The Register, 1963-10-18
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Lou Donaldson
BIO LOU DONALDSON --------------------------------------- "My first impulse is always to describe Lou Donaldson as the greatest alto saxophonist in the world." -- Will Friedwald, New York Sun Jazz critics agree that “Sweet Poppa Lou” Donaldson is one of the greatest alto saxophonists of all time. He began his career as a bandleader with Blue Note Records in 1952 and, already at age 25, he had found his sound, though it would continue to sweeten over the years -- earning him his famed nickname -- “Sweet Poppa Lou.” He made a series of classic records for Blue Note in the 50’s, and takes pride in having showcased many musicians who made their first records as sidemen for him: Horace Silver, Clifford Brown, Grant Green, Blue Mitchell, Donald Byrd, Horace Parlan, and others. After also making some excellent recordings for Cadet and Argo Records in the early 60s, Lou’s return to Blue Note in 1967 was marked by one of his most famous recordings, Alligator Bogaloo. Lou was awarded an honorary Doctorate of Letters by North Carolina A & T University and a scholarship was established in his name that is awarded to the most gifted jazz musician at North Carolina A & T University each year. He was inducted into the International Jazz Hall of Fame, is an NEA Jazz Master – our nation’s highest award bestowed upon jazz artists, and is the recipient of countless other honors and awards for his outstanding contributions to jazz, America’s “classical music.” Lou was born in Badin, North Carolina on November 1, 1926 -- the second of 4 children born to father Andrew, a minister and graduate of Livingstone College, and mother, Lucy, graduate of Cheney University who was a teacher, music director and concert pianist who recognized Lou’s expert ear for music and introduced him to the clarinet. -
Lou Donaldson the Natural Soul Mp3, Flac, Wma
Lou Donaldson The Natural Soul mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: The Natural Soul Country: US Released: 1986 Style: Soul-Jazz, Hard Bop MP3 version RAR size: 1767 mb FLAC version RAR size: 1621 mb WMA version RAR size: 1543 mb Rating: 4.2 Votes: 259 Other Formats: MP3 VOC WMA MP4 DTS DXD AA Tracklist Hide Credits Funky Mama A1 9:05 Written-By – John Patton Love Walked In A2 5:10 Written-By – George & Ira Gershwin Spaceman Twist A3 5:35 Written-By – Lou Donaldson Sow Belly Blues B1 10:11 Written-By – Lou Donaldson That's All B2 5:33 Written-By – Alan Brandt, Bob Haymes Nice 'N Greasy B3 5:24 Written-By – Johnny Acea Companies, etc. Copyright (c) – Manhattan Records Phonographic Copyright (p) – Manhattan Records Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Alto Saxophone – Lou Donaldson Design [Cover] – Reid Miles Drums – Ben Dixon Guitar – Grant Green Liner Notes – Del Shields Organ – John Patton Photography By [Cover Photo] – Ronnie Brathwaite Producer – Alfred Lion Recorded By [Recording By] – Rudy Van Gelder Trumpet – Tommy Turrentine Notes Recorded on May 9, 1962. 1986 Manhattan Records, a division of Capitol Records, Inc. Other versions Category Artist Title (Format) Label Category Country Year The Natural Soul (LP, BLP 4108 Lou Donaldson Blue Note BLP 4108 US 1963 Album, Mono) The Natural Soul (CD, CDP 7 84108 2 Lou Donaldson Blue Note CDP 7 84108 2 US 1989 Album, RE) TOCJ-7176, The Natural Soul (CD, Blue Note, TOCJ-7176, Lou Donaldson Japan 2008 BST-84108 Album, RE) Blue Note BST-84108 The Natural Soul 4BN 84108 Lou Donaldson Blue Note 4BN 84108 US 1986 (Cass, Album, RM) The Natural Soul (LP, BST-84108 Lou Donaldson Blue Note BST-84108 US 1973 Album, RE) Related Music albums to The Natural Soul by Lou Donaldson Lou Donaldson - Mr. -
COMPLETE CATALOG with All Information
