DOCSLIB.ORG

Astrud Gilberto

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Astrud Gilberto Стр. 1 из 232 Часть II Оглавление Jan Garbarek.....................................................................................................3 Erroll Garner (1921-1977) ...............................................................................6 Кенни Гарретт ...............................................................................................12 Stan Getz..........................................................................................................13 Astrud Gilberto ...............................................................................................22 Joao Gilberto ...................................................................................................23 Dizzy Gillespie .................................................................................................25 Egberto Gismonti (Эгберто Джисмонти)....................................................34 Benny Goodman..............................................................................................36 Dexter Gordon.................................................................................................49 Dave Grusin (Дэйв Грузин) ..........................................................................55 Buddy Guy.......................................................................................................58 Steve Guyger....................................................................................................63 ДЖОРДЖ ГЕРШВИН, (1898-1937)............................................................64 Grant Green.....................................................................................................71 Spyro Gyra.......................................................................................................73 Charlie Haden .................................................................................................77 Chico Hamilton ...............................................................................................82 Herbie Hancock...............................................................................................85 Hargrove Roy ..................................................................................................91 Lalah Hathaway ..............................................................................................93 Hampton Hawes ..............................................................................................95 Coleman Hawkins ...........................................................................................96 Johnny Hodges ..............................................................................................103 Billie Holiday (Билли Холидей) .................................................................107 Dave Holland (Дэйв Холланд)....................................................................116 John Lee Hooker ...........................................................................................118 Lightnin' Hopkins (Лайтнинг Хопкинс) ..................................................127 Lena Horne (Lena Mary Calhoun Horne) .................................................133 Стр. 2 из 232 Milt Jackson (Милт Джексон)....................................................................142 Ahmad Jamal - (Fritz Jones) .......................................................................146 Bob James ......................................................................................................153 Etta James......................................................................................................156 Al Jarreau ......................................................................................................158 Harry James ..................................................................................................161 Keith Jarrett ..................................................................................................162 Antonio (Tom) Carlos Jobim .......................................................................167 Jenis Joplin ....................................................................................................174 Candye Kane .................................................................................................176 Kenny G .........................................................................................................177 Stan Kenton ...................................................................................................182 Barney Kessel ................................................................................................188 Albert King (Альберт Кинг).......................................................................190 B. B. King.......................................................................................................198 Koko Taylor...................................................................................................206 Dave Koz ........................................................................................................209 Алексей Козлов............................................................................................213 Diana Krall ....................................................................................................214 Gene Krupa ...................................................................................................217 Bireli Lagrene................................................................................................221 Latin Jazz (Латиноамериканский