Oregon Moon and Mind Mp3, Flac, Wma
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Johnny O'neal
OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society. -
Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK -
Read Liner Notes
Cover Photo: Paul Winter Consort, 1975 Somewhere in America (Clockwise from left: Ben Carriel, Tigger Benford, David Darling, Paul Winter, Robert Chappell) CONSORTING WITH DAVID A Tribute to David Darling Notes on the Music A Message from Paul: You might consider first listening to this musical journey before you even read the titles of the pieces, or any of these notes. I think it could be interesting to experience how the music alone might con- vey the essence of David’s artistry. It would be ideal if you could find a quiet hour, and avail yourself of your fa- vorite deep-listening mode. For me, it’s flat on the floor, in total darkness. In any case, your listening itself will be a tribute to David. For living music, With gratitude, Paul 2 1. Icarus Ralph Towner (Distant Hills Music, ASCAP) Paul Winter / alto sax Paul McCandless / oboe David Darling / cello Ralph Towner / 12-string guitar Glen Moore / bass Collin Walcott / percussion From the album Road Produced by Phil Ramone Recorded live on summer tour, 1970 This was our first recording of “Icarus” 2. Ode to a Fillmore Dressing Room David Darling (Tasker Music, ASCAP) Paul Winter / soprano sax Paul McCandless / English horn, contrabass sarrusophone David Darling / cello Herb Bushler / Fender bass Collin Walcott / sitar From the album Icarus Produced by George Martin Recorded at Seaweed Studio, Marblehead, Massachusetts, August, 1971 3 In the spring of 1971, the Consort was booked to play at the Fillmore East in New York, opening for Procol Harum. (50 years ago this April.) The dressing rooms in this old theatre were upstairs, and we were warming up our instruments there before the afternoon sound check. -
One Page Oregon Biography
O R E G O N B I O G R A P H Y Without a doubt O R E G O N is one of the finest groups l a t e r, O R E G O N moved to Elektra/Asylum Records. Its ever to paint a musical landscape of such global first release on that label, Out of the Woods, r e a c h e d proportions. For three decades O R E G O N has inspired a decidedly wider audience and was included in the 101 audiences in renowned concert halls including Best Jazz Albums list. They were enjoying imm e n s e Carnegie Hall, Lincoln Center, Berlin Philharmonic popularity when in November 1984, Walcott died in an H a l l, and Vienna’s Mozartsaal; in international jazz auto accident in the former East Germany, leaving the clubs and at major festivals on tour throughout ECM album C r o s s i n g as his final document. Over the every continent. next five years, percussionist Trilok Gurtu played on three albums with the band. Upon his departure the three original members continued their creative development as a trio. For the 1996 Intuition recording Northwest Passage, the group incorporated drummer MARK WALKER on the Indie Award winning record. He soon after became their newest member. In June 1999 the band traveled to Moscow to record the double CD O R E G O N I N M O S C O W for I n t u i t i o n. -
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality By Carlo Estolano Commentaries for the PhD folio of compositions University of York Music December 2017 2 3 Unbound Jazz: Composing and Performing in a Multi-Cultural Tonality Thesis submitted in partial fulfilment of a PhD degree in Music at The University of York, December 2018 by Carlo Estolano. Abstract This folio is conceived to propose and demonstrate music realisation of original compositions throughout the employment of elements of mainly two distinct sources: a selection from the wide palette of Brazilian folk styles that have improvisation as a strong element, which is internationally acknowledged as Brazilian Jazz; and its intersections with a certain style of European Jazz represented by artists notable by their keenness to combine elements from distinct musical genres with their Classical background, such as Ralph Towner, Jan Garbarek, John Abercrombie, Eberhard Weber, Kenny Wheeler, Terje Rypdal, Keith Jarrett to name a few. Both Brazilian and European approaches to Jazz seem to share processes of appropriation of foreign musical languages, as well as utilising characteristic features of their own traditions. Another common ground is their relation with some elements and procedures of classical music. The methodology to accomplish an organized collection of musical material was to divide them in five major influences, part of them by composers and part by genres notable by having evolved through absorbing elements from distinct cultural sources. In five projects, fifteen original compositions are provided along with their recorded and/or filmed performances and commentaries about the compositional aspects, concerningthe style or composer focused on. -
