Computational Modelling of Expressive Music Performance in Jazz Guitar: a Machine Learning Approach

Total Page:16

File Type:pdf, Size:1020Kb

Computational Modelling of Expressive Music Performance in Jazz Guitar: a Machine Learning Approach Computational Modelling of Expressive Music Performance in Jazz Guitar: A Machine Learning Approach Sergio Iv´anGiraldo TESI DOCTORAL UPF / 2016 Director de la tesi Dr. Rafael Ram´ırez Department of Information and Communication Technologies By Sergio Giraldo (2016) and licensed under Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported Please see licence conditions at http://creativecommons.org To Camilo... Acknowledgements Four years have passed since I joined the Music Technology Group to begin my PHD. During this period, many people have come across (inside and outside the MTG) giving important contributions to this work. For con- tributions I want to refer not only to the theoretical aspects of the investi- gation, but also to other types of helping support. Received contributions have taken several forms, from babysitting my kid for free in times of work overload, to informal discussions about the investigation, performing tests, doing recordings, or giving very specific theoretical advise. The list is large, and the contributors are many: Firstly i would like to express my gratitude to my advisor, Rafael Ram´ırez, who has been the main contributor to this work. Not only for his excellent advise and guidance, but also for his patience, support, and friendship. Also for considering me to actively participate in the research projects that have been and are being developed right now. I would like to thank to Xavier Serra, Perfecto Herrera, Emilia G´omezand Enric Guaus for their advise and help on several concrete topics needed for this dissertation. I would like also to acknowledge the blind reviewers of the different publications done during this research for their useful and constructive comments. Ad- ditionally I would acknowledge the financial support received by the TIMUL and TELMI projects. Secondly, I would like to express my gratitude to Camilo, for his patience, support, and love (and for always being so enthusiast about coming to the lab with dad!). To my family who has been supporting me from de distance with love and interest. To Yeliz for her unconditional support and love during these last months. v vi Thirdly I would like to thank people and colleagues inside the MTG, spe- cially to Zacharias Vamvakuosis, Nadine Kroner, Sankalp Gulati, Ajay Srini- vasamurthy, Helena Bantul`a,Jose Zapata, and also outside the MTG to Vanessa Picone, Danni Pucha, Anna Herrero, Joan Vi~nals,Alejandro Gall´on, Paula Betancur, Flavia Becerra, Vicktoria Triebner and all the friends and colleagues who have also been direct and indirect contributors to this disser- tation by helping with recordings, giving very useful musical feedback, par- ticipating on the events, doing annotations, correcting/translating to cata- lan, reading and correcting English typos, playing music together, babysit- ting Camilo... etc. To all of them I want to deeply acknowledge their help and support. Abstract Computational modelling of expressive music performance deals with the analysis and characterization of performance deviations from the score that a musician may introduce when playing a piece in order to add expression. Most of the work in expressive performance analysis has focused on expres- sive duration and energy transformations, and has been mainly conducted in the context of classical piano music. However, relatively little work has been dedicated to study expression in popular music where expressive per- formance involves other kinds of transformations. For instance in jazz music, ornamentation is an important part of expressive performance but is seldom indicated in the score, i.e. it is up to the interpreter to decide how to orna- ment a piece based on the melodic, harmonic and rhythmic contexts, as well as on his/her musical background. In this dissertation we present an inves- tigation in the computational modelling of expressive music performance in jazz music, using the as a case study. High-level features are extracted from the scores, and performance data is obtained from the corresponding audio recordings from which a set of performance actions are obtained semi auto- matically (including timing/energy deviations, and ornamentations). After each note is characterized by its musical context description, several ma- chine learning techniques are explored to, on one hand, induce regression models for timing, onset and dynamics transformations, and classification models for ornamentation to render expressive performances of new pieces, and, on the other hand, learn expressive performance rules to analyse its musical meaning. Finally. we report on the relative importance of the con- sidered features, quantitatively