джаз) .................................................224 John Lewis .....................................................................................................228 Eddy Louiss ...................................................................................................231 Joe Lovano.....................................................................................................232 Стр. 3 из 232 Jan Garbarek Дата рождения: 4 марта, 1947, Мисен, Норвегия Жанр: Джаз Стиль: Post-Bop, New Age Инструменты: Sax (Tenor), Sax (Soprano), Flute Фирмы звукозаписи: ECM (30) Норвежский саксофонист Ян Гарбарек, c его холодным и пространственным звучанием, стал пионером и, фактически, "визитной карточкой" компании "ECM", самого производительного издательства тончайших и красивейших звуков современной музыки. Ян Гарбарек был вторым по счету музыкантом, после пианиста Мэла Уолдруна, записавшим свой альбом под знаком этой, тогда еще малоизвестной фирмы. В 1962 году в возрасте 17 лет Гарбарек стал победителем конкурса непрофессиональных джазовых исполнителей. Тогда он находился под большим влиянием исполнительской манеры игры Джона Колтрейна. Скандинавия была в то время "землей обетованной" для американских джазовых музыкантов. Гарбарек имел возможность слушать таких корифеев как Декстер Гордон, Бен Вебстер, Джонни Гриффин. В 1966 году он получил возможность играть с Донном Черри, чьи уникальные джазовые интерпретации мировых фольклорных традиций оказали существенное влияние на молодого саксофониста. Однако наиболее важным в этот формирующий период было сотрудничество с американским композитором и пианистом Джорджем Расселом. Рассел увидел выступление Гарбарека на фестивале в Molde в 1965 году и пригласил восемнадцатилетнего саксофониста в свой оркестр. Гарбарек погрузился в изучение "Лидийской хроматической концепции" Рассела и принял участие в записи нескольких проектов композитора, некоторые из которых изданы только в последнее время. В 1969 году Мanfred Eicher в процессе основания ECM, пригласил Гарбарека записываться под знаком этой фирмы. Альбом "Afric Pepperbird" был записан в 1970 и сразу же принес международное признание саксофонисту и его коллегам по группе. В Норвегии музыкальные критики до сих пор называют Гарбарека, Терье Рипдаля, Арилд Андерсена и Йона Кристинсена "Большой Четверкой". К 1970 Гарбарек освободился от музыкального влияния Колтрейна. Начался новый этап его музыкальной биографии. На ранних записях для ECM Гарбарек рассматривал альбом "Triptykon", записанный в 1972 году, как поворотный момент в своей музыкальной карьере. Звучание трио с Арилд Андерсеном и Эдвардом Весала напоминало усовершенствованное звучание европейского Ayler Trio середины 60-х, но мастерское исполнение баллад и средневековой лирики вполне можно отнести к новому этапу развития современной музыки. Кроме того, эта запись впервые отражала пример обращения Гарбарека к норвежской народной музыке, ставшей источником вдохновения при создании новых проектов. Гарбарек начал записываться на ECM в начале 70-х и, хотя он имел возможность играть с Чиком Кориа и Доном Черри, его сотрудничество с европейским квартетом Кита Стр. 4 из 232 Джаррета в середине 70-х принесло ему широкую известность, главным образом благодаря участию в записи альбомов "My Song" и "Belonging". В 1980 году группа Гарбарека включала в себя басиста Эберхарда Вебера и в разные времена - гитаристов Билла Фризела и Дэвида Торна. Гарбарек, чей звук практически не изменился с 1970, сотрудничал с "Hilliard Ensemble" (вокальный квартет, исполняющий музыку в стиле Ренессанс) в 1993 и результатом стал выход на удивление популярного альбома. Альбом "Visible World" последовал в 1995, а спустя 4 года он неожиданно выпустил альбом "Rites" ("Ритуалы"). Это уже 22-й проект под знаком ECM. Альбом вызвал заметное оживление в музыкальной прессе Европы и Америки. На этот раз Гарбарек создал обширнейшую коллекцию звуков разных стран и построил из них широчайшие музыкальные панорамы. В апреле 1999
Load more

Recommended publications
  • The Carroll News
    John Carroll University Carroll Collected The aC rroll News Student 10-6-1982 The aC rroll News- Vol. 67, No. 3 John Carroll University Follow this and additional works at: http://collected.jcu.edu/carrollnews Recommended Citation John Carroll University, "The aC rroll News- Vol. 67, No. 3" (1982). The Carroll News. 670. http://collected.jcu.edu/carrollnews/670 This Newspaper is brought to you for free and open access by the Student at Carroll Collected. It has been accepted for inclusion in The aC rroll News by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. Vol. OINo. 3 October 6. 1982 tlrbe <!Carroll _jf}etus John Carroll University University Heights, Ohio 44118 Student Union proposes renewal of Stunt Night Will Stunt Night return? This Stunt Night was considered recent. Student Union meeting. tion. laborating data of the past is one of the more popular ques· one of the best sources of class JCU alumni have suggested Student Union President stunt nights, and devising tions pervading the halls of unity, and received significant that Stunt Night be brought Chris Miller says that he is wiU· ground rules which will im· Carroll as of late. yearbook coverage. back, according to senior class ing to lli1ten to any ideas prove future stunt nights. "What is Stunt Night?" you Unfortunately, some of the representative Jim Garvey. students have regarding the Stunt Night was once a main might ask. Actually, it was one material in the skits, which was Presently, the newly-formed return of this much-missed at· event on campus to bring of the bigger events here until intended for the coUege·level Investigative Committee, com· traction.
