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												  Rhythm & Blues Rhythm & Blues S E U L B & M H T Y64 RHYTHM & BLUES RHYTHM & BLUES ARTHUR ALEXANDER JESSE BELVIN THE MONU MENT YEARS CD CHD 805 € 17.75 GUESS WHO? THE RCA VICTOR (Baby) For You- The Other Woman (In My Life)- Stay By Me- Me And RECORD INGS (2-CD) CD CH2 1020 € 23.25 Mine- Show Me The Road- Turn Around (And Try Me)- Baby This CD-1:- Secret Love- Love Is Here To Stay- Ol’Man River- Now You Baby That- Baby I Love You- In My Sorrow- I Want To Marry You- In Know- Zing! Went The My Baby’s Eyes- Love’s Where Life Begins- Miles And Miles From Strings Of My Heart- Home- You Don’t Love Me (You Don’t Care)- I Need You Baby- Guess Who- Witch craft- We’re Gonna Hate Ourselves In The Morn ing- Spanish Harlem- My Funny Valen tine- Concerte Jungle- Talk ing Care Of A Woman- Set Me Free- Bye Bye Funny- Take Me Back To Love- Another Time, Another Place- Cry Like A Baby- Glory Road- The Island- (I’m Afraid) The Call Me Honey- The Migrant- Lover Please- In The Middle Of It All Masquer ade Is Over- · (1965-72 ‘Monument’) (77:39/28) In den Jahren 1965-72 Alright, Okay, You Win- entstandene Aufnahmen in seinem eigenwilligen Stil, einer Ever Since We Met- Pledg- Mischung aus Soul und Country Music / his songs were covered ing My Love- My Girl Is Just by the Stones and Beatles. Unique country-soul music. Enough Woman For Me- SIL AUSTIN Volare (Nel Blu Dipinto Di SWINGSATION CD 547 876 € 16.75 Blu)- Old MacDonald (The Dogwood Junc tion- Wildwood- Slow Walk- Pink Shade Of Blue- Charg ers)- Dandilyon Walkin’ And Talkin’- Fine (The Charg ers)- CD-2:- Brown Frame- Train Whis- Give Me Love- I’ll Never
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												  Beautiful and Damned: Geographies of Interwar Kansas City by LanceBeautiful and Damned: Geographies of Interwar Kansas City By Lance Russell Owen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Geography in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Michael Johns, Chair Professor Paul Groth Professor Margaret Crawford Professor Louise Mozingo Fall 2016 Abstract Beautiful and Damned: Geographies of Interwar Kansas City by Lance Russell Owen Doctor of Philosophy in Geography University of California, Berkeley Professor Michael Johns, Chair Between the World Wars, Kansas City, Missouri, achieved what no American city ever had, earning a Janus-faced reputation as America’s most beautiful and most corrupt and crime-ridden city. Delving into politics, architecture, social life, and artistic production, this dissertation explores the geographic realities of this peculiar identity. It illuminates the contours of the city’s two figurative territories: the corrupt and violent urban core presided over by political boss Tom Pendergast, and the pristine suburban world shaped by developer J. C. Nichols. It considers the ways in which these seemingly divergent regimes in fact shaped together the city’s most iconic features—its Country Club District and Plaza, a unique brand of jazz, a seemingly sophisticated aesthetic legacy written in boulevards and fine art, and a landscape of vice whose relative scale was unrivalled by that of any other American city. Finally, it elucidates the reality that, by sustaining these two worlds in one metropolis, America’s heartland city also sowed the seeds of its own destruction; with its cultural economy tied to political corruption and organized crime, its pristine suburban fabric woven from prejudice and exclusion, and its aspirations for urban greatness weighed down by provincial mindsets and mannerisms, Kansas City’s time in the limelight would be short lived.
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												  The Ultimate Complete Michael Bloomfield DiscographyThe Ultimate Complete Michael Bloomfield Discography Photo ©: Mike Shea/Patrick Shea Michael Bloomfield December 7, 1964 “The music you listen to becomes the soundtrack of your life....” Michael Bloomfield Feb. 13, 1981 Compiled by René Aagaard, Aalekaeret 13, DK-3450 Alleroed, Denmark – [email protected] www.the-discographer.dk - Copyright September 2015 Version 10 Michael Bernard Bloomfield was born July 28, 1943, in Chicago, Illinois and was found dead in his car in San Francisco, California on February 15, 1981. Between these dates he made a lasting impression on the world of music. Today he is still considered one of the greatest and most influential white guitarists from the USA. He learned by listening to all the great black musicians that played Chicago in the ’50s and early ’60s - people like Howlin’ Wolf, Muddy Waters, Big Joe Williams, Sleepy John Estes and many more. He was always eager to join them on stage and made quite a name for himself. He also played with many white musicians his own age, like Barry Goldberg, Charlie Musselwhite, Nick Gravenites and whoever toured Chicago. In the early ’60s, barely 20 years old, he was the musical director of a Chicago blues club called The Fickle Pickle. Here he hired many of the old, black blues legends, and he treated them so well that Big Joe Williams even mentions him in a song about the club, “Pick a Pickle”. In 1964 Michael Bloomfield was “discovered” by legendary producer John Hammond, Sr., who went to Chicago to hear and record Bloomfield, and then invited him to New York to audition for Columbia Records.
