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Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Charles Mcpherson Leader Entry by Michael Fitzgerald
Charles McPherson Leader Entry by Michael Fitzgerald Generated on Sun, Oct 02, 2011 Date: November 20, 1964 Location: Van Gelder Studio, Englewood Cliffs, NJ Label: Prestige Charles McPherson (ldr), Charles McPherson (as), Carmell Jones (t), Barry Harris (p), Nelson Boyd (b), Albert 'Tootie' Heath (d) a. a-01 Hot House - 7:43 (Tadd Dameron) Prestige LP 12": PR 7359 — Bebop Revisited! b. a-02 Nostalgia - 5:24 (Theodore 'Fats' Navarro) Prestige LP 12": PR 7359 — Bebop Revisited! c. a-03 Passport [tune Y] - 6:55 (Charlie Parker) Prestige LP 12": PR 7359 — Bebop Revisited! d. b-01 Wail - 6:04 (Bud Powell) Prestige LP 12": PR 7359 — Bebop Revisited! e. b-02 Embraceable You - 7:39 (George Gershwin, Ira Gershwin) Prestige LP 12": PR 7359 — Bebop Revisited! f. b-03 Si Si - 5:50 (Charlie Parker) Prestige LP 12": PR 7359 — Bebop Revisited! g. If I Loved You - 6:17 (Richard Rodgers, Oscar Hammerstein II) All titles on: Original Jazz Classics CD: OJCCD 710-2 — Bebop Revisited! (1992) Carmell Jones (t) on a-d, f-g. Passport listed as "Variations On A Blues By Bird". This is the rarer of the two Parker compositions titled "Passport". Date: August 6, 1965 Location: Van Gelder Studio, Englewood Cliffs, NJ Label: Prestige Charles McPherson (ldr), Charles McPherson (as), Clifford Jordan (ts), Barry Harris (p), George Tucker (b), Alan Dawson (d) a. a-01 Eronel - 7:03 (Thelonious Monk, Sadik Hakim, Sahib Shihab) b. a-02 In A Sentimental Mood - 7:57 (Duke Ellington, Manny Kurtz, Irving Mills) c. a-03 Chasin' The Bird - 7:08 (Charlie Parker) d. -
Disco Gu”Rin Internet
ISCOGRAPHIE de ROGER GUÉRIN D Par Michel Laplace et Guy Reynard ● 45 tours ● 78 tours ● LP ❚■● CD ■●● Cassette AP Autre prise Janvier 1949, Paris 3. Flèche d’Or ● ou 78 Voix de son Maitre 5 février 1954, Paris Claude Bolling (p), Rex Stewart (tp), 4. Troublant Boléro FFLP1031 Jacques Diéval et son orchestre et sex- 5. Nuits de St-Germain-des-Prés ● ou 78 Voix de son Maitre Gérard Bayol (tp), Roger Guérin (cnt), ● tette : Roger Guérin (tp), Christian Benny Vasseur (tb), Roland Evans (cl, Score/Musidisc SCO 9017 FFLP10222-3 Bellest (tp), Fred Gérard (tp), Fernard as), George Kennedy (as), Armand MU/209 ● ou 78 Voix de son Maitre Verstraete (tp), Christian Kellens (tb), FFLP10154 Conrad (ts, bs), Robert Escuras (g), Début 1953, Paris, Alhambra « Jazz André Paquinet (tb), Benny Vasseur Guy de Fatto (b), Robert Péguet (dm) Parade » (tb), Charles Verstraete (tb), Maurice 8 mai 1953, Paris 1. Without a Song Sidney Bechet avec Tony Proteau et son Meunier (cl, ts), Jean-Claude Fats Sadi’s Combo : Fats Sadi (vib), 2. Morning Glory Orchestre : Roger Guérin (tp1), Forhenbach (ts), André Ross (ts), Geo ● Roger Guérin (tp), Nat Peck (tb), Jean Pacific (F) 2285 Bernard Hulin (tp), Jean Liesse (tp), Daly (vib), Emmanuel Soudieux (b), Aldegon (bcl), Bobby Jaspar (ts), Fernand Verstraete (tp), Nat Peck (tb), Pierre Lemarchand (dm), Jean Paris, 1949 Maurice Vander (p), Jean-Marie Guy Paquinet (tb), André Paquinet Bouchéty (arr) Claude Bolling (p), Gérard Bayol (tp), (tb), Sidney Bechet (ss) Jacques Ary Ingrand (b), Jean-Louis Viale (dm), 1. April in Paris Roger Guérin (cnt), Benny Vasseur (as), Robert Guinet (as), Daniel Francy Boland (arr) 2. -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
June 2020 Volume 87 / Number 6
JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
Modern Jazz Quartet
THE MUSEUM OF MODERN ART No 95 II WEST 53 STREET. NEW YORK 19. N. Y. For Release TILEPHONI: CltCLI S4900 After Friday, August 5> I960 MODERN JAZZ QUARTET TO GIVE CONCERT AT MUSEUM jazz in the Garden continues at the Museum of Modern Art with The Modern Jazz Quartet, Thursday, August 11, at 8:30 p.m. The ensemble of virtuoso soloists consists of John Lewis, piano, Percy Heath, bass, Milt Jackson, vibraharp, and Connie Kay, drums, This is the ninth in a series of ten Thursday evening promen ade concerts co-sponsored and produced by Metronome magazine. Known as the most highly developed and integrated of the small contemporary groups, The Modem Jazz Quartet was formed in 1951 by four veterans of the Dizzy Gillespie band. Traditional jazz concepts structured on the fugue and classical forms, polished instrumentation, and freedom for individual innovation within the discipline of the group, leads to what John Leewis calls " a collective impro visation which swings." The Quartet has given concerts at Town Hall and Carnegie Hall, at many American universities, at the Newport, French Lick and Monterey festivals. It has joined the Symphony of the Air, the Cleveland Symphony and the Buffalo Philharmonic in concert performances. During the past four years it toured Austria, Belgium, France, Germany and Italy, opening in England at Royal Festival Hall. Not restricted to the concert stage, the Quartet has played night club dates in San Francisco, Chicago, New York and Paris. Much of its repertoire, available on Atlantic Recor-ds, consists of works composed either by John Lewis or Milt Jackson. -
