Jazz Audition Materials Spring 2021

Total Page:16

File Type:pdf, Size:1020Kb

Jazz Audition Materials Spring 2021 Jazz Bass Audi+ons Spring 2021 Submit a link to a single unlisted YouTube recording to [email protected]. Record with camera placement that captures the en;rety of the fingerboard. Play all three pieces without pausing the video recording. Minimize ;me between pieces by having music and accompaniment cued in advance. Play the en;re audi;on on double bass. Audi;on Material: 1. Using this link to an Evidence play-along, play the Audi%oning Basses Evidently pdf. Observe the mul;ple repeats and vary between melodic reading, accompaniment, and improvisa;on as instructed on the pdf. hKps://www.youtube.com/watch?v=EEI7aoxSY4E 2. Using 1:35 to 1:55 in this link to Tommy Igoe's Groove Essen%als #79: Very Fast Swing, play two choruses of a blues in any key. hKps://www.youtube.com/watch?v=EjMRgT5dytM 3. Choosing a tempo that allows strong ;me and ar;cula;on, record 16th note reading 1 using a metronome set within the range of 72 to 120 b.p.m. Be sure the metronome is audible in your recording. Spring 2021 Jazz Ensemble Audi+ons: Jazz Guitar Your audi;on is to completed by recording a short video of you playing the following two tunes (3 min). Upon comple;on you will submit your video directly to me, Mac Himes, [email protected]. 1.“Bag’s Groove” (Milt Jackson)- Video record yourself playing this tune with the aKached play-a-long en;tled, “Bag’s Groove” Blues Play-a-Long final mp3*. With the recording you will play the melody of “Bag’s Groove” 2 ;mes followed by you soloing on the chord changes for 2 choruses and then ending with the melody 1 ;me. That is a total of 5 choruses. *In the Play-A-Long I will count off the tempo with two bars: “1, 2, 3, 4, 1, 2, 3…” I have aKached a pdf of the wriKen melody and chord changes, the Play-A-Long and a recording of the tune as played by Milt Jackson/Miles Davis that you can use as a guide for playing the melody. Note: you don’t need to play the chords for this tune. “Bag’s Groove” Melody- 2x Solo (improvise)- 2x Melody- 1x Milt Jackson/Miles Davis: hKps://www.youtube.com/watch?v=BAo5LOR7Qiw 1.“I Could Write a Book” (Rodgers/Hart)- Video record yourself playing the chords 1x through the 32 bar from. You will play the chords of this tune in the Freddie Green style. This means that you will strum quarter notes for each measure. “I Could Write a Book” is in 4/4 so that means you will strum 4 quarter notes for each measure. Example strumming of first 4 bars: Cmaj7 A-7 D-7 G7 Cmaj7 Cmaj7 G7 4| / / / / | / / / / | / / / / | / / / / | 4 Record your strumming of the chords at this tempo: mm quarter note= 76 Please contact me if you have any ques;ons, [email protected] Bag’s Groove Play along PENN STATE JAZZ BAND AUDITIONS: SAXOPHONE SPRING 2021 - Prepare as much of this material as you can. Advanced players are expected to present all of it on the video - Audition videos will be graded on accuracy, style, sound, mechanics, tempo and amount of material completed. - Do not submit a video of poorly prepared material. It is better to leave it out. - The following 3 categories may each be on a separate video. Do not edit or use separate videos within any category. _________________________________________________________________________________________________________ 1. Cannonball Adderley’s solo on “Groovin’ HiGH”. Excerpt provided. Perform with a metronome on your video. Do not use a backing track or the original recording. - Optimum Tempo: Quarter note = 215. Play it slower if necessary as long as it is well prepared. Original recording for reference - https://www.youtube.com/watch?v=Y1adhfJJzmY 2. Perform and Interpret the melody for the ballad “Body and Soul” - Lead Sheet provided. You may use your own. - Use appropriate styling as if you are the lead horn in a combo. - Play along with one of the backing tracks below on your video, or you may use your own. https://www.youtube.com/watch?v=zskfGAYIw80 https://www.youtube.com/watch?v=9uBq7jUT5Xs 3. SCALES A. Play tHe Ab Major scale, and tHe B Major Scale, full range of the instrument, at the fastest tempo you can play it perfectly, with excellent sound, time, and technical clarity. B. Play a cHromatic scale from low Bb to HiGH F or F# (depending on your horn) at the fastest tempo you can play it perfectly, with excellent sound, time, and technical clarity. Spring 2021 Jazz Ensemble Audi+ons: Trumpet 1. Perform Friends with the attached play-along, from measure 1 through beat 1 of measure 33. • Adhere to all markings on the page, inked and written in. 2. Perform the given excerpts from Soul Vaccination, you can follow along with the reference recording found below. • Record the excerpts with a metronome at the notated tempo. 