Dave Brubeck Quartet the Great Concerts Mp3, Flac, Wma
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Holt Atherton Special Collections Ms4: Brubeck Collection
HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 1: PAPERS SUBSERIES E: CLIPPINGS BOX 3a : REVIEWS, 1940s-1961 1.E.3.1: REVIEWS, 1940s a- “Jazz Does Campus Comeback but in new Guise it’s a ‘Combo,’” Oakland Tribune, 3-24-47 b- Jack Egan. “Egan finds jury…,” Down Beat, 9-10-47 c- “Local boys draw comment,” <n.s.> [Chicago], 12-1-48 d- Edward Arnow. “Brubeck recital is well-received,” Stockton Record, 1-18-49 e- Don Roessner. “Jazz meets J.S. Bach in the Bay Region,” SF Chronicle, 2- 13-49 f- Robert McCary. “Jazz ensemble in first SF appearance,” SF Chronicle, 3-6- 49 g- Clifford Gessler. “Snap, skill mark UC jazz concert,” <n.s.> [Berkeley CA], n.d. [4-49] h- “Record Reviews---DB Trio on Coronet,” Metronome, 9-49, pg. 31 i- Keith Jones. “Exciting and competent, says this critic,” Daily Californian, 12- 6-49 j- Kenneth Wastell. “Letters to the editor,” Daily Californian, 12-8-49 k- Dick Stewart. “Letters to the editor,” Daily Californian, 12-9-49 l- Ken Wales. “Letters to the editor,” Daily Californian, 12-14-49 m- “Record Reviews: The Month’s best [DB Trio on Coronet],” Metronome, Dec. 1949 n- “Brubeck Sounds Good” - 1949 o- Ralph J. Gleason, “Local Units Give Frisco Plenty to Shout About,” Down Beat, [1949?] 1.E.3.2: REVIEWS, 1950 a- “Record Reviews: Dave Brubeck Trio,” Down Beat, 1-27-50 b- Bill Greer, "A Farewell to Measure from Bach to Bop," The Crossroads, January 1950, Pg. 13 c- Keith Jones. “Dave Brubeck,” Bay Bop, [San Francisco] 2-15-50 d- “Poetic License in Jazz: Brubeck drops in on symphony forum, demonstrates style with Bach-flavored bop,” The Daily Californian, 2-27-50 e- Barry Ulanov. -
The Dave Brubeck Quartet Time Changes Mp3, Flac, Wma
The Dave Brubeck Quartet Time Changes mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Time Changes Country: US Released: 1963 Style: Hard Bop, Post Bop MP3 version RAR size: 1340 mb FLAC version RAR size: 1574 mb WMA version RAR size: 1872 mb Rating: 4.2 Votes: 507 Other Formats: FLAC AAC MMF APE AU MP2 MP4 Tracklist Hide Credits Iberia A1 2:57 Written-By – D. Brubeck* Unisphere A2 5:40 Written-By – D. Brubeck* Shim Wha A3 4:02 Written-By – J. Morello* World's Fair A4 2:42 Written-By – D. Brubeck* Cable Car A5 2:58 Written-By – D. Brubeck* Elementals B 16:40 Written-By – D. Brubeck* Credits Alto Saxophone – Paul Desmond Artwork [Cover Painting] – Sam Francis Bass – Eugene Wright Conductor [Orchestra] – Ray Wright* (tracks: B) Drums – Joe Morello Liner Notes – Rayburn Wright Liner Notes, Producer – Teo Macero Piano – Dave Brubeck Notes Cover Painting: Sam Francis. Barcode and Other Identifiers Matrix / Runout (Side 1 Matrix): XLP 75904 Matrix / Runout (Side 2 Matrix): XLP 75905 Matrix / Runout (Side 1 Runout Stamped): XLP-75904-1E Matrix / Runout (Side 2 Runout Stamped): XLP-75905-1E Other versions Category Artist Title (Format) Label Category Country Year The Dave Brubeck Time Changes (LP, CS 8927 Columbia CS 8927 US 1964 Quartet Album) The Dave Brubeck Time Changes (LP, CL 2127 Columbia CL 2127 US 1964 Quartet Album, Mono) The Dave Brubeck Time Changes (LP, CS 8927 Columbia CS 8927 US Unknown Quartet Album, RP) The Dave Brubeck Time Changes (LP, S 62253 Columbia S 62253 Netherlands 1964 Quartet Album) The Dave Brubeck Time -
Brubeck Book.Book
Regional Oral History Office University of California The Bancroft Library Berkeley, California Dave and Iola Brubeck A LONG PARTNERSHIP IN LIFE AND MUSIC With introductions by Caroline C. Crawford and J. B. Dyas An Interview Conducted by Caroline C. Crawford in 1999 and 2001 Copyright © 2006 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of northern California, the West, and the nation. Oral history is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Dave and Iola Brubeck, dated September 30, 1999. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. -
Jazz Enciclopedia
John Abercrombie Джон Эберкромби Родился: 16 декабря 1944 в Порт Честере,штат Нью-Йорк Удивительное умение Джона Эберкромби сочетать в своем творче- стве многообразие джазовых направлений сделало его одним из самых влиятельных акустических и электро гитаристов 70-х и начала 80-х годов. Записи Эберкромби на ECM помогли этому рекорд лейблу обрести свою уникальную нишу в продвижении прогрессивного камерного джаза. В по- следнее время свет его звезды несколько угас - этому есть свои причины. Его излишняя дань консерватизму доминирует над джазом, но Эберкромби по-прежнему остается гранд-персоной с высокой творческой энергетикой. Есть понятие "стиля Эберкромби": он основан исключительно на джазе и содержит в себе весь арсенал современной импровизационной музыки. Но главное - он всегда подразумевает и демонст- рирует нечто большее, чем могут вместить все диапазоны музыки - от фолка и рока до Вос- точной и Западной классической музыки. С 1962 по 1966 год Эберкромби учился в Бостон- ском музыкальном колледже (Berklee College of Music), и во время учебы гастролировал с блюзменом Джонни Хэммондом (Johnny Hammond). В 1969 году Эберкромби переезжает в Нью-Йорк и некоторое время играет в группах, возглавляемых барабанщиками Чико Хамиль- тоном и Билли Кобэмом. Группа, в которой он впервые обратил на себя внимание, называлась "Spectrum", а первый альбом, где Эберкромби заявил о себе как бэнд-лидер, назывался "Timeless. Альбом был записан с барабанщи- ком Джеком ДеДжонетте и клавишником Яном Хаммером. Затем последовал "Gateway" в со- ставе другого трио с Джеком ДеДжонетте и ба- систом Дэйвом Холландом, заменившим Яна Хаммера. Тонкий и проникновенный стиль Эберкромби дает наибольший эффект в малых формах: в составе Gateway трио, или в дуэте с гитаристом Ральфом Таунером. -