Omer Avital Ed Palermo René Urtreger Michael Brecker
JANUARY 2015—ISSUE 153 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM special feature BEST 2014OF ICP ORCHESTRA not clowning around OMER ED RENÉ MICHAEL AVITAL PALERMO URTREGER BRECKER Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 116 Pinehurst Avenue, Ste. J41 JANUARY 2015—ISSUE 153 New York, NY 10033 United States New York@Night 4 Laurence Donohue-Greene: [email protected] Interview : Omer Avital by brian charette Andrey Henkin: 6 [email protected] General Inquiries: Artist Feature : Ed Palermo 7 by ken dryden [email protected] Advertising: On The Cover : ICP Orchestra 8 by clifford allen [email protected] Editorial: [email protected] Encore : René Urtreger 10 by ken waxman Calendar: [email protected] Lest We Forget : Michael Brecker 10 by alex henderson VOXNews: [email protected] Letters to the Editor: LAbel Spotlight : Smoke Sessions 11 by marcia hillman [email protected] VOXNEWS 11 by katie bull US Subscription rates: 12 issues, $35 International Subscription rates: 12 issues, $45 For subscription assistance, send check, cash or money order to the address above In Memoriam 12 by andrey henkin or email [email protected] Festival Report Staff Writers 13 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, CD Reviews 14 Katie Bull, Tom Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Special Feature: Best Of 2014 28 Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Miscellany Terrell Holmes, Robert Iannapollo, 43 Suzanne Lorge, Marc Medwin, Robert Milburn, Russ Musto, Event Calendar 44 Sean J. O’Connell, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman As a society, we are obsessed with the notion of “Best”. -
Dossier De Presse Django
UN FILM DE ÉTIENNE COMAR UN FILM DE ÉTIENNE COMAR SCOPE COULEUR 2.40 DURÉE : 1H55 SORTIE LE 26 AVRIL 2017 DISTRIBUTION RELATIONS PRESSE Pathé Distribution Laurence Granec - Betty Bousquet 2, rue Lamennais – 75008 Paris 92, rue de Richelieu – 75002 Paris Tél. : 01 71 72 30 00 Tél. : 01 47 20 36 66 [email protected] Matériel presse téléchargeable sur www.pathefilms.com SYNOPSIS À Paris en 1943 sous l’Occupation, le musicien Django Reinhardt est au sommet de son art. Guitariste génial et insouciant, au swing aérien, il triomphe dans les grandes salles de spectacle alors qu’en Europe ses frères Tsiganes sont persécutés. Ses affaires se gâtent lorsque la propagande nazie veut l’envoyer jouer en Allemagne pour une série de concerts… ENTRETIEN AVEC ÉTIENNE COMAR D’où vous est venue l’envie de faire un oublié à quel point lorsqu’on joue de la musique j’avais eu adolescent avec mon père, qui était un film sur Django Reinhardt ? on peut si facilement s’isoler du monde grand amateur de Django. Alors qu’il était jeune extérieur. Nous étions tous à des périodes un homme pendant la guerre, lorsqu’il écoutait sa Depuis longtemps, j’avais envie de faire le peu compliquées de nos vies et nous nous musique, elle lui faisait oublier l’Occupation portrait d’un musicien dans la tourmente de sommes extraits de ces complications uniquement allemande le temps d’un disque, d’une soirée l’existence. Autour de 40 ans, j’ai replongé en prenant un plaisir fou à jouer ensemble. de danse. -
Barney Kessel Collection Finding Aid (PDF)
University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketch …………………………………………………………………… 3 Scope & Content …………………………………………………………………… 5 Series Notes …………………………………………………………………………… 6 Container List: Series I: Correspondence …………………………………………………… 9 Incoming, Dated …………………………………………………… 9 From Maurice J. Summerfield …………………………………… 33 Incoming, Undated …………………………………………………… 35 Incoming, Unsigned & Undated …………………………………… 37 Blank Envelopes …………………………………………………… 37 Outgoing, Dated …………………………………………………… 38 To Maurice J. Summerfield …………………………………………… 43 Outgoing, Undated …………………………………………………… 44 Outgoing, Unsigned & Undated …………………………………… 44 Correspondence Including Photographs …………………………… 45 Series II: Personal Documents …………………………………………… 46 Biographies …………………………………………………………… 46 Marriage Documents …………………………………………………… 46 Obituaries …………………………………………………………… 47 Series III: Seminar …………………………………………………………… 48 Business …………………………………………………………… 48 Promotional Material …………………………………………………… 48 Notes …………………………………………………………………… 49 Correspondence …………………………………………………… 49 Questionnaires …………………………………………………… 50 Series IV: Promotional Material …………………………………………… 51 Flyers …………………………………………………………………… 51 Press Releases …………………………………………………… 52 Programs & Booklets …………………………………………………… 53 Interview Transcripts …………………………………………………… 55 Reviews …………………………………………………………… 55 Oversized Posters …………………………………………………… 56 Series V: Notes …………………………………………………………… 57 Notebooks …………………………………………………………… -
