1 Miles Davis Quintet, Live in Europe 1967: the Bootleg Series, Vol. 1

Total Page:16

File Type:pdf, Size:1020Kb

1 Miles Davis Quintet, Live in Europe 1967: the Bootleg Series, Vol. 1 77TH ANNUAL READERS POLL HISTORICAL ALBUM OF THE YEAR 1 Miles Davis Quintet, Live In Europe 1967: The Bootleg Series, Vol. 1 (COLUMBIA/LEGACY) 2,619 votes The trumpeter and his second great quintet were in their prime while touring with George Wein’s Newport Jazz Festival in October and November 1967. 2 Wes Montgomery, Echoes 5 Stan Getz, Stan Getz 8 Fela Kuti, Vinyl Box Set I Of Indiana Avenue Quintets: The Clef & (KNITTING FACTORY/ (RESONANCE) 1,270 Norgran Studio Albums LABEL MAISON) 465 (HIP-O SELECT) 642 Newly dis- This package of covered live This three-disc remastered Fela recordings made collection, which Kuti albums—the in Indianapolis concentrates on first in a series sometime in Getz’s earliest sin- of vinyl box sets 1957 or ’58 gles and albums covering the shed light on the early work of (1952–1955) for work of the world-renown Afro- one of jazz’s greatest guitarists Norman Granz, elegantly fills a gap beat vocalist—was curated by during a pivotal point in his career. in the saxophonist’s discography. Ahmir “Questlove” Thompson. 3 The Dave Brubeck Quartet, 6 The Dave Brubeck Quartet, 9 Howlin’ Wolf, Smokestack The Columbia Studio Their Last Time Out Lightning:The Complete Albums Collection: 1955– (COLUMBIA/LEGACY) 596 Chess Masters, 1951–1960 (HIP-O SELECT/GEFFEN) 464 1966 (COLUMBIA/LEGACY) 1,001 Brubeck’s quar- tet of 17 years Perhaps the most Containing about with Paul Des- unique and power- 12 hours of mond, Eugene ful performer in music, this box Wright and Joe the history of the set covers all 19 Morello played blues, How- studio albums their last concert lin’ Wolf cre- that Brubeck together in Pittsburgh on Dec. ated a remarkable catalog of recorded for Columbia, with bonus 26, 1967, as documented on this music for Chess Records. tracks scattered throughout. Nine previously unreleased recording. of the titles here are on CD in the 10 Ray Charles, Singular United States for the first time. 7 The Quintet, Jazz At Genius: The Complete ABC Massey Hall Singles (CONCORD) 421 4 Freddie Hubbard, Pinnacle (ORIGINAL JAZZ CLASSICS) 468 (RESONANCE) 821 This five-disc Virtuosity and box set con- On this previously personality rule tains numerous unreleased live on this latest treasures Brother album culled remastered Ray recorded from two 1980 recording of a after signing with performances historic 1953 ABC-Paramount at San Fran- all-star perfor- in late 1959, including several cisco’s Keystone Korner, Hubbard mance in Toronto featuring Charlie tracks never issued on CD before. demonstrates that his eloquence Parker, Dizzy Gillespie, Bud Powell, Clearly, he was keeping a step was equal to his energy. Charles Mingus and Max Roach. ahead of the era’s musical changes. 11 Ray Charles, Live In France 1961 (EAGLE ROCK) 405 17 Roscoe Mitchell, Before There Was Sound (NESSA) 163 12 Von Freeman, Have No Fear (NESSA) 320 18 Roscoe Mitchell Art Ensemble, 13 Gerry Mulligan Sextet, Legends Live: Old/Quartet Sessions (NESSA) 162 Gerry Mulligan Sextet (JAZZHAUS) 257 19 Hank Crawford, Don’t You Worry ’Bout A Thing 14 George Duke, George Duke Band: The Complete (CTI Records 40th Anniversary Edition) 1970s Epic Albums Collection (EPIC/LEGACY) 240 (MASTERWORKS JAZZ) 150 15 Soft Machine, NDR Jazz Workshop (CUNEIFORM) 193 20 Various Artists, FMP Im Rückblick–In 16 Sir Roland Hanna, Colors From A Giant’s Kit (IPO) 163 Retrospect 1969–2010 (FMP) 123 42 DOWNBEAT DECEMBER 2012.
Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
    [Show full text]
  • The Historic Recordings of the Song Desafinado: Bossa Nova Development and Change in the International Scene1
    The historic recordings of the song Desafinado: Bossa Nova development and change in the international scene1 Liliana Harb Bollos Universidade Federal de Goiás, Brasil [email protected] Fernando A. de A. Corrêa Faculdade Santa Marcelina, Brasil [email protected] Carlos Henrique Costa Universidade Federal de Goiás, Brasil [email protected] 1. Introduction Considered the “turning point” (Medaglia, 1960, p. 79) in modern popular Brazi- lian music due to the representativeness and importance it reached in the Brazi- lian music scene in the subsequent years, João Gilberto’s LP, Chega de saudade (1959, Odeon, 3073), was released in 1959 and after only a short time received critical and public acclaim. The musicologist Brasil Rocha Brito published an im- portant study on Bossa Nova in 1960 affirming that “never before had a happe- ning in the scope of our popular music scene brought about such an incitement of controversy and polemic” (Brito, 1993, p. 17). Before the Chega de Saudade recording, however, in February of 1958, João Gilberto participated on the LP Can- ção do Amor Demais (Festa, FT 1801), featuring the singer Elizete Cardoso. The recording was considered a sort of presentation recording for Bossa Nova (Bollos, 2010), featuring pieces by Vinicius de Moraes and Antônio Carlos Jobim, including arrangements by Jobim. On the recording, João Gilberto interpreted two tracks on guitar: “Chega de Saudade” (Jobim/Moraes) and “Outra vez” (Jobim). The groove that would symbolize Bossa Nova was recorded for the first time on this LP with ¹ The first version of this article was published in the Anais do V Simpósio Internacional de Musicologia (Bollos, 2015), in which two versions of “Desafinado” were discussed.
    [Show full text]
  • Underserved Communities
    National Endowment for the Arts FY 2016 Spring Grant Announcement Artistic Discipline/Field Listings Project details are accurate as of April 26, 2016. For the most up to date project information, please use the NEA's online grant search system. Click the grant area or artistic field below to jump to that area of the document. 1. Art Works grants Arts Education Dance Design Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts 2. State & Regional Partnership Agreements 3. Research: Art Works 4. Our Town 5. Other Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Information is current as of April 26, 2016. Arts Education Number of Grants: 115 Total Dollar Amount: $3,585,000 826 Boston, Inc. (aka 826 Boston) $10,000 Roxbury, MA To support Young Authors Book Program, an in-school literary arts program. High school students from underserved communities will receive one-on-one instruction from trained writers who will help them write, edit, and polish their work, which will be published in a professionally designed book and provided free to students. Visiting authors, illustrators, and graphic designers will support the student writers and book design and 826 Boston staff will collaborate with teachers to develop a standards-based curriculum that meets students' needs. Abada-Capoeira San Francisco $10,000 San Francisco, CA To support a capoeira residency and performance program for students in San Francisco area schools. Students will learn capoeira, a traditional Afro-Brazilian art form that combines ritual, self-defense, acrobatics, and music in a rhythmic dialogue of the body, mind, and spirit.
    [Show full text]
  • Download the Contributor's Manual
    Oxford University Press Hutchins Center for African &African American Research at Harvard University CONTRIBUTOR’S MANUAL African American National Biography Henry Louis Gates, Jr. Evelyn Brooks Higginbotham Editors in Chief http://hutchinscenter.fas.harvard.edu/aanb CONTENTS 1 INTRODUCTION 2 PLANNING YOUR ARTICLE 2.1 Readership 2.2 Scope Description 2.3 Word Allotment 2.4 Consensus of Interpretation 3 WRITING YOUR ARTICLE 3.1 Opening Paragraph 3.2 Body of Text 3.3 Marriages 3.4 Death and Summation 3.5 Living People 3.6 Identifying People, Places and Things 3.7 Dates 3.8 Quotations and Permissions 3.9 Citations 3.10 Plagiarism 4 SOME NOTES ON STYLE 4.1 Style, Grammar, spelling 4.2 Spelling 4.3 Punctuation 4.4 Capitalization 4.5 Dates 4.6 Racial Terminology 4.7 Explicit Racial Identification 4.8 Gendered Terms 5 COMPILING YOUR “FURTHER READING” BIBLIOGRAPHY 5.1 Purpose 5.2 Number of Items 5.3 Availability of Works 5.4 Format 5.5 Verification of Sources 6 KEYBOARDING AND SUBMITTING YOUR MANUSCRIPT 1 1 INTRODUCTION We very much appreciate your willingness to contribute to the African American National Biography (AANB). More than a decade in the making, the AANB is now in its second edition, bringing the total number of lives profiled to nearly 5,000 entries online and in print. Our approximately 2,000 authors include Darlene Clark Hine on First Lady Barack Obama, John Swed on Miles Davis; Thomas Holt on W.E.B. Du Bois and the late John Hope Franklin on the pioneering black historian George Washington Williams.