evaluate the accuracy of the induced models, and discuss some of the learnt expressive performance rules. Moreover, we present different approaches for semi-automatic data extraction-analysis, as well as, some applications in other research fields. The findings, methods, data extracted, and libraries developed for this work are a contribution to vii viii resumen expressive music performance field, as well to other related fields. Resumen El modelado computacional de la expresividad en la interpretaci´onmusical trata sobre el an´alisisy la caracterizaci´onde las desviaciones que, con re- specto a la partitura, los m´usicosintroducen cuando interpretan una pieza musical para a~nadirexpresividad. La mayor´ıadel trabajo en an´alisisde la expresividad musical hace ´enfasis en la manipulaci´onde la duraci´ony el volumen de las notas, y ha sido principalmente estudiada en en el contexto de piano cl´asico.Sin embargo, muy poco esfuerzo ha sido dedicado al estu- dio de la expresividad en m´usicapopular. Concretamente, en m´usicajazz acciones expresivas como los ornamentos son una parte importante de la expresividad musical ya que estos no est´anindicados en la partitura y es tarea del m´usicohacer uso de los mismos a~nadiendoo substituyendo notas en la partitura. Los m´usicosa~nadenornamentos teniendo en cuenta el con- texto mel´odico,arm´onicoo r´ıtmicodel tema, o bien seg´unsu experiencia en el lenguaje jazz´ıstico. En este trabajo, presentamos una investigaci´on en el modelado computacional de la expresividad musical en m´usicajazz, tomando la guitarra el´ectricacomo caso de estudio. En primer lugar, ex- traemos descriptores de alto nivel de las partituras y obtenemos datos de la ejecuci´ona partir de las correspondientes grabaciones de audio, de donde obtenemos semiautom´aticamente la desviaciones temporales y de energ´ıa de cada nota, as´ıcomo la detecci´onde ornamentos. Despu´esde que cada nota ha sido caracterizada por su contexto musical, varios algoritmos de aprendizaje autom´aticoson explorados para, de un lado, inducir modelos de regresi´onpara duraci´on,comienzo de nota y volumen, y modelos de clasi- ficaci´onpara ornamentos para, finalmente, renderizar ejecuciones musicales expresivas. Por otra parte, aplicamos t´ecnicasde inducci´onautom´aticade reglas al conjunto de descriptores obtenidos para obtener reglas de ejecuci´on musical analizando su sentido musical. Por ultimo, analizamos la importan- cia relativa de los descriptores considerados, cuantitativamente evaluamos la exactitud de los modelos y discutimos acerca de las reglas obtenidas. Igual- mente, reportamos m´etodos para la extracci´on-an´alisissemi-autom´aticode datos, asi como aplicaciones en otros campos de investigaci´on. Los resul- tados, los m´etodos presentados, as´ıcomo los datos extra´ıdosy las librer´ıas de c´odigogeneradas para llevar a cabo esta investigaci´onconstituyen un aporte relevante en el campo de estudio computacional de la expresividad musical, as´ıcomo en otras ´areasde investigaci´onrelacionadas. Resum El modelatge computacional de l'expressivitat en la interpretaci´omusical, tracta sobre l’an`alisii la caracteritzaci´ode les desviacions que els m´usics introdueixen quan interpreten una pe¸camusical, per afegir expressivitat, respecte la partitura. La major part del treball en an`aliside l'expressivitat musical fa `emfasien la manipulaci´ode la durada i el volum de les notes. La majoria dels estudis s'han fet en el context de piano cl`assici molt poc esfor¸cha estat dedicat a la m´usica popular. Concretament, en m´usica jazz, accions expressives com els ornaments, s´onuna part important de l'expressivitat musical; Tot i no estar indicats en la partitura, ´estasca del m´usicfer ´usdls ornaments, afegir o substituir notes en la partitura, tot tenint en compte el context mel`odic,harm`onico r´ıtmic del tema, o b´e segons la seva experi`enciaen el llenguatge jazz´ıstic.En aquest treball, pre- sentem una recerca en el modelatge computacional de l'expressivitat musical en m´usicajazz, prenent la guitarra el`ectricacom a cas d'estudi. En primer lloc, extraiem descriptors d'alt nivell de les partitures i obtenim dades de l’execuci´oa partir dels corresponents enregistraments d’`audio, d'on tamb´e obtenim semiautom´aticament les desviacions temporals i d'energia de cada nota aix´ıcom la detecci´od'ornaments. Despr´esque cada nota hagi sigut caracteritzada pel seu context musical, diversos algoritmes d'aprenentatge autom`atics´onexplorats per a diferents fins. D'un costat, induir models de regressi´oper a la durada, el comen¸cament de nota i el volum, i models de ix x resum classificaci´oper a ornaments per, finalment, renderitzar execucions musi- cals expressives. D'altra banda, apliquem t`ecniques d'inducci´oautom`atica de regles al conjunt de descriptors obtinguts, per obtenir regles d’execuci´o musical analitzant les seves implicacions musicals.
