The Cooker (Blue Note)
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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 -
Victory and Sorrow: the Music & Life of Booker Little
ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P. -
1 the ERROL BUDDLE STORY (PART TWO) by Eric
THE ERROL BUDDLE STORY (PART TWO) by Eric Myers ______________________________________________________________ [The following appeared in two editions of Jazz Magazine, January/February, 1983 and May/June 1983.] At the conclusion of The Errol Buddle Story (Part One), Buddle was in the United States in 1954, leading his own quintet at Klein’s jazz club, Detroit. Other than Buddle the group included Barry Harris (piano), Pepper Adams (baritone sax), Major Holley (bass), and Elvin Jones (drums). On Saturday nights, Billy Mitchell (tenor sax) was booked for a three-way battle of the saxes. NOW READ ON… e used to get a lot of people sitting in at Klein’s,” Errol remembers , “Stan Getz used to come in some times. An unknown bass player, a young guy, used to “W come in and stand up in front of the bandstand, almost begging to sit in. His name was Paul Chambers [who later made historic recordings with Miles Davis.] I think he’d only been playing several months at that time.” Buddle remembers meeting Miles Davis himself when the trumpeter was at the Blue Bird Lounge, one of Detroit’s jazz clubs. Miles invited Errol and Don Varella up to his room, where the two Australians were fascinated to see about 40 paperbacks — all Westerns — lining the mantelpiece. They asked Miles why he liked cowboy stories. He replied: “Man, I love horses”, and explained that his father had bred horses on a ranch in the South. This was shortly before Miles Davis, in a supreme act of self-will, kicked the heroin habit. “Miles told us how he was really hooked on drugs”, says Errol, “that he didn’t dig heroin, and wanted to get off it.” One night Buddle had a choice between hearing the Stan Kenton band with Zoot Sims on tenor, or Charlie Parker, who was in Detroit for one night playing at a black dance. -
Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect. -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
A Night in Tunisia (From Album “Legends Masterpieces)
ANALISI DELLE FORME COMPOSITIVE di alcuni notissimi brani jazz di Avv. Valentina Grande 1) Sonny Rollins - St.Thomas (Original) (from album “The Prestige Years”) 2) Dizzy Gillespie feat. Charlie Parker - A Night In Tunisia (from album “Legends Masterpieces) 3) Miles Davis – Godchild (from album “Birth of the cool”) 1) Sonny Rollins - St.Thomas (Original) 1956 (from album “Saxophone Colossus”/“The Prestige Years”) St. Thomas è un brano strumentale scritto dal tenorsassofonista jazz Sonny Rollins, nel periodo dell’hard bop, nell’anno 1956, anno in cui ai musicisti del periodo fu data la possibilità di estendere la durata delle registrazioni oltre i fatidici tre minuti concessi dai supporti 78 giri, grazie all’innovazione giunta con l’introduzione del long playing in vinile a 33 giri. Nel leggendario studio di Rudy Van Gelder, niente altro che il salotto della sua abitazione ad Hackensack, New Jersey, il 22 giugno di quell’anno il produttore Bob Weinstock, creatore dell’etichetta discografica Prestige, organizzò una seduta di registrazione per il sassofonista Sonny Rollins e il suo quartetto. Il frutto del lavoro di quella giornata confluì nell’album “Saxophone Colossus”, opera che nei decenni a venire avrebbe cambiato la vita di molti sassofonisti più o meno in erba. L’eccezionale quartetto convocato per l’occasione era completato da Tommy Flanagan al pianoforte, Doug Watkins al contrabbasso e Max Roach alla batteria. Tra i brani registrati in quell’occasione, il più noto è sicuramente St. Thomas, passato alla storia come uno dei primi “calypso” registrati nell’ambito del jazz. La forma del brano, di sedici misure, è una sorta di AABC in miniatura, con sezioni di quattro misure. -
Sunday.Sept.06.Overnight 261 Songs, 14.2 Hours, 1.62 GB
Page 1 of 8 ...sunday.Sept.06.Overnight 261 songs, 14.2 hours, 1.62 GB Name Time Album Artist 1 Go Now! 3:15 The Magnificent Moodies The Moody Blues 2 Waiting To Derail 3:55 Strangers Almanac Whiskeytown 3 Copperhead Road 4:34 Shut Up And Die Like An Aviator Steve Earle And The Dukes 4 Crazy To Love You 3:06 Old Ideas Leonard Cohen 5 Willow Bend-Julie 0:23 6 Donations 3 w/id Julie 0:24 KSZN Broadcast Clips Julie 7 Wheels Of Love 2:44 Anthology Emmylou Harris 8 California Sunset 2:57 Old Ways Neil Young 9 Soul of Man 4:30 Ready for Confetti Robert Earl Keen 10 Speaking In Tongues 4:34 Slant 6 Mind Greg Brown 11 Soap Making-Julie 0:23 12 Volunteer 1 w/ID- Tony 1:20 KSZN Broadcast Clips 13 Quittin' Time 3:55 State Of The Heart Mary Chapin Carpenter 14 Thank You 