DOCSLIB.ORG

PDF (V.57:30 June 1, 1956)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PDF (V.57:30 June 1, 1956) TheCaliforniaTech California Institute of Technology Volume LVII Pasadena, California, Friday, June I, 1956 Number 30 Notice how to read these cause of the the print whi- hroughout on difficult it' is headlines be- similarity of ch is used t- these stories theatre "Will Success Spoil Rock tIes the troupe back to Moscow by Mike Milder year, only students in the upper only to be rescued by the omni­ "Will Success Spoil Rock Hunter?" will close Saturday, Caltech maintains a wide­ half of their class have been present agent. Hunter?" is a sexplosion of June 23. She Carthay Circle spread program of shcolarship eligible to apply for scholarship aid for its students, a program laughs. The comedy, by George Theatre is Located at 6316 San George S. Kaufman, Leveen aid. Funds have always been Axelrod, is a satire of Holly. Vicente Blvd in Los Angeles. MacGrath and Abe Burrows dig that is perhaps one of the most availiable sufficent to extend extensive of its type of any col· aid to virtually very such eli­ wood's literacy, wealth, ethics Curtain is at 8:30 each evening into this melee and come up and sex. Take'offs on film life, and tickets are priced from with some clever, fast moving lege in the country. But the gible student who has shown need. its money, its work and its past· $i.10 to $3.30 with top on week· dialogue. Cole Porter catches Committee on Undergraduate Scholarships and Honors has times·are not exactly new, dif· ends. Dark Sunday. Tickets for the spirit of things with his mu· For next year, the Scholar­ announced changes in policy ferent or exciting, but somehow the weekend performances sic and lyrics which help the ship Committee has decided to that promise still to improve the show provides a barrage of should be purchased about three show move along briskly. "Silk extend eligibility for scholar­ laughs. days in advance. Stockings" contains such Porter Caltech's present scholarship ship aid to every student in SILK STOCKINGS tunes as "All of You" and "With­ program. good .standing. The Committee A beautiful, dumb blond, Rita PHILHARMONIC out Love." The choreography L.W. Jones. Dean of Admiss­ Marlowe, whose main claim to has made this decision because AUDITORIUM of Eugene Loring is colorful and ions and member of the Com­ of the trend of increasing amou­ film success is her build, is the noisy particularly in "Jose­ "Silk Stockings" moved into mittee, supplied a number of nts of scHolarship funds being focal point of the play. The phine" and thetinale. facts of interest about the pro­ show opens with her wrapped town this week as the second made available to Caltech. The presentation of the Los Angeles Things get off to a fine start gram. In recent years, the Insti· Committee expects that several in towel and enJoying a mass· tute has been able to extend fin­ age. A bewildered and unbelieve· Civic Light Opera Association. with a scene in a Paris hotel, new scholarships will be estab­ In contrast to its predecessor, ancial aid to roughly one-third ably naive magazine writer, then seem to settle down for a lished at Caltech by various in­ "Rosalinda," which got its laughs of the undergraduate student George MacCauley. blunders in while until the second act, when dustrail organizations. State­ by hitting the Corn Belt, "Silk the show lets 10};lSe with dia­ body. This last year, 184 stu­ and eventually makes a deal wide and nationwide scholar­ Stockings" delivers a humorous logue, song and dance for lots dents received scholarship aid. ships such as the Merit and with a Mephistophelen theatri­ evening by tickling the funny of fun. J a Mielziner's sets help Ahout 40 per cent of these cal agent who gives him any­ General Motors Scholarships, are bone with some delightfully nim­ the show considerably hy reflect· scholarships were provided dire­ expected to take care of an in­ thing he wants for ten percent ble-witted dialogue. ing the spirit of what goes on in ctly from Institute funds, and of his soul. MacCau1E:y acquires, creasing numbe" of needv Tech­ The play is a satire of Russian front of the footlights. about 60 per cent from so-called men. INa less than eighteen of among other things, a million special funds, set up by outside life (or is it death?) that also "Silk Stockings" closes Satur­ the incomins:: Freshman are dollars, Miss Marlowe and a organizations, largely industrial. personality to make good. use manages to take a jab or two at day, June 30. The Philharmonic 110lde;'s of Merit Scholarships, America and Americans. A way· Scholarships from