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1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement. -
The Guardian, April 8, 1966
Wright State University CORE Scholar The Guardian Student Newspaper Student Activities 4-8-1966 The Guardian, April 8, 1966 Wright State University Student Body Follow this and additional works at: https://corescholar.libraries.wright.edu/guardian Part of the Mass Communication Commons Repository Citation Wright State University Student Body (1966). The Guardian, April 8, 1966. : Wright State University. This Newspaper is brought to you for free and open access by the Student Activities at CORE Scholar. It has been accepted for inclusion in The Guardian Student Newspaper by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. The Guardian A Wright State Campus Publication Volume 2 FRIDAY, APRIL 8. 1966 Number 10 Plans Set For Proposed Park llv ST» VI T\< KI TT Paths running through the wools were also proposed. By the beginning of the Kali It was suggested that the paths trimester, Wright State's park be covered with limstone to could become a reality. keep them from becoming too Terry Hankey, recently ap- muddy in rainy weather. The pointed Park Commissioner paths that exist now, run in by Bob Beachdell, Student only one direction. The com- Body President, called a mittee decided that it would meeting on Wednesday, March serve the area better If nature 30, to discuss plans for the trails were Initiated to make proposed park in the rear of it easier for students to enjoy Allyn Hall. The meeting was all of the woods. attended by several members Hankey closed the meeting of Hankey's planning com- by saying, "Our progress on mittee, which consisted of stu- this proposal is wholly de- dents Interested in seeing the pend ;nt on student support. -
Igfzleirer 93024-0240 November 1997 Vol
P.O. BOX 24-O Ojai, Calif. igfzleirer 93024-0240 November 1997 Vol. I6 No. 11 Three Favors” be. His private existence was another matter. “My father did a lot of things in his life,” Andy said. “In his younger years he played saxophone and clarinet a little bit. He 1. If you have an e-mail address, I’d love to have it. You can worked for many years on the janitorial staff of the school system send it to me at [email protected]. of Richmond. His real life — all through the years he worked for 2. If you have not resubscribed for I998 but intend to, I’d them — was growing plants. He "grew vegetables andbeautiful appreciate it your doing it now. There’s an easy way to tell flowers and sold them to people in the area. He was a wonderful whether you’ve resubscribed. If there’s a date or letters under your horticulturist. He had greenhouses, and his plants were famous. address on the envelope, you have. If not, you haven’t. Subscrip- “My father was an only child, I’m an only child, and Ihave one tions (in case you’ve misplaced the earlier notice) are $70 U.S. for son, Mark, who is in radio in Denver, Colorado.” Andy laughed. the U.S. and Canada, $80 for other countries. Anyone wishing to “The Simpkins family line runs thin!” send someone a gift subscription can do so for $35. And to anyone Andy combines formidable facility with a deep sound, beautiful who can’t afford the Jazzletter at all, it is, as always, free. -
3 Sounds, Bill Dowdy, Un Nativo Como E L Del Estado De Michigan
