DOCSLIB.ORG

Abdullah IBRAHIM: Peter IGELHOFF: Klaus IGNATZEK: IKS BIG BAND

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Abdullah IBRAHIM: "African River" Robin Eubanks -tb; John Stubblefield -ts,fl; Horace Alexander Young -ss,as,pic; Howard Johnson - tu,tp,bs; Abdullah Ibrahim -p; Buster Williams -b; Brian Abrahams -d; recorded June 01, 1989 in Englewood Cliffs, N.J. Abdullah Ibrahim aka Dollar Brand; see also there 59715 DUKE 88 8.14 Enja 79617 ------------------------------------------ Peter IGELHOFF: Peter Igelhoff -p,vo; mit kleinem Ensemble; recorded May 1937 in Berlin 105321 WENN ICH COWBOY WÄR 2.46 ORA 2010-2 Elec E.G.3969 Peter Igelhoff mit Ensemble; recorded January 1938 in Berlin 105351 NUR EIN VIERTELSTÜNDCHEN LIEBE 2.27 ORA 2578-1 Elec E.G.6216 Peter Igelhoff mit seinem Ensemble; recorded May 1938 in Berlin 105359 ICH WEISS SO VIEL VON DIR, ELISABETH 3.02 ORA 2910-1 Elec E.C.6352 Kurt Hohenberger -tp; Franz Thon, Kurt Wege -cl; Peter Igelhoff -p,vo; Georg Haentzschel -p; Hans Korseck -g; Rudi Wegener -b; Waldi Luczkowski -d; recorded April 1939 in Berlin 73304 RUF MICH AN 2.59 ORA3826-1 Elec EG6797 Peter Igelhoff mit seinem Ensemble; recorded May 1939 in Berlin 105384 WENN ICH EIN SCHLANGENBESCHWÖRER WÄR 2.33 ORA 3947-1 Elec E.G.6865 Peter Igelhoff mit seinem Ensemble; recorded September 1941 in Berlin 105528 FIPS DER PFEIFER 3.00 ORA 5231-4 Elec E.G.7214 ------------------------------------------ Klaus IGNATZEK: "Live in Switzerland" Steve Wagner -tp; Bobby Watson -as; Klaus Ignatzek -p; Dieter Ilg -b; Joe Police -d; recorded November 17, 1985 in Rubingen, CH 20615 BIRTHDAY NOVEMBER 14TH, 1954 9.57 Nabel 8627 20616 OLD LOVE, NEW LOVE 14.11 --- ------------------------------------------ IKS BIG BAND: "IKS Big Band" coll. personnel: Karen Perschke, Doris Kretzer, Lutz Dennerlein, Marie-Luise Mierisch, Bernhard Hain, Silvia Schmidt -sax; Matthias Lerch, Frank Ebert, Carsten Christgau, Martin Mierisch -tb; Björn Diehl, Christian Vogt, Andreas Kämpf, Jessica Manthey, Patrick Verhée -tp; Stefan Röder -p; Helmut Scholz -g; Sebastian Klose, Geeke Sieben -b; Thomas Bachmann, Florian Hermann -d; Kristina Blaha, Carsten Christgau, Matthias Vogt -vo; Heinz-Dieter Sauerborn -dir, as; Horst Aussenhof -ldr; recorded January and March 2001 in HR- Tonstudio, Frankfurt/M IKS = Immanuel Kant Schule 72495 ONE O'CLOCK JUMP (mlm -ts; fe -tb,voice; kp -as; cv -tp; gs -b;) 4.34 72496 HONEYSUCKLE ROSE (kb -vo;) 2.28 72497 DON'T GET AROUND MUCH ANYMORE (cp -tb;) 2.59 72498 WALKIN' MY BABY BACK HOME (mv -vo;) 2.29 72499 TAKE THE 'A'- TRAIN (cp -tb; hds -as; hs -g;) 6.32 72500 I GOT IT BAD AND THAT AIN'T GOOD (kp -as;) 3.27 72501 BLACK NIGHTGOWN (bh -bs; cp -tb; bd -tp;) 3.50 72502 LADY BE GOOD (kb -vo;) 3.16 72503 DAT DERE (kp -as; cv -tp; sk -b;) 5.53 72504 ALL RIGHT, OKAY YOU WIN (cc -vo;) 2.29 72505 OVER THE RAINBOW (kb -vo;) 4.36 ------------------------------------------ Masaru IMADA: "Green Caterpillar" Masaru Imada -p; Isoo Fukui -b; Tetsujiro Obara -d; Kazumi Watanabe -g; Yuji Imamura -perc recorded January 20 and 22, 1975 in Tokyo 1724 A GREEN CATERPILLAR 11.24 Three Blind Mice TBM 39 1725 STRAIGHT FLASH 10.27 --- 1726 BLUE IMPULSE 10.28 --- 1727 