these special of both. He ends up in Holly­ AUditorium is located on the and five more have been award­ ward Russian composer gets lost funds are awarded entirely at wood not doing much of any­ corner of Fifth and Olive Streets ed G.M. Scholarships.) Dr. E. H. in the pleasures of Paris and the discretion of the Institute thing except selling his soul in downtown Los Angeles. Week Swift. chairman of the C.om­ three flunkies are sent to "force· night tickets are priced from with the limitation that some mittee, mentioned that the re­ and is rescued at the hundred him back by his own free will" of these scholarships have been percent mark by Mike Freeman, $1.20 to $4.90. \Veekend tickets cent publicity afforded the to Russia, but they too begin to have a $5.40 top. Evening cur­ earmarked for students in parti­ shortage of technical manpower writer of a play that Miss Mar· enjoy the "decadent" bourgeois cular options. lowe films. taIn is 8:30 p.m.; Matinees on has .been largely responsible life of Paris. Ninotchka (Jan Wednesday and Saturday at 2:30 Dean Jones remarked that the for industry's increased interest James Dobson turns out a Sherwood) is sent to rescue all p.m. Dark Sunday. Tickets for special funds tend to favor stu­ in setting un such scholarship magnificently dazed, ridiculous four from the evils of luxury, the weekend performances dents in the engineering op­ funds at Caltech and on a and sympathetic George Mac· but she finds it pretty comfort­ should be purchased at least five tions, but that this fact allows nationial basis. Cauley. George Givot is suit­ able in the arms of an American days in advance. Institute funds to be released ably ignorant as an obnoxious theatrical agent (Don Ameche). for aiel to students in the sci­ As far as the average Tech­ -Dick Kirk film producer who is the epi· Duty calls however and she hus· ences. According to Dean Jones, man is concerned, the change tome of wealthy illiteracy. "Scholars11ip ass i s tan c e is in policy wiH not have too dras­ awarded entirely on the basis tic an effect. It will mean that Wild-eyed Lango wr.ites of financial need, with no dis­ prohably a few mare under­ crimination regarding option or gradllates will be able to receive class." financial help than previously. In previous years, as in this With luck, according to Dean more bull on Open Forum Jones, up to 50 per cent more by Wild-eyed John of the Institute are endangered, students will recieve scholar­ The Open Forum's program newspaper articles, if any, JT()I2"" A13()UT ship grants than in previous for next term was approved by should follow the event, and if MAJU[2 JTI:r=r="" years. .-:\t any rate, the change tbe BOD in its meeting held necessarY,be kept off the front Monday, at 11 a.m., Major is a welcome beginning. last Monday night. A progress page." Adverse public rea~tion Steffy's Air Science III class report was also presented by to off-eampus publicity was one saw him in class for proba.bly the Forum. It was the Board's of the major criticisms of the the last time. After a longer tour Bergletl unofficiat opinion tlfat the Forum's intended program. of duty than the Air Force Forum was not ready for re­ Membership on the Open usual he is finally begin trans, cognition as(the goals of the Forum was one of the major ferred. As Assistant Professor Petie" P,ize original Board decision had not points of controversy. Two pos­ Major Steffy distingusihed him­ Howard Berg and Rube Moul­ been attained. sible plans,wete proposed. One of Air Science and Tactics ations covered some phase of A debate between a socialist would establish a committee of self as one Tech instru~tor who ly at the Conger Peace Prize and a RepUblican is the first seven wpich would perpetuate prepared himself for class, then assembly, which was held last activity on the Open Forum's itself, although two of its mem­ presented his courses in a Thursday at Culbertson hall. teniative program for next bership must be seniors. The friendly personable style. The other competetors were term. Following this will be a second wOuld establish a club Strangely, he never bothered Myron Black, John Velman, T~hnocrat, a representative of whose membership would elect to tell us how he won WWII. Keith Brown, and Robert Brad­ a left-wing group, a represen­ a planning committee........of seven. Strangely, because he flew all ford. EJachof the 7 minute or· tative of a right-wing grouP: and The official status of the Open over the South Pacific in' Mus­ ations vcovered some phase of an author expressing some diver­ Forum, if it )Vere. recognized tangs (F-51), Thunderbelts international or industrial pe,ace.
