Most-Requested-Jazz-Standards.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (Guest Post)*
“Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (guest post)* Chano Pozo and Dizzy Gillespie The jazz standard “Manteca” was the product of a collaboration between Charles Birks “Dizzy” Gillespie and Cuban musician, composer and dancer Luciano (Chano) Pozo González. “Manteca” signified one of the beginning steps on the road from Afro-Cuban rhythms to Latin jazz. In the years leading up to 1940, Cuban rhythms and melodies migrated to the United States, while, simultaneously, the sounds of American jazz traveled across the Caribbean. Musicians and audiences acquainted themselves with each other’s musical idioms as they played and danced to rhumba, conga and big-band swing. Anthropologist, dancer and choreographer Katherine Dunham was instrumental in bringing several Cuban drummers who performed in authentic style with her dance troupe in New York in the mid-1940s. All this laid the groundwork for the fusion of jazz and Afro-Cuban music that was to occur in New York City in the 1940s, which brought in a completely new musical form to enthusiastic audiences of all kinds. This coming fusion was “in the air.” A brash young group of artists looking to push jazz in fresh directions began to experiment with a radical new approach. Often playing at speeds beyond the skills of most performers, the new sound, “bebop,” became the proving ground for young New York jazz musicians. One of them, “Dizzy” Gillespie, was destined to become a major force in the development of Afro-Cuban or Latin jazz. Gillespie was interested in the complex rhythms played by Cuban orchestras in New York, in particular the hot dance mixture of jazz with Afro-Cuban sounds presented in the early 1940s by Mario Bauzá and Machito’s Afrocubans Orchestra which included singer Graciela’s balmy ballads. -
The Connection Between Jazz and Drug Abuse: a Comparative Look at the Effects of Widespread Narcotics Abuse on Jazz Music in the 40’S, 50’S, and 60’S
University of Denver Digital Commons @ DU Musicology and Ethnomusicology: Student Scholarship Musicology and Ethnomusicology 11-2019 The Connection Between Jazz and Drug Abuse: A Comparative Look at the Effects of Widespread Narcotics Abuse on Jazz Music in the 40’s, 50’s, and 60’s Aaron Olson University of Denver, [email protected] Follow this and additional works at: https://digitalcommons.du.edu/musicology_student Part of the Musicology Commons Recommended Citation Olson, Aaron, "The Connection Between Jazz and Drug Abuse: A Comparative Look at the Effects of Widespread Narcotics Abuse on Jazz Music in the 40’s, 50’s, and 60’s" (2019). Musicology and Ethnomusicology: Student Scholarship. 52. https://digitalcommons.du.edu/musicology_student/52 This work is licensed under a Creative Commons Attribution 4.0 License. This Bibliography is brought to you for free and open access by the Musicology and Ethnomusicology at Digital Commons @ DU. It has been accepted for inclusion in Musicology and Ethnomusicology: Student Scholarship by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. The Connection Between Jazz and Drug Abuse: A Comparative Look at the Effects of Widespread Narcotics Abuse on Jazz Music in the 40’s, 50’s, and 60’s This bibliography is available at Digital Commons @ DU: https://digitalcommons.du.edu/musicology_student/52 The Connection between Jazz and Drug Abuse: A Comparative Look at the Effects of Widespread Narcotics Abuse on Jazz Music in the 40’s, 50’s, and 60’s. An Annotated Bibliography By: Aaron Olson November, 2019 From the 1940s to the 1960s drug abuse in the jazz community was almost at epidemic proportions. -
JEWS and JAZZ (Lorry Black and Jeff Janeczko)
UNIT 8 JEWS, JAZZ, AND JEWISH JAZZ PART 1: JEWS AND JAZZ (Lorry Black and Jeff Janeczko) A PROGRAM OF THE LOWELL MILKEN FUND FOR AMERICAN JEWISH MUSIC AT THE UCLA HERB ALPERT SCHOOL OF MUSIC UNIT 8: JEWS, JAZZ, AND JEWISH JAZZ, PART 1 1 Since the emergence of jazz in the late 19th century, Jews have helped shape the art form as musicians, bandleaders, songwriters, promoters, record label managers and more. Working alongside African Americans but often with fewer barriers to success, Jews helped jazz gain recognition as a uniquely American art form, symbolic of the melting pot’s potential and a pluralistic society. At the same time that Jews helped establish jazz as America’s art form, they also used it to shape the contours of American Jewish identity. Elements of jazz infiltrated some of America’s earliest secular Jewish music, formed the basis of numerous sacred works, and continue to influence the soundtrack of American Jewish life. As such, jazz has been an important site in which Jews have helped define what it means to be American, as well as Jewish. Enduring Understandings • Jazz has been an important platform through which Jews have helped shape the pluralistic nature of American society, as well as one that has shaped understandings of American Jewish identity. • Jews have played many different roles in the development of jazz, from composers to club owners. • Though Jews have been involved in jazz through virtually all phases of its development, they have only used it to express Jewishness in a relatively small number of circumstances. -