3. Perform Sentimental Mood, from beginning through the second ending (measure 9, do the repeat). • Show how musical and expressive you can be while still staying within the confines of the play-along. 4. G major scale (You will play this two times, see below) • 2 octaves up to the 9th and back down • Once in straight 8ths, once swung • Tempo can be anywhere from 144bpm-160bpm, please use a metronome both times. 5. Starting on first ledger-line C, play chromatically up and back down with a full, and in- tune, characteristic sound. Play as high as you can without sacrificing pitch or tone. All slurred. In a Sentimental Mood https://www.youtube.com/watch?v=45dS- cT2PTc&list=RDQMl3LxgNvhDRg&index=18&ab_channel=LearnJazzStandards Soul Vaccination https://www.youtube.com/watch?v=3UbT1QCdOxU Friends Play along Jazz Piano Audition: Be accurate and clear with your chord qualities and comping. Play the melody to each song listed below . After you play the melody in your right hand with left hand accompaniment, take 2 full improvised chorus’ on each tune. Then return to the melody one time/ then end. Use a play-a-long backing track or the I-Real Pro App for all three selections. Blue Bossa (bossa nova style and groove ) Use a play a long track or I-real Pro App. One of the following blues: Now’s The Time, Billy’s Bounce (medium swing tempo) the following ballad: In a Sentimental Mood, (slow jazz ballad) Combos and Big Bands will be formed by the directors in an effort to place students with similar and complementary ability and experience. Drum Set Audition: 1. Play a medium swing tempo. Quarter note equals 140. ( use some light comping on the snare drum and bass drum ) Groove for Two minutes. 2. Play a Bossa Nova groove. Quarter note equals 120. One minute 3. Play a slow funk/ rock groove and perform a fill on bar four then continue to groove and repeat. Quarter note equals 80. One minute Combos and Big Bands will be formed by the directors in an effort to place students with similar complementary ability and experience. Jazz Flute/ Clarinet/ French Horn/ Other Use these three concert lead sheets to perform your jazz audi;on. Use a play-a-long backing track or I-Real Pro to accompany yourself. Perform the melody once through and then improvise two ;mes through the form, return to the melody and end. Billie’s Bounce ( med swing tempo) quarter note = 140 Blue Bossa (med bossa nova tempo) quarter note=126 In A Sen+mental Mood ( slow jazz ballad ) quarter note =75 Only play the melody through one ;me and use your best expressive jazz phrasing. Jazz Trombone Auditions for the Fall of 2021 Due to the online start of this semester, all trombone auditionees will be required to submit an audio/video recording for consideration in this semester’s jazz combos and jazz ensembles. Unlike semesters past when the focus of the jazz ensemble auditions was on sight reading, this semester’s jazz ensemble auditions will require the auditionee to record three contrasting excerpts from three big band classics found in the libraries of Thad Jones and Stan Kenton. It will be incumbent upon the auditionee to study the reference recordings for style and inflection. As in the past, your recordings will be assessed on the musical elements of 1) your rhythmic precision and groove 2) your intonation and pitch control 3) the quality and control of your sound 4) and finally, your style and inflection. It is the auditionee’s responsibility to post the highest audio/video quality possible. Any questions about the details of the following excerpts, or the audition process in general, do not hesitate to contact Professor Mark Lusk at [email protected] *********** If you are interested in participating in the jazz combo program, see the details for recording improvisation examples on Billie’s Bounce and Blue Bossa at the end of this document following the excerpts. Excerpt #1 for all tenor trombonists, play from measure before Letter B to Letter D Reference Recording: https://www.youtube.com/watch?v=mwwu0WPpPw0 (Excerpt begins at 0:38, but highly recommended to study entire piece) Excerpt #1 for all bass trombonists, play from measure before Letter B to Letter D Reference Recording: https://www.youtube.com/watch?v=mwwu0WPpPw0 (Excerpt begins at 0:38, but highly recommended to study entire piece) Excerpt #2 For all tenor trombonists; all players begin by playing the 2nd Trombone part starting at Letter E, then beginning with 5th measure after Letter G players may then choose to play the 1st Trombone part or the 2nd Trombone part depending on their comfortability factor.