Load more

Recommended publications
  • Washington Rucker Drummer Clarence Dixon Told Rucker “This Pair of Sticks Will Take You All Over the World If You Want to Go,” and They Did
    Washington Rucker Drummer Clarence Dixon told Rucker “this pair of sticks will take you all over the world if you want to go,” and they did. Chapter 01 – 1:30 Introduction Announcer: Washington Irving Rucker was born in Tulsa, Oklahoma on March 5th, 1937 and attended local schools through graduation from Booker T. Washington High School, developing a talent for the drums along the way. By his teens, Washington was working with bluesman Jimmy “Cry Cry” Hawkins and was soon off to UCLA to study and get into the Los Angeles music scene. A man of many talents, Washington got a degree in history and side careers in acting and cosmetology while playing drums with bands in a variety of genres. Rucker has worked with artists as diverse as Stevie Wonder, Ray Charles, Gospel artists Rev. James Cleveland and Shirley Caesar, Jazz greats like Dizzy Gillespie, Sonny Stitt, Hampton Hawes, and Freddie Hubbard and singers Nancy Wilson and Linda Hopkins. He has also appeared regularly in film and television as a character actor, most notably in Martin Scorsese’s “New York, New York” and Clint Eastwood’s “Bird”. Drummer Clarence Dixon once told him “This pair of sticks will take you all over the world if you want to go” and those words became Washington Rucker’s reality. He is a 1998 inductee of the Oklahoma Jazz Hall of Fame. The song used for this introduction is titled Lucky and is one of many songs written by Washington. You can hear Lucky in its entirety at the end of this interview.
    [Show full text]
  • Of Audiotape
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. DAVID N. BAKER NEA Jazz Master (2000) Interviewee: David Baker (December 21, 1931 – March 26, 2016) Interviewer: Lida Baker with recording engineer Ken Kimery Date: June 19, 20, and 21, 2000 Repository: Archives Center, National Museum of American History Description: Transcript, 163 pp. Lida: This is Monday morning, June 19th, 2000. This is tape number one of the Smithsonian Jazz Oral History Project interview with David Baker. The interview is being conducted in Bloomington, Indiana, [in] Mr. Baker’s home. Let’s start with when and where you were born. David: [I was] born in Indianapolis, December 21st, 1931, on the east side, where I spent almost all my – when I lived in Indianapolis, most of my childhood life on the east side. I was born in 24th and Arsenal, which is near Douglas Park and near where many of the jazz musicians lived. The Montgomerys lived on that side of town. Freddie Hubbard, much later, on that side of town. And Russell Webster, who would be a local celebrity and wonderful player. [He] used to be a babysitter for us, even though he was not that much older. Gene Fowlkes also lived in that same block on 24th and Arsenal. Then we moved to various other places on the east side of Indianapolis, almost always never more than a block or two blocks away from where we had just moved, simply because families pretty much stayed on the same side of town; and if they moved, it was maybe to a larger place, or because the rent was more exorbitant, or something.
    [Show full text]
  • Prestige Label Discography
    Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
    [Show full text]
  • Á1 I Mccö INCLUDES HIS NEW SMASH SINGLE "CHANGE with the TIMES" AV 4660 AV 69009 //DAVCO
    09120 # 45036SNYDER008 1307 FEB76 NEWSPAPER 50 05 156 250052000410 R SNYDER DR 4%39 MARY ANN 4- J36 ANON OH A Billboard Publication The International Music- Record -Tape Newsweekly October 1 1 , 1975 $1 .50 RENEWALS TO HEIRS 40+ Discos `Posthumous' C'right Major Changes In Planned For Collegiate Talent Is Clarified By Court Eatery Firm Bookings By IS HOROWITZ By JIM MELANSON This Fall NEW YORK -Steak & Brew, 50- NEW YORK -Publishers may no By JIM FISHEL Tape Pilfer Tests location restaurant chain, is going longer claim renewal rights to com- disco. NEW YORK -There are some positions assigned by the writer but The firm is planning to open noticeable trends in the collegiate not or printed copyrighted until af- Are Inconclusive dance spots in some 40 of its units by NBC-TV Joining talent area this fall, like a tardiness ter his death, a U.S. appellate court By STEPHEN TRAIMAN the end of 1976, according to Mi- in securing acts, the presence of has ruled. NEW YORK -Results of limited chael O'Harro, formerly of the Dim- more outside promoters doing Such renewal rights are vested in Live Variety Field campus dates, rock appearing to be tape pilferage tests by GRT Music ples disco chain and now freelance the heirs, the court stated in a land- on the decline, while black music Tapes and the J.L. Marsh Musicland consultant to Steak & Brew. By BOB KIRSCH mark decision countering traditional Ten such locations are already (soul, disco, jazz, blues) and middle - chain are promising but inconclu- LOS ANGELES -The NBC -TV industry practice which has consid- firmed to open their doors to the of-the -road are gaining steam.