Page 1 N E W R E L E a S E
NEW RELEASE O N I N T U I T I O N R E C O R D S R E C E I V E D 4 G R A M M Y N O M I N A T I O N S OREGON’s latest project, Oregon In Moscow, is a double CD with the Moscow Tchaikovsky Symphony Orchestra, and the group’s recorded debut of their orchestral repertoire—a prodigious body of work that has been developing over the life of the band, but never documented. In the thirty-year history of OREGON, there has always existed a strong kinship to orchestral music. The use of the double reeds alone has given the quartet an identity and expansive sound associated with the symphonic orchestra. This association isn’t confined only to their use of many orchestral instruments, but applies also to the composition and presentation of the music, including the careful attention to details such as articulation, dynamics, phrasing and tone production derived from their respective classical studies. Chief composer Ralph Towner explains, “OREGON came together as a group in New York City in 1970, and from the outset it was clear that our unusual instrumentation and collective musical experience invited a different approach to composition and improvisation. The jazz tradition of improvisation usually consists of the soloists taking turns improvising on the song’s harmonic structure, recycling the chord progressions and returning to the original melody only on the last repeat of the cycle. While still using and honoring this tradition, we began composing longer, more sectional forms that allowed each soloist to improvise on different material within the context of a single piece. -
Oregon – Roots in the Sky – Speakers Corners – Audiophile Audition 01.02.21, 10 09
Oregon – Roots In The Sky – Speakers Corners – Audiophile Audition 01.02.21, 1009 Classical Reviews Hi-Res Reviews Jazz Reviews Component Reviews Support Audiophile Audition Contact Us More Stereotype s Audio Oregon – Roots In The Sky – Speakers Corners Cembal d’amour Home » SACD & Other Hi-Res Reviews » Oregon – Roots In The Sky – Speakers Corners by Audiophile Audition | Jan 31, 2021 | Jazz CD Reviews, SACD & Other Hi-Res Reviews | 0 comments Pure Oregon – Roots In The Sky – Pleasure / Speakers Electra Records Corner (1979)/Speakers Corner Records (2019), 45:03 ****1/2: (Paul McCandless – clarinet, English horn, oboe; Ralph Towner – flugelhorn, guitar, piano, percussion; Collin Walcott – guitar, percussion; Glen Moore – bass) https://www.audaud.com/oregon-roots-in-the-sky-speakers-corners/ Seite 1 von 4 Oregon – Roots In The Sky – Speakers Corners – Audiophile Audition 01.02.21, 1009 Speakers Corner Records has released a re- Cedille mastered 180-gram vinyl of the 1979 release, Roots In The Sky by Oregon. It has always been difficult to categorize the music of this band. With a core lineup of Paul McCandless (reeds), Ralph Towner (guitar, piano), Collin Walcott (percussion) and Glen Moore, the group met as members of the Paul Winter’s Consort. After Site Search recording several albums on the Vanguard label, they signed with Search here... Electra Records. This represented (along with their 1978 album, Out Of The Woods) an opportunity to access a higher level of studio production and distribution. Side 1 opens with the propulsive, “June Bug”. One of four Towner compositions, it kicks off with furious guitars chords, set against percussion (Colin Walcott). -
Origins and Distinctions of the "World Music" and "World Beat" Designations Brad Klump
