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Spinning Wheel (1969) Blood, Sweat & Tears
MUSC-21600: The Art of Rock Music Prof. Freeze Spinning Wheel (1969) Blood, Sweat & Tears LISTEN FOR • Fusion of musical styles • Prominent horn section (like in big band) • Sophisticated jazz harmonies, improvisation • Syncopated R&B bass riffs • Heavy rock backbeat CREATION Songwriters David Clayton-Thomas Album Blood, Sweat & Tears Label Columbia 44871 Musicians David Clayton-Thoma (vocals), Steve Katz (guitar), Bobby Colomby (drums), Jim Fielder (Bass), Fred Lipsius (alto saxophone), Lew Soloff (trumpet), Alan Rubin (trumpet), Jerry Hyman (trombone), Dick Halligan (piano) Producer James William Guercio Engineer Roy Halee, Fred Catero Recording October 1968; stereo Charts Pop 2, Easy 1, R&B 45 MUSIC Genre Jazz rock Form Simple verse with contrasting middle section, improvised solos, complex outro Key G major Meter 4/4 (alternates with 3/8 in Coda) MUSC-21600 Listening Guide Freeze “Spinning Wheel” (Blood, Sweat & Tears, 1969) LISTENING GUIDE Time Form Lyric Cue Listen For 0:00 Intro • Short intro for horns, with crescendo on sustained note and then riff punctuated by snare. 0:07 A1 “What goes up” • Vocals enter, accompanying texture gradually accumulates, starting with R&B bass/piano riff, then cowbell, drums, tambourine, horns. 0:21 • Refrain begins with stop time. 0:26 A2 “You got no money” • As before, with big-band-inspired horn section punctuating the texture, sometimes with jazzy, swung filler. 0:41 • Refrain. 0:46 B “Did you find” • Extensive contrasting section. • More four-square rhythmic structure with slower harmonic rhythm. • Ends with digital distortion of last vocal note. 1:16 Intro • Overlaps with previous section. 1:30 A3 “Someone is waiting” • As in A2, but with stop time for new stop time for trombone glissando (slide). -
The News Magazine of the University of Illinois School of Music from the Dean
WINTER 2012 The News Magazine of the University of Illinois School of Music From the Dean On behalf of the College of Fine and Applied Arts, I want to congratulate the School of Music on a year of outstanding accomplishments and to WINTER 2012 thank the School’s many alumni and friends who Published for alumni and friends of the School of Music at the University of Illinois at Urbana-Champaign. have supported its mission. The School of Music is a unit of the College of Fine and Applied Arts at the University of Illinois at Urbana-Champaign and has been an accredited institutional member of the National While it teaches and interprets the music of the past, the School is committed Association of Schools of Music since 1933. to educating the next generation of artists and scholars; to preserving our artistic heritage; to pursuing knowledge through research, application, and service; and Karl Kramer, Director Joyce Griggs, Associate Director for Academic Affairs to creating artistic expression for the future. The success of its faculty, students, James Gortner, Assistant Director for Operations and Finance J. Michael Holmes, Enrollment Management Director and alumni in performance and scholarship is outstanding. David Allen, Outreach and Public Engagement Director Sally Takada Bernhardsson, Director of Development Ruth Stoltzfus, Coordinator, Music Events The last few years have witnessed uncertain state funding and, this past year, deep budget cuts. The challenges facing the School and College are real, but Tina Happ, Managing Editor Jean Kramer, Copy Editor so is our ability to chart our own course. The School of Music has resolved to Karen Marie Gallant, Student News Editor Contributing Writers: David Allen, Sally Takada Bernhardsson, move forward together, to disregard the things it can’t control, and to succeed Michael Cameron, Tina Happ, B. -
Flows at Radio
VOL. LIX, NO. 29 Newspaper $3.95 Inside: Grammys Move To New York City THE ENTERTAINMENT TRADE MAGAZINE Decca’s Frazier River Flows at Radio o 82791 19360 4 37 VOL. LIX, NO. 29 MARCH 30, 1996 STAFF rcwi«i;aawmga GEORGE ALBERT President and Publisher KEITH ALBERT POP SINGLE THE ENTERTAINMENT TRADE MAGAZINE Exec. V.PJGeneral Manager Always Be My Baby M.R. MARTINEZ Managing Editor Mariah Carey EDITORIAL (Columbia) Los Angeles JOHN GOFF GIL ROBERTSON IV DAINA DARZIN HECTOR RESENDEZ. Latin Edtor URBAN SINGLE Nashville Cover Story WENDY NEWCOMER All Things... The New York Joe The Frazier River Flows J.S. GAER CHART RESEARCH (Island) Angeles Frazier River frontman Danny Frazier had a plan for his group of eclectic Los BRIAN PARMELLY musicians. He’d turn a saloon band into an act that would get signed to a major ZIV TONY RUIZ label. Doesn’t