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Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works. -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
Cpfj 2014 Spring Concert Series Sunday March 16 5
Connecting Jazz Lovers CPFJ Newsletter JANUARY/FEBRUARY with Each Other 2014 & the Music! Issue #20 CPFJ 2014 SPRING CONCERT SERIES SUNDAY MARCH 16 5 P.M. SHERATON HARRISBURG HERSHEY . JOEY DEFRANCESCO TRIO PAUL BOLLENBACK(G) CARMEN INTORRE (DR) SUNDAY APRIL 6 7 P.M. POLLOCK CENTER FOR THE ARTS, CAMP HILL . CECILE McLORIN SALVANT , SUNDAY MAY 25 WITF PUBLIC MEDIA CENTER . EHUD ASHERIE & This series is underwritten by a generous contribution from the Shearer Family Fund KEN PEPLOSKI of the Foundation for Enhancing Communities on behalf of R. Scott Shearer LOOK. INSIDE THE VIBE! Exec. Dir. Letter - pg.2 Jazz Passings 2013 - pg. 10 &11 Grants & Donors - pg. 3 New Scholarship & Spring Concert Series - pg. 4 & 5 Ticket order form - pg.12 Area Clubs & Concerts - 6 & 7 Phil Woods/Dave Stahl - pg. 13/14 Jazz Camp & Youth Band - pg. 8 Membership Application - pg. 15 Dauphin Co. Grant - pg. 9 CPFJ Jam Sessions - pg. 16 1 The Vibe is published monthly at the Central PA Friends of Jazz, 5721 Jonestown Road, Harrisburg PA 17112 EXECUTIVE DIRECTOR'S REPORT: Central Pennsylvania Friends of Jazz HAPPY NEW YEAR! Thanks to all for your support in 2013. We had a very successful year with great concerts: the Cyrus Chestnut tribute to Dave Brubeck, violinist Christian Howes, legendary 5721 Jonestown Road vocalist Freddy Cole, the Kenton Alumni Big Band, drummer Clarence Penn’s Monk tribute, and Harrisburg PA 17112 dynamic pianist Anthony Wonsey; our best Jazz Camp ever with a great faculty and 70 students; TEL: 717-540-1010 membership in CPFJ reached 600 - a level not seen for over 15 years; WEB: We have been awarded a generous grant from the Dauphin County Commissioners that will enable www.friendsofjazz.org us to present a concert on September 5th at Fort Hunter Park as part of the Dauphin County Jazz EMAIL: & Wine Festival. -
The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format. -
2012-Press-Highlights.Pdf
D. Dominick Lombardi: Kathryn E. Delmez on Carrie Mae Weems at the Frist 1/4/13 12:13 PM January 4, 2013 Kathryn E. Delmez on Carrie Mae Weems at the Frist Posted: 09/07/2012 7:22 pm I would be hard pressed to think of anyone in the visual arts who has done more to make public the centuries old discrimination of race and gender, the oppressive effects of power, the intricacies of domesticity and our general sense of place as human beings than Carrie Mae Weems. As we are only about one year apart in age, I can remember quite well the level of racial inequality that Ms. Weems was born into. I can also remember very clearly, the buzz created when a non-stereotypical, everyday African American housewife appeared in a laundry soap commercial for the first time. It was a 1970, Wisk detergent television advertisement, and since I lived in a largely white community defined by hardworking blue and white collar husbands paired with stay-at-home, home- maker wives, the vocal backlash that ensued could generally be placed into the category of "what is the world coming to?" When you think about how systemic and ingrained the feelings, subtle or profound, were regarding race, gender and the system of power built upon those prejudices that Ms. Weems addressed all those years ago a very different, very intense level of strength and courage emerges. Yes, it's true that the Civil Rights movement had already begun, and was gaining worldwide recognition and ground every day. -
Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin -
Joe Bonner Rashaad Kagris Urs Leimgruber Roberto Magris Byron Morris John Tchicai Frank Walton Cape Town Jazz Fest
