BRUBECK COLLECTION SERIES 5: VIDEO and FILM (Many Recording Have Multiple Shows with Various Dates)
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Cinema Recognizing Making Intimacy Vincent Tajiri Even Hotter!
FEBRUARY 2020 SOUTH AFRICA THROW SEX & BACK CINEMA RECOGNIZING MAKING INTIMACY VINCENT TAJIRI EVEN HOTTER! WITHOUT Flaunt THE MASK CANDID WITH YOUR ORVILLE PECK SWAG STERLING K. BROWN SHOWS US THE HOW SCOOP ON SEX! OUR SEXPERT SHARES INTIMATE DETAILS Dee Cobb WWW.PLAYBOY.CO.ZA R45.00 20019 9 772517 959409 EVERY. ISSUE. EVER. The complete Playboy archive Instant access to every issue, article, story, and pictorial Playboy has ever published – only on iPlayboy.com. VISIT PLAYBOY.COM/ARCHIVE SOUTH AFRICA Editor-in-Chief Dirk Steenekamp Associate Editor Jason Fleetwood Graphic Designer Koketso Moganetsi Fashion Editor Lexie Robb Grooming Editor Greg Forbes Gaming Editor Andre Coetzer Tech Editor Peter Wolff Illustrations Toon53 Productions Motoring Editor John Page Senior Photo Editor Luba V Nel ADVERTISING SALES [email protected] for more information PHONE: +27 10 006 0051 MAIL: PO Box 71450, Bryanston, Johannesburg, South Africa, 2021 Ƶč%./0(++.ǫ(+'ć+1.35/""%!.'Čƫ*.++/0.!!0Ē+1.35/ǫ+1(!2. ČĂāĊā EMAIL: [email protected] WEB: www.playboy.co.za FACEBOOK: facebook.com/playboysouthafrica TWITTER: @PlayboyMagSA INSTAGRAM: playboymagsa PLAYBOY ENTERPRISES, INTERNATIONAL Hugh M. Hefner, FOUNDER U.S. PLAYBOY ǫ!* +$*Čƫ$%!"4!10%2!þ!. ƫ++,!.!"*!.Čƫ$%!"ƫ.!0%2!þ!. Michael Phillips, SVP, Digital Products James Rickman, Executive Editor PLAYBOY INTERNATIONAL PUBLISHING !!*0!(Čƫ$%!"ƫ+))!.%(þ!.Ē! +",!.0%+*/ Hazel Thomson, Senior Director, International Licensing PLAYBOY South Africa is published by DHS Media House in South Africa for South Africa. Material in this publication, including text and images, is protected by copyright. It may not be copied, reproduced, republished, posted, broadcast, or transmitted in any way without written consent of DHS Media House. -
Jim Hall's Comping On
Jim Hall’s Comping on “The Days of Wine and Roses” By Tim Fischer Many guitarists find themselves at a loss when first asked to take on the role of the sole harmonic instrument in a small jazz combo. Often times, jazz guitarists develop their comping as members of a big band rhythm section, where three-note chord voicings with the root in the bass and four quarter notes to the bar are stock- in-trade. This traditional style of rhythm guitar does not always transition well into the small jazz combo, and many guitarists without small group combo experience are left with questions about voicings, rhythms, and bal- ancing silence with interaction. Mastering accompaniment, like improvisation, is a life-long process and is best developed by studying the recordings and transcriptions of the master musicians. In this article, we will study guitar comping in the rhythm section by looking at Jim Hall’s accompaniment behind Art Farmer’s solo on the standard “The Days of Wine and Roses,” from Farmer’s 1963 album Interaction. Jim Hall helped popularize the use of the guitar as a valid replacement for the piano in the rhythm section through his sideman work with such high-profile artists as Sonny Rollins,Art Farmer, Paul Desmond, Chico Hamilton, and Jimmy Guiffre during the 50’s and 60’s. Often cited as the father of modern jazz guitar, Hall’s accompaniment style in each one of the aforementioned artists’ recordings details how Hall adapted to the musi- cal demands of each situation. As the album title states, the Art Farmer quartet of 1963 and 1964 was based on active interaction between its members, which also included Steve Swallow on upright bass and Walter Perkins on drums. -
BIOGRAPHIES, INTERVIEWS, ITINERARIES, WRITINGS & NOTES BOX 1: BIOGRAPHY,1940S-1950S
HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 1: PAPERS SUBSERIES D: BIOGRAPHIES, INTERVIEWS, ITINERARIES, WRITINGS & NOTES BOX 1: BIOGRAPHY,1940s-1950s 1D.1.1: Biography, 1942: “Iola Whitlock marries Dave Brubeck,” Pacific Weekly, 9-25-42 1.D.1.2: Biography, 1948: Ralph J. Gleason. “Long awaited Garner in San Francisco…Local boys draw comment” [Octet at Paradise in Oakland], Down Beat (12-1-48), pg. 6 1.D.1.3: Biography, 1949 a- “NBC Conservatory of Jazz,” San Francisco, Apr 5, 1949 [radio program script for appearance by the Octet; portion of this may be heard on Fantasy recording “The Dave Brubeck Octet”; incl. short biographies of all personnel] b- Lifelong Learning, Vol. 19:6 (Aug 8, 1949) c- [Bulletin of University of California Extension for 1949-50, the year DB taught “Survey of Jazz”] d- “Jazz Concert Set” 11-4-49 e- Ralph J. Gleason. “Finds little of interest in lst Annual Jazz Festival [San Francisco],” Down Beat (12-16-49) [mention of DB Trio at Burma Lounge, Oakland; plans to play Ciro’s, SF at beginning of 1950], pg. 5 f- “…Brubeck given musical honors” Oakland Tribune, December 16, 1949 g- DB “Biographical Sketch,” ca Dec 1949 h- “Pine Tree Club Party at Home of Mrs. A. Ellis,” <n.s.> n.d. [1940s] i- “Two Matrons are Hostesses to Pine Tree Club,” <n.s.> n.d. [1940s] (on same page as above) 1.D.1.4: Biography, 1950: “Dave Brubeck,” Down Beat, 1-27-50 a- Ralph J. Gleason. “Swingin the Golden Gate: Bay Area Fog,” Down Beat 2- 10-50 [DB doing radio show on ABC] 1.D.1.5: BIOGRAPHY, 1951: “Small band of the year,” Jazz 1951---Metronome Yearbook, n.d. -