Recommended publications
  • A Child Is Born Christmas Jazz Waltz by Thad Jones Brass Quintet Sheet Music
    A Child Is Born Christmas Jazz Waltz By Thad Jones Brass Quintet Sheet Music Download a child is born christmas jazz waltz by thad jones brass quintet sheet music pdf now available in our library. We give you 6 pages partial preview of a child is born christmas jazz waltz by thad jones brass quintet sheet music that you can try for free. This music notes has been read 7030 times and last read at 2021-09-25 13:47:46. In order to continue read the entire sheet music of a child is born christmas jazz waltz by thad jones brass quintet you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: B Flat Trumpet, Horn, Trombone, Tuba Ensemble: Brass Quintet Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music A Child Is Born Christmas Jazz Waltz By Thad Jones Flute Quintet A Child Is Born Christmas Jazz Waltz By Thad Jones Flute Quintet sheet music has been read 3444 times. A child is born christmas jazz waltz by thad jones flute quintet arrangement is for Intermediate level. The music notes has 1 preview and last read at 2021-09-25 11:53:06. [ Read More ] A Child Is Born Christmas Jazz Waltz By Thad Jones String Quintet A Child Is Born Christmas Jazz Waltz By Thad Jones String Quintet sheet music has been read 3796 times. A child is born christmas jazz waltz by thad jones string quintet arrangement is for Intermediate level. The music notes has 5 preview and last read at 2021-09-25 21:18:41.
    [Show full text]
  • Powell, His Trombone Student Bradley Cooper, Weeks
    Interview with Benny Powell By Todd Bryant Weeks Present: Powell, his trombone student Bradley Cooper, Weeks TBW: Today is August the 6th, 2009, believe it or not, and I’m interviewing Mr. Benny Powell. We’re at his apartment in Manhattan, on 55th Street on the West Side of Manhattan. I feel honored to be here. Thanks very much for inviting me into your home. BP: Thank you. TBW: How long have you been here, in this location? BP: Over forty years. Or more, actually. This is such a nice location. I’ve lived in other places—I was in California for about ten years, but I’ve always kept this place because it’s so centrally located. Of course, when I was doing Broadway, it was great, because I can practically stumble from my house to Broadway, and a lot of times it came in handy when there were snow storms and things, when other musicians had to come in from Long Island or New Jersey, and I could be on call. It really worked very well for me in those days. TBW: You played Broadway for many years, is that right? BP: Yeah. TBW: Starting when? BP: I left Count Basie in 1963, and I started doing Broadway about 1964. TBW: At that time Broadway was not, nor is it now, particularly integrated. I think you and Joe Wilder were among the first to integrate Broadway. BP: It’s funny how it’s turned around. When I began in the early 1960s, there were very few black musicians on Broadway, then in about 1970, when I went to California, it was beginning to get more integrated.