Document generated on 09/30/2021 4:19 a.m. Canadian University Music Review Revue de musique des universités canadiennes Origins and Distinctions of the "World Music" and "World Beat" Designations Brad Klump Canadian Perspectives in Ethnomusicology Article abstract Perspectives canadiennes en ethnomusicologie This article traces the origins and uses of the musical classifications "world Volume 19, Number 2, 1999 music" and "world beat." The term "world beat" was first used by the musician and DJ Dan Del Santo in 1983 for his syncretic hybrids of American R&B, URI: https://id.erudit.org/iderudit/1014442ar Afrobeat, and Latin popular styles. In contrast, the term "world music" was DOI: https://doi.org/10.7202/1014442ar coined independently by at least three different groups: European jazz critics (ca. 1963), American ethnomusicologists (1965), and British record companies (1987). Applications range from the musical fusions between jazz and See table of contents non-Western musics to a marketing category used to sell almost any music outside the Western mainstream. Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Klump, B. (1999). Origins and Distinctions of the "World Music" and "World Beat" Designations. Canadian University Music Review / Revue de musique des universités canadiennes, 19(2), 5–15. https://doi.org/10.7202/1014442ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 1999 (including reproduction) is subject to its terms and conditions, which can be viewed online. -
Simon Phillips
FEATURES: SIMON PHILLIPS His name may not be widely known to the general public, but Simon Phillips has earned his credentials playing with such artists as Pete Townshend, Stanley Clarke, and Jeff Beck. Despite the fact that he is relatively young, Phillips has gained the experience of a seasoned veteran, and shares his insights on a variety of subjects. 10 STEVE SMITH Starting drum lessons at age nine, Steve Smith studied drums through elementary school, high school, and finally, at the Berklee School in Boston. His extensive training paid off, and the next few years found him in the company of people like Jean-Luc Ponty and Ronnie Montrose. Here, Smith discusses his life and the situations that led him to his current group. Journey. 14 COLLIN WALCOTT As a percussionist with the group Oregon, Collin Walcott is called upon to mix a variety of musical traditions into a coherent form. In this interview, Collin discusses his classical training, his jazz experience, and his study of Indian music, and explains how he has merged these different influences into his own unique style. 24 A VISIT TO DRUMMER'S COLLECTIVE 19 BROADWAY ROUNDTABLE 27 GETTING YOUR PRODUCT ON THE READERS POLL RESULTS 30 MARKET 22 COLUMNS: EDITOR'S OVERVIEW 2 PRODUCT CLOSE-UP Yamaha YD-9022WD Drum Kit ASK A PRO 4 by Bob Saydlowski, Jr. 60 READER'S PLATFORM 8 CONCEPTS The World's Greatest Drummer— ROCK PERSPECTIVES and Other Hang-ups Concept for Two Drum Sets by Roy Burns 66 by David Garibaldi 34 MALLETS JAZZ DRUMMER'S WORKSHOP Musical Awareness Through Mallets The Music of the Drums, Part 2 by David Samuels 68 by Barry Altschul 38 PORTRAITS ROCK 'N JAZZ CLINIC Carmine Appice The Rocking Motion Technique, Part I by Scott K. -
November 1992
VOLUME 16, NUMBER 11 THE DRUMMERS FEATURES OF STEELY DAN NICK Steely Dan's music was simply TRILOK unique—very cool, very popular, MENZA and VERY well performed. The GURTU drummers who took part in the Megadeth's Nick Menza has proceedings—players like Purdie, By melding Indian rhythms and proven that perseverance and Porcaro, Gadd, Keltner, Gordon, instruments with those of jazz drive—plus a good dose of Marotta—were indisputably at and funk drumming, Trilok ability—can lead to the path of the top of their craft. Learn Gurtu has become one of the glory. Take an up-close look at about the history and most unusual and carefully Menza in this exclusive significance of the watched drummers today. interview, and check out Dan's music and Recently Gurtu has taken his Nick's bombastic setup. 28 drummers in this 32 magic in the studio and on • by Matt Peiken special MD feature. the road with John McLaughlin. • by Ken Micallef Find out what makes this unique talent tick in this insightful interview. 22 • by Rick Mattingly DRUM WORKSHOP REVISITED Since the last time we dropped by, DW has made a change or two beyond simply making hard- ware—like expanding their opera- tion and becoming a respected and important force in the drum industry. Catch up on the inner workings of this unusual company. 