Recommended publications
  • Grant Green Grantstand Mp3, Flac, Wma
    Grant Green Grantstand mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Grantstand Country: US Released: 1961 Style: Soul-Jazz, Hard Bop MP3 version RAR size: 1122 mb FLAC version RAR size: 1402 mb WMA version RAR size: 1247 mb Rating: 4.2 Votes: 707 Other Formats: WAV MP3 MP1 MIDI AIFF VQF DTS Tracklist Hide Credits Grantstand A1 Written-By – Green* My Funny Valentine A2 Written-By – Rodgers-Hart* Blues In Maude's Flat B1 Written-By – Green* Old Folks B2 Written-By – Hill*, Robison* Companies, etc. Published By – Groove Music Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Drums – Al Harewood Guitar – Grant Green Liner Notes – Nat Hentoff Organ – Jack McDuff* Photography By [Cover Photo] – Francis Wolff Producer – Alfred Lion Recorded By [Recording By] – Rudy Van Gelder Tenor Saxophone, Flute – Yusef Lateef Notes Recorded on August 1, 1961, Van Gelder Studio, Englewood Cliffs, New Jersey Blue Note Records Inc., 43 W 61st St., New York 23 (Adress on Back Cover) Barcode and Other Identifiers Matrix / Runout (Side A Label): BN 4086-A Matrix / Runout (Side B Label): BN 4086-B Matrix / Runout (Side A Runout etched): BN-LP-4086-A Matrix / Runout (Side B Runout etched): BN-LP-4086-B Rights Society: BMI Other versions Category Artist Title (Format) Label Category Country Year Blue Grant Grantstand (LP, BN 84086, BN 4086 Note, BN 84086, BN 4086 Japan 1992 Green Album, Ltd, RE) Blue Note Grant Grantstand (CD, 7243 5 80913 2 8 Blue Note 7243 5 80913 2 8 US 2003 Green Album, RE, RM) Grantstand (CD, Blue TOCJ-9244,
    [Show full text]
  • Saxophonist & Composer PHILLIP JOHNSTON NEW RELEASES
    ever needing to hear another take on “I’m In The Mood a lute with a short fingerboard and 11-13 strings, For Love”? Yeah, probably, but this one is fine. “And traditionally used in Arabian, Egyptian, Jewish, Now The Queen” is much more interesting; Goldings Palestinian, Iraqi, Persian, Turkish and Armenian music. opens it with some deeply unsettling noises that could In the jazz world, the oud has been explored by Ahmed come off a Supersilent album, as Stewart bows his Abdul-Malik, Rabih Abou-Khalil and Anouar Brahem. cymbals and rattles his kit like he’s stress-testing the Canadian guitarist Gordon Grdina comes forth mounting hardware. Although the piece has a powerful with a strong, individual voice and the ensemble is melody, it appears as a series of unexpected surges, assimilated like it’s a new discovery of something punctuation at the end of long bursts of disjointed around for a long time. Percussionist Hamin Honari Toy Tunes weirdness. “Toy Tune” builds on a deceptively simple provides extraordinary accompaniment, especially for Larry Goldings/Peter Bernstein/Bill Stewart (Pirouet) head, allowing the trio to meander around for seven listeners used to the American drumset. As he is by Phil Freeman minutes, making it the longest track. “Maybe” is an credited on tombak and daf (traditional Iranian drums), ideal closer, a gentle tune delivered without disruption one wonders from where all of his nuanced sounds Organ player Larry Goldings, guitarist Peter Bernstein or undue exuberance, bringing the mood down to a emanate. The texture and timbre of Honari’s percussion and drummer Bill Stewart first convened as a trio for soothing simmer as the music fades away.