    [Show full text]
  • Thad Jones Discography Copy
    Thad Jones Discography Compiled by David Demsey 2012-15 Recordings released during Thad Jones’ lifetime, as performer, bandleader, composer/arranger; subsequent CD releases are listed where applicable. Each entry lists Thad Jones compositions/arrangements contained on that recording. Album titles preceded by (•) are contained in the Thad Jones Archive collection. I. As a Leader or Co-Leader Big Band Leader or Co-Leader (chronological): • Thad Jones/Mel Lewis Orchestra, Live at the Vanguard (rec. 1/7 [sic], 3/21/66) [live recording donated by George Klabin] Contains: All My Yesterdays (2 versions), Backbone, Big Dipper (2 versions), Mean What You Say, Morning Reverend, Little Pixie, Willow Weep for Me (Brookmeyer), Once Around, Polka Dots and Moonbeams (small group), Low Down, Lover Man, Don’t Ever Leave Me, A-That’s Freedom • Thad Jones/Mel Lewis Orchestra, On Tour (rec. varsious dates and locations in Europe) Discs 1-7, 10-11 [see Special Recordings section below] On iTunes. • Thad Jones/Mel Lewis Orchestra, In the Netherlands (rec. 1974) [unreleased live recording donated by John Mosca] • Thad Jones/Mel Lewis Orchestra, Presenting the Thad Jones-Mel Lewis Orchestra (rec. 5/4-5-6/66) Solid State UAL18003 Contains: Balanced Scales = Justice, Don’t Ever Leave Me, Mean What You Say, Once Around, Three and One • Thad Jones/Mel Lewis Orchestra, Opening Night (rec. 1[sic]/7/66, incorrect date; released 1990s) Alan Grant / BMG Ct. # 74321519392 Contains: Big Dipper, Polka Dots and Moonbeams (small group), Once Around, All My Yesterdays, Morning Reverend, Low Down, Lover Man, Mean What You Say, Don’t Ever Leave Me, Willow Weep for Me (arr.
    [Show full text]
  • Trumpeter Scotty Barnhart Appointed New Director of the Count Basie Orchestra
    September 23, 2013 To: Listings/Critics/Features From: Jazz Promo Services Press Contact: Jim Eigo, [email protected] www.jazzpromoservices.com Trumpeter Scotty Barnhart Appointed New Director of The Count Basie Orchestra For Immediate Release The Count Basie Orchestra and All That Music Productions, LLC, is pleased to announce the appointment of Scotty Barnhart as the new Director of The Legendary Count Basie Orchestra. He follows Thad Jones, Frank Foster, Grover Mitchell, Bill Hughes, and Dennis Mackrel in leading one of the greatest and most important jazz orchestras in history. Founded in 1935 by pianist William James Basie (1904-1984), the orchestra still tours the world today and is presently ending a two-week tour in Japan. The orchestra has released hundreds of recordings, won every respected jazz poll in the world at least once, has appeared in movies, television shows and commercials, Presidential Inaugurals, and has won 18 Grammy Awards, the most for any jazz orchestra. Many of its former members are some of the most important soloists, vocalists, composers, and arrangers in jazz history. That list includes Lester Young, Billie Holiday, Harry “Sweets” Edison, Jo Jones, Frank Foster, Frank Wess, Thad Jones, Joe Williams, Sonny Payne, Snooky Young, Al Grey, John Clayton, Dennis Mackrel and others. Mr. Barnhart, born in 1964, is a native of Atlanta, Georgia. He discovered his passion for music at an early age while being raised in Atlanta's historic Ebenezer Baptist Church where he was christened by Dr. Martin Luther King, Jr.He has been a featured trumpet soloist with the Count Basie Orchestra for the last 20 years, and has also performed and recorded with such artists as Wynton Marsalis, Marcus Roberts, Frank Sinatra, Diana Krall, Clark Terry, Freddie Hubbard, The Duke Ellington Orchestra, Nat Adderley, Quincy Jones, Barbara Streisand, Natalie Cole, Joe Williams, and many others.
    [Show full text]
  • Guide to the Martin Williams Collection
    Columbia College Chicago Digital Commons @ Columbia College Chicago CBMR Collection Guides / Finding Aids Center for Black Music Research 2020 Guide to the Martin Williams Collection Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cmbr_guides Part of the History Commons, and the Music Commons Columbia COLLEGE CHICAGO CENTER FOR BLACK MUSIC RESEARCH COLLECTION The Martin Williams Collection,1945-1992 EXTENT 7 boxes, 3 linear feet COLLECTION SUMMARY Mark Williams was a critic specializing in jazz and American popular culture and the collection includes published articles, unpublished manuscripts, files and correspondence, and music scores of jazz compositions. PROCESSING INFORMATION The collection was processed, and a finding aid created, in 2010. BIOGRAPHICAL NOTE Martin Williams [1924-1992] was born in Richmond Virginia and educated at the University of Virginia (BA 1948), the University of Pennsylvania (MA 1950) and Columbia University. He was a nationally known critic, specializing in jazz and American popular culture. He wrote for major jazz periodicals, especially Down Beat, co-founded The Jazz Review and was the author of numerous books on jazz. His book The Jazz Tradition won the ASCAP-Deems Taylor Award for excellence in music criticism in 1973. From 1971-1981 he directed the Jazz and American Culture Programs at the Smithsonian Institution, where he compiled two widely respected collections of recordings, The Smithsonian Collection of Classic Jazz, and The Smithsonian Collection of Big Band Jazz. His liner notes for the latter won a Grammy Award. SCOPE & CONTENT/COLLECTION DESCRIPTION Martin Williams preferred to retain his writings in their published form: there are many clipped articles but few manuscript drafts of published materials in his files.