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												  Amplified Music and MultimodalityMaking Things Louder: Amplified Music and Multimodality PhD Thesis Johannes Mulder University of Technology Sydney Faculty of Arts and Social Sciences Supervisor: Professor Theo van Leeuwen Submitted April 2013 Certificate of Authorship/Originality I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Johannes Mulder ii Acknowledgments I am very grateful to Theo van Leeuwen who both inspired and supervised this thesis. In a relatively short time he has shared a vast amount of his own work and insights, forming the ‘roots’ of this work. Bert Bongers’ for his invaluable and continuing friendship, support and our never-ending critical dialogue. Tony Mitchell has kindly and patiently proofread this dissertation, which has been crucial in eliminating the inherent quirks of bilingualism (which in itself sounds like a Dutchism). Some of my best friends are live sound engineers: Paul, Joke, Bart, Jeroen, Carl, Marc, you are all part of this. Two people, Martje van Riel and Xander Lub were instrumental in making me go back to University. I particularly want to thank my friend Arnoud van Deelen (the self appointed chair of my fan club) for his long lasting support morally, and financially.
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												  Distribution Agreement in Presenting This Thesis Or Dissertation As ADistribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________________ _________________ Mashadi Ione Matabane Date Axe to Grind: A Cultural History of Black Women Musicians on the Acoustic and Electric Guitar in the United States By Mashadi Ione Matabane Doctor of Philosophy Graduate Institute of the Liberal Arts ______________________________________________ [Advisor’s signature] Regine O. Jackson, Ph.D. Advisor ______________________________________________ [Member’s signature] Allen Tullos, Ph.D. Committee Member ______________________________________________ [Member’s signature] Kimberly Wallace-Sanders, Ph.D. Committee Member Accepted: ______________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies _________________________ Date Axe to Grind: A Cultural History of Black Women Musicians on the Acoustic and Electric Guitar in the United States By Mashadi Ione Matabane M.A., New York University, 2001 B.A., Spelman College, 1999 Advisor: Regine O. Jackson, Ph.D. An abstract of A dissertation submitted to the Faculty of the James T.
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												  Read Book Lonely Avenue : the Unlikely Life and Times of DocLONELY AVENUE : THE UNLIKELY LIFE AND TIMES OF DOC POMUS PDF, EPUB, EBOOK Alex Halberstadt | 272 pages | 26 Feb 2008 | INGRAM PUBLISHER SERVICES US | 9780306815645 | English | Philadelphia, PA, United States Lonely Avenue : The Unlikely Life and Times of Doc Pomus PDF Book He later worked at the Brill building in Manhattan with his partner Mort Shuman. Shop Recordings Buyer's Guides More. Skip to main content. Pomus sometimes had anxiety attacks, and expressed in a journal entry his fear of becoming "a street beggar hustling quarters. Francis D Walker Jr rated it liked it Jun 03, There is no possibility whatsoever of there being another Doc Pomus. He was a master kibitzer, a great listener and, he said, "a mark" for every hustler in the music business. Great songwriter This was a great book, It was cool learning about Doc Pomus and the life he lived. Hardcover Alex Haley Collectibles. Oct 11, Mary Shanley rated it it was amazing. In his later years, Pomus became an elder statesman in the New York City songwriter set, a larger-than-life connection to a lost era, knocking around town with Dr. Best Selling in Nonfiction See all. Want to Read saving…. Options as a Strategic Investment by Lawrence G. About this product. While reading the book, I had to listen to what he had written. Error rating book. January Jazz Record Reviews. Spector refused to set foot in the Spindletop again. Doc Pomus was a brilliant man! Lonely Planet Hardcover Books. Recording of October Rough and Rowdy Ways. Search form Search. Bob Dylan even visited him once to get some help with writer's block.