    [Show full text]
  • Acoustic Sounds Catalog Update
    WINTER 2013 You spoke … We listened For the last year, many of you have asked us numerous times for high-resolution audio downloads using Direct Stream Digital (DSD). Well, after countless hours of research and development, we’re thrilled to announce our new high-resolution service www.superhirez.com. Acoustic Sounds’ new music download service debuts with a selection of mainstream audiophile music using the most advanced audio technology available…DSD. It’s the same digital technology used to produce SACDs and to our ears, it most closely replicates the analog experience. They’re audio files for audiophiles. Of course, we’ll also offer audio downloads in other high-resolution PCM formats. We all like to listen to music. But when Acoustic Sounds’ customers speak, we really listen. Call The Professionals contact our experts for equipment and software guidance RECOMMENDED EQUIPMENT RECOMMENDED SOFTWARE Windows & Mac Mac Only Chord Electronics Limited Mytek Chordette QuteHD Stereo 192-DSD-DAC Preamp Version Ultra-High Res DAC Mac Only Windows Only Teac Playback Designs UD-501 PCM & DSD USB DAC Music Playback System MPS-5 superhirez.com | acousticsounds.com | 800.716.3553 ACOUSTIC SOUNDS FEATURED STORIES 02 Super HiRez: The Story More big news! 04 Supre HiRez: Featured Digital Audio Thanks to such support from so many great customers, we’ve been able to use this space in our cata- 08 RCA Living Stereo from logs to regularly announce exciting developments. We’re growing – in size and scope – all possible Analogue Productions because of your business. I told you not too long ago about our move from 6,000 square feet to 18,000 10 A Tribute To Clark Williams square feet.
    [Show full text]
  • Lee Morgan Chronology 1956–1972 by Jeffery S
    Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC).
    [Show full text]
  • Idle Moments Grant Green Pdf
    Idle moments grant green pdf Continue MeLCat is back! Plus other new services. Details here. Ann Arbor District Library about us Collection Events Services Christopher Is no insult to say jazz guitarist Grant Green favored to feel over the technique. He didn't play double phrases or flames with extended chords, instead favoring a langulic, minimalist style that feels more like a blues singer's phrase conveyed by a fretboard. Green's one-line game has always been lyrical, melodic and funky, which is one of the reasons why he was one of the most recorded musicians in the history of Blue Note Records. Alex Arrest, leader of the guitar trio Ann Arbor, was so fascinated with Green's play that he decided to study the 1965 album Of The Idle Moments in full, which he will present on Friday, October 12, at the Kerrytown Concert House with Gayelin McKinney (drums), Eric Nachtrab (bass), Janelle Reichman (tenor) and Alexis Lomre (piano). The record is one of the most famous in Green's career, mainly because the title track is such a cold charmer. As the pianist Duke Pearson, who also wrote the song, told Idle Moments that the melody's nearly 15-minute work time was the result of a happy accident: Green mistakenly played a 16-bar melody twice, creating a longer solo structure for the rest of the musicians, all of whom followed suit. The rest of the album, which includes songs by Jean De Fleur (Green), Django (John Lewis), and Nomad (Pearson), is equally winsome and easy to digest why the record is so beloved.