36 • by Rick Van Horn COVER PHOTO BY EBET ROBERTS COLUMNS Education 60 ROCK 'N' Equipment JAZZ CLINIC Drummers Recycle! 42 PRODUCT BY DAVID GARIBALDI Departments CLOSE-UP News 76 ROCK Consumers Poll Results 4 EDITOR'S BY RICK VAN HORN OVERVIEW PERSPECTIVES 43 Paiste Alpha Cymbals 8 UPDATE Half-Time BY RICK VAN HORN Frank Sinatra's Shuffle Grooves 6 READERS' Gregg Field, Ron Wikso BY MARK HURLEY 44 Kenner Snare Drums PLATFORM of the Storm, and Denny BY RICK VAN HORN Seiwell, plus News 98 LATIN 45 Cannon Dead Heads 12 ASK A PRO SYMPOSIUM BY RICK VAN HORN 128 INDUSTRY 6/8 Rhythms And 46 Slappers HAPPENINGS Variations BY RICK VAN HORN 16 IT'S BY CHUCK SILVERMAN QUESTIONABLE Power Wrist Builders BY RICK VAN HORN 123 TEACHERS' 20 IMPRESSIONS Profiles FORUM 50 NEW AND Will Kennedy On.. -
Newsline... Billboard, 1515 Broadway, New Ing Coordinator
Calendar EXECUTIVE TURNTABLE (Continued from page 4) Weekly calendar of trade shows, conventions, award shows, semi- replaced by Hanlon. All will be based in Newport Beach, Calif., except nars and other notable events. Oshins, who will be based in Culver City, Calif. Send information to Calendar, Dawn Kennedy joins Vestron Video International, Toronto, as market- newsline... Billboard, 1515 Broadway, New ing coordinator. She was with IHEC Ltd. Also joining is Shane Kinnear as THE PRINTED MUSIC area is the subject of a Dec. 4 panel discussion of the York, N.Y. 10036. regional sales director. He was with Astral Video, where he was responsi- Music Publishers' Forum /New York in the Park Suite of the Marriott ble for all sales and production, Essex House on Central Park South. For further information on the NOVEMBER meeting, dubbed "A Publisher's Primer: How To Make Money In Nov. 20-22, Videotex Europe PUBLISHING. William Ryden becomes editor of Bourne Co., New York. He Print," contact Heather Connor at (212) 751 -1930. The Forum is spon- conference and exhibition, RAI has held various positions in the broadcasting and music industries. sored by the National Music Publishers' Assn. Centre, Amsterdam, Holland. (212) 279 -8890. PRO /AUDIO VIDEO. Harvey A. Schneider is named senior vice president of RCA RECORDS has underwritten its third NARM Endowment -for a total Nov. 23 -25, Golden Kite World sales and marketing for Marantz in Chatsworth, Calif. He joins from Sharp of 16 scholarships -by establishing a $20,000 NARM scholarship in Song Festival '84, Kuala Lumpur, Electronics, where he was manager of national accounts for tv, video, and honor of pianist Arthur Rubinstein. -
Insights on Practicing World Percussion
Insights On Practicing World Percussion BY B. MICHAEL WILLIAMS ow does world percussion fit into lar classes now, much like what you the practice puzzle? For most per- would find in Europe or America. That Hcussionists, it is added to a foun- isn’t necessarily a bad thing. Everything dation of orchestral or keyboard percus- changes, but the apprenticeship based sion, drumset, rudimental drumming, or on respect for the teacher is being lost. some combination of these. Rarely does a Western-trained percussionist start Michael Spiro is recognized as one of out with the intention of becoming a the foremost authorities on Afro-Cuban world percussion specialist. More typi- drumming. He regularly performs with cally, it gets added to the mix like so the group Talking Drums with David many spinning plates in a juggler’s act. Garibaldi and Jesus Diaz, and presents Fitting it all in does indeed take prac- performances and workshops worldwide. tice, but it also requires a great amount Michael lives in San Francisco. Web: of respect for the diversity of our world’s http://kayoakes.home.mindspring.com/ cultures and their musical expressions. mspiro Practicing world percussion requires Traditionally in Cuba, there weren’t many of the same skills employed in really that many instruments on which mastering any musical instrument to practice. Especially with bata drums, (scales, timing patterns, exercises for for example, you learned by watching, technical development, etc.), but there sometimes for many years. You would do are also broader issues to consider, espe- “service” to the maestro (tune drums, cially when one is learning an instru- carry drums, run errands, etc.), and in ment from another culture.