2:51 Bonnie Raitt Bonnie Raitt 15 Bootleg 3:02 Bayou Country (Limited Edition) Creedence Clearwater Revival 16 Man In Need 3:36 Shoot Out the Lights Richard & Linda Thompson 17 Semicolon Project-Frenaudo 0:44 18 Let Him Fly 3:08 Fly Dixie Chicks 19 A River for Him 5:07 Bluebird Emmylou Harris 20 Desperadoes Waiting For A Train 4:19 Other Voices, Too (A Trip Back To… Nanci Griffith 21 uw niles radio long w legal id 0:32 KSZN Broadcast Clips 22 Cold, Cold Heart 5:09 Timeless: Hank Williams Tribute Lucinda Williams 23 Why Do You Have to Torture Me? 2:37 Swingin' West Big Sandy & His Fly-Rite Boys 24 Madmax 3:32 Acoustic Swing David Grisman 25 Grand Canyon Trust-Terry 0:38 26 Volunteer 2 Julie 0:48 KSZN Broadcast Clips Julie 27 Happiness 3:55 So Long So Wrong Alison Krauss & Union Station -
Newsletter-Fall 2019
ROCKPORT MUSIC NEWSLETTER :: FALL 2019 A Deeper Dive into Music Building long-term musical learning experiences Page 7 PALAVER STRINGS First Education Ensemble-In-Residence ROCKPORTMUSIC.ORG ARTIST SPOTLIGHT Soul of the Americas A Rich Tapestry of Music By KAREN HERLITZ THIS JANUARY, ROCKPORT MUSIC HEATS UP THE On how the definition of “classical music” WINTER WITH A LATIN-INSPIRED PROGRAM ENTITLED has changed over time THE SOUL OF THE AMERICAS! CELEBRATING THE RICH It does seem like musicians and audiences are less interested tapestry of musical influences across North and South America, in boundaries today, and more open to genres bleeding into the concert features works of seven iconic composers – Aaron each other. At the end of the day, as long as it’s done with Copland, George Gershwin, Leonard Bernstein, Samuel craft and sophistication, great music is great music. Barber, Heitor Villa-Lobos (Brazil), Alberto Ginastera (Argentina), and Osvaldo Golijov (Argentina). Curated by pianist Michael Brown and cellist Nicholas Canellakis, they On what to expect from the concert are joined by highly acclaimed pianist Orion Weiss and The concert takes the listener on a journey from Copland’s percussionist Ian David Rosenbaum to perform the program. El Salón México to Gershwin’s Cuban Overture, with many other works in between by Golijov, Barber, Bernstein, Michael Brown and Nicholas Canellakis shared their thoughts Villa-Lobos, and Ginastera. These North and South American with us on their exciting program and what to expect from composers responded their concert. to the rhythm of their surroundings, places they On their inspiration for Soul of the Americas encountered, and dance. -
Leadership, Teamwork, Innovation and All That Jazz
ENABLING COLLECTIVE IMPROVISATION ADRIAN CHO in AGILE SOFTWARE DEVELOPMENT “Modern Business is Pure Chaos” Fast Company, January 2012 © Copyright Adrian Cho 2009-2012. All Rights Reserved. 2 THE AGILE RESPONSE Change Innovate Complexity Improvise Iterate Confusion © Copyright Adrian Cho 2009-2012. All Rights Reserved. 3 TAKING FALSE COMFORT IN RIGIDITY PREDICT Tools Technology Processes Practices © Copyright Adrian Cho 2009-2012. All Rights Reserved. 4 LEARNING FROM THE MILITARY “We know that the best equipment in the world without the right person operating it will not accomplish the mission. On the other hand, the right person will find a way to succeed with almost any equipment available.” Gen.Wayne A. Downing, Commander, U.S. Special Operations Command “People, ideas, hardware – in that order” Col. John Boyd, fighter pilot, instructor, strategist and aircraft designer The Special Operations Forces Truths 1. Humans are more important than Hardware. 2. Quality is better than Quantity. 3. Special Operations Forces cannot be mass produced. 4. Competent Special Operations Forces cannot be created after emergencies occur. Brig. Gen. David J. Baratto, Commander, JFK Special Warfare Center © Copyright Adrian Cho 2009-2012. All Rights Reserved. 5 LEARNING FROM MANUFACTURING “There is something called standard work, but standards should be changed constantly. Instead, if you think of the standard as the best you can do, it's all over. The standard work is only a baseline for doing further kaizen. It is kai-aku [change for the worse] if things get worse than now, and it is kaizen [change for the better] if things get better than now. Standards are set arbitrarily by humans, so how can they not change?” Taiichi Ohno, originator of the Toyota Production System Aim for continuous improvement Conduct regular retrospectives Beware of taking false comfort in best practices Best practices are the best...until something changes © Copyright Adrian Cho 2009-2012. -
“Dizzy” Gillespie Was One of the Most Important and Influential Jazz Trumpeters, After Louis Armstrong