SPANISH FLOWER 11.15 --- "One for Duke" Masaru Imada -p; Isoo Fukui -b; Tetsujiro Obara -d; recorded May 27, 1975 in Tokyo 4344 SOPHISTICATED LADY 4.55 Three Blind Mice TBM47 4345 IN A SENTIMENTAL MOOD 4.49 --- 4346 SATIN DOLL 7.58 --- 4347 ONE FOR DUKE 6.25 --- 4348 BLUE RAIN 6.55 --- 4349 STEVIE 7.48 --- "Remember of Love" Masaru Imada -kb; Mitsuaki Furono -b; Takuji Kusumoto -d; Yuji Imamura -perc; recorded February 18, 1978 in Tokyo 1720 MAKI 5.03 Three Blind Mice TBM 5007 1721 REMEMBER OF LOVE 8.52 --- 1722 SEA WEEDS 7.58 --- 1723 LITTLE STEP 8.02 --- ------------------------------------------ Masato IMAZU: "He said..." Mitsukuni Kohata -tp; Hidefumi Toki -as; Masato Imazu -sax; Yohiaki Miyanoue -g; Hideaki Yosioka -p; Tsutomu Numakami -b; Kuniyoshi Yashiro -d; recorded August 15 to 17, 1990 in Tokyo 46260 HE SAID, 'WAHADO' 8.55 Funhouse FHCF-1082 46261 SONG FOR K.F. 6.03 --- 46262 FRAGRANT OLIVE 7.04 --- 46263 GREEN STRIPE 8.26 --- 46264 WINTER MOON 6.46 --- 46265 NO KID 8.55 --- ------------------------------------------ The IMPERIAL BAND: "Svensk Jazzhistoria 9/3" Christer Fellers -tp; Ralph Wandler -tb; Örjan Kjellin -cl; Lars Ivar Edegran -p; Ingemar Wistrand -bj; Guy Öhrström -b; Krister Ohlsson -d; recorded September 21, 1963 in Stockholm 73846 BOUNCING AROUND 2.43 Pirate MPA708 ------------------------------------------ Peter IND: "Peter Ind Sextet" Chas Burchell -ts,fl; Derek Phillips -g; Gray Allard -ts; Dave Cliff -g; Bernard Cash -pfl,b; Peter Ind - b; recorded January 1975 in London, 'Seven Dials' 44638 CRAZY SHE CALLS ME 4.24 Wave LP13 Chas Burchell -ts,fl; Derek Phillips -g; Gray Allard -ts; Dave Cliff -g; Bernard Cash -pfl,b; Peter Ind - b; recorded February 16, 1975 in Knighton,England 44629 UNQIET SOUL 3.52 --- 44630 OFFA'S DYKE WALK 7.30 --- 44631 STARLIGHT 4.27 --- 44632 KARY'S TRANCE 5.41 --- 44633 FISHIN' AROUND 3.43 --- 44634 TRYST 3.39 --- 44635 SWEET GEORGIA BROWN 7.20 --- 44636 FOOLS RUSH IN 3.40 --- 44637 SAL'S LINE 4.01 --- 49844 OUTLET 3.59 --- ------------------------------------------ Keith INGHAM: Scott Robinson -ts; Keith Ingham -p; James Chirillo -g; Murray Wall -b; Arnie Kinsella -d; recorded May 1994 in New York 72493 IF THERE IS SOMEONE LOVELIER THAN YOU 4.12 Jump JCD12-19 ------------------------------------------ INK SPOTS: Charles Fuqua -vo,g,uke; Ivory Watson -vo,g; Orville Jones -vo,b; recorded May 12, 1936 in New York 71972 TAIN'T NOBODY'S BUSINESS IF I DO 2.56 61105 De 817 Charles Fuqua -vo,g,uke; Ivory Watson -vo,g; Orville Jones -vo,b; recorded June 18, 1936 in New York 59897 OLD JOE'S HITTIN' THE JUG 3.13 61189 De 883 "The Ink Spots" Charles Fuqua -vo,g,uke; Ivory Watson -vo,g; Orville Jones -vo,b; recorded February 05, 1937 in New York 63522 DON'T LET THE OLD AGES CREEP UPON YOU 2.36 61582 De 1731 Charles Fuqua -vo,g,uke; Ivory Watson -vo,g; Orville Jones -vo,b; recorded April 09, 1937 in NYC 60697 WHOA BABE 2.24 62120 De 1236 Charles Fuqua -vo,g,uke; Ivory Watson -vo,g; Orville Jones -vo,b; recorded 1938 66284 IN THE EVENING 3.08 Charles Fuqua -vo,g,uke; Ivory Watson -vo,g; Orville Jones -vo,b; recorded March 25, 1938 in New York 63720 THAT CAT IS HIGH 2.55 63495 De 1789 Ella Fitzgerald, The Ink