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通販専門リスト・夏号 2021/8 !"#"$%&%''(&&)%*+,-. >40354'?35604@ABCDEFGCHIJKLMNOPQRST 40354'U)&)!VWXYZ[)\]^WV_`a()b&+)b&+?+)b0c)b0)b0+ 35604U#)!VWXYZ[)]`d()b#+)b,c)b,)b,+)b,+?+ >%8*:eJ10;)<54'AfghijT ,%=0)&5:0)%0k)lml)%0k8&-:5&)#60&=0)&2;2)&0<);541)38:; mn4')ol)<0*:)mn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disclandJARO. 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YS 2604 FO.帯。 N A- 800 B 26018 HAROLD MABERN TRIO etc. CO LLECTED WA RK S O F U N I SSU ED TA K ES 1 VENUS. TKJV 19107 180g.限定盤。帯。 N A 3000 B 26019 EDDIE HIGGINS TRIO etc. COLLECTED WARKS 2 VENUS. TKJV 19117 180g.限定盤。帯。 N A 3000 B 26023 RICHIE BEIRACH TRIO NO BORDERS VENUS. TKJV 19112 180g.限定盤。帯。 N A 2900 B 26036 TEDDY WILSON TRIO FOR QUITE LOVERS POLYDOR. MV 2667 帯。 N A- 1300 B 26045 EDDIE HIGGINS TRIO etc.
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    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ART FARMER NEA Jazz Master (1999) Interviewee: Art Farmer (August 21, 1928 – October 4, 1999) Interviewer: Dr. Anthony Brown Dates: June 29-30, 1995 Repository: Archives Center, National Museum of American History Description: Transcript, 96 pp. Brown: Today is June 29, 1995. This is the Jazz Oral History Program interview for the Smithsonian Institution with Art Farmer in one of his homes, at least his New York based apartment, conducted by Anthony Brown. Mr. Farmer, if I can call you Art, would you please state your full name? Farmer: My full name is Arthur Stewart Farmer. Brown: And your date and place of birth? Farmer: The date of birth is August 21, 1928, and I was born in a town called Council Bluffs, Iowa. Brown: What is that near? Farmer: It across the Mississippi River from Omaha. It’s like a suburb of Omaha. Brown: Do you know the circumstances that brought your family there? Farmer: No idea. In fact, when my brother and I were four years old, we moved Arizona. Brown: Could you talk about Addison please? Farmer: Addison, yes well, we were twin brothers. I was born one hour in front of him, and he was larger than me, a bit. And we were very close. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: So, you were fraternal twins? As opposed to identical twins? Farmer: Yes. Right.
  • Immigrant Musicians on the New York Jazz Scene by Ofer Gazit A

    Immigrant Musicians on the New York Jazz Scene by Ofer Gazit A

    Sounds Like Home: Immigrant Musicians on the New York Jazz Scene By Ofer Gazit A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Chair Professor Jocelyne Guilbault Professor George Lewis Professor Scott Saul Summer 2016 Abstract Sounds Like Home: Immigrant Musicians On the New York Jazz Scene By Ofer Gazit Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Chair At a time of mass migration and growing xenophobia, what can we learn about the reception, incorporation, and alienation of immigrants in American society from listening to the ways they perform jazz, the ‘national music’ of their new host country? Ethnographies of contemporary migrations emphasize the palpable presence of national borders and social boundaries in the everyday life of immigrants. Ethnomusicological literature on migrant and border musics has focused primarily on the role of music in evoking a sense of home and expressing group identity and solidarity in the face of assimilation. In jazz scholarship, the articulation and crossing of genre boundaries has been tied to jazz as a symbol of national cultural identity, both in the U.S and in jazz scenes around the world. While these works cover important aspects of the relationship between nationalism, immigration and music, the role of jazz in facilitating the crossing of national borders and blurring social boundaries between immigrant and native-born musicians in the U.S. has received relatively little attention to date.
  • Jazzflits 01 09 2003 - 01 09 2021

    Jazzflits 01 09 2003 - 01 09 2021

    1 19de JAARGANG, NR. 361 16 AUGUSTUS 2021 IN DIT NUMMER: 1 BERICHTEN 5 JAZZ OP DE PLAAT Eve Beuvens, Steve Cole, Flat Earth Society Orchestra, Ben van de Dungen, Gerry Gibbs e.a. EN VERDER (ONDER MEER): 10 Lee Morgan (Erik Marcel Frans) 16 Europe Jazz Media Chart Augustus 18 J AAR JAZZFLITS 01 09 2003 - 01 09 2021 NR. 362 KOMT 13 SEPT. UIT ONAFHANKELIJK JAZZPERIODIEK SINDS 2003 BERICHTEN CORONA-EDITIE FESTIVAL GENT JAZZ TREKT 20.000 BEZOEKERS In de tien dagen dat Gent Jazz ‘Back to Live’ duurde (van 9 tot en met 18 juli), passeerden zo’n twintigdui- zend mensen de festivalkassa. Van- wege de coronacrisis was op het laatste moment een speciale editie van het jaarlijkse zomerfestival in elkaar gezet met veel Belgische mu- sici. Maar ook de pianisten Monty Alexander, Tigran Hamasyan en ac- cordeonist Richard Galliano kwamen naar Gent. Festivaldirecteur Ber- trand Flamang sprak na afloop van een succesvol evenement. Cassandra Wilson tijdens het North Sea Jazz Festival 2015. (Foto: Joke Schot) Flamang: “In mei leek het er nog op dat deze editie niet zou doorgaan. Maar op CASSANDRA WILSON, STANLEY CLARKE twee maanden tijd zijn we erin geslaagd EN BILLY HART BENOEMD TOT NEA JAZZ MASTER om een coronaveilig evenement op po- ten te zetten.” Bezoekers konden zich Drummer Billy Hart, Bassist Stanley Clarke en zangeres niet vrij bewegen. Ze zaten per bubbel Cassandra Wilson zijn Benoemd tot NEA Jazz Master aan stoelen en tafels onder een giganti- 2022. Saxofonist Donald Harrison ontvangt de A.B. Spell- man NEA Jazz Masters Fellowship for Jazz Advocacy.
  • Trevor Tolley Jazz Recording Collection

    Trevor Tolley Jazz Recording Collection

    TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre.