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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………………………………………………………………………………. -
Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
The New Dream Theater Dream New The
ISSUE 27 ISSUE FREE CD INSIDE AUDIO PREVIEWS LessoNS praCTICE W/ THE pros TOSS JOHN DONALD BRIAN V PANOS WEATHERS BARRETT DOWNEY MAY / JUNE 2011 MAY MIKE MANGINI MIKE MANGINI THE NEW DREAM THEATER JOE MORELLO REMEMBERED 70000 TONS OF METAL May - June 2011 | NO. 027 $6.99 US | $7.99 CAN MASTER JEREMY COLSON CLASS NEW Z3 CHINAS & ZILDJIAN SWISH KNOCKER 040 JohnOn WeathersReflection On ReflectionInterview - Mover Think progressive rock from the ‘70s and immediately Genesis, Yes, ELP, King Crimson and Jethro Tull come to mind. All of them equally progressive in their own way, and in some ways, share a common thread between them. But, ask any diehard prog-rock fan and I guarantee another name comes up each and every time: Gentle Giant. Although never quite attaining the same level of sales or status of celebrity as the aforementioned, Gentle Giant most certainly made a statement, left a mark and carved their names into the history books of English prog. A mixture of rock, funk, jazz, classical, and even a bit of punk, Gentle Giant was as progressive as they come—and then some. Holding down the fort for the better part of eight years was John Weathers. Although not their original drummer, it was Weathers that helped propel Gentle Giant to international fame with an interesting mix of bombastic backbeat, an ear for tuned percussion and the ability to play any time signature and style thrown his way. On my interview list from the beginning, John wasn’t an easy man to fi nd. A few Internet searches every so often didn’t turn up much until I happened to stumble across ‘Two Weeks In Pain - Under The Knife’ [http:// www.gorgg.org/UnderKnife1.htm], a twenty-fi ve-episode online diary of John’s experience in the hospital and under the care of the N.H.S. -
Foghat Miley Cyrus
a prize package from BON JOVI’S TICO TORRES GEARS UP! • ERSKINE • PRIDGEN WIN Sabian worth over $ 2,500 April 2011 #1 Drum Magazine! The World’s T H E D R U M M E R S O F CAGE THE ELEPHANT FOGHAT MILEY CYRUS WRITE CREATIVE DRUM PARTS JohnHow The “JR” Studio King Has Robinson Survived And Thrived HOMER STEINWEISS DAP-KINGS’ Soul Star CAMILLE GAINER JONES High-Level Multitasker REVIEWED! MODERNDRUMMER.COM YAMAHA ROCK TOUR DRUMSET • ISTANBUL MEHMET CONSTANTINOPLE JAZZ SERIES • REGAL TIP BRUSHES EVEN SLEDGEHAMMER SOUND NEEDS PINPOINT PRECISION. SHURE BETA MICROPHONES Optimized for high sound pressure levels, extremely low handling noise and higher gain-before-feedback. Accurate, focused polar patterns. Virtually indestructible. Precision control to practically eliminate bleed. Because whether it’s the boom of a kick or the faintest ghost notes, clarity is king. www.shure.com © 2011 Shure Incorporated Volume 35, Number 4 • Cover photo by Alex Solca CONTENTS 46 Solca 30 GET GOOD: UNDERSTANDING Alex OTHER INSTRUMENTS Swans’ Phil Puleo, Nick D’Virgilio of Spock’s Beard, and MD Pro Panelist Peter Erskine offer valuable insight into how learning other instruments has in turn strengthened their drumming. As Erskine says, “The more you know, the more you know.” 34 HOMER STEINWEISS How a wise drum teacher, an unusual neurological condition, and a deep obsession with classic soul and funk combined to make for one of the grooviest young drummers on the scene. 40 CAMILLE GAINER JONES Whether playing four-on-the-floor old-school soul, laying down a hot salsa groove, or swinging hard on a brisk bebop tune, she’s always at home on the kit, providing a strong rhythmic founda- tion in whatever situation she’s called to. -
Joey Jordison
a set of Paiste Alpha cymbals Blackused and WINsigned by Joey Jordison. REMEMBERING $ RICHIE Valued HAYWARD at over 1,500 January 2011 The World’s #1 Drum Magazine GET GOOD! THE D R U M M E R S MAROON O5 F GOO GOO DOLLS DAUGHTRY ON PLAYING FOR THE SONG MD GETS REAL WITH JOEY JORDISON METHODS AND MOTIVES WITH SLIPKNOT, ZOMBIE, AND MURDERDOLLS RESTORE YOUR DRUMS R&B/GOSPEL HEAVYWEIGHT CHRIS COLEMAN ESPERANZA SPALDING A DIFFERENT VIEW REVIEWED! SABIAN PARAGON & VAULT ARTISAN CYMBALS /// LP HAND PERCUSSION MODERN DRUMMER.COM SHURE BETA 27 MICS /// CRAVIOTTO RED BIRCH KIT /// REGAL TIP SIGNATURES /// GMS PVS SNARES Volume 35, Number 1 • Cover photo by Alex Solca CONTENTS 36 Solca 28 CHRIS COLEMAN Alex “Whoa—did you hear that?” It’s been a common exclamation wherever and whenever Chris Coleman plays the drums, whether it’s at a Chaka Khan or New Kids On The Block concert, at one of his highly regarded clinics, or at an impromptu shred session at a music convention. 36 JOEY JORDISON Slipknot’s ever-active drummer—who’s recently added new Murderdolls and Rob Zombie projects to his already significant workload—puts down the mask and gets us closer to understanding his unusual methods and motivations. 46 MICHAEL CARVIN He’s played with the best. And he believes you can too—but only if you have the guts to meet your true inner self. NEW SERIES 57 GET GOOD: PLAYING FOR THE SONG Playing drums well in most forms of music comes down to this: The song is king—learn what it wants from you, and you’ll be the kind of drummer everyone wants to play with. -
100 Greatest Drumers of Rock
100 GREATEST DRUMERS OF ROCK 1. Neil Peart (Rush) 2. John Bonham* (Led Zeppelin) 3. Keith Moon* (The Who) 4. Carl Palmer (ELP) 5. Ginger Baker (Cream) 6. Terry Bozzio (Frank Zappa) 7. Bill Bruford (Yes, King Crimson) 8. Hal Blaine (Session man) 9. Ian Paice (Deep Purple) 10. Mike Portnoy (Dream Theater) 11. Dave Lombardo (Slayer) 12. Danny Carey (Tool) 13. Ringo Starr (The Beatles) 14. Carmine Appice (Vanilla Fudge) 15. Earl Palmer (Session man) 16. Benny Benjamin* (Funk Brothers) 17. Jeff Porcaro* (Toto) 18. Stewart Copeland (The Police) 19. Tommy Aldridge (Ozzy Osbourne) 20. Bernard Purdie (Session) 21. Bill Ward (Black Sabbath) 22. Steve Smith (Journey) 23. Mitch Mitchell (Jimi Hendrix) 24. David Garabaldi (Tower Of Power) 25. Mike Shrieve (Santana) 26. Ainsley Dunbar (Jeff Beck) 27. Cozy Powell* (Rainbow) 28. Nicko McBrain (Iron Maiden) 29. Carter Beauford (Dave Matthews) 30. Tim Alexander (Primus) 31. Roger Taylor (Queen) 32. Matt Cameron (Soundgarden, Pearl Jam) 33. Zigaboo Modeliste (The Meters) 34. Phil Collins (Genesis) 35. Al Jackson* (The MGs) 36. Vinnie Paul (Pantera) 37. Topper Headon (The Clash) 38. Lars Ulrich (Metallica) 39. Jimmy Chamberlain (Smashing Pumpkins) 40. Bobby Jarzombeck (Rob Halford, Iced Earth) 41. Rod Morgenstein (Dixie Dregs, Winger) 42. Gene Holgan (Death, Strapping Young Lad) 43. Martin Lopez (Opeth) 44. Simon Phillips (Toto) 45. Mike Giles (King Crimson, Giles, Giles & Fripp ) 46. Max Weinberg (Springsteen) 47. Alex Van Halen (Van Halen) 48. Jon Theodore (Mars Volta, One Day As A Lion) 49. Brian Downey (Thin Lizzy) 50. Gavin Harrison (Porcupine Tree, session man) 51. Alan White (Yes) 52. -
Timeline 1944 Born in Llanelli to Winston and Ella
NORTHDOWN PUBLISHING LTD March 2017 A TRIBUTE TO DEKE LEONARD 18 December 1944 – 31 January 2017 The passing of Deke Leonard has been felt keenly by the legion of Manfans throughout the world. This special tribute edition of the newsletter contains contributions from many of them, plus reminiscences from his fellow musicians. All have their own perspective on how Llanelli’s finest touched them and changed their world. We can also share some of the photos which were selected by his partner, Mary, to show after his funeral and many of which have not been seen before. It’s hard not to see this as the end of an era, but we hopefully have one last album of new music to enjoy; George Jones, Taff Williams and others are likely to be involved in completing this during the year. And, of course, we have Deke’s previous recordings and writings to treasure. So pour yourself a Coca-Cola, light up if you must and prepare to share some special memories of a special character. Why do they always take the good ones? Michael Heatley Deke Leonard - Timeline 1944 Born in Llanelli to Winston and Ella 1962 Forms the Corncrackers with schoolpal and cousin Meic Rees 1964 Joins Jets, then leaves to re-form Corncrackers in early 1965 1965 Rejoins Jets, rechristened as Smokeless Zone when they go to Hamburg For feedback, further information or to unsubscribe, contact us on [email protected] Join the Manband Forum : http://www.manband-archive.com/ https://www.facebook.com/twangdynastybook 1967-68 Plays with Dream alongside Martin Ace and Terry Williams 1968