Mccann Swings Into Production
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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………………………………………………………………………………. -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
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. -
Wszystkie 2012
30/12/2012 [ Radio RAM ] === MOONDOG / Bird's Lament [DJAZZ (12")] QUANTIC SOUL ORCHESTRA / Get A Move On [Ubiquity (LP)] GENE HARRIS w/ The Three Sounds / Eleanor Rigby [Blue Note/Dusty Groove (LP)] EDDIE JEFFERSON / Thank You Falletinme Be Mice Elf Again [Muse (LP)] WAR / Freight Train Jam [Far Out Productions (LP)] JESTOFUNK f/ Ce Ce Rogets & Fred Wesley / The Ghetto [Irma (EP)] ROLF KUEHN GROUP / 66 Park Avenue [Sonorama (7")] TIM, GARY & ROMEO / Sex Machine (Getting' Up And Doin' Out Thang) [777/Funk Night (7")] TIM, GARY & ROMEO / 777 [777/Funk Night (7")] DOKKERMAN & THE TURKEING FELLAZ / Broken [Budabeats/Tramp (7")] DOKKERMAN & THE TURKEING FELLAZ / Plan B [Budabeats/Tramp (7")] WISDOM & SLIME f/ Werd / Empty Handed (instrumental + vocal) [Goalgetter Austria (EP)] BIZARRE TRIBE / Tour Guide [Gummy Soul (LP)] BIZARRE TRIBE / Runnin' [Gummy Soul (LP)] BIZARRE TRIBE / Ya mama and stuff [Gummy Soul (LP)] BIZARRE TRIBE / Soul Flower (We've Got) [Gummy Soul (LP)] BIZARRE TRIBE / Bonita Keeps On Passin' Me By [Gummy Soul (LP)] BIZARRE TRIBE / Otha Otha Fish [Gummy Soul (LP)] BIZARRE TRIBE / 4 Better Or 4 Worse [Gummy Soul (LP)] BIZARRE TRIBE / Award Tour Guide [Gummy Soul (LP)] BIZARRE TRIBE / Trust, Pt. II [Gummy Soul (LP)] BIZARRE TRIBE / It Ain't Nothing Like [feat. Kriminul] [Gummy Soul (LP)] BIZARRE TRIBE / Lyrics To Let It Go [Gummy Soul (LP)] BIZARRE TRIBE / Doin' Time [feat. Sublime w/ The Pharcyde] [Gummy Soul (LP)] BIZARRE TRIBE / Pharcyde Of The Moon [feat. Bizarre Tribe w/ Black Moon] [Gummy Soul (LP)] FELA SOUL / Stakes -
Eddie Who? - Eddie Harris Amerikansk Tenorsaxofonist, Født 20.10.1934 I Chicago, IL, D
Eddie Who? - Eddie Harris Amerikansk tenorsaxofonist, født 20.10.1934 i Chicago, IL, d. 5.11.1996 Sanger og pianist som barn i baptistkirker og spillede senere vibrafon og tenorsax. Debuterede som pianist med Gene Ammons før universitetsstudier i musik. Spillede med bl.a. Cedar Walton i 7. Army Symphony Orchestra. Fik i 1961 et stort hit og jazzens første guldplade med filmmelodien "Exodus", hvad der i de følgende år gav ham visse problemer med accept i jazzmiljøet. Udsendte 1965 The in Sound med bl.a. hans egen komposition Freedom Jazz Dance, som siden er indgået i jazzens standardrepertoire. Spillede fra 1966 elektrificeret saxofon og hybrider af sax og basun. Flirtede med rock på Eddie Harris In the UK (Atlantic 1969). Spillede 1969 på Montreux festivalen med Les McCann (Swiss Movement, Atlantic) og skrev 1969-71 musik til Bill Cosbys tv-shows. Spillede i 80'erne med bl.a. Tete Montoliu og Bo Stief (Steps Up, SteepleChase, 1981) og igen med Les McCann. Som sideman med bl.a. Jimmy Smith, Horace Silver, Horace Parlan og John Scofield (Hand Jive, Blue Note, 1993). Optrådte trods sygdom, så sent som maj 1996. Indspillede et stort antal plader for mange selskaber, fra 80'erne mest europæiske. Med udgangspunkt i bopmusikken udviklede Harris sine eksperimenter til en meget personlig stil med umiddelbart genkendelig, egenartet vokaliserende tone, fra 70'erne krydret med (ofte lange), humoristisk filosofisk/satiriske enetaler. Følte sig ofte underkendt som musiker og satiriserede over det i sin "Eddie Who". Kilde: Politikens Jazz Leksikon, 2003, red. Peter H. Larsen og Thorbjørn Sjøgren There's a guys (Chorus) You ought to know Eddie Harris .. -