Available Pat Martino transcription books: PM #1 € 9,95/$ 15,95 Pat Martino: Solos 1968-1974 Bebop & Beyond: Sideman Years I (40 pages) PM #2 € 9,95/$ 15,95 Pat Martino: Solos 1963-1964 Swing To Bop: Sideman Years II (42 pages) PM #3 € 9,95/$ 15,95 Pat Martino: Solos 1964/1965 More Swing To Bop: Sideman Years III (38 pages) PM #4 € 9,95/$ 15,95 Pat Martino: Solos 1965 - 1967 Organ Standards: Sideman Years IV (41 pages) PM #5 € 9,95/$ 15,95 Pat Martino: Solos 1973-1977 In The Seventies: Sideman Years V (43 pages) PM #6 € 9,95/$ 15,95 Pat Martino: EL HOMBRE [1967] (34 pages) PM #7 € 9,95/$ 15,95 Pat Martino: STRINGS! [1967] (27 pages) PM #8 € 9,95/$ 15,95 Pat Martino: EAST! [1968] (35 pages) PM #9 € 9,95/$ 15,95 Pat Martino: FOOTPRINTS [1972] (36 pages) PM #10 € 9,95/$ 15,95 Pat Martino: LIVE! [1972] (29 pages) PM #11 € 9,95/$ 15,95 Pat Martino: CONSCIOUSNESS [1974] (38 pages) PM #12 € 9,95/$ 15,95 Pat Martino: WE'LL BE TOGETHER AGAIN [1976] (34 pages) PM #13 € 9,95/$ 15,95 Pat Martino: JOYOUS LAKE [1976] (32 pages) PM #14 € 14,95/$ 22,95 Pat Martino: THE RETURN [1987] (58 pages) PM #15 € 5,95/$ 8,95 P.M.'s solos on Bob Kenmotsu's BRONX TALE [1994] (17 pages) PM #16 € 9,95/$ 15,95 Pat Martino: INTERCHANGE [1994] (44 pages) PM #17 € 9,95/$ 15,95 Pat Martino: NIGHTWINGS [1994] (32 pages) PM #18 € 9,95/$ 15,95 Pat Martino: THE MAKER [1994] (32 pages) PM #19 € 9,95/$ 15,95 Pat Martino: STONE BLUE [1998] (36 pages) PM #20 € 9,95/$ 15,95 Pat Martino: EXIT [1976] (35 pages) PM #21 € 19,95/$30,95 Pat Martino: LIVE AT YOSHI's [2000] (70 pages) PM -
Lou Donaldson Blues Walk Mp3, Flac, Wma
Lou Donaldson Blues Walk mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Blues Walk Country: US Released: 1966 Style: Bop, Hard Bop MP3 version RAR size: 1850 mb FLAC version RAR size: 1407 mb WMA version RAR size: 1616 mb Rating: 4.9 Votes: 394 Other Formats: AA DMF APE DTS WMA MPC DXD Tracklist Hide Credits Blues Walk 1 6:40 Written-By – Lou Donaldson Move 2 5:50 Written-By – Denzil Best The Masquerade Is Over 3 5:50 Written-By – Wrubel*, Magidson* Play Ray 4 5:29 Written-By – Lou Donaldson Autumn Nocturne 5 4:51 Written-By – J. Myrow*, K. Gannon* Callin' All Cats 6 5:10 Written-By – Lou Donaldson Companies, etc. Copyright (c) – Manhattan Records Phonographic Copyright (p) – Manhattan Records Manufactured By – Capitol Records, Inc. Manufactured For – Manhattan Records Recorded At – Van Gelder Studio, Hackensack, New Jersey Credits Alto Saxophone – Lou Donaldson Bass – 'Peck' Morrison* Congas [Conga] – Ray Barretto Drums – Dave Bailey Liner Notes – Ira Gitler Photography By [Cover Photo] – Francis Wolff Piano – Herman Foster Producer – Alfred Lion Recorded By – Rudy Van Gelder Transferred By [Digital Transfer] – Ron McMaster Notes Recorded on July 28, 1958 On CD: Made in U.S.A. P C 1985 Manhattan Records, a division of Capitol Records, Inc. On back cover: © ℗ 1987 Manhattan Records, a division of Capitol Records, Inc. Printed un U.S.A. This reissue, probably released circa 2008-2009. Barcode and Other Identifiers Barcode (Text): 0 7777-46525-2 0 Matrix / Runout: A02 DIDX-223563 2 Mastering SID Code: IFPI L328 Mould SID Code: -
How to Incorporate Bebop Into Your Improvisation by Austin Vickrey Discussion Topics
How to Incorporate Bebop into Your Improvisation By Austin Vickrey Discussion Topics • Bebop Characteristics & Style • Scales & Arpeggios • Exercises & Patterns • Articulations & Accents • Listening Bebop Characteristics & Style • Developed in the early to mid 1940’s • Medium to fast tempos • Rapid chord progressions / changes • Instrumental “virtuosity” • Simple to complex harmony - altered chords / substitutions • Dominant syncopation of rhythms • New melodies over existing chord changes - Contrafacts Scales & Arpeggios • Scales and arpeggios are the building blocks for harmony • Use of the half-step interval and rapid arpeggiation are characteristic of bebop playing • Because bebop is often played at a fast tempo with rapidly changing chords, it’s crucial to practice your scales and arpeggios in ALL KEYS! Scales & Arpeggios • Scales you should be familiar with: • Major Scale - Pentatonic: 1, 2, 3, 5, 6 • Minor Scales - Pentatonic: 1, b3, 4, 5, b7; Natural Minor, Dorian Minor, Harmonic Minor, Melodic Minor • Dominant Scales - Mixolydian Mode, Bebop Scales, 5th Mode of Harmonic Minor (V7b9), Altered Dominant / Diminished Whole Tone (V7alt, b9#9b13), Dominant Diminished / Diminished starting with a half step (V7b9#9 with #11, 13) • Half-diminished scale - min7b5 (7th mode of major scale) • Diminished Scale - Starting with a whole step (WHWHWHWH) Scales & Arpeggios • Chords and Arpeggios to work in all keys: • Major triad, Maj6/9, Maj7, Maj9, Maj9#11 • Minor triad, m6/9, m7, m9, m11, minMaj7 • Dominant 7ths • Natural extensions - 9th, 13th -
