Legendary Sound Quality That Never Compromises on Style
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Seeing (For) Miles: Jazz, Race, and Objects of Performance
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
George Benson in Flight Mp3, Flac, Wma
George Benson In Flight mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: In Flight Country: Spain Released: 1984 Style: Smooth Jazz, Jazz-Funk, Disco MP3 version RAR size: 1263 mb FLAC version RAR size: 1497 mb WMA version RAR size: 1736 mb Rating: 4.3 Votes: 349 Other Formats: MPC MP3 AIFF MP1 MOD AAC RA Tracklist Hide Credits Nature Boy A1 5:58 Written-By – E. Ahbez* The Wind And I A2 5:04 Written-By – R. Foster* The World Is A Ghetto A3 Written-By – M. Dickerson*, C. Miller*, H. Brown*, H. Scott*, L. Oskar*, L. Jordan*, S. 9:41 Allen* Gonna Love You More B1 4:30 Written-By – M. Albert* Valdez In The Country B2 4:56 Bass – Phil UpchurchWritten-By – D. Hathaway* Everything Must Change B3 8:04 Bass – Phil UpchurchWritten-By – B. Ighner* Companies, etc. Record Company – WEA Records, S.A. Phonographic Copyright (p) – Warner Bros. Records Inc. Copyright (c) – WEA Records, S.A. Licensed Through – Atlantic America Pressed By – PolyGram Servicios, S.A. Printed By – Indugraf Madrid, S.A. Distributed By – Discos CBS, S.A., Madrid Credits Arranged By [Orchestra], Conductor – Claus Ogerman Bass – Stanley Banks Clavinet, Piano [Acoustic] – Jorge Dalto Drums – Harvey Mason Electric Piano, Synthesizer [Mini-moog] – Ronnie Foster Lead Guitar, Vocals – George Benson Mixed By, Recorded By – Al Schmitt Percussion – Ralph MacDonald Producer – Tommy LiPuma Rhythm Guitar – Phil Upchurch Notes (P) 1977 Warner Bros Records, Inc. (C) 1984 WEA Records, S.A. Pressed In Spain By PolyGram Servicios, S.A. Permiso Nº. 6421 Jorge Dalto appears courtesy of United Artists Records Harvey Mason appears courtesy of Arista Records, Inc. -
Printcatalog Realdeal 3 DO
DISCAHOLIC auction #3 2021 OLD SCHOOL: NO JOKE! This is the 3rd list of Discaholic Auctions. Free Jazz, improvised music, jazz, experimental music, sound poetry and much more. CREATIVE MUSIC the way we need it. The way we want it! Thank you all for making the previous auctions great! The network of discaholics, collectors and related is getting extended and we are happy about that and hoping for it to be spreading even more. Let´s share, let´s make the connections, let´s collect, let´s trim our (vinyl)gardens! This specific auction is named: OLD SCHOOL: NO JOKE! Rare vinyls and more. Carefully chosen vinyls, put together by Discaholic and Ayler- completist Mats Gustafsson in collaboration with fellow Discaholic and Sun Ra- completist Björn Thorstensson. After over 33 years of trading rare records with each other, we will be offering some of the rarest and most unusual records available. For this auction we have invited electronic and conceptual-music-wizard – and Ornette Coleman-completist – Christof Kurzmann to contribute with some great objects! Our auction-lists are inspired by the great auctioneer and jazz enthusiast Roberto Castelli and his amazing auction catalogues “Jazz and Improvised Music Auction List” from waaaaay back! And most definitely inspired by our discaholic friends Johan at Tiliqua-records and Brad at Vinylvault. The Discaholic network is expanding – outer space is no limit. http://www.tiliqua-records.com/ https://vinylvault.online/ We have also invited some musicians, presenters and collectors to contribute with some records and printed materials. Among others we have Joe Mcphee who has contributed with unique posters and records directly from his archive. -
May-June 293-WEB
May-June 2007 Issue 293 jazz Free &blues report www.jazz-blues.com now in our 33rd year KOKO TAYLOR KOKO TAYLOR Old School Published by Martin Wahl A New CD... Communications On Tour... Editor & Founder Bill Wahl & Appearing at the Chicago Blues Festival Layout & Design Bill Wahl The last time I saw Koko Taylor Operations Jim Martin she was a member of the audience at Pilar Martin Buddy Guy’s Legends in Chicago. It’s Contributors been about 15 years now, and while I Michael Braxton, Mark Cole, no longer remember who was on Kelly Ferjutz, Dewey Forward, stage that night – I will never forget Chris Hovan, Nancy Ann Lee, Koko sitting at a table surrounded by Peanuts, Wanda Simpson, Mark fans standing about hoping to get an Smith, Dave Sunde, Duane Verh, autograph...or at least say hello. The Emily Wahl and Ron Weinstock. Queen of the Blues was in the house that night...and there was absolutely Check out our costantly updated no question as to who it was, or where website. Now you can search for CD Reviews by artists, titles, record she was sitting. Having seen her elec- labels, keyword or JBR Writers. 