1 GEORGE WEIN NEA Jazz Master (2005) Interviewee: George Wein
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. GEORGE WEIN NEA Jazz Master (2005) Interviewee: George Wein (October 3, 1925 - ) Interviewer: Devra Hall Levy with recording engineer Ken Kimery Date: May 11, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 44 pp. Levy: George Wein, thank you so much for sitting down with us. Wein: Devra, it's good to be here with you. Really. Levy: I have been reading your autobiography with Nate Chinen and it has so thoroughly documented an amazing breadth of history. From where I sit, you sit at the apex of really what I think is the intersection of art and commerce. You have a deep understanding of both aspects and you've managed to negotiate an ultra-successful career for yourself, but also enabling artists to do what they love and what you love to listen to. You've perpetuated an art form and benefited grateful audiences all around the world. I would like to see if we could spend a little time adding some more layers and some more understanding to how you built and executed this, because it's really an amazing task. We'll start with a really short intro, a little bit about your youth, and then we are going to try to figure out how you built this enterprise that you've built. I know you were born in 1925, the son of Dr. Barnett and Ruth Wein. You have an older brother, Larry. -
HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 4: AUDIO MATERIALS SUBSERIES 4A: COMMERCIAL RECORDINGS 4A.1A: R
HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 4: AUDIO MATERIALS SUBSERIES 4A: COMMERCIAL RECORDINGS 4a.1a: records - 10” The Dave Brubeck Octet, 10 records. Fantasy 509-518 Dave Brubeck Trio, 10 records, Coronet 103, 104, Fantasy 501-508 Dave Brubeck Quartet, 10 records. Fantasy 519-521, 523, 524, 526,527, 530, 535, and Columbia 40776 4a.1b: records - 10” “Dave Brubeck at Storyville: 1954 (Vol.1)” The Dave Brubeck Quartet, Columbia 6330 (2 copies) “Dave Brubeck at Storyville: 1954 (Vol.2)” The Dave Brubeck Quartet, Columbia 6331 “Dave Brubeck Quartet,” Dave Brubeck Quartet, Fantasy 3-5 “Dave Brubeck Quartet,” Dave Brubeck Quartet, Fantasy 3-7 “distinctive rhythm instrumentals,” The Dave Brubeck Trio, Fantasy 3-1 “distinctive rhythm instrumentals,” The Dave Brubeck Trio, Fantasy 3-2 “distinctive rhythm instrumentals,” The Dave Brubeck Trio, Fantasy 3-4 “Jazz at Oberlin,” The Dave Brubeck Quartet, Fantasy 3-11 “Jazz at College of Pacific,” The Dave Brubeck Quartet, Fantasy 3-13 (cover only) “Jazz Goes to College Vol. 1,” The Dave Brubeck Quartet, Columbia 6321 “Jazz Goes to College Vol. 2,” The Dave Brubeck Quartet, Columbia 6322 “Paul and Dave Jazz Interwoven,” Dave Brubeck Quartet, Fantasy 3-20 “Old Sounds from San Francisco,” Dave Brubeck, Fantasy 3-16 4a.2: records - 7” and reel-to-reel tapes Dozens of 7” records including the following with covers: “The Dave Brubeck Quartet at Carnegie Hall,” Colombia CQ 587 (reel-to-reel) “Dave Brubeck at Storyville: 1954” Columbia B-1894 “Jazz Goes to Junior College” Columbia -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. GEORGE WEIN NEA Jazz Master (2005) Interviewee: George Wein (October 3, 1925 - ) Interviewer: Devra Hall Levy with recording engineer Ken Kimery Date: May 11, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 44 pp. Levy: George Wein, thank you so much for sitting down with us. Wein: Devra, it's good to be here with you. Really. Levy: I have been reading your autobiography with Nate Chinen and it has so thoroughly documented an amazing breadth of history. From where I sit, you sit at the apex of really what I think is the intersection of art and commerce. You have a deep understanding of both aspects and you've managed to negotiate an ultra-successful career for yourself, but also enabling artists to do what they love and what you love to listen to. You've perpetuated an art form and benefited grateful audiences all around the world. I would like to see if we could spend a little time adding some more layers and some more understanding to how you built and executed this, because it's really an amazing task. We'll start with a really short intro, a little bit about your youth, and then we are going to try to figure out how you built this enterprise that you've built. I know you were born in 1925, the son of Dr. Barnett and Ruth Wein. You have an older brother, Larry.