THE THREE SOUNDS Texto: Mario Benso Aunque considerados por un sector de la crítica como una banda de segunda fila por su jazz de caracter directo, swingueante y decididamente mainstream, los Three Sounds fueron uno de los grupos mas populares del sello Blue Note durante las decadas de los 50 y 60 y su pianista y principal inspirador, Gene Harris, un solista reconocido por su talento y vision personal, fuertemente enraizada en la tradicio n del blues o la mu sica religiosa afroamericana. Harris, que aprendio a tocar el piano siendo el piano e intentaba compaginar su dedicacio n a la mu sica con la aficio n por el boxeo, conto ya en alguno de sus primeros grupos con el futuro batería del los 3 Sounds, Bill Dowdy, un nativo como el del Estado de Michigan. Harris y Dowdy concluyeron sus estudios en 1951 y se incorporaron al ejercito con diferentes destinos, por lo que al licenciarse cada uno prosiguio sus carreras musicales por separado. Sin embargo, en 1956 volvieron a coincidir durante un tiempo en Indiana y decidieron crear un nuevo grupo llamado los Four Sounds, con el an3 adido de un saxo tenor y del contrabajista Andrew Simpkins, originario de Richmond. No acabando de encontrar un saxofonista que acabara de asentarse en la formacio n, Harris, Dowdy y Simpkins decidieron pasar a convertirse en un trío, bajo la denominacio n definitiva de The Three Sounds. Comenzaron a hacer bolos, fundamentalmente por el area de Ohio, sirviendo ademas de soporte rítmico para solistas como Lester Young o Sonny Stitt cuando fuera necesario. -
Extreme Matt-Itude Holidaygift Guide Ikue • Ivo • Joel • Rarenoise • Event Mori Perelman Press Records Calendar December 2013
DECEMBER 2013 - ISSUE 140 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM MATT WILSON EXTREME MATT-ITUDE HOLIDAYGIFT GUIDE IKUE • IVO • JOEL • RARENOISE • EVENT MORI PERELMAN PRESS RECORDS CALENDAR DECEMBER 2013 DAVID SANBORN FOURPLAY CLAUDIO RODITI QUARTET SUNDAY BRUNCH RESIDENCY DEC 3 - 8 DEC 10 - 15 TRIBUTE TO DIZZY GILLESPIE DEC 1, 8, 15, 22, & 29 CHRIS BOTTI ANNUAL HOLIDAY RESIDENCY INCLUDING NEW YEAR’S EVE! DEC 16 - JAN 5 JERMAINE PAUL KENDRA ROSS WINNER OF “THE VOICE” CD RELEASE DEC 2 DEC 9 LATE NIGHT GROOVE SERIES RITMOSIS DEC 6 • CAMILLE GANIER JONES DEC 7 • SIMONA MOLINARI DEC 13 • GIULIA VALLE DEC 14 VICKIE NATALE DEC 20 • RACHEL BROTMAN DEC 21 • BABA ISRAEL & DUV DEC 28 TELECHARGE.COM TERMS, CONDITIONS AND RESTRICTIONS APPLY “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm HOLIDAY EVENTS / 7:00, 9:00 & 10:30pm Fri & Sat, Dec 6 & 7 Sun, Dec 15 SMOKE JAVON JACKSON BAND GEORGE BURTON’S CHRISTMAS YULELOG Winter / Spring 2014 Javon Jackson (tenor saxophone) • Orrin Evans (piano) Thu, Dec 19 Santi DeBriano (bass) • Jason Tiemann (drums) “A NAT ‘KING’ COLE CHRISTMAS” SESSIONS Fri & Sat, Dec 13 & 14 ALAN HARRIS QUARTET BILL CHARLAP TRIO COMPACT DISC AND DOWNLOAD TITLES Bill Charlap (piano) • Peter Washington (bass) COLTRANE FESTIVAL / 7:00, 9:00 & 10:30pm Kenny Washington (drums) Mon, Dec 23 - Wed, Dec 25 Fri, Sat & Sun, Dec 20, 21 & 22 ERIC ALEXANDER QUARTET RENEE ROSNES QUARTET FEATURING LOUIS HAYES Steve Nelson (vibraphone) • Renee Rosnes (piano) Eric Alexander (tenor saxophone) • Harold Mabern (piano) Peter Washington (bass) • Lewis Nash (drums) John Webber (bass) • Louis Hayes (drums) Thu, Dec 26 - Wed, Jan 1 ERIC ALEXANDER SEXTET ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm FEAT. -
Volume Xx-Number 12 December 6, 1958
