Dillard is Foster James by Photo Justin Dillard. right at home with the AACM’s untethered, "roots to the future" approach. That will be evident at Hamilton Park, Marvel Comics character Loki: "Freedom is life’s great where he will lead an ensemble stacked with notables lie. Once you accept that, in your heart, you will know from that South Side institution: Edwin Daugherty on peace." alto saxophone, Steve Berry on trombone, Junius Paul Ultimately, of course, it is the freedom to filter all on bass and Vincent Davis on drums.
[Show full text]
Biography and Film of His Life
Phil Upchurch 1 A prolific guitarist whose distinctively funky, blues-steeped jazz style has graced well over a thousand recordings across the popular music spectrum, the legendary Phil Upchurch has also recorded 27 albums of his own leadership, as well as movie soundtracks. Jazz enthusiasts love and respect Phil Upchurch for his singular approach to composition. In developing his sound, Phil demonstrates no allegiance to any of his contemporaries and is indisputably one of the best in his field. He goes from classical to jazz to contemporary funk as easy as walking from one room to another. He is also an amazing electric bassist. In honor of Upchurch’s instrumental mastery, D’Angelico Guitars is soon to release a Second Edition of his signature Phil Upchurch Guitar. Adding to his media profile is Phil’s newfound second career as a fresh face for television advertising. Phil's most recent on-camera commercials have been Secured Horizon, "AARP," Tropicana and Verizon Wireless. He also has had, Cameo filmappearances in, “His Eyes Are Watching God” and White Men Can’t Jump” to name a few. Phil Upchurch has been a prominent figure in the blues, soul, R&B and jazz circles for more than 50 years. In addition to his work with the legendary Jimmy Smith, Upchurch has performed and recorded, in the United States and internationally, with some of the music industry’s biggest names. His talents have teamed him with musical legends such as Quincy Jones, Bob Dylan, Julio Iglesias, Ray Charles, Ramsey Lewis, Carmen McRae, George Benson, Donny Hathaway, Chaka Khan, Michael Jackson, Carmen McRae, Marlena Shaw, Eddie Harris, Brother Jack McDuff, Joe Williams, Stan Getz, Cannonball Adderley, Herbie Hancock, Grover Washington, Jr.
[Show full text]
Ls 5 2 7 4 8/1 1 / 9 5 MI K E OSB O R N E WB R U 88 BE
Ls5274 8/11/95 MIKE OSBORNE WBRU 88 BENEVOLENT SI PROVIDENCE RI 02906 CLUB NOUVEAU RIp-It Records A Deleon Of Bar-Be' Jet Enterteinfnent Group. Inc. vc_rythins I black flaturing tfl.(_ hit ins,1 as 1.«IL It QIP-IT QE:20112D6 • 715 N. Ferncreck Ave. • Olando. FL 5280_ • (407) 898-2009 AUGUST II, 1995 VOLUME XIX NUMBER 23 Cover Story Impromp2 24 s e clt Publisher's Page 5 News 6 Music Report I 0 Music Reviews 16 Yesteryear/Starview 46 csalluLarirwase Jazz Notes I 5 BRE Flix 18 Video Visions 20 Hip Hop Era 21 In Other Media 22 Gospel 23 last Word 46 cilkvarties 19r. iress ea• miii Singles Chart 12 Album Chart 14 The Sweetest Sixteen New Music 9 Jan Chart 15 Not even a full year has passed since Brandy's self-titled debut album on Atlantic hit the market, ne./3 icsrua w eipmsa rt s and this sixteen-year-old is at the top of the R&B heap. She beat out such multi-platinum artists as Carolinas 27 Mid Atlantic 29 Janet Jackson, Mary J. Blige, and Anita Baker at the Lady Of Soup Awards. She strolled away with four Ohio Valley 30 of the coveted statuettes, winning in every category she was nominated. On top of all of this, Brandy North East 31 Mid South 33 was named spokeswoman for the 1995 Sears/Seventeen Peak Performance Scholarship Program and Mid West 35 Tour. The program's aim is to empower and help young women achieve their personal goals. South East 39 West 41 Here's to the little lady of soul.
[Show full text]
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.