    [Show full text]
  • HEBEELE, Gerald Clarence, 1932- the PREDICAMENT of the BRITISH UNIONIST PARTY, 1906-1914
    This dissertation has been microfilmed exactly as received 68-3000 HEBEELE, Gerald Clarence, 1932- THE PREDICAMENT OF THE BRITISH UNIONIST PARTY, 1906-1914. The Ohio State University, Ph.D., 1967 History, modem University Microfilms, Inc., Ann Arbor, Michigan © Copyright by Gerald Clarence Heberle 1968 THE PREDICAMENT OF THE BRITISH UNIONIST PARTY, 1906-1914 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Gerald c / Heberle, B.A., M.A, ******* The Ohio State University 1967 Approved by B k f y f ’ P c M k ^ . f Adviser Department of History ACKNOWLEDGMENTS I wish to express my deepest gratitude to Professor Philip P. Poirier of the Department of History, The Ohio State University, Dr. Poirier*s invaluable advice, his unfailing patience, and his timely encouragement were of immense assistance to me in the production of this dissertation, I must acknowledge the splendid service of the staff of the British Museum Manuscripts Room, The Librarian and staff of the University of Birmingham Library made the Chamberlain Papers available to me and were most friendly and helpful. His Lordship, Viscount Chilston, and Dr, Felix Hull, Kent County Archivist, very kindly permitted me to see the Chilston Papers, I received permission to see the Asquith Papers from Mr, Mark Bonham Carter, and the Papers were made available to me by the staff of the Bodleian Library, Oxford University, To all of these people I am indebted, I am especially grateful to Mr, Geoffrey D,M, Block and to Miss Anne Allason of the Conservative Research Department Library, Their cooperation made possible my work in the Conservative Party's publications, and their extreme kindness made it most enjoyable.
    [Show full text]
  • One Hundred Years of Thomism Aeterni Patris and Afterwards a Symposium
    One Hundred Years of Thomism Aeterni Patris and Afterwards A Symposium Edited By Victor B. Brezik, C.S.B, CENTER FOR THOMISTIC STUDIES University of St. Thomas Houston, Texas 77006 ~ NIHIL OBSTAT: ReverendJamesK. Contents Farge, C.S.B. Censor Deputatus INTRODUCTION . 1 IMPRIMATUR: LOOKING AT THE PAST . 5 Most Reverend John L. Morkovsky, S.T.D. A Remembrance Of Pope Leo XIII: The Encyclical Aeterni Patris, Leonard E. Boyle,O.P. 7 Bishop of Galveston-Houston Commentary, James A. Weisheipl, O.P. ..23 January 6, 1981 The Legacy Of Etienne Gilson, Armand A. Maurer,C.S.B . .28 The Legacy Of Jacques Maritain, Christian Philosopher, First Printing: April 1981 Donald A. Gallagher. .45 LOOKING AT THE PRESENT. .61 Copyright©1981 by The Center For Thomistic Studies Reflections On Christian Philosophy, All rights reserved. No part of this book may be used or Ralph McInerny . .63 reproduced in any manner whatsoever without written Thomism And Today's Crisis In Moral Values, Michael permission, except in the case of brief quotations embodied in Bertram Crowe . .74 critical articles and reviews. For information, write to The Transcendental Thomism, A Critical Assessment, Center For Thomistic Studies, 3812 Montrose Boulevard, Robert J. Henle, S.J. 90 Houston, Texas 77006. LOOKING AT THE FUTURE. .117 Library of Congress catalog card number: 80-70377 Can St. Thomas Speak To The Modem World?, Leo Sweeney, S.J. .119 The Future Of Thomistic Metaphysics, ISBN 0-9605456-0-3 Joseph Owens, C.Ss.R. .142 EPILOGUE. .163 The New Center And The Intellectualism Of St. Thomas, Printed in the United States of America Vernon J.