VOLUME XX-NUMBER 12 DECEMBER 6, 1958 Listening to playbacks of Ahmad Jamal’s latest wax session are Chess-Checker-Argo topper, Leonard Chess (left) and Jamal (right), whose trio has turned into one of the hottest properties in the record business. Currently clicking with two big LP’s, “But Not For Me” and “Ahmad Jamal”, the combo has also cashed in with a host of singles from the albums, which include “But Not For Me”, “Music, Music, Music”, “Poinciana” and “Secret Love”. Coming off a highly successful concert tour, the hoys recently made an appearance in New York’s Carnegie Hall. www.americanradiohistory.com I HEARD THE BELLS ON IS™ Mm ’ : iH II -: Jvrijj 'm e RriMMNHi WSM GOBEL SHOW, NORTHWEST PASSAGE. They’re all sponsored by RCA VICTOR! Watch for these NBC-TV shows, in color and black and white: PERRY COMO SHOW, ELLERY QUEEN, GEORGE www.americanradiohistory.com TheCashBox FOUNDED BY BILL GERSH Volume XX—Number 12 December 6, 1958 JOE ORLECK, President and Publisher NORMAN ORLECK, VP and General Manager SID PARNES, Editor-in-Chief BOB AUSTIN, Gen. Mgr., Music Dept. The Cash Box Publishing Co., Inc. 1721 Broadway, New York 19, N. Y. (All Phones: JUdson 6-2640) Cable Address: CASHBOX, N. Y. JOE ORLECK CHICAGO OFFICE WINNING 29 E. Madison St., Chicago 2, 111. (All Phones: Financial 6-7272) LEE BROOKS • HOLLYWOOD OFFICE 6272 Sunset Blvd., Hollywood 28, Cal. (Phone: HOllywood 5-2129) JACK DEVANEY ERV MALEC • BOSTON OFFICE 80 Boylston St., Boston 16, Mass. (Phone: HAncock 6-8386) GUY LIVINGSTON • THE POLL LONDON OFFICE 17 Hilltop, London, N.W. -
© Ray a V Ery / C T S IMA
© Ray Avery /CTSIMAGES the three sounds groovin’ hard In May of 2010, when Resonance Records first embarked upon the adventure of unearthing and presenting historical jazz recordings to the world, George Klabin and I began looking into various archives for tapes to release. One day, George came to me with a list of tapes he’d come across; tapes in the possession of Jim Wilke, who years earlier had been the host of a syndicated Seattle-based radio program called Jazz After Hours. Over the course of Jim’s storied career, he’s been a staunch advocate for jazz and its greatest protagonists. Indeed, over the years, Jim has succeeded in presenting a veri- table Who’s Who of ’50s and ’60s jazz greats to the public. From February 1962 through August 1968, Jim hosted the weekly radio program, Jazz from the Penthouse, on Seattle’s KING-FM. As a well-known radio personal- ity in the Northwest, Jim developed a working relationship with Seattle’s legend- ary jazz club, the Penthouse, and consequently was able to air live performances by a wide array of artists while they performed at the club. These performances were broadcast direct to the public right as they happened. The shows not only went on the air live, Jim taped them, employing professional recording techniques and equipment. Over the years, Jim amassed an impressive collection of high-quality tapes; tapes that form a unique archive of the extraordinary music heard over the course of more than half a decade at the Penthouse by virtually all of the amazing music legends that played there. -
Quarterly/One Dollar
ACME FOTOANTICS / FASHION! HUMOR / PHYSICAL CULTURE WINTER QUARTERLY/ONE DOLLAR Fashion PhYSique Monte Hansen, a typical GO GUYS Model-husky, rugged, gracefully developed, proves that a man can and should be at his best, whether he be semi-attired at the beach or in full dress at the theatre. contents WINTER QUARTERLY: 1964 4 ACRIMONY IN THE ACADEMY, a tough front can lead to a hard end fotoantics 8 CANDID CAPERS, back to school 22 DOUBLE DATE, DOUBLE CROSS, it's what's up front that counts 32 READlN, WRITIN, AND RASCALS, a trio takes a bribe exercise 39 GIRDING FOR THE GRIDIRON, a pigskin shape-up 6 FALL FLAIR, the United Nations highlights current New York fashions fashion 10 FASHION & FRISCO, .five pages of colorful fall styles on the west coast 34 STRYKING MONUMENT, dressing for the Grand Canyon with Jim Stryker adventure 14 HELL AT ANGEL FALLS, exploring the exciting dangers of the Venezuelan jungles 