Spots -vo; Johnny McGhee -tp; Bill Doggett -p; Bernie MacKay -g; Bob Haggart -b; Johnny Blowers -d; recorded November 03, 1943 in New York 15895 COW COW BOOGIE 2.52 71482-A De 18487 No Details; rec. probably 1943 15894 DON'T BELIEVE EVERYTHING YOU DREAM 3.14 Charles Fuqua -vo,g,uke; Ivory Watson -vo,g; Orville Jones -vo,b; recorded 1949 63750 IF I DIDN'T CARE 3.02 ------------------------------------------ The INK SPOTS: Charles Fuqua -vo,g,uke; Ivory Watson -vo,g; Orville Jones -vo,b; recorded June 18, 1936 in New York 69474 KEEP AWAY FROM MY DOORSTEP 2.53 61190 De 1036 Charles Fuqua -vo,g,uke; Ivory Watson -vo,g; Orville Jones -vo,b; recorded 1937 in New York 69547 WITH A PLENTY OF MONEY AND YOU 2.53 ------------------------------------------ The INTERNATIONAL TRIO: The International Trio: no details; recorded 2004 96711 QUA-TI BLUES 3.43 Jazz I Like 06 ------------------------------------------ INT'L SWEETHEARTS OF RHYTHM: Tiny Davis, Ray Carter, Mim Polak, Johnnie Mae Stansbury -tp; Helen Jones, Ina Belle Byrd, Jean Travis -tb; Anna Mae Winburn -reeds,ldr; Vi Burnside, Ros Cron, Willie Mae Wong, Grace Bayron, Helen Saine -reeds; Johnnie Mae Rice -p; Trump Margo Gibson -b; Pauline Braddy -d; recorded 1945 in AFRS Jubilee program, prob. Hollywood 53559 GALVANIZING 3.29 Rosetta RR1312 53560 SWEET GEORGIA BROWN 2.06 --- 53561 CENTRAL AVENUE BOOGIE (Anna_Mae Winburn -vo;) 2.13 --- 53562 BUGLE CALL RAG 2.50 --- 53563 SHE'S CRAZY WITH THE HEAT 2.34 --- 53566 LADY BE GOOD 3.55 --- 53567 GIN MILL SPECIAL 2.55 --- 53568 HONEYSUCKLE ROSE 2.27 --- 53570 DIGGIN' DIRT 2.45 --- 53572 TUXEDO JUNCTION 3.01 --- 53574 ONE O'CLOCK JUMP (+ Armed Forces Radio Orchestra;) 2.31 --- Tiny Davis, Johnnie Mae Stansbury, Nova Lee McGee, Flo Dreyer -tp; Helen Jones, Jean Travis, Ina Belle Byrd -tb; Anna Mae Winburn -reeds,ldr; Vi Burnside, Willie Mae Wong, Colleen Murray, Myrtle Young, Jacqueline Dexter -reeds; Jackie King -p; Carline Ray -g; Edna Smith -b; Pauline Braddy -d; recorded October 14, 1946 in New York 53564 JUMP CHILDREN (Tiny Davis -vo;) 2.51 --- 53565 VI VIGOR 2.55 --- 53569 THAT MAN OF MINE (Anna_Mae Winburn -vo; /*****/) 3.06 --- 53571 DON'T GET IT TWISTED 3.03 --- 53573 SLIGHTLY FRANTIC 3.09 --- ------------------------------------------ IRAKERE: No details; recorded November 01, 1986 in Berlin 20816 JUANA 1600 5.42 Aircheck 20817 LA CONTRA DANSA 19.30 --- 20818 STELLA BY STARLIGHT 10.16 --- 20819 THE DUKE 16.48 --- ------------------------------------------ Chuck ISRAELS: Chuck Israels -b; Manuel Rocheman -p; Simon Goubert -d; recorded September 28, 2007 in Aircheck Sunside, Paris 88965 BLUES IN THE NIGHT 3.47 --- 88966 KOKO 5.06 --- 88967 MY ROMANCE 6.29 --- 88968 MOONLIGHT IN VERMONT 7.45 --- 88969 WALKIN' 8.08 --- 88970 WILLOW WEEP FOR ME 9.53 --- 88971 ON GREEN DOLPHIN STREET 7.03 --- 88972 CLAUDE CARRIERE AND JEAN DELMAS TALK WITH CHUCK ISRAELS 12.58 --- 88973 NINE-TWENTY SPECIAL 7.05 --- 88974 BLUES BY DESIGN 5.34 --- 88975 LONELY WOMAN (u.m. fl;) 6.39 --- 88976 SOCIAL CALL 6.22 --- 88977 BODY AND SOUL 5.52 --- 88978 BYE BYE BLACKBIRD 7.09 --- 88979 NARDIS 6.02 --- 88980 I'LL REMEMBER APRIL 7.10
Recommended publications
  • Jazz Record Buyer's Guide