    [Show full text]
  • Pendulum (1967) Pendulum Staff
    Lesley University DigitalCommons@Lesley Pendulum Special Collections and Archives Spring 1967 Pendulum (1967) Pendulum Staff Follow this and additional works at: https://digitalcommons.lesley.edu/pendulum Recommended Citation Staff, Pendulum, "Pendulum (1967)" (1967). Pendulum. 8. https://digitalcommons.lesley.edu/pendulum/8 This Article is brought to you for free and open access by the Special Collections and Archives at DigitalCommons@Lesley. It has been accepted for inclusion in Pendulum by an authorized administrator of DigitalCommons@Lesley. For more information, please contact [email protected]. ..j LI-/ LESLEYCOLLEGE LIBRARY Spring 1967 I 29 Everett Street ,r Cambridge, MA02238 Lesley College ,f'f Cambridge, Massachusetts l1G7 To Dr. Oliver Sage Earthfather Drawn up to you We settle back and awe your wisdom. You Great Sharer Whose expectations are stars beyond We stretch to reach Too, curl up when unattained. You / I Solid striding steps Bristling gl'.ayed hair Alive eyes Dare to set on equal planes Still, wait with patience for us. Ah You We love. ·:'- ~; .. ... Lydia With love Cover drawing by Laurie Abrams, '67 Cover type design by Stanley Roit EDITORIAL BOARD Laurie Abrams, Editor Marsha Roit, Assistant Editor Patricia Ives, Prose Editor Martha Sanek, Poetry Editor STAFF Carolyn Bourne, Business Manager Joyce Freedman, Advertising Manager Joyce Crocket, Circulation Manager Joanne Cornell, Publicity Manager Diane Bushner, Layout Editor Linda Alejos, Typing and Proofreading Pendulum, founded by the Friends of the Livingston Stebbins Library, is published once a year, and contains prose, verse, and graphic art by undergraduates and alumnae of Lesley College. Subscription rates: $2.00 per issue, $3.50 for two issues.
    [Show full text]
  • THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
    COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography……………………………………………………………………………….
    [Show full text]
  • UT Jazz Jury Repertoire – 5/2/06 Afternoon in Paris 43 a Foggy Day
    UT Jazz Jury Repertoire – 5/2/06 Level 1 Tunes JA Level 2 Tunes JA Level 3 Tunes JA Level 4 Tunes JA Afternoon in Paris 43 A Foggy Day 25 Alone Together 41 Airegin 8 All Blues 50 A Night in Tunisia 43 Anthropology (Thrivin’ from a Riff) 6 Along Came Betty 14 A Time for Love 40 Afro Blue 64 Blue in Green 50 Beyond All Limits 9 Autumn Leaves 54 All the Things You Are 43 Body and Soul 41 Blood Count 66 Blue Bossa 54 Angel Eyes 23 Ceora 106 Bolivia 35 But Beautiful 23 Bird Blues (Blues 4 Alice) 2 Chelsea Bridge 66 Brite Piece 19 C Jam Blues 48 Bluesette 43 Children of the Night 33 Cherokee 15 Cantaloupe Island (96) 54 But Not for Me 65 Come Rain or Come Shine 25 Clockwise 35 Cantaloupe Island (132) 11 Cottontail 48 Confirmation 6 Countdown 28 Days of Wine and Roses 40 Don’t Get Around Much Anymore48 Corcovado-Quiet Nights 98 Dolphin Dance 11 Doxy (134) 54 Easy Living 52 Desafinado (184) 74 E.S.P. 33 Doxy (92) 8 Everything Happens to Me 23 Desafinado (136) 98 Giant Steps 28 Freddie the Freeloader 50 Footprints 33 Donna Lee 6 I'll Remember April 43 For Heaven’s Sake 89 Four 7 Embraceable You 51 Infant Eyes 33 Georgia 49 Groovin’ High 43 Estate 94 Inner Urge 108 Honeysuckle Rose 71 Have You Met Miss Jones 25 Fee Fi Fo Fum 33 It’s You or No One 61 I Got It Bad 48 Here’s That Rainy Day 23 Goodbye 94 Joshua 50 Impressions (112) 54 How Insensitive 98 I Can’t Get Started 25 Katrina Ballerina 9 Impressions (224) 28 I Didn’t Know About You 48 I Mean You 56 Lament for Booker 60 Killer Joe 70 I Hear a Rhapsody 80 In Case You Haven’t Heard 9 Love for
    [Show full text]
  • How Democratic Is Jazz?