    [Show full text]
  • 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.
    [Show full text]
  • The Cord Weekly
    / Laurier musicians Pierre Berton rock out at Wilf's visits Laurier Page Page THE , 2 CORD WEEKLY * Wednesday November 21, 2001 *Laurier's Official Student Newspaper • Volume 42 • Issue 15 2 News 6 Opinion 10 International 12 Feature 14 Entertainment 17 Sports 20 Student Life 22 Business 23 Classifieds More growing concerns "The reputation of Laurier has has also adversely affected WLU's She went on to say that many Students' Union requests an been tainted," said David public image, most notably in last more people accepted the offers of Wellhauser, Executive Vice week's Maclean's magazine univer- admission than in past years, a immediate freeze on current President of University Affairs. sity rankings. development that WLU was unable "Over-enrollment has had a nega- "WLU sent out too many offers to anticipate. The increase in enrollment levels tive effect on all students. It's irre- of admission," said Wellhauser. "It acceptances was most noticeable sponsible, and has to stop." was an irresponsible mistake that from students for whom Laurier MartinKuebler regarding the unexpected growth The Students' Union pointed should have been caught." was not a first choice. of Laurier's student body in recent to a number of reasons that have However, Undergraduate In order to properly address The issue of responsible growth at years. Of particular concern was contributed to over-crowding. Admissions Manager Gail Forsyth the growth situation, WLUSU pro- Laurier has not been given the what the Union called a "miscalcu- Among them are inadequate said the increased enrollment posed that current enrollment lev- "proper attention or recognition," lation in the admissions formula," provincial funding for universities experienced in 2001 was unfore- els be frozen immediately until stu- and the WLU Students' Union resulting in the surplus of 962 stu- and the deviation from the seeable, and was not as a result of dent concerns are addressed.
    [Show full text]
  • Singer-Songwriter Jesse Winchester Here Friday
    Singer-songwriter Jesse Winchester here Friday BY GEORGE VARGA SEPTEMBER 8, 2010 JESSE WINCHESTER Not many musicians can simultaneously make Elvis Costello choke up and bring Neko Case to tears with an unadorned solo acoustic performance of a single song. But that’s exactly what veteran troubadour Jesse Winchester did last fall in New York when he sang his wonderfully poignant ballad about two teenagers in love, “Sham-A-Ling-Dong-Ding,” a standout number from his enchanting 2009 album, “Love Filling Station.” You can watch it here: http:/www.youtube.com/watch?v=5uKGWpqnS8E%20 The setting was Harlem’s famed Apollo Theater, where Costello’s Sundance TV music series, “Spectacle,” filmed its first two seasons in front of loudly appreciative audiences. Louisiana native Winchester — who appeared on an episode alongside Costello, Case, Sheryl Crow and Ron Sexsmith — quietly stole the show with that song and an equally spare but stunning version of “The Brand New Tennessee Waltz,” an understated classic from his 1970 debut album. “Doing ‘Spectacle’ has been a big boost for my career,” said Winchester, who kicks off a five- city California tour here Friday night at the all-ages AMSD Concerts (formerly Acoustic Music San Diego) in Normal Heights. “I’m working at least twice as much as I used to. But I’m not really well known, so ‘twice as much’ for me is still not the same as for a really popular act.” In 2007, Winchester received a Lifetime Achievement Award from the American Society of Composers, Artists and Publishers. That he is not a household name stems from a simple twist of fate.