    Jazz Record Buyer's Guide

    Chicago youngsters who dug Oliver, Noone, a Middle Eastern flavor; Flamenco and All Schroeder, piano; Milt Hinton bass; Cliff I . cmu Panama Francis, drums. and Armstrong on the south side. Blues reflect ■ strong Ravel influence. Rating: + Ar + lhe two instrumentalists who seem to Flamenco and Freeloader are both blues, This is a new label stemming from stand out on these sides and whose plating but each is of a different mood and con­ Grand Award and commandeered bv for­ is good listening, regardless of the year, ception Sketches is in (i/8. which achieves mer commercial bandleader Enoch I ight. arc Russell and Freeman Otherwise, as a rolling, highly charged effect, while Free­ There is definite concentration on an effort Thomas Wolfe said, "you can't go home loader is more in the conventional blues to improve sound reproduction, sound again. ’ Even musically. l he jazz excite­ vein, l he presence of kellv on / rceloader fidelity is achieved with multiple tvpes of ment is gone unless vou coniine your in- mav account partly for the difference be- microphones, custom typing the mikes to terest statistically to a period, certain tween the two. the particular instruments. jazz soloists exclusively. And that is not Miles’ 'playing throughout thc album is Doolev is a well known Dixieland horn too rewarding. poignant, sensitive, and, at times, almost man around New \otk who has bis own the The thing that amazes is that in morose:. his linear concept never falters. band, lhe striking back feature apparent­ two pictures on the back of the album Coltrane has some interesting solos; his ly is a crack at such bands as the Dukes cover, Condon looks younger in 1959 than angrv solo on Freeloader is in marked con­ of Dixieland that have made n on sound he did in 1939.
  • Chris Dempsey

    Chris Dempsey

    August 2007 Issue No. 150 13 Years Serving the Jazz Community 15TH ANNUAL ERIE ART MUSEUM JAZZERIE BLUES & JAZZ FESTIVAL MEMBERSHIP Saturday, August 4 and Sunday, August 5 -Its Time to Renew!!! Frontier Park - Noon til 10 p.m each day August is the month to renew your SCHEDULE Headliner for JazzErie membership, which will expire this day of jazz (8:00 on Sept. 1, 2007. You can return the Saturday, August 4 – Blues day – 10:00 PM) is the membership form on the back of this Rashied Ali Quintet. Newsletter, along with your check, to 12:00 noon – Family performance, the address shown. Or you can get a featuring the Erie African Dance Ali’s bio membership at the JazzErie booth at the Troupe Sylla Kundla describes him as Erie Art Museum Blues & Jazz Festival “A progenitor and this month. (If you renewed or joined 2:00 PM – Familiar Spirit Band leading exponent last month, ignore this notice.) of multidirectional 4:00 PM – Geoff Achison rhythms.polytonal You subscription to News Notes will percussion.” With a resume that includes continue through October, and possibly 6:00 PM – Lil’ Ed and the Blues creative excursions with such musical November, but will end then. You will Imperials free spirits as Don Cherry, Pharoah not be eligible for concert admission discounts after Sept. 1. 8:00 PM – Junior Brown Sanders, Paul Bley, Archie Shepp and Albert Ayler, who’s going to argue? Oh This is you annual opportunity Sunday, August 5 – Jazz day yes, and most especially there was an to refresh your support of Erie’s jazz extended stint with John Coltrane, joining community.
  • Coronet 1956-1962