35 lesson9 Meet the Great Jazz Legends dizzygillespie Photo: © Carl Van Vechten, Library of Congress Vechten, Photo: © Carl Van IMPORTANT FACTS TO KNOW ABOUT JOHN “DIZZY” GILLESPIE Born: October 21, 1917, Cheraw, South Carolina Died: January 6, 1993, Englewood, New Jersey Period/Style of Jazz: Bebop, Afro-Cuban Jazz Instrument: Trumpet, bandleader and composer Major Compositions: A Night in Tunisia, Con Alma, Groovin’ High, Manteca Interesting Facts: Dizzy Gillespie invented the modern approach to jazz trumpet playing, which included extending the range of the instrument, improvising in a more linear fashion and playing with dramatic bursts with large interval leaps. He was among the first to use Afro-Cuban music in jazz. Included Listening: A Night in Tunisia Track 9 36 Meet the Great Jazz Legends ■ The Story of Dizzy Gillespie (1917–1993) ohn Birks “Dizzy” Gillespie was one of the most important and influential jazz trumpeters, after Louis Armstrong. Dizzy Gillespie, along with his colleagues Charlie Parker and Thelonious J Monk, are considered to be the “fathers” of the fast-and-furious style called bebop. Dizzy Gillespie was known for his soaring trumpet lines, his puffed cheeks and the tilted bell of his trumpet. He was loved by musicians and fans for his engaging personality and showmanship. Gillespie was inspired to play music by his father who was a bricklayer and part- time musician. Gillespie began playing the piano at the age of 4. He taught himself to play the trumpet by trial and error, with the help of a few friends at the age of 12. In 1935, Gillespie moved to Philadelphia with his mother, after the death of his father. -
Album Covers Through Jazz
SantiagoAlbum LaRochelle Covers Through Jazz Album covers are an essential part to music as nowadays almost any project or single alike will be accompanied by album artwork or some form of artistic direction. This is the reality we live with in today’s digital age but in the age of vinyl this artwork held even more power as the consumer would not only own a physical copy of the music but a 12’’ x 12’’ print of the artwork as well. In the 40’s vinyl was sold in brown paper sleeves with the artists’ name printed in black type. The implementation of artwork on these vinyl encasings coincided with years of progress to be made in the genre as a whole, creating a marriage between the two mediums that is visible in the fact that many of the most acclaimed jazz albums are considered to have the greatest album covers visually as well. One is not responsible for the other but rather, they each amplify and highlight each other, both aspects playing a role in the artistic, musical, and historical success of the album. From Capitol Records’ first artistic director, Alex Steinweiss, and his predecessor S. Neil Fujita, to all artists to be recruited by Blue Note Records’ founder, Alfred Lion, these artists laid the groundwork for the role art plays in music today. Time Out Sadamitsu "S. Neil" Fujita Recorded June 1959 Columbia Records Born in Hawaii to japanese immigrants, Fujita began studying art Dave Brubeck- piano Paul Desmond- alto sax at an early age through his boarding school. -
Lee Morgan and the Philadelphia Jazz Scene of the 1950S
A Musical Education: Lee Morgan and the Philadelphia Jazz Scene of the 1950s Byjeffery S. McMillan The guys were just looking at him. They couldn't believe what was coming out of that horn! You know, ideas like . where would you get them? Michael LaVoe (1999) When Michael LaVoe observed Lee Morgan, a fellow freshman at Philadelphia's Mastbaum Vocational Technical High School, playing trumpet with members of the school's dance band in the first days of school in September 1953, he could not believe his ears. Morgan, who had just turned fifteen years old the previous July, had remarkable facility on his instrument and displayed a sophisticated understanding of music for someone so young. Other members of the ensemble, some of whom al- ready had three years of musical training and performing experience in the school's vocational music program, experienced similar feelings of dis- belief when they heard the newcomer's precocious ability. Lee Morgan had successfully auditioned into Mastbaum's music program, the strongest of its kind in Philadelphia from the 1930s through the 1960s, and demon- strated a rare ability that begged the title "prodigy." Almost exactly three years later, in November of 1956, Lee Morgan, now a member of die Dizzy Gillespie orchestra, elicited a similar response at the professional level after the band's New York opening at Birdland. Word spread, and as the Gillespie band embarked on its national tour, au- diences and critics nationwide took notice of the young soloist featured on what was often the leader's showcase number: "A Night in Tunisia." Nat Hentoff caught the band on their return to New York from the Midwest in 1957.