    [Show full text]
  • Debut Label Discography
    Début Label discography Début was established in 1951 by Charles Mingus and possibly others. It was located at 4364 Bryon Avenue in New York City in 1952, relocated to the Grand Central Station in 1954. By 1956 it was located at 331 West 51st Street. Début recorded jazz and pop music. Fantasy Records acquired the Début Catalog in the early 1960’s. This Debut Label discography was compiled using Schwann catalogs from 1950 to 1957, The Jazz Discography Project Website (http://www.jazzdisco.org) and The American Record Label Directory and Dating Guide, 1940-1959 by Galen Gart, 10 Inch Series DLP-1 - Strings and Keys - Charles Mingus [1951] Body and Soul/Blue Moon/Blue Tide/What Is This Thing Called Love/Darn That Dream/Yesterdays DLP-2 - Jazz at Massey Hall Volume 1- Quintet - Various Artists [1952] Perdido/Salt Peanuts//Salt Peanuts Continued/All the Things You Are DLP-3 - Jazz at Massey Hall Volume 2 - Bud Powell [1952] Embraceable You/Sure Thing/Cherokee//Jubilee/Lullabye of Birdland/Basically Speaking DLP-4 - Jazz at Massey Hall Volume 3 - Charles Mingus [1952] Wee//Hot House/A Night in Tunisia DLP-5 - Jazz Workshop Volume 1-Trombone Rapport - J.J. Johnson, Kai Winding, Benny Green & Willie Dennis [1953] Move/Stardust//Yesterdays DLP-6 - Explorations - Ted Macero [1954] Teo/I’ll Remember April/How Low the Earth//Mitzi/Yesterdays/Explorations DLP-7 - Introducing Paul Bley - Paul Bley With Art Blakey and Charles Mingus [1954] Opus 1/Teapot/Like Someone In Love//Spontaneous Combustion/Split Kick/Can’t Get Started DLP-8 - The New Oscar Pettiford
    [Show full text]
  • Spilleliste: Åtti Deilige År Med Blue Note Foredrag Oslo Jazz Circle, 14
    Spilleliste: Åtti deilige år med Blue Note Foredrag Oslo Jazz Circle, 14. januar 2020 av Johan Hauknes Preludium BLP 1515/16 Jutta Hipp At The Hickory House /1956 Hickory House, NYC, April 5, 1956 Jutta Hipp, piano / Peter Ind, bass / Ed Thigpen, drums Volume 1: Take Me In Your Arms / Dear Old Stockholm / Billie's Bounce / I'll Remember April / Lady Bird / Mad About The Boy / Ain't Misbehavin' / These Foolish Things / Jeepers Creepers / The Moon Was Yellow Del I Forhistorien Meade Lux Lewis, Albert Ammons & Pete Johnson Jumpin' Blues From Spiritals to Swing, Carnegie Hall, NYC, December 23, 1938 BN 4 Albert Ammons - Chicago In Mind / Meade "Lux" Lewis, Albert Ammons - Two And Fews Albert Ammons Chicago in Mind probably WMGM Radio Station, NYC, January 6, 1939 BN 6 Port of Harlem Seven - Pounding Heart Blues / Sidney Bechet - Summertime 1939 Sidney Bechet, soprano sax; Meade "Lux" Lewis, piano; Teddy Bunn, guitar; Johnny Williams, bass; Sidney Catlett, drums Summertime probably WMGM Radio Station, NYC, June 8, 1939 Del II 1500-serien BLP 1517 Patterns in Jazz /1956 Gil Mellé, baritone sax; Eddie Bert [Edward Bertolatus], trombone; Joe Cinderella, guitar; Oscar Pettiford, bass; Ed Thigpen, drums The Set Break Van Gelder Studio, Hackensack, NJ, April 1, 1956 BLP 1521/22 Art Blakey Quintet: A Night at Birdland Clifford Brown, trumpet; Lou Donaldson, alto sax; Horace Silver, piano; Curly Russell, bass; Art Blakey, drums A Night in Tunisia (Dizzy Gillespie) Birdland, NYC, February 21, 1954 BLP 1523 Introducing Kenny Burrell /1956 Tommy Flanagan,
    [Show full text]
  • The Modality of Miles Davis and John Coltrane14