Jazz Publications and More
19397 Guts 261-280: 5/12/09 2:55 PM Page 261 JAZZ PUBLICATIONS AND MORE Section Page No. Jazz Instruction (All Instruments) .......................................262 Jazz Play-Along® Series ......................................................267 ABRSM Jazz Program .........................................................272 Artist Transcriptions® ..........................................................274 The Real Book .....................................................................276 Jazz Fake Books ..................................................................277 Jazz Bible Series..................................................................278 Paperback Songs ................................................................278 Other Fake Books ................................................................279 Carta Manuscript Paper.......................................................280 Gig Guides...........................................................................280 19397 Guts 261-280: 5/12/09 2:56 PM Page 262 262 JAZZ PUBLICATIONS ALL INSTRUMENTS BLUES CONCEPTS FOR JAZZ INSTRUCTION JAM – IMPROVISATION 40 PROGRESSIONS A Comprehensive Guide ADVANCED BLUES AND GROOVES for Performing and Teach- ETUDES IN ALL ing TWELVE KEYS SIT IN AND SOLO WITH A PROFESSIONAL BLUES by Richard De Rosa by Jordon Ruwe BAND! Houston Publishing Houston Publishing by Ed Friedland Using his vast musical experi - Includes 12 advanced blues Bring your local blues jam ence and the axiom “know - etudes four-measure excerpts session home! -
Discography of the Mainstream Label
Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet -
October 2019 New Releases
October 2019 New Releases what’s inside featured exclusives PAGE 3 RUSH Releases Vinyl Available Immediately! 82 Vinyl Audio 3 CD Audio 17 FEATURED RELEASES Music Video DVD & Blu-ray 52 SPYRO GYRA - WOODSTOCK: DINOSAUR JR. - VINYL TAP 3 DAYS THAT CHANGED WHERE YOU BEEN: Non-Music Video EVERYTHING 2CD DELUXE EXPANDED DVD & Blu-ray 57 EDITION Order Form 90 Deletions and Price Changes 93 800.888.0486 RINGU COLLECTION MY SAMURAI JIRGA 203 Windsor Rd., Pottstown, PA 19464 (COLLECTOR’S EDITION) FRED SCHNEIDER & THE SPYRO GYRA - WEDDING PRESENT - www.MVDb2b.com SUPERIONS - VINYL TAP TOMMY 30 BAT BABY MVD: RAISING HELL THIS FALL! We celebrate October with a gallery of great horror films, lifting the lid off HELLRAISER and HELLBOUND: HELLRAISER II with newly restored Blurays. The original and equally terrifying sequel are restored to their crimson glory by Arrow Video! HELLRAISER and its successor overflow with new film transfers and myriad extras that will excite any Pinhead! The Ugly American comes alive in the horror dark comedy AN AMERICAN WEREWOLF IN LONDON. Another fine reboot from Arrow Video, this deluxe pack will have you howling! Arrow also hits the RINGU with a release of this iconic Japanese-Horror film that spawned The Ring film franchise. Creepy and disturbing, RINGU concerns a cursed videotape, that once watched, will kill you in seven days! Watching this Bluray will have no such effect, but please, don’t answer the phone! TWO EVIL EYES from Blue Underground is a “double dose of terror” from two renowned directors, George A. Romero and Dario Argento. -
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. -
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. -
Jazz Arts Program Student 2019-2020
JAZZ ARTS PROGRAM STUDENT 2019-2020 TABLE OF CONTENTS Welcome/Introduction 3 Applied Lessons 4 Your Teacher 4 Change of Teacher 4 Dividing Lessons Between Two Teachers 4 Professional Leave 5 Attendance Policy 5 Playing-related Pain 5 Ensemble and Audition Requirements 6 Juries 7 Jury for Non-graduating Students 7 Advanced Standing Jury 7 Jury Requirements for Performance Majors 8 Jury Requirements for Composition Majors 9 Comments 9 Grading 9 Postponement 9 Recitals 10 Scheduling Recitals 10 Non-required Recitals 10 Required Recitals - Undergraduate and Graduate 10 Recording of Recitals 11 Department Policies 12 Attendance 12 Subs 12 Attire 12 Grading System 13 Equipment 13 Jazz Arts Program Communications: E-mail, 13 Student Website Faculty/Student Conferences 14 Contacting the Jazz Arts Program Staff 14 Repertoire Lists 15 2 WELCOME/INTRODUCTION Dear Students, Welcome to the MSM family! We are a community of artists, educators and dreamers located in the thriving mecca and birthplace of modern jazz, Harlem, NY. This is the beginning of a journey that will undoubtedly have a major impact on the rest of your lives. As a former student, I spent the most important and transformative years of my artistic life at MSM. It was during my time here that I acquired the musical skills necessary to articulate my story in organized sound. The success of our MSM family is predicated upon three fundamental core values: Love ( empathy), Trust and Respect Jazz is an art form born from a desire to authentically express one’s individuality. Inherent in its construct is a deep understanding and appreciation for the value of an inclusive culture rich in diverse perspectives. -