    Coronet 1956-1962

    AUSTRALIAN RECORD LABELS THE CORONET LABEL 1956–1962 COMPILED BY MICHAEL DE LOOPER OCTOBER 2019 CORONET, 1956–1962 THE CORONET LABEL MADE ITS DEBUT IN JANUARY 1956. PRIOR TO ITS ACQUISITION BY A.R.C., TITLES FROM THE U.S. COLUMBIA CATALOGUE WERE RELEASED IN AUSTRALIA THROUGH PHILIPS RECORDS. CORONET KLC CLASSICAL 12” AND KGC 7” EP’S ARE NOT LISTED HERE CORONET KP SERIES 78’S KP-001 BIBLE TELLS ME SO / SATISFIED MIND MAHALIA JACKSON 2.56 KP-002 OOH BANG JIGGILY JANG / JIMMY UNKNOWN DORIS DAY 1.56 KP-003 MAYBELLINE / THIS BROKEN HEART OF MINE MARTY ROBBINS 1.56 KP-004 I WISH I WAS A CAR / REMEMB'RING PETER LIND HAYES 4.56 KP-005 BONNIE BLUE GAL / BEL SANTE MITCH MILLER AND HIS ORCHESTRA 3.56 KP-006 SIXTEEN TONS / WALKING THE NIGHT AWAY FRANKIE LAINE 1.56 KP-007 PIZZICATO WALTZ / SKIDDLES GEORGE LIBERACE & HIS ORCHESTRA 2.56 KP-008 HEY THERE! / WAKE ME ROSEMARY CLOONEY KP-009 HEY THERE! / HERNANDO'S HIDEAWAY JOHNNIE RAY KP-010 BAND OF GOLD / RUMBLE BOOGIE DON CHERRY 3.56 KP-011 MEMORIES OF YOU / IT'S BAD FOR ME ROSEMARY CLOONEY KP-012 LEARNING TO LOVE / SONG OF SEVENTEEN PEGGY KING KP-013 TELL ME THAT YOU LOVE ME / HOW CAN I REPLACE YOU TONY BENNETT 2.56 KP-014 TOUCH OF LOVE / WITH ALL MY HEART VAL VALENTE 1.56 KP-015 WHO'S SORRY NOW? / A HEART COMES IN HANDY JOHNNIE RAY 2.56 KP-016 TAKE MY HAND / HAPPINESS IS A THING CALLED JOE JERRI ADAMS 6.56 KP-017 JOHNNIE'S COMIN' HOME / LOVE, LOVE, LOVE JOHNNIE RAY 1.56 KP-018 LET IT RING / LOVE'S LITTLE ISLAND DORIS DAY KP-019 LAND OF THE PHARAOHS / THE WORLD IS MINE PERCY FAITH AND HIS ORCHESTRA
  • Bb King Solo Transcription

    Bb King Solo Transcription

    Bb King Solo Transcription Ruperto usually globe-trots wherefor or outputs tomorrow when ichthyophagous Tomkin popple elementally and digressively. Eliminative and interferometric Val freewheels, but Anders proscriptively upturn her epilogs. Engelbart misgovern northerly while extrovert Andres barbequed unpitifully or overglanced instrumentally. Download foundation hall of bb continued strengthening his solos as the transcriptions on the blues soloing lines and body should sound. Classic blues quite the guitar playing great man responsible for this page for saxophone music jazz orchestras, and can always different styles of all! The transcriptions archive? Guitar transcription i made by the transcriptions are a vocal chart table of king cole because it features a rock music? Pepper carries the blues, ibanez tube screamer, vocal chart jazz. Again in this is the pdf sheet music for the solo collection until the. Fancy a guitarist you download with the minor blues soloing with lyrics, handmade pieces by. The bb b b b flat blues rhythm tribute band at crafting interesting facts and bb king elements of the licks out learning. The solos by joseph kosma and soloing lines that jazz standards for accordion improvisation is a soloist, king line is. Handslide models are free. We solo transcription transcribed from congo to play basic chord. Sheet music transcriptions: kent hewitt transcription to be practice in bb king of these solos are committed to william tell you can sort by carles margarit. Unlike jazz transcriptions available to spot in bb king, solos by misc you. It for bb king solo transcriptions. Delbert mcclinton song, transcriptions on guitar soloing, johnny mercer in music? Advertising fees by.
  • Charles Mingus, Jazz and Modernism