15 trifying live performances several years of reviews are up and we’ll be times, combined with her many fine going all the way back to 1974. Alligator releases, it was easy to un- derstand why she was engulfed by so Koko at the 2006 Pocono Blues Festival. Address all Correspondence to.... many devotees. Still trying, but I still Jazz & Blues Report Photo by Ron Weinstock. -
Newsletter-Fall 2019
ROCKPORT MUSIC NEWSLETTER :: FALL 2019 A Deeper Dive into Music Building long-term musical learning experiences Page 7 PALAVER STRINGS First Education Ensemble-In-Residence ROCKPORTMUSIC.ORG ARTIST SPOTLIGHT Soul of the Americas A Rich Tapestry of Music By KAREN HERLITZ THIS JANUARY, ROCKPORT MUSIC HEATS UP THE On how the definition of “classical music” WINTER WITH A LATIN-INSPIRED PROGRAM ENTITLED has changed over time THE SOUL OF THE AMERICAS! CELEBRATING THE RICH It does seem like musicians and audiences are less interested tapestry of musical influences across North and South America, in boundaries today, and more open to genres bleeding into the concert features works of seven iconic composers – Aaron each other. At the end of the day, as long as it’s done with Copland, George Gershwin, Leonard Bernstein, Samuel craft and sophistication, great music is great music. Barber, Heitor Villa-Lobos (Brazil), Alberto Ginastera (Argentina), and Osvaldo Golijov (Argentina). Curated by pianist Michael Brown and cellist Nicholas Canellakis, they On what to expect from the concert are joined by highly acclaimed pianist Orion Weiss and The concert takes the listener on a journey from Copland’s percussionist Ian David Rosenbaum to perform the program. El Salón México to Gershwin’s Cuban Overture, with many other works in between by Golijov, Barber, Bernstein, Michael Brown and Nicholas Canellakis shared their thoughts Villa-Lobos, and Ginastera. These North and South American with us on their exciting program and what to expect from composers responded their concert. to the rhythm of their surroundings, places they On their inspiration for Soul of the Americas encountered, and dance. -
Top 12 Soul Jazz and Groove Releases of 2006 on the Soul Jazz Spectrum
Top 12 Soul Jazz and Groove Releases of 2006 on the Soul Jazz Spectrum Here’s a rundown of the Top 12 albums we enjoyed the most on the Soul Jazz Spectrum in 2006 1) Trippin’ – The New Cool Collective (Vine) Imagine a big band that swings, funks, grooves and mixes together R&B, jazz, soul, Afrobeat, Latin and more of the stuff in their kitchen sink into danceable jazz. This double CD set features the Dutch ensemble in their most expansive, challenging effort to date. When you can fill two discs with great stuff and nary a dud, you’re either inspired or Vince Gill. These guys are inspired and it’s impossible to not feel gooder after listening to Trippin.’ Highly recommended. 2) On the Outset – Nick Rossi Set (Hammondbeat) It’s a blast of fresh, rare, old air. You can put Rossi up there on the Hammond B3 pedestal with skilled survivors like Dr. Lonnie Smith and Reuben Wilson. This album is relentlessly grooving, with no ballad down time. If you think back to the glory days of McGriff and McDuff, this “set” compares nicely. 3) The Body & Soul Sessions – Phillip Saisse Trio (Rendezvous) Pianist Saisse throws in a little Fender Rhodes and generally funks up standards and covers some newer tunes soulfully and exuberantly. Great, great version of Steely Dan’s “Do It Again.” Has that feel good aura of the old live Ramsey Lewis and Les McCann sides, even though a studio recording. 4) Step It Up – The Bamboos (Ubiquity) If you’re old enough or retro enough to recall the spirit and heart of old soul groups like Archie Bell and the Drells, these Aussies are channeling that same energy and nasty funk instrumentally. -
Album Covers Through Jazz