Piano • Vocal • Guitar • Folk Instruments • Electronic Keyboard • Instrumental • Drum ADDENDUM Table of Contents
MUsic Piano • Vocal • Guitar • Folk Instruments • Electronic Keyboard • Instrumental • Drum ADDENDUM table of contents Sheet Music ....................................................................................................... 3 Jazz Instruction ....................................................................................... 48 Fake Books........................................................................................................ 4 A New Tune a Day Series ......................................................................... 48 Personality Folios .............................................................................................. 5 Orchestra Musician’s CD-ROM Library .................................................... 50 Songwriter Collections ..................................................................................... 16 Music Minus One .................................................................................... 50 Mixed Folios .................................................................................................... 17 Strings..................................................................................................... 52 Best Ever Series ...................................................................................... 22 Violin Play-Along ..................................................................................... 52 Big Books of Music ................................................................................. 22 Woodwinds ............................................................................................ -
Ideal Homes? Social Change and Domestic Life
IDEAL HOMES? Until now, the ‘home’ as a space within which domestic lives are lived out has been largely ignored by sociologists. Yet the ‘home’ as idea, place and object consumes a large proportion of individuals’ incomes, and occupies their dreams and their leisure time while the absence of a physical home presents a major threat to both society and the homeless themselves. This edited collection provides for the first time an analysis of the space of the ‘home’ and the experiences of home life by writers from a wide range of disciplines, including sociology, criminology, psychology, social policy and anthropology. It covers a range of subjects, including gender roles, different generations’ relationships to home, the changing nature of the family, transition, risk and alternative visions of home. Ideal Homes? provides a fascinating analysis which reveals how both popular images and experiences of home life can produce vital clues as to how society’s members produce and respond to social change. Tony Chapman is Head of Sociology at the University of Teesside. Jenny Hockey is Senior Lecturer in the School of Comparative and Applied Social Sciences, University of Hull. IDEAL HOMES? Social change and domestic life Edited by Tony Chapman and Jenny Hockey London and New York First published 1999 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2002. © 1999 Selection and editorial matter Tony Chapman and Jenny Hockey; individual chapters, the contributors All rights reserved. -
A New Generation of Jazz from Japan Featuring Takuya Kuroda and Ensemble
Asia Society and The Japan Foundation Present A New Generation of Jazz From Japan Featuring Takuya Kuroda and Ensemble Takuya Kuroda (Hiroyuki Seo) Saturday, March 8, 8:00 P.M. Asia Society 725 Park Avenue at 70th Street New York City The performance will last approximately 75 minutes, with no intermission. Asia Society and The Japan Foundation Present A New Generation of Jazz From Japan Featuring Takuya Kuroda and Ensemble THE ENSEMBLE: Takuya Kuroda, trumpet Rashaan Carter, bass Adam Jackson, drums Corey King, trombone Keita Ogawa, percussion Takeshi Ohbayashi, piano/keyboards ABOUT THE ARTISTS TAKUYA KURODA (TRUMPET) Japanese trumpeter Takuya Kuroda is a veteran and mainstay of the New York Jazz scene. A 2006 graduate of The New School’s Jazz and Contemporary Music Program, Takuya has performed alongside some of the best musicians (Junior Mance, Jose James, Greg Tardy, Andy Ezrin, Jiro Yoshida, Akoya Afrobeat, Valery Ponomarev Big Band) at some of the city’s most renowned live music venues including Radio City Music Hall, The Blue Note, The Village Underground, Sweet Rhythm, 55 Bar, and SOBs. RASHAAN CARTER (BASS) Rashaan Carter is entrenched in the New York jazz scene and has worked with Benny Golson, Curtis Fuller and Louis Hayes, Wallace Roney, Marc Cary, Cindy Blackman, Doug and Jean Carn, Antoine Roney, Sonny Simmons, and many more. ADAM JACKSON (DRUMS) Adam Jackson has had the pleasure of working with platinum recording group Destiny’s Child, Ciara, Grammy-nominated Emily King, Frank McComb and on the Tony Award winning musical Memphis. COREY KING (TROMBONE) Since his arrival in New York, Corey King has performed and/or recorded with notable artists such as Dave Binney, Dr.