Steve Harley Lee Nelson
SPARKLING ARTS EVENTS IN THE HEART OF SHOREHAM SEPT – DEC 2014 BAKA BEYOND LUNASA THE INNER VISION ORCHESTRA STEVE HARLEY GEORGIE FAME LEE NELSON TOYAH WILLCOX CURVED AIR SHAKATAK ROPETACKLECENTRE.CO.UK SEPT 2014 ropetacklecentre.co.uk BOX OFFICE: 01273 464440 SEPT 2014 WELCOME TO ROPETACKLE From music, comedy, theatre, talks, family events, exhibitions, and much more, we’ve something for everybody to enjoy this autumn and winter. As a charitable trust staffed almost entirely by volunteers, nothing comes close to the friendly atmosphere, intimate performance space, and first- class programming that makes Ropetackle one of the South Coast’s most prominent and celebrated arts venues. We believe engagement with the arts is of vital importance to the wellbeing of both individuals and the community, and with such an exciting and eclectic programme ahead of us, we’ll let the events speak for themselves. See you at the bar! THUNKSHOP THURSDAY SUPPERS BOX OFFICE: 01273 464440 Our in-house cafe Thunkshop will be serving delicious pre-show suppers from 6pm before most of our Thursday events. Advance With support from booking is recommended but not essential, please contact Sarah on 07957 166092 for further details and to book. Seats are reserved for people dining. Look out for the Thunkshop icon throughout the programme or visit page 58 for the full list of pre-show meals. Programme design by Door 22 Creative www.door22.co.uk @ropetackleart Ropetackle Arts Centre Opera Rock Folk Family Blues Spoken Word Jazz 2 SEPT 2014 ropetacklecentre.co.uk BOX OFFICE: 01273 464440 SEPT 2014 SARA SPADE & THE NOISY BOYS Sara Spade & The Noisy Boys: World War One Centenary Concert She’s back! After a sell-out Ropetackle show in January, Sara Spade & The Noisy Boys return with flapper classics like ‘Five Foot Two, Eyes of Blue’ and other popular Charlestons, plus favourite Great War-era songs including Pack up your Troubles in your Old Kit Bag and Long Way to Tipperary. -
Stephen Hawking,These Are the Women in Scien
The Queen’s commonwealth Day Message 2021 The Queen’s commonwealth Day Message 2021: Over the coming week, as we celebrate the friendship, spirit of unity and achievements of the Commonwealth, we have an opportunity to reflect on a time like no other. Whilst experiences of the last year have been different across the Commonwealth, stirring examples of courage, commitment and selfless dedication to duty have been demonstrated in every Commonwealth nation and territory, notably by those working on the front line who have been delivering health care and other public services in their communities. We have also taken encouragement from remarkable advances in developing new vaccines and treatments. The testing times experienced by so many have led to a deeper appreciation of the mutual support and spiritual sustenance we enjoy by being connected to others. The need to maintain greater physical distance, or to live and work largely in isolation, has, for many people across the Commonwealth, been an unusual experience. In our everyday lives, we have had to become more accustomed to connecting and communicating via innovative technology – which has been new to some of us – with conversations and communal gatherings, including Commonwealth meetings, conducted online, enabling people to stay in touch with friends, family, colleagues, and counterparts who they have not been able to meet in person. Increasingly, we have found ourselves able to enjoy such communication, as it offers an immediacy that transcends boundaries or division, helping any sense of distance to disappear. We have all continued to appreciate the support, breadth of experiences and knowledge that working together brings, and I hope we shall maintain this renewed sense of closeness and community. -
Dave Brubeck's Definitive “Jazzanians”
