Mccann Swings Into Production

Total Page:16

File Type:pdf, Size:1020Kb

Mccann Swings Into Production 32 Billboard SPECIAL SURVEY For Week Ending 9/4/76 (Published the 2nd 8 4th Issue Of Every Month) Jazz Billboard jazz McCann Swings Into Production Sell i ng 3est LPs® Pianist- Singer Does Own Album, Preps Musical Show By ELIOT TIEGEL d ,V a %$ TITLE ' a LOS ANGELES -Les McCann should know what the control board a3 g Artist, Label & Number (Distributing Label) has produced his own first album can do, what he can get out of it and and will produce his first stage pres- what he can't. "I've had the great 1 1 23 BREEZIN George Benson, Warner Bros. BS 2919 entation of a musical, "Brother fortune of working with Bob Lifton Francis," co- authored with a lyricist in New York and I learned a lot 2 2 13 BOB JAMES THREE going under the monicker of Rev. B. from him," he says of past experi- CTI 6063 The Atlantic LP, "River High, ences with the noted New York engi- 3 5 14 FEVER River Low," has just been released. neer. Ronnie Laws, Blue Note BN- LA628 -G (United Artists) The musical, an updated story about McCann says before he agrees to 4 3 17 THOSE SOUTHERN KNIGHTS St. Francis of Assisi, will be record anyone he wants to get to Crusaders, ABC /Blue Thumb BTSD 6024 presented Nov. 27 at the Santa Mo- know the person because, he admits nica Civic Auditorium featuring 5 6 17 YOU ARE MY STARSHIP candidly, "there have been times in Norman Connors, Buddah BDS 5655 McCann the lead role and with a when I'd go in the studio and be so cast of about 30 onstage. scared." 6 10 5 EVERYBODY LOVES THE SUNSHINE These performers plus the back- Roy Ayers How is it possible for him Ubiquity, Polydor PD -1 -6070 stage crew are all non -professionals, to be frightened in a recording studio 7 9 17 FLY WITH THE WIND McCann says, and are all part of his when he is able to enrapture an au- McCoy Tyner, Milestone M 9067 (Fantasy) "extended family," a group of stu- dience of 10,000 with dents and professionals who enjoy his in- person 8 4 17 HARD WORK presentation? John Handy, ABC /Impulse ASD 9314 having a musical experience. ts.. "The studio was meant for The 11/2-hour play will be fol- si- 9 7 13 GOOD KING BAD lence," he answers. "It's lowed by a regular concert featuring Les McCann: controlling his destiny another George Benson, CTI 6062 world. In the studio each is the McCann Quartet. more. guy blocked out, and you're dealing with 10 19 3 WINDJAMMER Producing the musical, for which Freddie Hubbard, Columbia PC 34166 another mode for which you only he wrote the music and Rev. B the developed his own studio idiosyn- may prepare yourself once or twice a 11 8 14 EVERYBODY COME ON OUT lyrics to 50 tunes (two of which crasies like not having anyone count ap- year." Stanley Turrentine, Fantasy F 9508 peared on McCann's earlier LP, off the takes, preferring to have the Performing before an audience is "Hustle To Survive ") is a contin- tape running all the time and not see 12 11 21 LOOK OUT FOR #1 a repetitive situation for McCann uation of McCann's drive to assert people moving around the studio. Brothers Johnson, A &M SP 4567 who earlier this year did a himself in new roles. As a producer he is concerned that string of 13 24 3 SANBORN 54 one -nighters on Midwestern col- Last year he began to sing more time isn't wasted and the musicians David Sanborn, Warner Bros. BS 2957 lege campuses and 24 concerts in 26 and his voice is featured on all 11 get the job done ( "concentration on days in Europe. 14 SECRETS cuts on the new LP. He a &red the the job means the music will be bet- "Onstage there's an immediate re- Herbie Hancock, Columbia PC 34280 new LP because it was something he ter"). He also 15 12 13 ARBOUR ZENA felt he needed to do. All of his 10 believes the producer (Continued on page 55) Keith Jarrett, ECM 1070 (Polydor) previous Atlantic LPs were done un- der the aegis of a producer in the 16 20 48 KOLN CONCERT 4 -YEAR GROWTH Keith Jarrett, ECM 1064/65 (Polydor) control room, and while McCann says he wants to produce followup 17 25 3 GLOW LPs by himself, he's "not closed to Hobby Becomes Lucrative Al Jarreau, Reprise MS 2248 Bros.) (Warner working with someone again." 