[Show full text]
New Jazz Label Discography
New Jazz Label Discography 10 Inch 100 Series: NJ 101 - Lennie Tristano and Lee Konitz - Lennie Tristano and Lee Konitz [1950] This album was reissued as Prestige 101. Side One Lee Konitz Marshmallow/Sound-Lee/Fishin’ Around/Tautology//Side Two Lennie Tristano Subconscious-Lee/Judy/Retrospection/Progression 10 Inch 1100 Series: NJLP 1101 - Jimmy Raney Quartet - Jimmy Raney Quartet [1954] Reissued as Prestige 201. Double Image/On the Square/Minor/Some Other Spring NJLP 1102 - Zoot Sims Quintet - Zoot Sims Quintet [1954] Reissued as Prestige 202. Howdy Podner/Toot, No. 2/Indian Summer/What's New? NJLP 1103 - Jimmy Raney Quintet - Jimmy Raney Quintet [1954] Reissued as Prestige 203. Stella by Starlight/Jo- Anne/Back and Blow/Five NJLP 1104 - Phil Woods Quintet - Phil Woods Quintet [1954] Reissued as Prestige 204. Pot Pie/Open Door/Robin's Bobbin'/Mad About the Girl NJLP 1105 - Jon Eardley Quartet - Jon Eardley Quartet [1955] Reissued as Prestige 205. Lute Leader/Indian Spring/Black/Cross NJLP 1106 - Teddy Charles Quartet - Teddy Charles Quartet [1955] Reissued as Prestige 206. Violetta/Relaxo Abstracto/Speak Low/Jay Walkin'/The Night We Called It a Day/I Can't Get Started 12 Inch 8200 Series: NJLP 8201 - Mal 3/Sounds - Mal Waldron [1/58] Tensions/Ollie's Caravan/The Cattin' Toddler/Portrait of a Young Mother/For Every Man There's a Woman NJLP 8202 - Roots – Prestige All Stars [1959] Roots/Sometimes I Feel Like a Motherless Child/Down by the Riverside NJLP 8203 - Farmer's Market - Art Farmer [1959] Reminiscing/By Myself/Wailing with Hank/With
[Show full text]
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.
[Show full text]
Fall 2013 Cat Enti a Edi Ng N D Th I Is E Zz T Ve Ja a Ry Best in Board of Directors H T T I F O R P President
ening s l lis pace ifu . ut ea ted to pre e b Fall 2013 ica ntin a ed g t in d h is e zz t ve Ja a ry be t in Board of Directors h t t o r p President - r Tim Coakley o From f - the o Treasurer n President Don Nania A Off and Swinging! Secretary Jerry Gordon The 2013 season of A Place for Jazz will get off to a dynamic start on September 20 with a fiery quintet co-led by trumpeter Joe Magnarelli and tenor saxophonist Jerry Weldon. These two have performed on their own several times in the Capital Region Al Brooks but this time they will join forces for an evening of hard-hitting and lyrical music. A Syracuse native, Joe Magnarelli moved to New York City in 1986 and soon became a regular participant in the New York and international jazz scene. From 1987, he Beverly Elander toured and recorded with Lionel Hampton and Brother Jack McDuff. He currently has nine records out as a leader, and has played on numerous jazz labels as a sideman. In 1990, he was a semifinalist at the Thelonious Monk International Trumpet Com- Al Haugen petition in Washington, D.C. He made his debut as a leader with 1994’s “Why Not” (Criss Cross). He followed that with three other CDs on the Criss Cross label: “Always There” (1997), “Mr. Mags” (2000) and “Hoop Dreams” (2005). Anita Haugen He subsequently released “Persistence” (2007) and “My Old Flame” (2010), his first big band recording as a leader.
[Show full text]
Masters Thesis
Hammond Technique and Methods: Music Written for the Hammond Organ JESSE WHITELEY A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO SEPTEMBER 2013 © JESSE WHITELEY, 2013 Abstract The following thesis is made up of four original compositions written between February and September of 2012, with emphasis on the Hammond Organ in the context of jazz and rhythm and blues ensembles. The pieces of music were designed to feature the organ as the lead instrument in order to highlight various playing techniques that are specific to the Hammond Organ within these genres. In addition to my own music and an explanation and analysis of my work, the writing will provide a historical overview of organists I have chosen to highlight as influences to provide a framework for each piece of music. In order to aid this discussion of what has been an under-theorized instrument and performance tradition, I have sought out active contemporary organists to discuss their creative practices on the Hammond, as well as their insight into the notable organists of the past. Finally, of particular interest to me in this thesis is the emphasis on the Hammond Organ as an electric instrument, and the unique musical textures that are possible through the exploitation of the multiple controls that are integral to the instrument's construction. An audio recording of each piece accompanies the scores that are included. ii Acknowledgements A big thanks to my supervisor Rob Bowman for being the perfect person to work on this project with, for his good advice, resources, and above all - enthusiasm, which has charged me up in the writing of this, multiple times.
[Show full text]