    [Show full text]
  • Grant Green Green Street Mp3, Flac, Wma
    Grant Green Green Street mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Green Street Country: Japan Released: 1979 Style: Hard Bop MP3 version RAR size: 1660 mb FLAC version RAR size: 1467 mb WMA version RAR size: 1861 mb Rating: 4.1 Votes: 216 Other Formats: DXD FLAC MP3 XM MP1 ASF AC3 Tracklist A1 No. 1 Green Street 7:18 A2 'Round About Midnight 7:02 A3 Grant's Dimensions 7:54 B1 Green With Envy 9:44 B2 Alone Together 7:14 Companies, etc. Manufactured By – King Record Co. Ltd Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Bass – Ben Tucker Design [Cover] – Reid Miles Drums – Dave Bailey Guitar – Grant Green Liner Notes – Leonard Feather Photography By [Cover Photo] – Francis Wolff Producer – Alfred Lion Recorded By [Recording By] – Rudy Van Gelder Notes Recorded on April 1, 1961. Ⓟ 1979 Barcode and Other Identifiers Matrix / Runout (Runout Side A): 〄 SILBT 8868-1 Matrix / Runout (Runout Side B): 〄 SILBT 8869-4 Other (Price): ¥2,300 Other versions Category Artist Title (Format) Label Category Country Year Grant Green Street (LP, BLP 4071 Blue Note BLP 4071 US 1961 Green Album, Mono) Grant Green Street (LP, 771856 WaxTime 771856 Europe 2013 Green Album, Ltd, RE, RM) Grant Green Street (LP, BST 84071 Blue Note BST 84071 US 1970 Green Album, RE) Grant Green Street (CD, 7243 5 40032 2 6 Blue Note 7243 5 40032 2 6 Europe 2002 Green Album, RE, RM) Green Street (CD, TOCJ-9073, Grant Blue Note, TOCJ-9073, Album, Ltd, RE, RM, Japan 1999 BNST-84071 Green Blue Note BNST-84071 Pap) Related Music albums to Green Street by Grant Green Horace Parlan - Up & Down Grant Green / Donald Byrd - His Majesty King Funk / Up With Donald Byrd Grant Green - Ain't It Funky Now Grant Green - Born to be Blue Grant Green - Matador Grant Green - Visions Grant Green with Hubert Laws - The Main Attraction Grant Green - Talkin' About Grant Green - The Latin Bit Grant Green - Idle Moments.
    [Show full text]
  • Readers Poll
    84 READERS POLL DOWNBEAT HALL OF FAME One night in November 1955, a cooperative then known as The Jazz Messengers took the stage of New York’s Cafe Bohemia. Their performance would yield two albums (At The Cafe Bohemia, Volume 1 and Volume 2 on Blue Note) and help spark the rise of hard-bop. By Aaron Cohen t 25 years old, tenor saxophonist Hank Mobley should offer a crucial statement on how jazz was transformed during Aalready have been widely acclaimed for what he that decade. Dissonance, electronic experimentation and more brought to the ensemble: making tricky tempo chang- open-ended collective improvisation were not the only stylis- es sound easy, playing with a big, full sound on ballads and pen- tic advances that marked what became known as “The ’60s.” ning strong compositions. But when his name was introduced Mobley’s warm tone didn’t necessarily coincide with clichés on the first night at Cafe Bohemia, he received just a brief smat- of the tumultuous era, as the saxophonist purposefully placed tering of applause. That contrast between his incredible artistry himself beyond perceived trends. and an audience’s understated reaction encapsulates his career. That individualism came across in one of his rare inter- Critic Leonard Feather described Mobley as “the middle- views, which he gave to writer John Litweiler for “Hank Mobley: weight champion of the tenor saxophone.” Likely not intended The Integrity of the Artist–The Soul of the Man,” which ran in to be disrespectful, the phrase implied that his sound was some- the March 29, 1973, issue of DownBeat.