    [Show full text]
  • Contemporary Label Discography [Document]
    Contemporary Label Discography Lester Koenig started the Good Time Jazz label in Los Angeles in 1951, it was located at 707 North Irving Boulevard. In 1953 they moved to 8481 Melrose Place. Vice President of the company was Bob Kirstein. Producers were Nesuhi Ertegun (later of Atlantic fame) and Bob Kirstein. The output of the label was jazz and folk music. Contemporary Records was formed as a subsidiary in 1952 or 1953. Contemporary was also located at 8481 Melrose Place. The output of Contemporary was jazz and classical music. The Society For Forgotten Music Label (SFM) subsidiary was formed in 1958. The SFM label released classical music. The California Label subsidiary was formed in 1958 and only released one known album. Contemporary formed a label called Stereo Records in 1958, and released stereo versions of albums released in monaural on California, Contemporary, Good Time Jazz and the Society for Forgotten Music. This separate label for stereo was used into 1959 and then abandoned and stereo releases were issued on the same label as the monaural releases. All of the Contemporary labels were purchased by Fantasy Records. This Discography includes the Contemporary Label, Good Time Jazz, California, Stereo and Society for Forgotten Music (SFM) Labels This Contemporary Label discography was compiled using Schwann catalogs from 1950 to 1982, Phonolog from 1963, The Complete Library of American Phonograph Recordings (1958-1968) by Jerry Osborne, The Jazz Discography Project Website (http://www.jazzdisco.org), The American Record Label Directory and Dating Guide, 1940-1959 by Galen Gart and my record collection. Tracks are listed in order they appear on the albums, when known and the double slash (//) is indication of the separation between sides.
    [Show full text]
  • Title Format Released & His Orchestra South Pacific 12" 1958 Abdo
    Title Format Released & His Orchestra South Pacific 12" 1958 Abdo, George & The Flames of Araby Orchestra Joy of Belly Dancing 12" 1975 Abdo, Geroge & The Flames of Araby Orchestra Art of Belly Dancing 12" 1973 Abney, Don, Jimmy Raney, Oscar Pettiford Music Minus One: A Rhythm Background Record For Any Musician Or Vocalist 12" 19NA Abrams, Muhal Richard Duet 12" 1981 Adderley, Cannonball The Cannonball Adderley Collection - Vol. 7: Cannonball in Europe 12" 1986 Somethin' Else 12" 1984 Domination 12" 1964 Cannonball Adderley Quintet In Chicago 12" 1959 African Waltz 12" 1961 Cannonball Takes Charge 12" 1959 Adderley, Cannonball Quintet Mercy, Mercy, Mercy! Live at 'The Club' 12" 19NA Ade, King Sunny Synchro System 12" 1983 Adelade Robbins Trio, Barbara Carroll Trio Lookin' for a Boy 12" 1958 Akiyosh, Toshiko-Lew Tabackin Big Band Road Time 12" 2 LPs 1976 Akiyoshi, Toshiko Lew Tabackin Big Band Tales of a Courtesan (Oirantan) 12" 1976 Albam, Manny Jazz Heritage: Jazz Greats of Our Time, Vol. 2 12" 1958 Alexander, Monty Alexander The Great 12" 1965 Facets 12" 1980 Monty Strikes Again: Monty Alexander Live In Germany 12" 1976 Duke Ellington Songbook 12" 1984 Spunky 12" 1965 Alexander, Monty & Ernest Ranglin Just Friends 12" 1981 Alexandria, Lorez The Band Swings Lorez Sings 12" 1988 Alexandria the Great 12" 1964 Lorez Sings Pres: A Tribute to Lester Young 12" 1987 For Swingers Only 12" 1963 Page 1 of 67 Title Format Released Alexandria, Lorez This Is Lorez 12" 1958 More Of The Great Lorez Alexandria 12" 1964 Allen, "Red" With Jack Teagarden And Kid Ory At Newport 12" 1982 Allen, Henry "Red" Giants Of Jazz 3 LP Box Set 1981 Ride, Red, Ride in Hi-Fi 12" 1957 Ridin' With Red 10" 1955 Allison, Mose V-8 Ford Blues 12" 1961 Back Country Suite 12" 1957 Western Man 12" 1971 Young Man Mose 12" 1958 Almeida, Laurindo with Bud Shank Brazilliance, Vol.