National Endowment of the Arts Jazz Masters
NATIONALNATIONAL ENDOWMENTENDOWMENT FORFOR THETHE ARTSARTS 2014 2014 Scenes from the 2013 Ceremony Annie Ross, Joe Wilder Candido Camero Ahmad Jamal, Randy Weston Roy Haynes, Lou Donaldson (foreground), Branford and Delfeayo Marsalis (background) David Baker, Jimmy Owens Mose Allison All photos by Michael G. Stewart 2014 Annie Ross, Joe Wilder NATIONAL ENDOWMENT FOR THE ARTS 2014 FELLOWS 2014 NEA Jazz Master Sheila Jordan performs at the 2013 awards ceremony and concert with the NEA Jazz Masters Trio (Kenny Barron, Ron Carter, Jimmy Cobb). Photo by Michael G. Stewart CONTENTS Introduction .............................................. 1 A Brief History of the Program ................ 2 Program Overview ................................... 5 2014 NEA Jazz Masters .............................7 Jamey Aebersold ..............................................8 Anthony Braxton ..............................................9 Richard Davis ...................................................10 Keith Jarrett ........................................................11 NEA Jazz Masters, 1982–2014 ................ 13 NEA Jazz Masters Awards Ceremony .....14 2014 IV 2014 ELCOME TO THE 2014 NEA Jazz Masters Awards Ceremony and Concert. This unique program is the outcome of a collaboration between the National Endowment for the Arts (NEA) and Jazz at Lincoln WCenter (JALC) under the direction of Artistic and Managing Director (and NEA Jazz Master) Wynton Marsalis. The NEA Jazz Masters program is the nation’s highest recognition of jazz in America—and the -
Grant Green: an Analysis of the Blue Note Guitarist╎s Musical
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2018 Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary Teague Stefan Bechtel Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Bechtel, Teague Stefan, "Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary" (2018). Dissertations. 479. https://digscholarship.unco.edu/dissertations/479 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2018 TEAGUE STEFAN BECHTEL ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School GRANT GREEN: AN ANALYSIS OF THE BLUE NOTE GUITARIST’S MUSICAL VOCABULARY A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Teague Stefan Bechtel College of Performing and Visual Arts School of Music Jazz Studies May 2018 This Dissertation by: Teague Stefan Bechtel Entitled: Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary has been approved as meeting the requirements for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies. Accepted by the Doctoral Committee Steven G. Kovalcheck, M.M., Research Advisor H. David Caffey, M.M., Co-Research Advisor Socrates Garcia, D.A., Committee Member Mary Schuttler, Ph.D., Faculty Representative Date of Dissertation Defense________________________________________________ Accepted by the Graduate School _________________________________________________ Linda L. -
Donaldson, Your Full Name and Your Parents’ Names, Your Mother and Father