44 JUWA LA VONCE, bronzed muscles against the blue deep 20 MONTE HANSEN, a natural body-builder 30 JOE CALI, a star on the horizon physique 31 LUCKY MOORE, a backfielder with passable talent personalities 26 FRANK VElTEN HEIMER, a remarkable 14 year old 27 BILL FERGUSON, a night worker makes the matinee ~ ROB ROYE, an amateur with a professional punch 19 STUD, riding them down, he stays on top go guy 28 BRAVE WARRIOR, a bronzed chief in full color and double page spread of the season .nusic 42 THE JAZZ BEAT, piano, bass and drums-way out lyrical 48 BEAR AFFAIR, Teddy finds a pal moods 35 MANY MOODS, David Knight art 45 DIGGING THE ARTS, beginning a series on the history of art WALTER KONRAD R. -
The Music of Frank Lowe Have a Feather to Hold to Our Hearts As We Press On
BLACK HISTORY MONTH Gardenia Club in East Hollywood California, before an essence of his sound. attentive and enthusiastic audience, the trio runs There is good playing throughout, with Chad through a set of well known popular and jazz standards Fowler (soprano and tenor saxophone) and Christopher that jump off the disc. Starting with the Burton Lane Parker (piano) continual standouts. On the opener, composition “On A Clear Day” the trio swings out, led “Decision in Paradise”, soprano aggressively hovers by Turner. He covers the keys with abandon, has above the intense group playing, propelled hard by formidable technique and uses block chords, cadences Anders Griffen’s muscular drumming, with help from and embellishments with a sure-footed spirit of wild piano and bassist Bernard Santacruz. Similar inquiry. Ahmad Jamal’s “Night Mist Blues” is next up patterns emerge elsewhere, often with surprising Let My People Go with a knock-out groove as Turner digs a trench twists. The opening bass and drums duo on “Addiction Archie Shepp/Jason Moran (Archieball) through the blues theme. Franklin has a terrific solo Ain’t Fiction” segues to a lilting, though sometimes by Tyran Grillo turn showing he has a soulful instinct and imposing aggressive, saxophone solo, which leads to a hard- fluency. For the Charles Lloyd song “Sombrero Sam” hitting contribution by Parker, then joined by expansive Living as we now do in a world that feels orphaned and the John Lennon-Paul McCartney classic “Eleanor saxophone, with tricky rhythms advanced by Griffen. from its ancestral histories, there’s no more appropriate Rigby”, flutist Louis Van Taylor adds fluid coloration There is also a shorter alternate track that gives some space to cry out for resurrection than the womb-like to the proceedings. -
The Jazz Rag
THE JAZZ RAG ISSUE 145 WINTER/SPRING 2017 UK £3.25 INTAKT AT THE VORTEX Photo by Stefan Postius CONTENTS INTAKT RECORDS (PAGE 13) IVORIAN ALY KEITA, MASTER OF THE BALAFON, IS AMONG THE STARS PERFORMING AT INTAKT RECORDS’ FESTIVAL AT THE VORTEX, LONDON. 4 NEWS 7 UPCOMING EVENTS 9 NAT HENTOFF THE GREAT JAZZ WRITER REMEMBERED 10 JAZZ CENTRE UK DIGBY FAIRWEATHER INTRODUCES A MAJOR NEW PROJECT 12 LAST OF THE GUNSLINGERS? SIMON SPILLETT STIRS UP DEBATE 14 ELLA AT 100 SUBSCRIBE TO THE JAZZ RAG SCOTT YANOW ON A NOTABLE CENTENARY THE NEXT SIX EDITIONS MAILED DIRECT TO YOUR DOOR FOR ONLY £17.50* 16 JAZZ RAG CHARTS CDS AND BOOKS Simply send us your name. address and postcode along with your payment and we’ll commence the service from the next issue. 18 JAZZ FESTIVALS MARCH-JUNE OTHER SUBSCRIPTION RATES: EU £24 USA, CANADA, AUSTRALIA £27 21 SOUTHPORT JAZZ FESTIVAL REVIEW Cheques / Postal orders payable to BIG BEAR MUSIC Please send to: 22 CD REVIEWS JAZZ RAG SUBSCRIPTIONS PO BOX 944 | Birmingham | England 31 BOOK REVIEW To pay by debit/credit card, visit www.paypal.me/bigbearmusic and enter the correct amount for your subscription 32 BEGINNING TO CD LIGHT * to any UK address THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 33 – AND COUNTING! Fax: 0121 454 9996 The listing of jazz festivals on pages 18-20 suggests a very healthy scene – and, to an Email: [email protected] extent, that is the case -, but doesn’t hint at the hard work, determination and Web: www.jazzrag.com enterprise needed to keep a jazz festival in operation over many years. -