Memoria Info Sheet
Memoria (World Premiere – 1979) IN MEMORY – IN CELEBRATION Choreography: Alvin Ailey Music: Keith Jarrett Costumes: A. Christina Giannini Lighting: Chenault Spence In the tumultuous time of 1979 when Mr. Ailey’s great, perennial friend from his Lester Horton days, choreographer Joyce Trisler, died prematurely, he began choreographing Memoria. Later, he wrote, “Memoria is about Joyce’s life, my memories of her, my image of her. Although these are very abstract images, nobody has ever asked me what Memoria is about. People everywhere understand it. Making the dance was a very deep and wrenching experience for me.” The ballet is structured in two parts—“In Memory” and “In Celebration”—to the sublime music of Keith Jarrett. Memoria marked the first time Mr. Ailey combined Alvin Ailey American Dance Theater with Ailey II and advanced students from The Ailey School. AAADT in Alvin Ailey’s Memoria with Kansas City Area Dance Students. Photo by Steve Wilson. “…a serious stage drama, with mystery and poetry.” The New York Times “…Mr. Ailey has paid Miss Trisler the fine tribute of creating a work that has a universal quality. It is a dance of both exultation and quiet but deep feeling.” The New York Times “...a homage to the late Joyce Trisler that grows more poignant and more golden every season.” The New York Times “…a rhapsodic ensemble number that unfolds like the opening of a blossom.” The Washington Post, Alan M. Kriegsman “A work of love that brims over with the joys of life.” San Francisco Chronicle, Marilyn Tucker Keith Jarrett Keith Jarrett, pianist, composer and bandleader, is one of the most prolific, innovative, and iconoclastic musicians to emerge from the late 20th century. -
The Stanley Clarke Band SAT / JAN 18 / 7:30 PM
The Stanley Clarke Band SAT / JAN 18 / 7:30 PM Stanley Clarke BASS Cameron Graves KEYBOARDS Evan Garr VIOLIN Salar Nader TABLAS Jeremiah Collier DRUMS Lyris Quartet Alyssa Park VIOLIN Shalini Vijayan VIOLIN Luke Maurer VIOLA Timothy Loo CELLO Tonight’s program will be announced from the stage. There will be no intermission. Jazz & Blues at The Broad Stage made possible by a generous gift from Richard & Lisa Kendall. PERFORMANCES MAGAZINE 4 Naik Raj by Photo ABOUT THE ARTISTS Photo by Raj Naik Raj by Photo Four-time GRAMMY® Award winner of Philadelphia, a Doctorate from Clarke Band: UP, garnered him a 2015 STANLEY CLARKE is undoubtedly one Philadelphia’s University of the Arts GRAMMY® Award nomination for Best of the most celebrated acoustic and and put his hands in cement as a Jazz Arrangement Instrumental or A electric bass players in the world. 1999 inductee into Hollywood’s “Rock Cappella for the song “Last Train to What’s more, he is equally gifted Walk.” In 2011 he was honored with Sanity” and an NAACP Image Award as a recording artist, performer, the highly prestigious Miles Davis nomination for Best Jazz Album. composer, conductor, arranger, Award at the Montréal Jazz Festival Clarke’s CD, The Message, was producer and fi lm score composer. for his entire body of work. Clarke has released on Mack Avenue Records A true pioneer in jazz and jazz- won Downbeat magazine’s Reader’s in 2018. Clarke considers the new fusion, Clarke is particularly known and Critics Poll for Best Electric Bass album “funky, melodic, musical, for his ferocious bass dexterity Player for many years. -
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. -
Jazzletter PO Box 240, Ojai CA 93024-0240