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											Listening Journal University of MinnesotaRock Music I – MUS 1013 Dr. Scott D. Lipscomb Listening Journal University of Minnesota Listening Journal Student Name: ______________________________________ Group #: _______ Semester (circle one): Fall / Spring / Summer Year: __________ Grades & Dr. L’s Comments: Check #1: Check #2: Check #3: p. 1 of 38 Rock Music I – MUS 1013 Dr. Scott D. Lipscomb Listening Journal University of Minnesota Chapter 1 -- Introduction African Music Kasena Jongo Ashanti Kete Drumming Ghanaian Postal Workers Civil War and Post-WWI Developments Amazing Grace (New Bethel Baptist Church) Amazing Grace (Fellowship Independent Baptist Church) p. 2 of 38 Rock Music I – MUS 1013 Dr. Scott D. Lipscomb Listening Journal University of Minnesota Mississippi State Penitentiary ("Rosie") The Blues Robert Johnson “Me and the Devil” Elvis Presley “Hound Dog” (12-bar blues form) Piney Brown Blues Ruth Brown “Mama, He Treats Your Daughter Mean” Urban Blues Muddy Waters' "Hoochie Coochie Man" p. 3 of 38 Rock Music I – MUS 1013 Dr. Scott D. Lipscomb Listening Journal University of Minnesota Chapter 2 – The Roots of Rock Pop Music Tony Bennett's "Because of You" Frank Sinatra's "That Old Black Magic" Nat "King" Cole's "Fascination" Johnny Ray's "Cry" Country and Western Eddy Arnold's "Bouquet of Roses" p. 4 of 38 Rock Music I – MUS 1013 Dr. Scott D. Lipscomb Listening Journal University of Minnesota Eddy Arnold's "Anytime" Kitty Well's "There's Poison in Your Heart" Hank Williams' "Your Cheatin' Heart" Rhythm and Blues Bessie Smith's "Mean Old Bedbug Blues" Joe Turner and Pete Johnson's "Roll 'em Pete" B.B. King's "Sweet Sixteen" p.
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												  Kansas City Jazz: from Ragtime to Bebop—A HistoryKansas City Jazz: From Ragtime to Bebop—A History Frank Driggs Chuck Haddix OXFORD UNIVERSITY PRESS Kansas City Jazz This page intentionally left blank Kansas City Jazz From Ragtime to BebopA History Frank Driggs and Chuck Haddix 2005 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2005 by Frank Driggs and Chuck Haddix Published by Oxford University Press, Inc. 198 Madison Avenue, New York, NY 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Driggs, Frank. Kansas City jazz : from ragtime to bebop / Frank Driggs and Chuck Haddix. p. cm. Notes: Includes bibliographical references and index. Contents: Tales from Tom’s town—Carrie’s gone to Kansas City— Get low-down blues—The territories—Blue devil blues—Moten’s swing— Until the real thing comes along—Roll ’em, Pete—Hootie’s blues. ISBN-13: 978-0-19-504767-7 ISBN-10: 0-19-504767-2 1. Jazz—Missouri—Kansas City—History and criticism.
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												  Jordan Biography Owes a Great Deal to His Suggestions and Management1 Leon Mercer Jordan, The Founder of Freedom, Inc. Following in the Footsteps of His Father and Grandfather By Robert M. Farnsworth 2 Dedicated to James C. Olson, whose professional dedication to history led him to complete his biography of Stuart Symington despite years of physical difficulty near the end of his life. His example challenged me in my elder years to tell the story of a remarkable man who made a significant difference in my life. 3 Preface How All This Began I moved from Detroit to Kansas City with my wife and four children in the summer of 1960 to assume my first tenure-track position as an Assistant Professor of American Literature at Kansas City University. The civil rights movement was gathering steam and I had made a couple of financial contributions to the Congress of Racial Equality while still in Detroit. CORE then asked if I were interested in becoming more socially active. I said yes, but I was moving to Kansas City. It took them months to catch up with me again in Kansas City and repeat their question. I again said yes. A few weeks later a field representative was sent to Kansas City to organize those who had showed an interest. He called the first meeting in our home. Most who attended were white except for Leon and Orchid Jordan and Larry and Opal Blankinship. Most of us did not know each other, except the Jordans and the Blankinships were well acquainted. The rep insisted we organize and elect officers. Someone nominated me to become chair, probably for little more reason than the meeting was taking place in our home.
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												  Instructor Manual for Joe Stuessy & Scott Lipscomb's Rock and RollInstructor Manual for Joe Stuessy & Scott Lipscomb’s Rock and roll: Its history and stylistic development (edited for use with the 7th edition text) Jay Dorfman Boston University Natalie Zelensky Colby College Scott D. Lipscomb University of Minnesota Dorfman, Zelensky, & Lipscomb Instructor Manual Rock and roll: Its history and stylistic development Stuessy & Lipscomb © 2012 by Pearson Education, Inc. p. ii Dorfman, Zelensky, & Lipscomb Instructor Manual Rock and roll: Its history and stylistic development Stuessy & Lipscomb Preface The purpose of this Instructor Manual is to facilitate the process of designing and teaching a rock history course using the text Rock music: Its history and stylistic development (7th edition, Prentice-Hall). In addition, the following pages provide significant food for thought, both for beginning instructors and for those who are quite experienced in teaching such a course. The following pages provide much more than a simple synopsis of the textbook content, though that forms an important component of the material. Rather, the Instructor Manual contains many innovative ideas to stimulate students – both inside and outside the classroom – and to help them develop an intimate understanding of the genre of music that, arguably, has had the greatest musical, cultural, and sociological impact during the twentieth and twenty- first century. With the exception of the Introduction, which provides a general set of teaching tips and suggests a means of structuring the course content, each chapter of the present text is subdivided into a consistent set of sections. The chapter overview provides a detailed outline of the content of each chapter, highlighting some of the most significant points addressed and, at times, providing supplemental information that will be of interest to students and instructors.
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												  Groove Descriptions © 2020 EVERY GROOVE a BLUESMAN NEEDS to KNOWGrooveTrax™ Groove Descriptions © 2020 EVERY GROOVE A BLUESMAN NEEDS TO KNOW 1. Jimmy Reed Shuffle in E This is a great place to start. A straight-ahead shuffle with the bass walking from the Root, or 1st degree, to the Sixth degree: Root - Third - Fifth - Sixth etc., and the drummer shuffling on the snare & ride symbol. Great songs like Jimmy Reed's "Baby What You Want Me To Do" are classic examples and mandatory for a Bluesman and any well rounded musician's repertoire. This groove is sometimes called a “Delta Shuffle”. 2. Train Beat (Mojo) in E The Train Beat is really fun but sometimes difficult to keep count because the bass starts on a pick-up beat: four and one, four and one etc. The guitar really makes it snappy by using the 'and' or 'up' beat often in its rhythm. The most famous example of this groove is Muddy Waters "I Got My Mojo Working". Other songs include Little Walter "Me and Piney Brown" & "It Ain't Right". A Bluesman needs to know how to make the train sound. 3. Walter Shuffle in E This song has an intro like Little Walter's "You're So Fine". It's the guitar that makes it stand out as a Little Walter sound. The chord moves (I to IV, I to IV) with a hammer-on effect. This bass line is one Walter used often with variations. Some Cities like Austin refer to this as a "Backwards Linda Lou". In other grooves we have called this a Box Pattern and it is essential for bass players (see track #21).
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												  Muddy Waters DiscographyMCKINLEY MORGANFIELD HOMER HARRIS McKinley Morganfield vcl-1, speech-2, gtr-3; Son Simms speech-4, gtr-5; Alan Homer Harris vcl; Muddy Waters gtr; poss. Leroy Foster gtr; James Clark pno; Lomax speech-6; John Work speech-7 poss. Ransom Knowling bass; prob. Judge Riley drums Stovall, Miss. circa 24-31 Aug. 1941 Chicago, Fri. 27 Sept. 1946 4769-A-1(a) Country Blues -1-3 LC, AAFS 18, AFSL4, CCO4649 I’m Gonna Cut Your Head Testament LP 2207 Testament LP2210, MCA CD 9344 CCO4650 Atomic Bomb Blues Testament LP 2207 4769-A-1(b) Interview No.1 -2-3-6 LC, MCA CHD 9344 CCO4651 Tomorrow Will Be Too Late Testament LP 2207 4769-A-2(a) I Be’s Troubled -1-3 LC, MFS 18, AFSL4, Testament LP2210, MCA CHD 9344 MUDDY WATERS 4769-A-2(b) Interview No. 2 -2-4-6-7 LC, MCA CHD 9344 Muddy Waters vcl, gtr; poss Leroy Foster gtr; poss. Ransom Knowling bass; 4770-B-1 Burr Clover Farm Blues LC, MCA CHD 9344 -1-2-3-4-5 James Clark pno; prob. Judge Riley drum 4770-B-2 Interview No. 3 -2-4-7 LC, MCA CHD 9344 Chicago, Fri. 27 Sept 1946 SON SIMMS FOUR CCO4652-1 Jitterbug Blues Testament LP 2207 McKinley Morganfield gtr, vcl-1; Percy Thomas gtr, vcl-2; Son Simms violin; CCO4653-1 Hard Day Blues Testament LP 2207 Louis Ford mandolin, vcl-3; group members foot-tapping, vcl interjections-4 CCO4654-1 Burying Ground Blues Testament LP 2207 Stovall, Miss., Fri. 24 July 1942 Ramblin’ Kid Blues LC, MCA CHD9344 JAMES (BEALE STREET) CLARK (partial) -1-4 James Clark pno, vcl; Muddy Waters gtr; poss.