SantiagoAlbum LaRochelle Covers Through Jazz Album covers are an essential part to music as nowadays almost any project or single alike will be accompanied by album artwork or some form of artistic direction. This is the reality we live with in today’s digital age but in the age of vinyl this artwork held even more power as the consumer would not only own a physical copy of the music but a 12’’ x 12’’ print of the artwork as well. In the 40’s vinyl was sold in brown paper sleeves with the artists’ name printed in black type. The implementation of artwork on these vinyl encasings coincided with years of progress to be made in the genre as a whole, creating a marriage between the two mediums that is visible in the fact that many of the most acclaimed jazz albums are considered to have the greatest album covers visually as well. One is not responsible for the other but rather, they each amplify and highlight each other, both aspects playing a role in the artistic, musical, and historical success of the album. From Capitol Records’ first artistic director, Alex Steinweiss, and his predecessor S. Neil Fujita, to all artists to be recruited by Blue Note Records’ founder, Alfred Lion, these artists laid the groundwork for the role art plays in music today. Time Out Sadamitsu "S. Neil" Fujita Recorded June 1959 Columbia Records Born in Hawaii to japanese immigrants, Fujita began studying art Dave Brubeck- piano Paul Desmond- alto sax at an early age through his boarding school. -
JREV3.8FULL.Pdf
JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc. -
Weeksville Lost Jazz Shrines
1 Weeksville Lost Jazz Shrines Annotated Bibliography and Discography Primary Sources Interviews Note: Most of the artists listed below were interviewed over a period of two years (April, 2010 –October, 2011 through Weeksville’s Lost Jazz Shrine Project). Artists interviewed include: Brooklyn natives; longtime Brooklyn residents; or artists who performed frequently at some of Brooklyn's Lost Jazz Shrines and in some cases, continue to perform in Brooklyn. Abdullah, Ahmed. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 46 mins 36 sec. Barnes, Wade E. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 7 December 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 51 min. 26 sec. Barron, Kenny. Oral History Interview. Interviewed by Willard Jenkins. 9 October 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Braithwaite, “Fab 5” Freddie. Oral History Interview. Interviewed by Willard Jenkins and Jennifer Scott. 7 Oct 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 25 mins. 32 secs. Carroll, Alma. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 24 August 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 10 mins. 34 secs. Cheatham, Jo Ann. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. -
88-Page Mega Version 2016 2015 2014 2013 2012 2011 2010
The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! 88-PAGE MEGA VERSION 2017 2016 2015 2014 2013 2012 2011 2010 COMBINED jazz & blues report jazz-blues.com The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! INDEX 2017 Gift Guide •••••• 3 2016 Gift Guide •••••• 9 2015 Gift Guide •••••• 25 2014 Gift Guide •••••• 44 2013 Gift Guide •••••• 54 2012 Gift Guide •••••• 60 2011 Gift Guide •••••• 68 2010 Gift Guide •••••• 83 jazz &blues report jazz & blues report jazz-blues.com 2017 Gift Guide While our annual Gift Guide appears every year at this time, the gift ideas covered are in no way just to be thought of as holiday gifts only. Obviously, these items would be a good gift idea for any occasion year-round, as well as a gift for yourself! We do not include many, if any at all, single CDs in the guide. Most everything contained will be multiple CD sets, DVDs, CD/DVD sets, books and the like. Of course, you can always look though our back issues to see what came out in 2017 (and prior years), but none of us would want to attempt to decide which CDs would be a fitting ad- dition to this guide. As with 2016, the year 2017 was a bit on the lean side as far as reviews go of box sets, books and DVDs - it appears tht the days of mass quantities of boxed sets are over - but we do have some to check out. These are in no particular order in terms of importance or release dates. -
Polish Musicians Merge Art, Business the INAUGURAL EDITION of JAZZ FORUM SHOWCASE POWERED by Szczecin Jazz—Which Ran from Oct
DECEMBER 2019 VOLUME 86 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.