    [Show full text]
  • Blue Note: Still the Finest in Jazz Since 1939 Published on December 30, 2018 by Richard Havers
    Blue Note: Still The Finest In Jazz Since 1939 Published on December 30, 2018 By Richard Havers Founded in 1939 by Alfred Lion, Blue Note is loved, respected and revered as one of the most important record labels in the history of music. Blue Note is loved, revered, respected and recognized as one of the most important record labels in the history of popular music. Founded in 1939 by Alfred Lion, who had only arrived in America a few years earlier having fled the oppressive Nazi regime in his native Germany, Blue Note has continually blazed a trail of innovation in both music and design. Its catalogue of great albums, long-playing records and even 78rpm and 45rpm records is for many the holy grail of jazz. Blue Note is loved, revered, respected and recognized as one of the most important record labels in the history of popular music. Founded in 1939 by Alfred Lion, who had only arrived in America a few years earlier having fled the oppressive Nazi regime in his native Germany, Blue Note has continually blazed a trail of innovation in both music and design. Its catalogue of great albums, long-playing records and even 78rpm and 45rpm records is for many the holy grail of jazz. It all began when Alfred Lion went to the ‘Spirituals to Swing’ concert at New York’s Carnegie Hall a few days before Christmas 1938. A week or so later he went to Café Society, a newly opened club, to talk to Albert Ammons and Meade Lux Lewis, who had seen them play at Carnegie Hall.
    [Show full text]
  • Grant Green: an Analysis of the Blue Note Guitaristâ•Žs Musical
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2018 Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary Teague Stefan Bechtel Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Bechtel, Teague Stefan, "Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary" (2018). Dissertations. 479. https://digscholarship.unco.edu/dissertations/479 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2018 TEAGUE STEFAN BECHTEL ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School GRANT GREEN: AN ANALYSIS OF THE BLUE NOTE GUITARIST’S MUSICAL VOCABULARY A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Teague Stefan Bechtel College of Performing and Visual Arts School of Music Jazz Studies May 2018 This Dissertation by: Teague Stefan Bechtel Entitled: Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary has been approved as meeting the requirements for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies. Accepted by the Doctoral Committee Steven G. Kovalcheck, M.M., Research Advisor H. David Caffey, M.M., Co-Research Advisor Socrates Garcia, D.A., Committee Member Mary Schuttler, Ph.D., Faculty Representative Date of Dissertation Defense________________________________________________ Accepted by the Graduate School _________________________________________________ Linda L.
    [Show full text]
  • WILTON LEWIS FELDER Phillis Wheatley Graduating Class of 1957 Musician, Saxophonist, Bassist, Composer, and Recording Artist
    WILTON LEWIS FELDER Phillis Wheatley Graduating Class of 1957 Musician, Saxophonist, Bassist, Composer, and Recording Artist Wilton Lewis Felder is a native Houstonian from a family of 17 children (15 girls and 2 boys) who grew up in the historic Fifth Ward of the city. He exhibited musical talent at an early age that was nurtured through both middle and high school where he and a group of childhood friends, also musically talented, graduated from Phillis Wheatley High School in the Classes of 1956 and 1957. The entire group had opportunities, particularly in relationship to band directors/music teachers, to develop and refine their playing and performance skills even before leaving high school. Early on, Wilton developed as a tenor saxophone player; but, subsequently, from the encouragement of fellow group member and friend, Joe Sample, mastered the bass guitar as well. After a couple of years in college, the group of friends (including Felder) relocated to the West Coast in the late 1950s where they formed a pioneering and highly successful jazz fusion group that came to be known as the Jazz Crusaders at first and simply as the Crusaders at a later time. Thus, Wilton Felder was one of the founding members of the Jazz Crusaders/Crusaders who spent over thirty years, more time than any other founding member, playing as part of the group. The other founding members were Wayne Henderson, Joe Sample, Nesbert "Stix" Hooper, Hubert Laws, and Henry "La La" Wilson. Most of the them opted for solo careers after the group achieved a high level of success and recognition; however, all are now a part of music history both as Crusaders and solo artists.