    [Show full text]
  • Pop / Rock Misto
    CATALOGO LP prezzo POP / ROCK MISTO 2967 BRITISH EUROPEAN LP 3LP 100-TH WINDOW - MASSIVE ATTACK EUR 120,00 209 CASTLE BRITISH EUROPEAN 2LPLP ACKER BILK:THE COLLECTION EUR 23,30 35 BRITISH EUROPEAN LP AGNES BERNELLE - FATHER'S LYING DEAD ON THE IRONINGEUR BOARD 15,50 8283 ARISTA AIR SUPPLY - JUST AS I AM EUR 19,50 9564 ARISTA (Audiophile LP) ALLMAN BROTHERS BAND - BROTHERS ON THE ROAD EUR 19,50 505 FLYING FISH USA AZTEC TWO-STEP/SEE IT WAS LIKE THIS...AN ACOUSTIC RETROSPEC.EUR 14,50 163 CASTLE BRITISH EUROPEAN 2LPLP BARBARA DICKSON EUR 23,30 8620 ART BILL HALEY - GREATEST HITS EUR 15,50 15 BRITISH EUROPEAN LP - Heavy VinylBILL WELLS TRIO - ALSO IN WHITE EUR 22,50 4 AUDIOPHARM 3 LP BRAZILECTRO 3 - Artisti Vari - Jazz-Samba and Electronic Music: EURBossa & Latin 34,00 - composta da uno dei più popolari DJ nel mondo - Paco De La Cruz 5 AUDIOPHARM 3 LP BRAZILECTRO 4 - Artisti Vari - Jazz-Samba and Electronic Music: EURBossa & Latin 34,00 - - composta da uno dei più popolari DJ nel mondo - Paco De La Cruz 18 CASTLE BRITISH EUROPEAN LP CHICAGO: CHICAGO 8 \ STREET PLAYER EUR 23,30 8619 ART CLIFF RICHARD - GREATEST HITS EUR 15,50 71302 GOLD CASTLE COLLINS JUDY /TRUST YOUR HEART EUR 13,90 166 CASTLE BRITISH EUROPEAN 2LPLP ELKIE BROOKS EUR 23,30 74213 BRITISH EUROPEAN LP 2 LP FRANK ZAPPA - SAMPLER - YOU CAN'T DO THAT ON STAGE ANYMOREEUR 18,50 229 CASTLE BRITISH EUROPEAN 2LPLP GARY NUMAN - THE COLLECTION EUR 23,30 129 CASTLE BRITISH EUROPEAN 2LPLP JUDY GARLAND - THE COLLECTION - LIVE! EUR 23,30 130 CASTLE BRITISH EUROPEAN 2LPLP MANTOVANI AND HIS ORCHESTRA - THE COLLECTION EUR 23,30 4402 CARTHAGE REC.
    [Show full text]
  • Red Mitchell: Tuning in Fifths and the Walking Bass Line
    RED MITCHELL: TUNING IN FIFTHS AND THE WALKING BASS LINE STEPHEN THOMAS BRIGHT A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO OCTOBER 2013 © Stephen Thomas Bright, 2013 Abstract In 1966, Red Mitchell began tuning his bass in fifths to meet the demands of film composers who required a low C. Having played in fourths for approximately twenty years, Mitchell required only nine days to adapt to fifths tuning. This thesis examines the changes that fifths tuning had on his walking bass lines through the transcription, analysis and comparison of three blues from each of Mitchell's tuning periods. The analysis will probe changes in pitch, range, intervals and motives. Other chapters include a biography of Mitchell's career and one that discusses why he chose fifths. Included in this section are brief summaries of other bassists who have adopted fifths tuning. The chapter on bass line grammar discusses those elements that were affected when Mitchell changed tunings. The concluding chapter discusses the findings showing that tuning in fifths did have an effect on Red Mitchell's walking bass lines. ii Acknowledgements I wish to thank Dr. Mark Chambers, Professor Michael Coghlan and Professor Eric Mykhalovskiy for participating as members of my thesis committee. I would like to acknowledge Professor Alan Henderson for his help regarding walking bass lines in the chapter on Bass Line Grammar. I would like to thank Joel Quarrington for his support and expertise on fifths tuning.