Journal of Jazz Studies vol. 9, no. 1, pp. 53-93 (Summer 2013) Dave Brubeck’s Definitive “Jazzanians” Vasil Cvetkov On December 5, 2012, American contemporary music lost one of its most important personalities—pianist and composer Dave Brubeck, who died one day before his 92nd birthday. His death marks the passing of one of the most creative and versatile musicians in American history. Widely known as an innovative jazz musician, Brubeck’s skills in writing and arranging music for classical ensembles went far beyond jazz traditions, making him a subject of interest and investigation for contemporary music researchers. He became an emblematic figure for those, who, like me, received a classical music upbringing and became fascinated by his ability to fuse jazz and classical sources into the specific style that eventually became his trademark. Despite having received a classical education, I have always been attracted by the jazz sound, so that discovering and demonstrating the plenitude of Brubeck's legacy became a natural research goal in my graduate studies. In planning this personal tribute to the late Dave Brubeck, I came to the conclusion that, perhaps, the most eloquent examples of his unique compositional style could be demonstrated around the story of a little tetrachord. Throughout a period of 17 years (1987-2003), it inspired Brubeck to create five important compositions and came to be known, by those who love Brubeck's music, as the “Jazzanians tetrachord.” The compositions varied in form, covering the full spectrum of jazz, classical, and fusion styles. I call these compositions “realizations.” Trying to trace Brubeck’s realizations chronologically through that 17- year period, I first examined published scores but discovered that there were mysterious gaps. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
Eli Yamin Celebrates the Dave Brubeck Quartet Curriculum Guide
Eli Yamin Celebrates the Dave Brubeck Quartet Curriculum Guide Eli Yamin Celebrates the Dave Brubeck Quartet Overview These six videos are presented and performed by jazz and blues pianist, composer, singer, producer and educator Eli Yamin. The videos vary in length from 3 to 12 minutes. The title of the series aptly denotes the content because Eli Yamin and his group of master musicians truly do “celebrate” 5 songs of Dave Brubeck. Each video examines and performs a specific song and its unique qualities. Although the focus is always the music, the lessons easily apply to literacy and language arts standards, grades 6-12. The amount of time spent on the lessons can be decided by the teachers, depending on students’ interest, needs, and planning. Below is a brief summary of the content of each video to help teachers decide which best suits their curriculum. It is recommended that all the videos be studied in order to provide a full scope of Brubeck’s music, but the lessons and videos can each stand alone. Dave Brubeck Brief Background Dave Brubeck was a famous jazz pianist, composer, and bandleader who lived from 1920 to 2012. He founded the Dave Brubeck Quartet in 1951 after playing for several years in his group called the Dave Brubeck Octet. His group became very popular in the 1950s, most notably for his combination of great melodies, strong sense of swing, and unusual meters and rhythms from around the globe. Some of his more popular songs are "Blue Rondo a la Turk," "In Your Own Sweet Way" and "The Duke." He collaborated with quartet member Paul Desmond on numerous compositions; Desmond’s “Take Five” became the first jazz instrumental to sell more than one million copies. -
Syllabus En 399.31 Blue Notes: the Literatures of Jazz
SYLLABUS EN 399.31 BLUE NOTES: THE LITERATURES OF JAZZ Dr. Mark Osteen Office: HU 226. Phone: x 2363 Hrs: Tu-Tr 11-1 or by appointment. E-mail: [email protected] REQUIRED TEXTS: 1. Ted Gioia, The History of Jazz. New York: Oxford UP, 1997. 2. Feinstein and Kumunyakaa, eds., The Jazz Poetry Anthology. Indiana UP, 1991. 3. James Weldon Johnson, The Autobiography of an Ex-Colored Man. 1912. New York: Dover. 4. Langston Hughes, Collected Poems (includes The Weary Blues, Montage of a Dream Deferred, and Ask Your Mama). New York: Vintage, 1994. 5. August Wilson, Ma Rainey’s Black Bottom. New York: Plume, 1984. 6. Toni Morrison, Jazz. New York: Vintage, 1992. 7. Billie Holiday, w/ William Dufty, Lady Sings the Blues. 1956. Penguin. 8. John Clellon Holmes, The Horn. 1958. Thunder’s Mouth Press, 2000. 9. Geoff Dyer, But Beautiful: A Book about Jazz. New York: North Point Press, 1996. 10. Warren Leight, Side Man. 1999. Dramatists’ Play Service, 2000. 11. Jack Fuller, The Best of Jackson Payne. 2001. Chicago: U of Chicago Press, 2003. 12. Selected short stories: Handouts. 13. Excerpts from the autobiographies of Louis Armstrong, Duke Ellington, Charles Mingus, Miles Davis, Art Pepper, others (handouts). 14. Selected essays (handouts). AUDIO VISUAL MATERIAL The music for each week will be broadcast on Sundays from noon to 3 pm on WLOY AM 1620 or http://www.wloy.org. I will provide details and changes each week. ON RESERVE AT L/ND LIBRARY: Greatest Ragtime of the Century. Various Artists. Biograph Records. Ma Rainey, Heroes of the Blues: Very Best of Ma Rainey (Shout Factory) Ma Rainey’s Black Bottom: Original Broadway Cast Recording Louis Armstrong, Complete Hot Five and Hot Seven Recordings. -