    [Show full text]
  • Blue Note Reissues
    THE FINEST JAZZ SINCE 1939 BLUE NOTE REISSUES Paul Chambers Sonny Rollins John Coltrane Lou Donaldson Cannonball Adderley Whims of Chambers Vol. 2 Blue Train Blues Walk Somethin’ Else ABNJ 1534 $50 ABNJ 1558 $50 ABNJ 81577 $50 ABNJ 81593 $50 ABNJ 81595 $50 Art Blakey & The Jazz Messengers The Three Sounds Lee Morgan Jackie McLean Art Taylor Moanin’ Bottoms Up! Leeway Capuchin Swing A.T.’s Delight ABNJ 84003 $50 ABNJ 84014 $50 ABNJ 84034 $50 ABNJ 84038 $50 ABNJ 84047 $50 Jackie McLean Kenny Dorham Lou Donaldson Grant Green Dexter Gordon Jackie’s Bag Whistle Stop Here ‘Tis Green Street Dexter Calling ABNJ 84051 $50 ABNJ 84063 $50 ABNJ 84066 $50 ABNJ 84071 $50 ABNJ 84083 $50 Fred Jackson Ike Quebec Horace Silver Dexter Gordon Ike Quebec Hootin’ ‘N Tootin’ It Might As Well Be Spring Tokyo Blues Go Bossa Nova Soul Samba ABNJ 84094 $50 ABNJ 84105 $50 ABNJ 84110 $50 ABNJ 84112 $50 ABNJ 84114 $50 Kenny Burrell John Patton Joe Henderson Grant Green Hank Mobley Midnight Blue Along Came John Page One Idle Moments A Caddy For Daddy ABNJ 84123 $50 ABNJ 84130 $50 ABNJ 84140 $50 ABNJ 84154 $50 ABNJ 84230 $50 BLUE NOTE PRINTS What other legendary label has artwork as collectible as the actual records? These long historically famous session photos from Francis Wolff are absolutely gorgeous and make for the perfect supplement to your Blue Note Records collection. From 1939 to 1967, Wolff photographed nearly every Blue Note session. He’s as responsible for how we remember the look of John Coltrane as Rudy Van Gelder is for how we remember the sound.
    [Show full text]
  • Grant Green Feelin' the Spirit Mp3, Flac, Wma
    Grant Green Feelin' The Spirit mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Feelin' The Spirit Country: US Released: 1963 Style: Hard Bop, Soul-Jazz MP3 version RAR size: 1914 mb FLAC version RAR size: 1550 mb WMA version RAR size: 1912 mb Rating: 4.3 Votes: 789 Other Formats: AU MP1 XM RA AAC VOC ASF Tracklist A1 Just A Closer Walk With Thee A2 Joshua Fit De Battle Ob Jericho A3 Nobody Knows The Trouble I've Seen B1 Go Down Moses B2 Sometimes I Feel Like A Motherless Child Companies, etc. Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Bass – Butch Warren Design [Cover] – Reid Miles Drums – Billy Higgins Guitar – Grant Green Liner Notes – Joe Goldberg Photography By [Cover Photo] – Francis Wolff Piano – Herbie Hancock Producer – Alfred Lion Recorded By [Recording By] – Rudy Van Gelder Tambourine – Garvin Masseaux Notes Recorded on December 21, 1962. 1st original Stereo issue has: - blue/white deep grooved Blue Note Records Inc - New York Usa labels, - Stereo and Van Gelder stamped separately in the dead wax, both sides, - "P" (otherwise wrongly called "ear") for Plastylite plant etched in the trail off, both sides, - laminated jacket, - 43 West 61st St., New York 23 address on back cover Barcode and Other Identifiers Matrix / Runout (SIde A runout, etched): BST 84132-A Matrix / Runout (Side B runout, etched): BST 84132-B Matrix / Runout (Both sides runout, etched): P [Plastylite 'ear'] Matrix / Runout (Both sides runout, stamped): VAN GELDER STEREO Other versions Category Artist Title (Format) Label
    [Show full text]