Gene Lees Jazzletter PO Box 240, Ojai CA 93024-0240 November 1999 Vol. 18 N0. 11 Other Voices imposing licensing and record-keepingrequirements on gun dealers and prohibiting firearms purchasers from providing false state- I finished reading Slaughterhouse '99 and a depressed day trader ments, and even an Illinois ban on possession of most handgims. goes on a spree in Atlanta. Then a man who wants to give a . In these cases, the courts have held that the Second Amend- “wake-up call to America to kill the Jews” opens fire in Los ment guarantees a ‘collective right’, not an individual one.” Angeles on little children. “Pith schools starting this week all over The cowardice is found not necessarily in the courts but rather America, should we ask Tom Selleck where the next rampage will in the state legislatures and the Congress, greedily trousering NRA occur? . dollars and doing their bidding. As your favorite songwriter said, You may want to ask the impressive liberal Ted Turner, now “Money doesn’t talk, it swears." Of course, with the present a part of the Time-Life-Warner cartel. If he is a liberal, he has a composition of the “Renchburg” court, as Nixon once called him, lovely way of showing it. there is no guarantee this modicum will continue. This Court seems Thanks for the altemative to crap you provide. determined to return the nation to the ante-bellum days of Henry - — Thomas Priesmeyer; Nashville, Tennessee Clay and John C. Calhoun arguing over states’ rights. I can ahnost hear Jesse Helms and Strom Thurmond calling for a reconsidera- Since your thoughtful and compelling article Slaughterhouse tion of the “unsettled slavery” issue. -
Download Alan's Sampling Credits
Alan V. Abrahams Samples and sampling licenses of Les McCann songs Les McCann Song Artist New Song Atlantic Album from which samples are used: LAYERS 1 Anticipation AZ “Rather Unique” 2 Interlude Sixtoo “Dysfunctional Family Song” 3 Dunbar High School Lord Finesse “Save That Shit” Marching Band 4 The Harlem Buck Del and The Funky “No More Worries” Dance Strut Homosapiens 5 The Harlem Buck The Wascals “Dream & Imagine” Dance Strut 6 The Harlem Buck Celph Titled Feat. “Out To Lunch” Dance Strut Treach 7 The Harlem Buck MC Shan “Go For Yours Cause I’m Gomna Dance Strut Get Mine” 8 The Harlem Buck Ice-T “Soul On ice” Dance Strut Atlantic Album from which samples are used: TALK TO THE PEOPLE 9 North Carolina Smif N Wessun “Lets Get It On” 10 North Carolina Souls of Mischief “What A Way To Go Out” 11 North Carolina A Tribe Called Quest “After Hours” 12 North Carolina A Tribe Called Quest “The Infamous Date Rape” 14 North Carolina Lyrics Born “Asia’s Verse” 15 North Carolina Dilated Peoples “Cool City Sl;icker” 16 North Carolina DJ Krush “Endless Railway” 17 North Carolina Bulldog Breaks “Funk Is A Four Letter Word” 18 North Carolina Black Sheep “To Whom It May Concern” 19 North Carolina Prince Paul “You Got Shot” 20 What’s Going On Pharside “Bullshit” 21 What’s Going On Kool G Rap Feat. Big “Erase Racism” Daddy Kane 22 What’s Going On YZ “Second to Nobody” 23 Whatt’s Going On Pete Rock “Anger In The Nation” 24 She’s Here Da Bush Babies “Remember When (Salaam Remix Version)” 25 She’s Here Head Toucha “It’s Your Life” Atlantic Album from which samples are used: ANOTHER BEGINNING 26 The Morning Song Capitol Tee “The Masha??” 27 Go On And Cry Warren G “Running Wit No Brakes” 28 Go On And Cry Snafu & Tuk “That’s Why” 29 Go On And Cry Xtra Pleza “I Can Feel Everything” 30 Go On And Cry H2O “All Over Your Face” 31 Go On And Cry Living Legends “Flawless” 32 Go On And Cry Nico Suave Fet. -
Jazz Collection: Les Mccann