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC Joe Bonner Rashaad Kagris Urs Leimgruber Roberto Magris Byron Morris John Tchicai Frank Walton Cape Town Jazz Fest International Jazz News CD Reviews Book Reviews DVD Reviews Obituaries Volume 42 Number 3 July Aug Sept 2016 THE DIFFERENT DRUMMER... IS ON OUR LABEL WWW.INNOVA.MU TWO GREAT BRAZILIAN JAZZ RELEASES BY AAM MUSIC CAROL SABOYA “CAROLINA” On her second solo release for the U.S. market, Carol Saboya presents “Carolina”. a suite of exquisite compositions by master composers such as Antonio Carlos Jobim, Pixinguinha, Joao Bosco, Edu Lobo, Djavan, Lennon and McCartney, and Sting. Her new CD is sure to become a classic. ANTONIO ADOLFO “TROPICAL INFINITO" On the heels of two consecutive Latin Grammy nominations in 2014 and 2015 for Best Instrumental Album, Antonio Adolfo pres- ents his latest work, “Tropical Infinito.” Continuing to mine the authentic samba jazz vein that is his specialty, Antonio offers his unique take on pieces by Benny Golson, Oliver Nelson and Horace Silver, and works in four of his own compositions. On this release, Antonio and his octet work to recreate the energy and intensity of "gafieiras" -- dance parties that were a prominent feature of Rio de Janeiro nightlife in the 1960s. CDs available at ITunes, Amazon, CDBaby and more… AAM music www.aammusic.com NICK FRASER QUARTET STARER Nick Fraser: drums, compositions Tony Malaby: saxophones Andrew Downing: cello Rob Clutton: bass "Nick Fraser's drumming is like a tide rushing in, its momentum surging and receding with engulfing force and polyrhythmic spray, cradling and upending its accompanying voices as it pours out into sonic space. -
Formatting Bios Program Booklet__11-2 ANCHORED EH
FEED THE FIRE A Cyber Symposium in Honor of Geri Allen Thursday, 5 November 2020, 9:30 am–5:30 pm EST An online event free and open to the public Registration requested at http://bit.ly/GeriAllen Keynote with Terri Lyne Carrington, Angela Davis, and Gina Dent, moderated by Farah Jasmine Griffin Poetry reading by Fred Moten | Solo piano performance by Courtney Bryan Geri Allen, Wright Museum of African American History, Detroit, 2011; © Barbara Weinberg Barefield Department of Music Jazz Studies Program Columbia University: Center for Jazz Studies; Institute for Research on Women, Gender, and Sexuality; Departments of Music and English & Comparative Literature Barnard College: Barnard Center for Research on Women; Women’s, Gender, and Sexuality Studies; Department of Africana Studies University of Pittsburgh: Gender, Sexuality, and Women’s Studies Program; Humanities Center GERI ANTOINETTE ALLEN was born on June 12, 1957. She began playing the piano at the age of seven. As a child, she studied classical music with Patricia Wilhelm, who also nourished her interests in jazz. Her music studies continued through high school, Detroit’s legendary Cass Tech, where she studied with trumpet player Marcus Belgrave; and then at Howard University, where she studied with John Malachi, at the same time taking private lessons from Kenny Barron. In 1979, she earned one of the first BAs in Jazz Studies at Howard. She completed an MA in Ethnomusicology in 1983 at University of Pittsburgh, where she studied with Nathan Davis. When Davis retired in 2013, she succeeded him as Director of Jazz Studies, after teaching at Howard, the New England © Barbara Weinberg Barefield Conservatory, and the University of Michigan. -
February 26, 1996 Vol
■ ■ A glimpse Men's swim at a student's DO NOT REMOVE and dive team experiences the wins fifth- working the straight CAA graveyard shift title; women at Kinko's. place second. Focus/14 JAMES MADISON UNIVERSITY Sports/21 MONDAY FEBRUARY 26, 1996 VOL. 73. NO. 38 JMU offices planning for larger freshman class overall applicants, the academic by Ben Dalbey quality of the student body is not senior writer suffering. Since JMU was founded almost "We're going with the same 90 years ago as the State Normal standards we've had for years," she School for Women at Harrisonburg, said. it has undergone substantial change. In the past, the university just Its transformation from a small turned down a greater number of women's teaching college to a SEMESTERS APPLIED ACCEPTED ENROLLED applicants who met those standards, 