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. LOU DONALDSON NEA Jazz Master (2012) Interviewee: Louis Andrew “Lou” Donaldson (November 1, 1926- ) Interviewer: Ted Panken with recording engineer Ken Kimery Dates: June 20 and 21, 2012 Depository: Archives Center, National Music of American History, Description: Transcript. 82 pp. [June 20th, PART 1, TRACK 1] Panken: I’m Ted Panken. It’s June 20, 2012, and it’s day one of an interview with Lou Donaldson for the Smithsonian Institution Oral History Jazz Project. I’d like to start by putting on the record, Mr. Donaldson, your full name and your parents’ names, your mother and father. Donaldson: Yeah. Louis Andrew Donaldson, Jr. My father, Louis Andrew Donaldson, Sr. My mother was Lucy Wallace Donaldson. Panken: You grew up in Badin, North Carolina? Donaldson: Badin. That’s right. Badin, North Carolina. Panken: What kind of town is it? Donaldson: It’s a town where they had nothing but the Alcoa Aluminum plant. Everybody in that town, unless they were doctors or lawyers or teachers or something, worked in the plant. Panken: So it was a company town. Donaldson: Company town. For additional information contact the Archives Center at 202.633.3270 or [email protected] Page | 1 Panken: Were you parents from there, or had they migrated there? Donaldson: No-no. They migrated. Panken: Where were they from? Donaldson: My mother was from Virginia. My father was from Tennessee. But he came to North Carolina to go to college. -
A Night at Birdland, Volumes 1 and 2”—Art Blakey Quintet (1954) Added to the National Registry: 2013 Essay by Alan Goldsher (Guest Post)*
“A Night at Birdland, Volumes 1 and 2”—Art Blakey Quintet (1954) Added to the National Registry: 2013 Essay by Alan Goldsher (guest post)* Original album Original label Art Blakey Due to its improvisational nature—and the nature of improvisation—jazz, when performed in a club or a concert hall for a throng of paying customers, can be exhilarating, or infuriating, or transcendent, or tedious, all in the span of 32 bars. But live jazz’s most endemic characteristic is that of the ephemeral, because the moment an improvised solo leaves the musician’s instrument, it’s gone, off into the ozone, never to be repeated in the exact manner. The instrumentalist can play the identical lick in the identical part of the identical song at the identical venue for seven consecutive nights, but it will never sound the same, never: maybe the tune’s tempo will be slightly slower, compelling the soloist to hold back, where he might have otherwise jumped the beat; maybe the temperature on the bandstand caused the bassist’s instrument to drift incrementally out of tune, which unconsciously tweaked the soloist’s attack to the point that he placed an accent on the high Bb rather than the high C, as he’d intended; maybe the lubricated gentleman in the front row shouted, “Blow, saxophone player, blow!” which broke the soloist’s concentration, which led to a cracked note. For the vast majority of the time, none of these factors make the improvisation any better or worse, just different. Not only is live jazz ephemeral, it’s also elusive—some nights it’s there, and some nights, it ain’t. -
The Revive Big Band Resource Guide
THE REVIVE BIG BAND RESOURCE GUIDE ABOUT REVIVE MUSIC GROUP Revive Music launched in 2006 as a boutique live music agency that specializes in producing genre-bending, creative-concept live music shows that tour worldwide with the purpose of educating and inspiring audiences about artistic and authentic forms of music. In effort further provide an advocacy platform for musicians, Revive launched the leading online journal, www.revive-music.com, for the burgeoning jazz community dedicated to their musicianship, artistry and creative expression as a part of www.okayplayer.com and a label imprint with the legendary Blue Note Records. ABOUT THE REVIVE BIG BAND “We’re carrying on within the tradition of big bands, what would be relevant today – modifying the message and making it translatable and accessible to the people, so that they have something to connect to. We represent that bridge” -Igmar Thomas Heralded by the Village Voice for having New York City’s “most electrifying young lions in jazz, Revive Big Band has a finger on the pulse of today’s emerging progressive sound while pointing to things yet to come for a new era of music. Formed in 2010 by trumpeter, composer and arranger Igmar Thomas, this multi-generational ensemble knows no limits while seeking to