    [Show full text]
  • Sommaire Catalogue Jazz / Blues Octobre 2011
    SOMMAIRE CATALOGUE JAZZ / BLUES OCTOBRE 2011 Page COMPACT DISCS Blues .................................................................................. 01 Multi Interprètes Blues ....................................................... 08 Jazz ................................................................................... 10 Multi Interprètes Jazz ......................................................... 105 SUPPORTS VINYLES Jazz .................................................................................... 112 DVD Jazz .................................................................................... 114 L'astérisque * indique les Disques, DVD, CD audio, à paraître à partir de la parution de ce bon de commande, sous réserve des autorisations légales et contractuelles. Certains produits existant dans ce listing peuvent être supprimés en cours d'année, quel qu'en soit le motif. Ces articles apparaîtront de ce fait comme "supprimés" sur nos documents de livraison. BLUES 1 B B KING B B KING (Suite) Live Sweet Little Angel – 1954-1957 Selected Singles 18/02/2008 CLASSICS JAZZ FRANCE / GEFFEN (SAGAJAZZ) (900)CD 18/08/2008 CLASSICS JAZZ FRANCE / SAGA (949)CD #:GACFBH=YYZZ\Y: #:GAAHFD=VUU]U[: Live At The BBC 19/05/2008 CLASSICS JAZZ FRANCE / EMARCY The birth of a king 10.CLASS.REP(SAGAJAZZ) (899)CD 23/08/2004 CLASSICS JAZZ FRANCE / SAGA (949)CD #:GAAHFD=U[XVY^: #:GACEJI=WU\]V^: One Kind Favor 25/08/2008 CLASSICS JAZZ FRANCE / GEFFEN Live At The Apollo(ORIGINALS (JAZZ)) (268)CD 28/04/2008 CLASSICS JAZZ FRANCE / GRP (899)CD #:GACFBH=]VWYVX:
    [Show full text]
  • March 2001 03 Jazz Ed
    ALL ABOUT JAZZ monthly edition — march 2001 03 Jazz Ed. by Aaron Wrixon 04 From the Inside Out by Chris M. Slawecki 07 Fantasy Records by Derek Taylor EDITOR-IN-CHIEF: Aaron Wrixon 13 Improvisation by Peter Madsen ASSOCIATE EDITOR: Michael Martino 16 Jazz on MTV by Stan Ra CONTRIBUTORS: 18 Jim Black by Allen Huotari David R. Adler, Glenn Astarita, Mathew Bahl, Mark Corroto, Chris Hovan, Allen Huotari, Nils Jacobson, Peter Madsen, David A. Orthmann, Stan Ra, David Rickert, Jim Santella, 28 Ken Burns’ Episode Ten by David R. Adler Chris M. Slawecki, Robert Spencer, Derek Taylor, Don Williamson, Aaron Wrixon. 31 Steve Lacy by Robert Spencer ON THE COVER: Kurt Rosenwinkel PUBLISHER: 33 René Marie by Mathew Bahl Michael Ricci 37 Kurt Rosenwinkel by David R. Adler Contents © 2001 All About Jazz, Wrixon Media Ventures, and contributors. 41 CD Reviews Letters to the editor and manuscripts welcome. Visit www.allaboutjazz.com for contact information. Unsolicited mailed manuscripts will not be returned. Hear that? 20 hours of Ken Burns’ Jazz. Had I known That’s the sound of me settling into a the entire affair was less Ken Burns’ Jazz and groove. more Ken Burns’ jazz, I might have passed. As No, not with All About Jazz. Not anything it was, though, I slogged through the whole so noble. boggy marsh of it. There’s a good chunk of That was the sound of me settling into time I’ll never get back. the groove I’ve created on my couch by Now of course, I’m addicted to television.