18 14 23 ROMANTIC WARRIOR McCann says he wanted to produce Return To Forever, Columbia PC 34076 his own LP because he's "looking to For Berkeley Distributor 19 17 46 FEELS SO GOOD build his own adequacy." By CONRAD SILVERT Grover Washington Jr., Kudu 24 S1 (Motown) He also adds his voice to those BERKELEY, Calif, that will swell who have previously said that it's -Rick Bal- that total to more than 20 22 5 THE MAIN ATTRACTION lard Imports, a distributor special- 50. Grant Green, Kudu 28 (CTI) "hard for someone to produce a jazz izing in contemporary European Ballard notes that musician" because of the very na- many new la- 21 15 17 SALONGO and ture of the improvisational demands U.S. jazz labels, has in four bels springing up are artist -owned, Ramsey Lewis, Columbia PC 34173 years turned a collecting hobby into like Paul Bley's Improvising Artists, of the players. "I can see a producer 22 23 8 BLACK WIDOW a rapidly expanding business. Bal- a trend he feels deserves being effective with a rock group in encour- Lalo Shifrin, CTI 5000 lard says he will gross more agement. terms of finding songs and helping than $100,000 in 1976. "The resurgence of jazz labels 23 13 44 TOUCH them get their tunes together," he For the past year - the last few years," John Klemmer, ABC ABCD 922 says. Ballard, a one over Ballard says, man operation, has been working "is incredible -in Japan, in the U.S. 24 33 5 STEPPIN' OUT WITH A DREAM The jazz musician, McCann in- out of a small loft office rented for and in Europe. And I think that Ahmad Jamal, 20th Century T 515 fers, has to make his own creative $100 monthly from Berigan Rec- jazz's staying power, along with the path since the music is in his soul 25 30 10 THE NEED TO BE ords, a Berkeley jazz -oriented store sheer quality of the music, is respon- Esther Satterfield, A &M SP 3411 and it doesn't pop out merely be- that also is one sible for the shift tastes in the 18- cause someone yells, "Take One." of Ballard's clients. of 26 29 23 AURORA Ballard, now 28, 30 age group." The pianist /singer says that other began in 1972 by Jean -Luc Ponty, Atlantic SD 18163 corresponding with the then -tiny Ballard is excited about his new musicians have asked him to pro- 27 German ECM which acquisition rights BAREFOOT BALLET duce their works and while he's in- label, he im- of to distribute the John Klemmer, ABC ABCD 950 ported along with MPS catalog, something he terested, that won't be happening selected records has from the French Futura catalog. worked on for more than a year. He 28 38 3 BRIGHT SIZE LIFE right away. That first year he grossed Pat Metheny, ECM -1 -1073 (Polydor) "The great producers," McCann only (Continued on page 55) $3,000. 29 - 1 SCHOOL DAYS believes, "know quite a bit about By approaching independent Bay Stanley Clarke, Nemperor NE 439 (Atlantic) music, are ex- musicians and can re- Area stores having late to musicians." large progressive 30 35 5 DREAMS SO REAL music inventories, such as Leopold's As a musician turned producer, Jazz Beat Gary Burton Quintet, ECM -1 -1072 (Polydor) and Rather Ripped in Berkeley, Bal- who also wants to remain a musi- LOS ANGELES -Art Mardigai, former Woody 31 21 5 SUMMERTIME lard gradually expanded into distri- cian, McCann says he has to have an MFSB, Philadelphia International PZ 34238 (Epic) buting other labels, especially the Herman and Stan Getz drummer, is back work- engineer he can work with. He has ing in Detroit after a hospital stay. He is heard 32 32 3 WAITING rapidly growing number of small on recent Prestige reissue LPs by Wardell Grey Bobby Hutcherson, Blue Note BN- LA615 -G (United Artists) domestic jazz companies. and Dexter Gordon. Also in Detroit, Frank Later Ballard expanded into serv- Isola, 33 /121=1* HERITAGE former drummer with Gerry Mulligan, is working icing several of the large chains (Od- Eddie Henderson, Blue Note BN- LA636 -G (United Artists) at the Cobbs Corner with a trio.... The Don Ra- yssey, Tower) and today does 10% of 34 der Sextet has been added to the bill for the 36 3 SKY STREET his business outside of the Bay Area, Kenny Burrell, Fantasy F 9514 second annual Santa Barbara Jazz Festival, Oct. mostly in Los Angeles. 1-3. Other recent additions to the lineup include 35 18 14 EARL KLUGH His second year in business, 1973, Hampton Hawes, Taj Mahal and Frank Rosolino. Blue Note BN- LA596 -G (United Artists) saw gross sales jump to $17,000 but Jazz at Eagle. Rock high school in L.A. cele- 36 26 28 THE LEPRECHAUN the most dramatic leap was in '74 brates its third anniversary Oct.
Recommended publications
  • 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……………………………………………………………………………….
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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 ..
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]