    Charles Mingus, Jazz and Modernism

    Charles Mingus, Jazz and Modernism by: Philippe Latour Schulich School of Music McGill University, Montreal December 2012 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts in Musicology. © Philippe Latour 2012 Table of Content Abstracts ----------------------------------------------------------- ii Acknowledgements ----------------------------------------------------------- iv Chapter 1 ----------------------------------------------------------- 1 Introduction Chapter 2 ----------------------------------------------------------- 15 Jazz Modernism Chapter 3 ----------------------------------------------------------- 45 Mingus‟ Conception of Jazz Conclusion ----------------------------------------------------------- 63 Bibliography ----------------------------------------------------------- 66 Appendices ----------------------------------------------------------- 71 i Abstracts The purpose of this thesis is to explore the diverse discourses of modernism in jazz at mid-century in relation to the work of Charles Mingus. What was meant by modern jazz in Mingus‟ time? How was his music, as well as his life as a jazz musician and composer, affected by discourses of modernism? Modernism was used in the jazz field as a discourse to elevate jazz from its role as entertainment music into a legitimate art form. In its transfer from European art music to African-American jazz, the concept of aesthetic modernism retained most of its signification: it was associated with the notions of progress, of avant-gardism, and, eventually, of political militancy; and all these notions can be found in multiple forms in Mingus‟ work. This thesis defines the concept of modern jazz as it was used in the jazz press in the 1950s and 1960s in relation to the critical discourse around Afro-modernism as well as in relation with Mingus‟ conception of himself as a composer. L’objectif de ce mémoire est d’explorer les différents discours sur le modernisme et le jazz des années 1950 et 1960 en relation avec l’œuvre de Charles Mingus.
  • Old Guard in the Shadow of Free Jazz: Avant-Garde Jazz

    Old Guard in the Shadow of Free Jazz: Avant-Garde Jazz

    OLD GUARD IN THE SHADOW OF FREE JAZZ: AVANT-GARDE JAZZ AND THE POLITICS OF RACE FROM 1955 TO 1965 Master’s Thesis in North American Studies Leiden University By Milos Rojko S1599917 15 March 2016 Supervisor: Prof. dr. Adam Fairclough Second reader: Dr. Johanna C. Kardux Rojko 2 Contents Introduction......................................................................................................................................3 Chapter 1: The Old Guard..............................................................................................................13 Chapter 2: “We Insist!”: The Old Guard and Free Jazz Address the Politics of Race..................18 Chapter 3: The Causes of Change in Free Jazz’s Involvement in the Politics of Race................44 Conclusion.....................................................................................................................................54 Bibliography..................................................................................................................................58 Rojko 3 Introduction America, as a hub of many distinct cultures, brought together European and African music traditions to create something utterly different in the process. Following the Emancipation Proclamation of 1863, blues songs started to emerge from the Deep South. Blues was a cultural response to the newly-acquired freedom of African Americans. This music echoed the centuries of African American slavery and discrimination. Blues commonly referred to the topical events of the post-Reconstruction
  • Success at College Jazz & General Music Auditions

    Success at College Jazz & General Music Auditions

    Success at College Jazz & General Music Auditions: Process Practical advice by Jeff Rupert,Director of Jazz Studies, University of Central Florida Prior to an Audition Minority by Gigi Gryce. Minor and major tonalities, ter- It’s okay for a student to email or call a director/audition- tian harmony. er to ask for specifics. Check the website first; they will Softly as in a Morning Sunrise allows for modal ap- most likely be directed there. proaches on the A sections, with tertian harmony on the Be leery if the student is not invited on campus prior to bridge. the audition. Yardbird Suite by Charlie Parker. Major harmony on the A sections, minor tonalities using a minor chord as a i or Day of the Audition: What To Expect ii chord on the bridge. Usually there is some sort of general meeting prior to au- Half Nelson. Great tune for tertian harmony and decep- ditions. Parents get information. Often there are adminis- tive cadences. trators and counselors there to answer varied questions. Joy Spring by Clifford Brown. Cadential harmony in three keys. The Simple Things Get a Student Off To a Good Start! Set up and warm up prior to entering audition. Scale Studies Dress neatly. Major Shake hands and look people in the eye. Minor (jazz “melodic” and harmonic) Blow/play a couple notes – it’s okay! Get to business. Optional but Important Bebop Scales 7th scale The Audition Bebop major The audition itself is usually short (10 minutes). Bebop minor (Barry Harris refers to this as the minor 6 Auditions include a prepared piece or two.
  • TJEA NEWSLETTER May 2020.Pdf