    CURRENT A HEAD ■ 371 MILES DAVIS so what JOHN COLTRANE giant steps JOHN COLTRANE acknowledgement MILES DAVIS e.s.p. THE MODALITY OF MILES DAVIS AND JOHN COLTRANE14 ■ THE SORCERER: MILES DAVIS (1926–1991) We have encountered Miles Davis in earlier chapters, and will again in later ones. No one looms larger in the postwar era, in part because no one had a greater capacity for change. Davis was no chameleon, adapting himself to the latest trends. His innovations, signaling what he called “new directions,” changed the ground rules of jazz at least fi ve times in the years of his greatest impact, 1949–69. ■ In 1949–50, Davis’s “birth of the cool” sessions (see Chapter 12) helped to focus the attentions of a young generation of musicians looking beyond bebop, and launched the cool jazz movement. ■ In 1954, his recording of “Walkin’” acted as an antidote to cool jazz’s increasing deli- cacy and reliance on classical music, and provided an impetus for the development of hard bop. ■ From 1957 to 1960, Davis’s three major collaborations with Gil Evans enlarged the scope of jazz composition, big-band music, and recording projects, projecting a deep, meditative mood that was new in jazz. At twenty-three, Miles Davis had served a rigorous apprenticeship with Charlie Parker and was now (1949) about to launch the cool jazz © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM movement with his nonet. wwnorton.com/studyspace 371 7455_e14_p370-401.indd 371 11/24/08 3:35:58 PM 372 ■ CHAPTER 14 THE MODALITY OF MILES DAVIS AND JOHN COLTRANE ■ In 1959, Kind of Blue, the culmination of Davis’s experiments with modal improvisation, transformed jazz performance, replacing bebop’s harmonic complexity with a style that favored melody and nuance.
    [Show full text]
  • Milt Jackson Bags & Trane Mp3, Flac
    Milt Jackson Bags & Trane mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Bags & Trane Country: US Released: 1988 Style: Hard Bop MP3 version RAR size: 1900 mb FLAC version RAR size: 1801 mb WMA version RAR size: 1921 mb Rating: 4.5 Votes: 984 Other Formats: AUD MP2 FLAC VQF MOD ADX DXD Tracklist Hide Credits Stairway To The Stars 1 3:58 Written-By – Frank Signorelli, Matt Malneck*, Mitchell Parish The Late Late Blues 2 9:35 Written-By – Milt Jackson Bags & Trane 3 7:23 Written-By – Milt Jackson Three Little Words 4 7:27 Written-By – Bert Kalmar, Harry Ruby The Night We Called It A Day 5 4:19 Written-By – Matt Dennis, Tom Adair Be-Bop 6 7:57 Written-By – Dizzy Gillespie Blues Legacy 7 9:00 Written-By – Milt Jackson Centerpiece 8 7:05 Written-By – Harry Edison, William Tennyson Companies, etc. Phonographic Copyright (p) – Atlantic Recording Corporation Copyright (c) – Atlantic Recording Corporation Glass Mastered At – Specialty Records Corporation Published By – Robbins Published By – MJQ Music Published By – Harms, Inc. Published By – Embassy Music Published By – Leeds Published By – Andrew Scott Credits Bass – Paul Chambers Drums – Connie Kay Engineer [Recording] – Tom Dowd Photography By [Cover Photo] – Lee Friedlander Piano – Hank Jones Producer – Nesuhi Ertegun Reissue Producer [Produced For CD] – Bob Porter Sleeve Notes – C. H. Garrigues Tenor Saxophone – John Coltrane Vibraphone [Vibraharp] – Milt Jackson Notes Recorded in January 15, 1959. Tracks 1, 7 & 8 are bonus tracks. ℗ © 1988 Atlantic Recording Corporation No
    [Show full text]
  • An Analytical Approach to Vibraphone Performance Through the Transcription and Analysis of Gary Burton’S Solo on Blue Monk