Respectability and the Modern Jazz Quartet; Some Cultural Aspects of Its Image and Legacy As Seen Through the Press
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2011 Respectability and The Modern Jazz Quartet; Some Cultural Aspects of Its Image and Legacy As Seen Through the Press Carla Marie Rupp CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/74 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Respectability and The Modern Jazz Quartet: Some Cultural Aspects of Its Image and Legacy As Seen Through the Press By Carla Marie Rupp Submitted in Partial Fulfillment of the Requirements for the M.A. Degree The City College of New York Thesis Adviser, Prof. Barbara R. Hanning The Department of Music Fall Term 2010 2 CONTENTS ACKNOWLEDGMENTS 3 1. INTRODUCTION 5 2. RESPECTABILITY THROUGH DRESS 22 3. PERFECTION IN PRESENTATION 29 4. CHANGING THE VENUE FROM NIGHT CLUB TO CONCERT HALL 34 5. PROFESSIONALISM OF THE MJQ 43 6. PERSONAL CONCLUDING REMARKS 48 BIBLIOGRAPHY 54 3 Acknowledgements I would like to give a big thanks of gratitude and applause to the incredible Professor Barbara R. Hanning for being my thesis advisor! Her dedication, personal editing, attention to detail and accuracy, kindness and help were invaluable in completing this project on the MJQ. As Chair of the Music Department, she advised me on my BFA requirements in music at City College. And now--some years later with Professor Hanning's encouragement, wisdom and editing--I am thrilled to complete my M.A. -
Lewis A&R Exec
Atlantic Names MJQ's HARM To Give Members Cosnat Forms Rack Division; Mort Hiiiman Monthly Best-Seller List Lewis A&R Exec and Labei PHILADELPHIA—The members of Named Mgr.; Bows New Budget Album Producer the board of directors of the National Blaine, president other than those covered by Cosnat I Association of Record Merchandisers NEW YORK—Jerry disk branches. created an information of The Cosnat Corporation, the (NARM) have Blaine pointed out that Jay-Gee’s which will distributing firm, has announced two and reporting committee, al- company es- introduction of an economy line of ( function under the guidance of Jules major actions by his_ bums will be facilitated by the fact 4 executive director. tablishment of a rack-jobbers division Malamud, that the company, through its Jubilee, The function of the committee and introduction of an economy line Co., Josie, Todd and other subsidiary formed at NARM’s recent mid-year of albums by Jay-Gee Record subsidiary. labels, has amassed a huge catalog in meet in Chicago, will be to institute Cosnat’s record producing its sixteen years of producing records. and maintain an up-to-date listing of Mort Hillman has joined Cosnat as the the fifty best-selling LP’s in the rec- national sales manager of new ord outlets serviced by members of division. Prior to assuming his new CMA Board Meets In Chi. ^ This listing will be sent to position, Hillman was general man- NARM. CHICAGO — The board of directors NARM’s rack membership on a ager for Seeco Records for three years and officers of the Country Music As- monthly basis. -
MILES DAVIS: the ROAD to MODAL JAZZ Leonardo Camacho Bernal
MILES DAVIS: THE ROAD TO MODAL JAZZ Leonardo Camacho Bernal Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: John Murphy, Major Professor Cristina Sánchez-Conejero, Minor Professor Mark McKnight, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Camacho Bernal, Leonardo, Miles Davis: The Road to Modal Jazz. Master of Arts (Music), May 2007, 86 pp., 19 musical examples, references, 124 titles. The fact that Davis changed his mind radically several times throughout his life appeals to the curiosity. This thesis considers what could be one of the most important and definitive changes: the change from hard bop to modal jazz. This shift, although gradual, is best represented by and culminates in Kind of Blue, the first Davis album based on modal style, marking a clear break from hard bop. This thesis explores the motivations and reasons behind the change, and attempt to explain why it came about. The purpose of the study is to discover the reasons for the change itself as well as the reasons for the direction of the change: Why change and why modal music? Copyright 2006 by Leonardo Camacho Bernal ii TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES............................................................................................... v Chapters 1. INTRODUCTION ...............................................................................................