advance, celebrate and re-imagine sonic freedom in big band form. The Revive Big Band’s well-honed musical sensibilities powerfully synthesize the art of the beat, treatment of melody, reverence of the standard, and nuances of time. Expanding the contemporary canon of composition as it dwells at the intersection of jazz, hip hop, soul and beyond, the band's repertoire features original compositions and inventive orchestrations of jazz standards and contemporary classics by artists ranging from Oliver Nelson, Wayne Shorter and Freddie Hubbard to A Tribe Called Quest, J Dilla, Gangstarr, Bilal and more, in rare live performances. -
Jazz Collection: Blue Mitchell
Jazz Collection: Blue Mitchell Dienstag, 10. März 2015, 21.00 - 22.00 Uhr Samstag, 14. März 2015, 22.00 - 24.00 Uhr (Zweitsendung) Der Blues als Rückgrat: Trompeter Blue Mitchell Müsste man einen theoretischen musikalischen Durchschnitt aller Hardbop-Trompeter errechnen, was Technik, Sound, Ideenreichtum und Renommee bei den Kollegen angeht, er würde wohl bei Blue Mitchell liegen. Und auch was die Zahl der Aufnahmen betrifft, liegt er mittendrin. Das tief im Blues verwurzelte Spiel von Blue Mitchell war fast überall gefragt, er war einer, der immer Qualitätsarbeit lieferte. In den frühen Tagen seiner Karriere tat er das für Earl Bostic, lange Zeit für Horace Silver, immer wieder für Lou Donaldson und sogar für einen wie Blueser John Mayall. Blue Mitchell machte aber auch eine beachtliche Aufnahmekarriere unter eigenem Namen, so dass es unserem Experten, dem Zürcher Trompeter Daniel Schenker, nicht schwerfiel, genügend Perlen zum Gespräch mit Peter Bürli mitzubringen. Redaktion: Beat Blaser Moderation: Peter Bürli Lou Donaldson: Quartet/Quintet/Sextet CD Blue Note, CDP 781537 2 Track 10: The Best Things In Life Are Free Horace Silver: Finger Poppin’ CD Blue Note, CDP 784008 2 Track 1: Finger Poppin’ Blue Mitchell: Big 6 CD Riverside, OJC 615 Track 3: There Will Never Be Another You Blue Mitchell: Blue’s Moods CD Riverside, OJC 138 Track 1: I’ll Close My Eyes Blue Mitchell: The Thing To Do CD Blue Note Track 1: Fungii Mama Blue Mitchell: Down With It! CD Blue Note Track 2: Perception Blue Mitchell: Graffiti Blues CD Mainstream, MCD 0709 -
Jazz Women – Piano, '80S & '
US-KS Source: KMUW Retrieved from https://www.kmuw.org/post/jazz-women-piano-80s-90s-soul-jazz-guitar-siblings-and-jazz-day on 21 June, 2021 Jazz Women - Piano, ‘80s & ‘90s + Soul Jazz Guitar, Siblings And Jazz Day By CHRIS HEIM • MAR 29, 2021 Monday, March 29 It’s World Day (the 88th day of the year) and Night Train celebrates with a program devoted to women jazz pianists for the March Women’s History Month feature. We’ll hear NEA Jazz Masters Carla Bley, Shirley Horn, Marian McPartland, and Joanne Brackeen, along with contemporary players including Lisa Hilton, Jihee Heo, and Hiromi. Then in hour two, we head to the Savannah Music Festival for a “Piano Showdown” with NEA Jazz Master Dick Hyman, Gerald Clayton, Marcus Roberts, and Henry Butler. Tuesday, March 30 It’s soul jazz guitar tonight on the Night Train as we mark birthdays of Dave Stryker (as a leader, with Stanley Turrentine, and in the Stryker/Slagle Band) and Spanish guitarist Ximo Tebar (with a classic soul jazz lineup of Dr. Lonnie Smith, Lou Donaldson, ad Idris Muhammad). The Women’s History Month feature continues with contemporary soul jazz organist Akiko Tsuruga, bassist Jen Hodge, and vocalists Dominique Eade and Shawnn Monteiro. And we’ll hear the latest from pianist Eric Reed, the 14 Jazz Orchestra, guitarist Larry Newcomb, and the Le Coq All Stars. Wednesday, March 31 Night Train wraps up the Women’s History Month feature with two special programs. In hour one, Jazz Women of the ‘80s, we’ll hear music from pianist Geri Allen, singer Cassandra Wilson, drummer and 2021 NEA Jazz Master Terri Lyne Carrington, guitarist Emily Remler, and saxophonist Jane Ira Bloom, as well as recordings from women who were already jazz veterans, including Marian McPartland, Carla Bley, and Joanne Brackeen.