    AN ANALYTICAL APPROACH TO VIBRAPHONE PERFORMANCE THROUGH THE TRANSCRIPTION AND ANALYSIS OF GARY BURTON’S SOLO ON BLUE MONK A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in Partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Charles B. Brooks B.A., Western Kentucky University, 1997 M.A., Austin Peay State University, 2000 December 2007 ACKNOWLEDGMENTS This document would not exist without the guidance and counsel of several extraordinary individuals. It is dedicated to my father for introducing me to the world of music. I would like to extend special gratitude to my mother for her guidance, strength, and belief that anything is possible. In addition I would like to thank Johnny Walker and my brother, Michael Brooks, without whom none of this would possible. This document is also dedicated to Kenneth Welch and Larry Long for their counsel and friendship. I extend special thanks to my teachers Dr. Christopher Norton, Mr. David Steinquest, Dr. Charles Smith, Dr. Thomas King, Dr. Jefferey Wood, Dr. Dinos Constantinides, Dr. Joseph Skillen, Dr. Robert Peck, and Dr. Michael Kingan. I would especially like to thank Dr. Willis Delony for staying the course and guiding me through rough terrain. ii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................................................ii LIST OF MUSICAL EXAMPLES................................................................................iv
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]
  • Milt Jackson Plenty, Plenty Soul Mp3, Flac, Wma
    Milt Jackson Plenty, Plenty Soul mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Plenty, Plenty Soul Country: Germany Style: Bop MP3 version RAR size: 1398 mb FLAC version RAR size: 1607 mb WMA version RAR size: 1711 mb Rating: 4.9 Votes: 942 Other Formats: APE VOC AHX MPC MIDI AAC MP2 Tracklist Hide Credits Plenty, Plenty Soul A1 9:33 Written-By – Milt Jackson, Quincy Jones Boogity Boogity A2 4:55 Written-By – Quincy Jones Heartstrings A3 4:53 Written-By – Milt Jackson Sermonette B1 5:23 Written-By – Julian Adderley* The Spirit-Feel B2 4:22 Written-By – Milt Jackson Ignunt Oil B3 5:35 Written-By – Milt Jackson Blues At Twilight B4 6:46 Written-By – Quincy Jones Companies, etc. Distributed By – WEA Musik GmbH Copyright (c) – WEA Musik GmbH Phonographic Copyright (p) – Atlantic Recording Corporation Pressed By – Record Service Alsdorf Published By – Silhouette & Almanac Published By – Acorn Published By – Silhouette Lacquer Cut At – Atlantic Studios Lacquer Cut At – Tonstudio Pfanz Credits Alto Saxophone – Cannonball Adderley (tracks: A1 to A3) Arranged By – Quincy Jones Baritone Saxophone – Sahib Shihab (tracks: A1 to A3) Bass – Oscar Pettiford (tracks: B1 to B4), Percy Heath (tracks: A1 to A3) Consultant [For "That's Jazz" Series] – Claude Nobs Drums – Art Blakey (tracks: A1 to A3), Connie Kay (tracks: B1 to B4) Engineer [Recording] – Johnny Cue Lacquer Cut By [Runout Etch] – PF* (tracks: B), GP* (tracks: A) Liner Notes – Nat Hentoff Photography By [Cover Photo] – Jay Maisel Piano – Horace Silver Producer – Nesuhi Ertegun Tenor Saxophone – Frank Foster (tracks: A1 to A3), Lucky Thompsen* (tracks: B1 to B4) Trombone – Jimmy Cleveland (tracks: A1 to A3) Trumpet – Joe Newman Vibraphone [Vibraharp] – Milt Jackson Notes Back cover: This record was recorded in January 1957 and previously released as Atlantic SD 1269 on September 6th, 1957.
    [Show full text]