    [Show full text]
  • Huntsville Town Council Resolution 338-15 on October 26, 2015
    Town of Huntsville Staff Report Meeting Date: July 25, 2018 To: General Committee Report Number: CS-2018-24 Confidential: No Author(s): Teri Souter, Manager of Arts, Culture & Heritage Subject: Cultural Strategy Update Report Highlights • Cultural Strategic Plan update • Current internal/external situation review • Cultural Strategic visioning/inclusion encouraged for 2018-19 Recommendation That: Motion GC54-16 be rescinded; and Further That: the next term of Council be encouraged to consider an updated Cultural Strategy for the Corporation of the Town of Huntsville when identifying the Strategic Priorities for 2018-2022. Background The Town of Huntsville's Cultural Strategy 2011 contained 27 recommendations. Progress on the Cultural Strategy has been regularly reported. A status update "Culture Strategy Update" was presented to the Arts, Cultural and Heritage Advisory Committee on February 23, 2016: 25 of 27 goals were "finished/ongoing" and the remaining 2 were "started/needs attention." Some of the goals were completed or outdated. "Culture Strategy Direction" Report CS-2016-16 was then presented and Motion ACH8-16, including a commitment for community engagement and collaboration, was passed by the Advisory Committee: "The Manager of Arts, Culture & Heritage work via Advisory Committee, staff, sector professionals and stakeholders to draft a Huntsville Culture Strategy whitepaper, 2016 to 2019, to better reflect the direction of current council and to implement these directions." This motion was amended at General Committee on March 30, 2016. The amended motion GC54-16 is: "that The Manager of Arts Culture and Heritage work to draft a Huntsville Culture Strategy, 2016 to 2019, to better reflect the direction of current Council and further that the Manager of Arts, Culture and Heritage report back to committee." This was ratified via Council Resolution 94- 16, April 27, 2016.
    [Show full text]
  • 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”.
    [Show full text]
  • The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
    4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18
    [Show full text]
  • November/December 2005 Issue 277 Free Now in Our 31St Year
    jazz &blues report november/december 2005 issue 277 free now in our 31st year www.jazz-blues.com Sam Cooke American Music Masters Series Rock & Roll Hall of Fame & Museum 31st Annual Holiday Gift Guide November/December 2005 • Issue 277 Rock and Roll Hall of Fame and Museum’s 10th Annual American Music Masters Series “A Change Is Gonna Come: Published by Martin Wahl The Life and Music of Sam Cooke” Communications Rock and Roll Hall of Fame Inductees Aretha Franklin Editor & Founder Bill Wahl and Elvis Costello Headline Main Tribute Concert Layout & Design Bill Wahl The Rock and Roll Hall of Fame and sic for a socially conscientious cause. He recognized both the growing popularity of Operations Jim Martin Museum and Case Western Reserve University will celebrate the legacy of the early folk-rock balladeers and the Pilar Martin Sam Cooke during the Tenth Annual changing political climate in America, us- Contributors American Music Masters Series this ing his own popularity and marketing Michael Braxton, Mark Cole, November. Sam Cooke, considered by savvy to raise the conscience of his lis- Chris Hovan, Nancy Ann Lee, many to be the definitive soul singer and teners with such classics as “Chain Gang” Peanuts, Mark Smith, Duane crossover artist, a model for African- and “A Change is Gonna Come.” In point Verh and Ron Weinstock. American entrepreneurship and one of of fact, the use of “A Change is Gonna Distribution Jason Devine the first performers to use music as a Come” was granted to the Southern Chris- tian Leadership Conference for ICON Distribution tool for social change, was inducted into the Rock and Roll Hall of Fame in the fundraising by Cooke and his manager, Check out our new, updated web inaugural class of 1986.
    [Show full text]
  • Mill Valley Oral History Program a Collaboration Between the Mill Valley Historical Society and the Mill Valley Public Library
    Mill Valley Oral History Program A collaboration between the Mill Valley Historical Society and the Mill Valley Public Library David Getz An Oral History Interview Conducted by Debra Schwartz in 2020 © 2020 by the Mill Valley Public Library TITLE: Oral History of David Getz INTERVIEWER: Debra Schwartz DESCRIPTION: Transcript, 60 pages INTERVIEW DATE: January 9, 2020 In this oral history, musician and artist David Getz discusses his life and musical career. Born in New York City in 1940, David grew up in a Jewish family in Brooklyn. David recounts how an interest in Native American cultures originally brought him to the drums and tells the story of how he acquired his first drum kit at the age of 15. David explains that as an adolescent he aspired to be an artist and consequently attended Cooper Union after graduating from high school. David recounts his decision to leave New York in 1960 and drive out to California, where he immediately enrolled at the San Francisco Art Institute and soon after started playing music with fellow artists. David explains how he became the drummer for Big Brother and the Holding Company in 1966 and reminisces about the legendary Monterey Pop Festival they performed at the following year. He shares numerous stories about Janis Joplin and speaks movingly about his grief upon hearing the news of her death. David discusses the various bands he played in after the dissolution of Big Brother and the Holding Company, as well as the many places he performed over the years in Marin County. He concludes his oral history with a discussion of his family: his daughters Alarza and Liz, both of whom are singer- songwriters, and his wife Joan Payne, an actress and singer.
    [Show full text]