The Three Sounds Moods Mp3, Flac, Wma
The Three Sounds Moods mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Moods Country: Japan Released: 1993 Style: Soul-Jazz MP3 version RAR size: 1710 mb FLAC version RAR size: 1609 mb WMA version RAR size: 1108 mb Rating: 4.4 Votes: 461 Other Formats: MP3 TTA DMF ASF MMF VOC MP1 Tracklist Hide Credits Love For Sale 1 6:34 Written-By – Cole Porter Things Ain't What They Used To Be 2 8:52 Written-By – M. Ellington*, T. Persons* On Green Dolphin Street 3 5:33 Written-By – Kaper*, Washington* Loose Walk 4 4:53 Written-By – Richards*, Stitt* Li'l Darlin' 5 4:48 Written-By – Neal Hefti I'm Beginning To See The Light 6 2:26 Written-By – George*, Ellington*, James*, Hodges* Tammy's Breeze 7 4:25 Written-By – Gene Harris Sandu 8 4:21 Written-By – Clifford Brown Companies, etc. Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Manufactured By – Toshiba EMI Ltd Credits Bass – Andrew Simpkins Drums – Bill Dowdy Liner Notes – 原田和典*, Leonard Feather Liner Notes [Translated By] – 林田ひめじ* Photography By [Cover Photo] – Hugh Bell Piano – Gene Harris Producer – Alfred Lion Recorded By [Recording By] – Rudy Van Gelder Notes Recorded on June 28, 1960. Barcode and Other Identifiers Barcode: 4988006688490 Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year The Three Moods (LP, Album, BLP 4044 Blue Note BLP 4044 US 1960 Sounds Mono) Blue Note, 84044, BST The Three Moods (LP, Album, 84044, BST Blue Note, US 1962 84044, ST-84044 Sounds RP) 84044, ST-84044 Blue Note The Three Moods (CD, Album, -
Blue Note Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963
Discography Of The Blue Note Label Blue Note was started in New York City in 1938 by Alfred W. Lion. Blue Note recorded jazz only. The following history of the Blue Note record label is from the Blue Note Website (bluenote.com). “In 1925, 16-year old Alfred Lion noticed a concert poster for Sam Wooding's orchestra near his favorite ice-skating arena in his native Berlin, Germany. He'd heard many of his mother's jazz records and began to take an interest in the music, but that night his life was changed. The impact of what he heard live touched a deep passion within him. His thirst for the music temporarily brought him to New York in 1928 where he worked on the docks and slept in Central Park to get closer to the music. On December 23, 1938, Lion attended the celebrated Spirituals to Swing concert at Carnegie Hall. The power, soul and beauty with which boogie woogie piano masters Albert Ammons and Meade Lux Lewis rocked the stage gripped him. Exactly two weeks later, on January 6 at 2 in the afternoon, he brought them into a New York studio to make some recordings. They took turns at the one piano, recording four solos each before relinquishing the bench to the other man. The long session ended with two stunning duets. Blue Note Records was finally a reality. The label's first brochure in May of 1939 carried a statement of purpose that Lion rarely strayed from throughout the many styles and years during which he built one of the greatest jazz record companies in the world.