    TJEA NEWSLETTER May 2020.Pdf

    Texas Jazz Educators Association Newsletter Highlighting Jazz Activities in the State of Texas May 2020 THE PRESIDENT’S . MESSAGE Dear TJEA Members, I hope this newsletter finds you well. It has been an honor and pleasure serving as TJEA President this past year. Since I joined TJEA as a general member I have witnessed growth every year in jazz education in our state. It has been inspiring to see accomplishments like adding the 2nd All-State Jazz Band, Invited HS & MS Jazz groups, TJEA Hall of Fame, and now, hosting our Symposium at TMEA. I'm excited to see what TJEA will do next! As I sit here and write this letter on International Jazz Day, I can't help but reflect on some of the giants we Sam Houston State University Jazz Ensemble’s latest CD. recently lost in the jazz community as well as those who are currently fighting for their lives. I hope you all have found some silver linings during these times INSIDE THIS EDITION and are taking the time to enjoy your families. We all know family time is precious in our profession. Essentially Ellington participants………………….p.2-3 Temple HS at JEN – New Orleans…………….….p. 3-6 I would like to thank and congratulate our President- Plano West – Downbeat awards…………....….…..p. 7 Elect Mark DeHertogh on organizing a fantastic Clear Lake HS online………………………………....pp. 7-8 Symposium this past February. All clinicians, Distance Learning-David Guidi…………………pp. 9-10 instrumental and vocal, were fantastic. Thank you to Angelina College……….…………….............…pp. 11-12 everyone who worked behind the scenes to make this TJEA – TMEA latest news………………………………p.
  • The 3Rd Annual Mid-Atlantic Jazz Festival

    The 3Rd Annual Mid-Atlantic Jazz Festival

    February, 2012 Issue 340 jazz &blues report now in our 38th year The 3rd Annual February 2012 • Issue 340 Nicholas Payton Mid-Atlantic Jazz Festival The 3rd Annual Mid-Atlantic Jazz Festival By Ron Weinstock Editor & Founder Bill Wahl Layout & Design Bill Wahl Operations Jim Martin Pilar Martin Contributors Michael Braxton, Mark Cole, Dewey Forward, Nancy Ann Lee, Peanuts, Wanda Simpson, Mark Smith, Dave Sunde, Joerg Unger, Duane Verh, Emily Wahl and Ron Weinstock. Check out our constantly updated website. Now you can search for CD Reviews by artists, titles, record Photo by Martin Philbey labels, keyword or JBR Writers. 15 years of reviews are up and we’ll be going all the way back to 1974. Comments...billwahl@ jazz-blues.com Web www.jazz-blues.com Copyright © 2012 Jazz & Blues Report No portion of this publication may be re- produced without written permission from the publisher. All rights Reserved. Founded in Buffalo New York in March of 1974; began in Cleveland edition in April of 1978. Now this global e-zine edition is posted online monthlyat www.jazz-blues. com Paul Carr As I write, it is about 5 weekends from the 3rd Annual Mid-Atlantic Jazz Festival. The Mid-Atlantic Jazz Festival revives the legacy of the East Coast Jazz Festival that ran for 15 years starting in 1992. The ECJF originated in honor of Elmore “Fish” Middleton, a Washington, DC jazz radio programmer, whose commitment to promoting jazz music and supporting emerging jazz www.jazz-blues.com artists became the guiding principle behind the festival. The driving force of the ECJF was the late Ronnie Wells, a Washington DC jazz icon.
  • PAUL CHAMBERS Bakalárska Práca