    Accepted Manuscript Version Version of Record Published in Finding Democracy in Music, ed. Robert Adlington and Esteban Buch (New York: Routledge, 2021), 58–79 How Democratic Is Jazz? BENJAMIN GIVAN uring his 2016 election campaign and early months in office, U.S. President Donald J. Trump was occasionally compared to a jazz musician. 1 His Dnotorious tendency to act without forethought reminded some press commentators of the celebrated African American art form’s characteristic spontaneity.2 This was more than a little odd. Trump? Could this corrupt, capricious, megalomaniacal racist really be the Coltrane of contemporary American politics?3 True, the leader of the free world, if no jazz lover himself, fully appreciated music’s enormous global appeal,4 and had even been known in his youth to express his musical opinions in a manner redolent of great jazz musicians such as Charles Mingus and Miles Davis—with his fists. 5 But didn’t his reckless administration I owe many thanks to Robert Adlington, Ben Bierman, and Dana Gooley for their advice, and to the staffs of the National Museum of American History’s Smithsonian Archives Center and the New York Public Library’s Schomburg Center for Research in Black Culture. Copyright © 2020 by Benjamin Givan. 1 David Hajdu, “Trump the Improviser? This Candidate Operates in a Jazz-Like Fashion, But All He Makes is Unexpected Noise,” The Nation, January 21, 2016 (https://www.thenation.com/article/tr ump-the-improviser/ [accessed May 14, 2019]). 2 Lawrence Rosenthal, “Trump: The Roots of Improvisation,” Huffington Post, September 9, 2016 (https://www.huffpost.com/entry/trump-the-roots-of-improv_b_11739016 [accessed May 14, 2019]); Michael D.
    [Show full text]
  • Robert GADEN: Slim GAILLARD
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN
    [Show full text]
  • Son Sealsseals 1942-2004
    January/February 2005 Issue 272 Free 30th Anniversary Year www.jazz-blues.com SonSon SealsSeals 1942-2004 INSIDE... CD REVIEWS FROM THE VAULT January/February 2005 • Issue 272 Son Seals 1942-2004 The blues world lost another star Son’s 1973 debut recording, “The when W.C. Handy Award-winning and Published by Martin Wahl Son Seals Blues Band,” on the fledging Communications Grammy-nominated master Chicago Alligator Records label, established him bluesman Son Seals, 62, died Mon- as a blazing, original blues performer and Editor & Founder Bill Wahl day, December 20 in Chicago, IL of composer. Son’s audience base grew as comlications with diabetes. The criti- he toured extensively, playing colleges, Layout & Design Bill Wahl cally acclaimed, younger generation clubs and festivals throughout the coun- guitarist, vocalist and songwriter – try. The New York Times called him “the Operations Jim Martin credited with redefining Chicago blues most exciting young blues guitarist and Pilar Martin for a new audience in the 1970s – was singer in years.” His 1977 follow-up, Contributors known for his intense, razor-sharp gui- “Midnight Son,” received widespread ac- Michael Braxton, Mark Cole, tar work, gruff singing style and his claim from every major music publica- Chris Hovan, Nancy Ann Lee, charismatic stage presence. Accord- tion. Rolling Stone called it ~one of the David McPherson, Tim Murrett, ing to Guitar World, most significant blues Peanuts, Mark Smith, Duane “Seals carves guitar albums of the decade.” Verh and Ron Weinstock. licks like a chain On the strength of saw through solid “Midnight Son,” Seals Check out our new, updated web oak and sings like began touring Europe page.
    [Show full text]
  • Whites Taught Blacks Violence: Evers by Mary Edge and Ity Men Have Died For." Medical Facilities
    Whites taught blacks violence: Evers by Mary Edge and ity men have died for." medical facilities. According Evers expressed admiration with him. His job corps gave Jerry Schramm Evers said that blacks sh­ to Evers, the Fayette area has for former President Johnson jobs to thousands. And thanks of the Post staff ould not use tactics of force only one doctor and one nurse whom he credited with the im­ to him, a black man can eat and violence as the whites have for ten thousand people. provements in the lives of black in any restaurant in Missis­ "We just found out this is done. Fayette applied to the nati­ Mississippians. "Any black sippi. Thanks to him, Miss­ our country too, and we de­ "Young blacks are seeing onal government for relief but, man, or any poor man, who do­ issippi now has ninety-four el­ cided we're going to have our that white America got where Evers said, "brother Nixon esn't love Lyndon Johnson -- ected black officials." share," Charles Evers, the it is by violence, so they think hasn't answered yet." well there's something wrong Several times duringhis spe­ first black mayor of Fayette, they should use it too. We tell ech Evers placed the burden Mississippi, and the brother of them no; if they resort to vio­ of action on whites. Since wh­ the late Medgar Evers said in lence, the whites will bury us," ites caused the problems be­ a speech Tuesday. Evers said. hind civil turmoil, it is the Evers criticized white Am­ "We're all God's children..
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]
  • Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
    1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures.
    [Show full text]