    [Show full text]
  • RCA Victor Consolidated Series
    RCA Discography Part 17 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor Consolidated Series In 1972, RCA instituted a consolidated series, where all RCA releases were in the same series, including albums that were released on labels distributed by RCA. APL 1 0001/APD 1 0001 Quad/APT 1 0001 Quad tape — Love Theme From The Godfather — Hugo Montenegro [1972] Medley: Baby Elephant Walk, Moon River/Norwegian Wood/Air on the G String/Quadimondo/I Feel the Earth Move/The Godfather Waltz/Love Theme from the Godfather/Pavanne/Stutterolgy RCA Canada KPL 1 0002 — Trendsetter — George Hamilton IV [1975] Canadian LP. Bad News/The Ways Of A Country Girl/Let My Love Shine/Where Would I Be Now/The Good Side Of Tomorrow/My Canadian Maid/The Wrong Side Of Her Door/Time's Run Out On You/The Isle Of St. Jean/The Dutchman RCA Red Seal ARL 1 0002/ARD 1 0002 Quad – The Fantastic Philadelphians Volume 1 – Eugene Ormandy and Philadelphia Orchestra [1972] EspanÞa Rhapsody (Chabrier)/The Sorcerer's Apprentice (Dukas)//Danse Macabre (Saint-Sae8ns)/A Night On Bald Mountain (Moussorgsky) 0003-0007 (no information) RCA Special Products DPL 1 0008 – Toyota Jazz Parade – Various Artists [1973] Theme from Toyota – Al Hirt/Java – Al Hirt/Cotton Candy – Al Hirt/When the Saints Go Marching In – Al Hirt/At the Jazz Band Ball – Dukes of Dixieland/St. Louis Blues – Louis Armstrong/St. James Infirmary – King Oliver//Hi-Heel Sneakers – Jose Feliciano/Amos Moses – Jerry Reed/Theme from Shaft – Generation Gap/Laughing – Guess Who/Somebody to Love – Jefferson Airplane 0009-0012 (no information) APL 1 0013/APD 1 0013 Quad/APT 1 0013 Quad tape — Mancini Salutes Sousa — Henry Mancini [1972] Drum Corps/Semper Fidelis/Washington Post/Drum Corps/King Cotton/National Fencibles/The Thunderer/Drum Corps/El Capitan/The U.
    [Show full text]
  • Hampton Hawes Trio, Vol. 1 Mp3, Flac, Wma
    Hampton Hawes Trio Hampton Hawes Trio, Vol. 1 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Hampton Hawes Trio, Vol. 1 Country: US Released: 1987 Style: Bop, Hard Bop, Swing MP3 version RAR size: 1277 mb FLAC version RAR size: 1321 mb WMA version RAR size: 1996 mb Rating: 4.4 Votes: 188 Other Formats: MOD DTS TTA DMF AHX RA VOC Tracklist Hide Credits I Got Rhythm A1 3:15 Written-By – Ira & George Gershwin* A2 What Is This Thing Called Love 4:44 A3 Blues The Most 5:43 A4 So In Love 3:54 A5 Feelin' Fine 3:01 B1 Hamp's Blues 3:38 Easy Living B2 4:47 Written-By – Leo Robin, Ralph Rainger All The Things You Are B3 4:57 Written-By – Jerome Kern & Oscar Hammerstein 2nd* These Foolish Things (Remind Me Of You) B4 4:47 Written-By – Harry Link, Holt Marvell, Jack Strachey Carioca B5 2:21 Written-By – Edward Eliscu, Gus Kahn, Vincent Youmans Credits Bass – Red Mitchell Design [Cover] – Pauline Annon Drums – Chuck Thompson Engineer [Recording] – John Palladino Photography By [Cover] – Alex De Paola Piano – Hampton Hawes Supervised By, Liner Notes – Lester Koenig Written-By – Cole Porter (tracks: 2, 4), Hampton Hawes (tracks: 3, 5, 6) Notes Test Press white labels, track listing A4 sheet plain white pressing plant cover Barcode and Other Identifiers Matrix / Runout (Runout Side A): DMM B-4284 A-1/2-86S II Matrix / Runout (Runout Side B): DMM B-4284 B-1/2-86S II Other versions Category Artist Title (Format) Label Category Country Year Hampton Hawes Hampton Contemporary C3505 Trio, Vol.
    [Show full text]