Jazz Collection: Les McCann Dienstag, 22. September 2015, 21.00 - 22.00 Uhr Samstag, 26. September 2015, 22.15 - 24.00 Uhr (Zweitsendung) Wenn von Les McCann die Rede ist, kommt dem Fan sofort diese Aufnahme vom Montreux Festival 1969 in den Sinn. «Swiss Movement» hiess die LP, und sie war ein unglaublicher Erfolg. Aber Les McCann ist mehr als ein Konzert in der Schweiz: Nämlich einer der Gründerväter des Souljazz! 1959 ging der Pianist Les McCann erstmals in Studio, mit seinem eigenen Trio, und diese Bandleder- Karriere dauerte fast fünfzig Jahre. Vom ersten Moment an klang Les McCann wie Les McCann: Rhythmusbetont und tief im Blues verwurzelt hatte er seinen Stil gefunden. Ein paar Jahre später begann er zu singen, und natürlich machte er auch da von Anfang an alles richtig. Dieses Konzert in Montreux bleibt aber wohl der Höhepunkt in dieser reichen Karriere, «Compared to what» wird heute noch gespielt. Gast von Annina Salis ist der Pianist und Sänger Hendrix Ackle. Redaktion: Beat Blaser Moderation: Annina Salis Les McCann plays the Truth (1960) CD The best of...Vinnegar, Leroy…, Capitol, CDP 7243 8 522162 0 Track 2: A little ¾-Time for God & Co Richard “Groove” Holmes: Groove (1961) CD Pacific Jazz, CDP 7 94473 2 Track 8: Next Spring Relationships - The Les McCann Anthology, Rhino, R2 71279;S22 17294 Track I/9: Baylor the Wailer (Les McCann Trio acc. by Gerald Wilson Orchestra (1964) Track II/5: With These Hands (Les McCann: Much Les (1968) Swiss Movement (1969) CD Atlantic, 781 365-2 Track 1: Compared to What Les McCann: Hustle to survive (1975) CD Collectables Records, COL-CD 6608 Track 3: Got to hustle to survive Les McCann: On the soul side (1994) CD Limelight, 522 431-2 Track 8: The Children Track 7: Ignominy Bonustracks – nur in der Samstagsausgabe Les McCann: On the soul side (1994) CD Limelight, 522 431-2 Track 7: Ignominy Les McCann & Eddie Harris: Swiss Movement (1969) CD Rhino, 8122-72452-2 Track 2: Cold Duck Time Lou Rawls with Les McCann LTD. -
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality By Carlo Estolano Commentaries for the PhD folio of compositions University of York Music December 2017 2 3 Unbound Jazz: Composing and Performing in a Multi-Cultural Tonality Thesis submitted in partial fulfilment of a PhD degree in Music at The University of York, December 2018 by Carlo Estolano. Abstract This folio is conceived to propose and demonstrate music realisation of original compositions throughout the employment of elements of mainly two distinct sources: a selection from the wide palette of Brazilian folk styles that have improvisation as a strong element, which is internationally acknowledged as Brazilian Jazz; and its intersections with a certain style of European Jazz represented by artists notable by their keenness to combine elements from distinct musical genres with their Classical background, such as Ralph Towner, Jan Garbarek, John Abercrombie, Eberhard Weber, Kenny Wheeler, Terje Rypdal, Keith Jarrett to name a few. Both Brazilian and European approaches to Jazz seem to share processes of appropriation of foreign musical languages, as well as utilising characteristic features of their own traditions. Another common ground is their relation with some elements and procedures of classical music. The methodology to accomplish an organized collection of musical material was to divide them in five major influences, part of them by composers and part by genres notable by having evolved through absorbing elements from distinct cultural sources. In five projects, fifteen original compositions are provided along with their recorded and/or filmed performances and commentaries about the compositional aspects, concerningthe style or composer focused on.