12,000-student university has been a Shabazz added. The admissions office is not the dramatic one, but the process is not 1996-97 1 5,000 + 2,850 ** over. only group involved in determining Within the next 10 years, JMU class sizes, she said. will add an additional 3,000 students 1 995-96 12,514 6,989 2,559 "That's a decision that everyone's to its population, bringing the total to involved in," Shabazz said. Jim McConnel, director of the 15,000, according to Fred Hilton, 1994-95 11,712 I 6 7 2,289 director of Media Relations. Office of Residence Life, said ORL JMU*s growth is a direct result of was happy to be included in the an increase in the number of college I 995-94 1 1,225 5.285 2,082 process of determining how many bound in Virginia, Hilton said. -
George Benson Charlie Haden Dave Holland William Hooker Jane Monheit Steve Swallow CD Reviews International Jazz News Jazz Stories
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC George Benson Charlie Haden Dave Holland William Hooker Jane Monheit Steve Swallow CD Reviews International jazz news jazz stories Volume 39 Number 4 Oct Nov Dec 2013 More than 50 concerts in venues all around Seattle Keith Jarrett, Gary Peacock, & Jack DeJohnette • Brad Mehldau Charles Lloyd Group w/ Bill Frisell • Dave Douglas Quintet • The Bad Plus Philip Glass • Ken Vandermark • Paal Nilssen-Love • Nicole Mitchell Bill Frisell’s Big Sur Quintet • Wayne Horvitz • Mat Maneri SFJAZZ Collective • John Medeski • Paul Kikuchi • McTuff Cuong Vu • B’shnorkestra • Beth Fleenor Workshop Ensemble Peter Brötzmann • Industrial Revelation and many more... October 1 - November 17, 2013 Buy tickets now at www.earshot.org 206-547-6763 Charles Lloyd photo by Dorothy Darr “Leslie Lewis is all a good jazz singer should be. Her beautiful tone and classy phrasing evoke the sound of the classic jazz singers like Ella Fitzgerald and Sarah aughan.V Leslie Lewis’ vocals are complimented perfectly by her husband, Gerard Hagen ...” JAZZ TIMES MAGAZINE “...the background she brings contains some solid Jazz credentials; among the people she has worked with are the Cleveland Jazz Orchestra, members of the Ellington Orchestra, John Bunch, Britt Woodman, Joe Wilder, Norris Turney, Harry Allen, and Patrice Rushen. Lewis comes across as a mature artist.” CADENCE MAGAZINE “Leslie Lewis & Gerard Hagen in New York” is the latest recording by jazz vocalist Leslie Lewis and her husband pianist Gerard Hagen. While they were in New York to perform at the Lehman College Jazz Festival the opportunity to record presented itself. -
Jazz Guitarists
List of Jazz Guitarists 1. Blake Aaron 2. Eivind Aarset 3. Rez Abbasi 4. John Abercrombie 5. Paul Abler 6. Steve Abshire 7. Morris Acevedo 8. Bernard Addison 9. Steve Adelson 10. Dan Adler 11. Ron Affif 12. Noel Akchote 13. Jan Akkerman 14. Odd Steinar Albrigtsen 15. Howard Alden 16. Johnny Alegre 17. Oscar Alemán 18. Glenn Alexander 19. Neal Alger 20. Laurindo Almeida 21. Peter Almqvist 22. Frode Alnæs 23. Leonardo Amuedo 24. Chuck Anderson 25. Tuck Andress 26. John Anello Jr 27. Michael Anthony 28. Ron Anthony 29. Marc Antoine 30. Bruce Arnold 31. Irving Ashby 32. Dave Askren 33. Badi Assad 34. Gustavo Assis-Brasil 35. Chet Atkins 36. Erich Avinger B 37. Elek Bacsik 38. Mike Baggetta 39. Derek Bailey (the most radical) 40. Sheryl Bailey (blazing style, need to check out) 41. Bob Bain 42. Clint Baker 43. Duck Baker 44. Matt Balitsaris 45. Dave Barbour 46. A Spencer Barefield 47. Danny Barker 48. Everett Barksdale 49. Junior Barnard 50. George Barnes 51. Jeff Barone 52. Carl Barry 53. John Basile 54. Frode Barth 55. Billy Bauer 56. Billy Bean 57. Gerry Beaudoin 58. Jeff Beck 59. Joe Beck 60. David Becker 61. Jean-Marc Belkadi 62. Robert Bell 63. Roni Ben-Hur 64. George Benson 65. Rolf Berg 66. Gonzalo Bergara 67. Chris Bergson 68. Randy Bernsen’s 69. Peter Bernstein 70. Gene Bertoncini 71. Mads Berven 72. Skeeter Best 73. Ed Bickert 74. Brian Blade 75. Jack Bland 76. Michael Bocian 77. Pascal Bokar 78. Paul Bollenback 79. Luiz Bonfá 80. Perry Botkin Sr 81.