    PAUL CHAMBERS Bakalárska Práca

    JANÁČKOVÁ AKADEMIE MÚZICKÝCH UMĚNÍ V BRNE Hudební fakulta Katedra jazzové interpretace Hra na kontrabas PAUL CHAMBERS Bakalárska práca Autor práce: Vladimír Micenko Vedúci práce: BcA Rastislav Uhrik Oponent práce: BcA Jaromír Honzák Brno 2014 Bibliografický záznam: Micenko, Vladimír. Paul Chambers Brno: Janáčková akademie múzických uměni v Brne, Hudební fakulta, Katedra jazzové interpretace, rok 2014 (24 stran) Vedúci diplomovej práce BcA, Rastislav Uhrik. Anotácia: Diplomová práca „Paul Chambers“ zahrňuje život, dielo a hráčske umenie kontrabasisty Paula Chambersa. Annotation: Diploma thesis „Paul Chambers“ include life, work and the art of playing of the basist Paul Chambers. Kľúčové slová : Paul Chambers, jazz, univerzalita Keywords: Paul Chambers, jazz, universality Prehlásenie: Prehlasujem, že som svoju prácu spracoval samostatne a použil iba pramene a literatúru, ktoré sú v nej uvedené. V Brne, dňa 26. apríla 2014 Vladimír Micenko Obsah: Úvod...................................................................................................1 1.Zhodnotenie prameňov a literatúry....................................3 1.1 Nahrávky........................................................................................3 1.2 Transkripcie...................................................................................4 1.3Literatúra o P. Chambersovi...........................................................4 2. Začiatky a kariera v NYC....................................................5 2.1 Chambers a rytmické sekcie..........................................................8
  • The Sacramento/San Joaquin Literary Watershed": Charting the Publications of the Region's Small Presses and Regional Authors

    The Sacramento/San Joaquin Literary Watershed": Charting the Publications of the Region's Small Presses and Regional Authors

    "The Sacramento/San Joaquin Literary Watershed": Charting the Publications of the Region's Small Presses and Regional Authors. A Geographically Arranged Bibliography focused on the Publications of Regional Small Presses and Local Authors of the Sacramento and San Joaquin Valleys and Sierra Nevada. Second Edition. Revised and Expanded. John Sherlock University of California, Davis 2010 1 "The Sacramento/San Joaquin Literary Watershed": Regional Small Presses and Local Authors of the Sacramento and San Joaquin Valleys and Sierra Nevada TABLE OF CONTENTS. PUBLICATIONS OF REGIONAL SMALL PRESSES. Arranged Geographically by Place Of Publication. A. SACRAMENTO VALLEY SMALL PRESSES. 3 - 75 B. SAN JOAQUIN VALLEY SMALL PRESSES. 76 - 100 C. SIERRA NEVADA SMALL PRESSES. 101 - 127 D. SHASTA REGION SMALL PRESSES. 128 - 131 E. LITERARY MAGAZINES - CENTRAL VALLEY 132 - 145 F. LITERARY MAGAZINES - SIERRA NEVADA. 146 - 148 G. LOCAL AND REGIONAL ANTHOLOGIES. 149 - 155 PUBLICATIONS OF REGIONAL AUTHORS. Arranged Alphabetically by Author. REGIONAL AUTHORS. 156 - 253 APPENDIXES I. FICTION SET IN THE CENTRAL VALLEY. 254 - 262 II. FICTION SET IN THE SIERRA NEVADA. 263 - 272 III. SELECTED REGIONAL ANTHOLOGIES. 273 - 278 2 Part I. SACRAMENTO VALLEY SMALL LITERARY PRESSES. ANDERSON. DAVIS BUSINESS SERVICES (Anderson). BLACK, Donald J. In the Silence. [poetry] 1989 MORRIS PUB. (Anderson). ALDRICH, Linda. The Second Coming of Santa Claus and other stories. 2005 RIVER BEND BOOKS (Anderson, 1998). MADGIC, Bob. Pursuing Wilds Trout: a journey in wilderness values. 1998 SPRUCE CIRCLE PRESS (Anderson, 2002-present?). PECK, Barbara. Blue Mansion & Other Pieces of Time. 2002 PECK, Barbara. Vanishig Future: Forgotten Past. 2003 PECK, Barbara. Hot Shadows.: whispers from the vanished.
  • The Bordogni Jazz Project

    The Bordogni Jazz Project

    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 6-29-2021 An Introduction to Jazz Performance Skills and Techniques for Trombone: The Bordogni Jazz Project William Ford Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Ford, William, "An Introduction to Jazz Performance Skills and Techniques for Trombone: The Bordogni Jazz Project" (2021). LSU Doctoral Dissertations. 5575. https://digitalcommons.lsu.edu/gradschool_dissertations/5575 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. AN INTRODUCTION TO JAZZ PERFORMANCE SKILLS AND TECHNIQUES FOR TROMBONE: THE BORDOGNI JAZZ PROJECT A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by William Ford B.M., James Madison University, 2016 M.M., Western Michigan University, 2018 D.M.A, Louisiana State University, 2021 August 2021 ACKNOWLEDGMENTS I would like to express my special thanks of gratitude to my major professor, Dr. Hana Beloglavec, as well as the other members of my doctoral committee, Professor Seth Orgel, Professor Doug Stone, and Dr. Gundela Hachmann who have been an immeasurable source of information and guidance throughout this project.