2020Virtualfestivalpartnershipd
THREE DAYS IN SUPPORT OF THREE NONPROFITS • The NAACP Legal Defense Fund (LDF) is America’s premier legal organization fighting for racial justice. Through litigation, advocacy, and public education, LDF seeks structural changes to expand democracy, eliminate disparities, and achieve racial justice in a society that fulfills the promise of equality for all Americans. LDF is a 501(c)(3) nonprofit organization • The Thurgood Marshall College Fund (TMCF) is the nation’s largest nonprofit organization exclusively representing the Black College Community. TMCF member-schools include the publicly-supported Historically Black Colleges and Universities (HBCUs) and Predominantly Black Institutions (PBIs). • The Monterey Jazz Festival is the oldest continuously-running jazz festival in the world established as a nonprofit organization in 1958. MJF will support participating jazz artists who are disproportionately impacted and losing their livelihoods due to COVID-19. The Monterey Jazz Festival’s mission is to inspire the discovery and celebration of jazz, anchored by an iconic festival. Even though we are not able to host an in-person festival in 2020, our work is anchored by an annual communion around jazz, a music rooted in black culture. A Virtual Festival in 2020 allows us to: • support our community of jazz musicians who have been disproportionately impacted by COVID-19; • celebrate student musicians who have lost so many celebratory moments in 2020, such as proms and graduations; • take action to support trusted nonprofit organizations doing important work to promote social justice, end racism, provide equal opportunity and celebrate black culture. Black Lives Matter! Title Partnership Opportunity MJF Partnership $100,000 level includes 2 Years of benefits! • Designation as the Presenting Sponsor of the 2020 Virtual Monterey Jazz Festival benefiting THREE trusted nonprofit organizations playing critical roles in solving racial injustice and inequality. -
Burkas and Bikinis: Playboy in Indonesia1
DE1- 173-I BURKAS AND BIKINIS: PLAYBOY IN INDONESIA1 Original written by professor David Bach at IE Business School. Original version, 3 June 2011. Published by IE Business Publishing, María de Molina 13, 28006 – Madrid, Spain. ©2011 IE. Total or partial publication of this document without the express, written consent of IE is prohibited. Christie Hefner was no stranger to controversy. She had the physical appearance of the All- American professional: perfectly coiffeured shiny blond hair, tasteful yet elegant outfits, and understated jewelry that nevertheless communicated both style and confidence. Anybody meeting her for the first time could have been forgiven for mistaking her for a lawyer, consultant, or the general manager of an upscale country club. Hefner was nothing of the sort for she was both a self-proclaimed feminist and the CEO of the company with the most recognizable name in men's entertainment: Playboy Enterprises. Since taking over the company from her father Hugh Hefner, the quintessential playboy, she had had to work her way out of many difficult situations, both in Playboy’s U.S. home market and overseas. But for two months, after receiving an unnerving phone call in December 2006 that Erwin Arnada, the editor-in-chief of Playboy Indonesia, had been charged and indicted for promoting obscenity, Hefner had been agonizing over possible courses of action. Her most immediate concern was for Arnada’s safety. But she also knew that the incident raised important questions beyond Arnada. In managing the situation, Hefner had to make decisions that would inevitably affect the future global strategy of Playboy Enterprises. -
Guide to the Jack Siefert Woody Herman Collection
Guide to the Jack Siefert Woody Herman Collection NMAH.AC.0659 Wendy Shay 2003 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 4 Series 1: Correspondence........................................................................................ 4 Series 2: Photographs.............................................................................................. 6 Series 3: Business Records..................................................................................