sound terribly original or uncommon, but the Decca recording act RAP SINGLE PETER FIRESTONE went from the River Saloon in Cincinnati, OH to a spot on the Cosh Box Country Nashville \A£>o-Hah! Got You... GAIL FRANCESCHI Singles chart and has been traveling the nation making folks at country radio spin MARKETING/ADVERTISING Busta Rhymes Nashville editor the single “She Got What She Deserves.” Wendy Newcomer Los Angeles (Elektra) talks with Frazier about the odyssey and the group’s prospects. FFiANK HIGGINBOTHAM JOHN RHYS —see page 5 BOB CASSELL Nashville COUNTRY SINGLE TED RANDALL Take A Stroll Near Hollywood And Vine New York You Can Feel Bad NOEL ALBERT Capitol New Media has, well, reinvented the famous intersection of Hollywood CIRCULATION Patty Loveless Arid Vine. -
Storie Di Blues. La Rappresentazione Della Musica Blues Nel Cinema Americano
Storie di Blues. La rappresentazione della musica blues nel cinema americano Facoltà di Lettere e Filosofia Dipartimento di Storia Antropologia Religioni Arte Spettacolo Corso di laurea in Spettacolo, Moda e Arti Digitali Stefano Palma Matricola 1697098 Relatore Correlatore Damiano Garofalo Emanuele Senici A.A. 2020-2021 INDICE Storie di Blues. La rappresentazione della musica blues nel cinema americano 3 INTRODUZIONE CAPITOLO I Breve storia del blues 11 Il blues nelle piantagioni. La voce nera degli schiavi. 13 I ministrel show. Prime forme di spettacolo 14 Una nuova apparente condizione sociale. Il viaggio ed i medicine show. 15 I luoghi del blues ed i suoi principali interpreti CAPITOLO II La musica blues nel cinema di finizione americano 41 The Blues Brothers 51 The Blues Brothers: Il Mito Continua 55 Mississippi Adventures 60 Black Snake Moan 63 Cadillac Records CAPITOLO III The Blues. Una serie di sette documentari prodotta da Martin Scorsese 72 Dal Mali Al Mississippi 76 L’Anima Di Un Uomo 82 The Road To Memphis 85 Warming By The Devil’s Fire 88 Godfathers and Sons 94 Red, White And Blues 100 Piano Blues 104 Conclusioni 107 Bibliografia 110 Filmografia 111 Sitografia 112 Discografia INTRODUZIONE In questo lavoro di tesi, ho voluto prendere in analisi il modo in cui il cinema americano ha trasferito sullo schermo le tematiche della musica blues. E’ stato scelto di prendere in considerazione solamente alcuni film e alcuni documentari di produzione statunitense, questo per avere una maggiore coerenza semantica con il genere musicale nato appunto negli Stati Uniti come forma musicale popolare e poi sviluppatosi fino ad arrivare in Europa. -
Still on the Road Session Pages: 1970
STILL ON THE ROAD 1970 RECORDING SESSIONS MARCH 3 New York City, New York Studio B, Columbia Recording Studios, 5th Self Portrait session 4 New York City, New York Studio B, Columbia Recording Studios, 4th Self Portrait session 5 New York City, New York Studio B, Columbia Recording Studios, 6th Self Portrait session 11 Nashville, Tennessee Columbia Music Row Studios, 1st Self Portrait overdub session 12 Nashville, Tennessee Columbia Music Row Studios, 2nd Self Portrait overdub session 13 Nashville, Tennessee Columbia Music Row Studios, 3rd Self Portrait overdub session 17 Nashville, Tennessee Columbia Music Row Studios, 4th Self Portrait overdub session 26, 27 Los Angeles, California Columbia Studio B, Hollywood, 5th Self Portrait overdub session 30 Nashville, Tennessee Columbia Music Row Studios, 6th Self Portrait overdub session APRIL 2 Nashville, Tennessee Columbia Music Row Studios, 7th Self Portrait overdub session 3 Nashville, Tennessee Columbia Music Row Studios, 8th and last Self Portrait overdub session MAY 1 New York City, New York Columbia Studio B, 1st New Morning session 17 Carmel, New York The Home Of Thomas B. Allen, Earl Scruggs Documentary JUNE 1 New York City, New York Columbia Studio E, 2nd New Morning session 2 New York City, New York Columbia Studio E, 3rd New Morning session 3 New York City, New York Columbia Studio E, 4th New Morning session 4 New York City, New York Columbia Studio E, 5th New Morning session 5 New York City, New York Columbia Studio E, 6th New Morning session 30 New York City, New York Columbia Studio E, 7th New Morning session JULY 13 New York City, New York Columbia Studio E, 1st New Morning overdub session 23 Nashville, Tennessee Columbia Studio E, 2nd New Morning overdub session AUGUST 12 New York City, New York Columbia Studio E, 8th and last New Morning session Still On The Road: Bob Dylan recording sessions 1970 1790 Studio B Columbia Recording Studios New York City, New York 3 March 1970 4th Self Portrait recording session, produced by Bob Johnston. -
The Blues Brothers 1/8 Scheda Film a Cura Di Igor Francescato
The blues brothers 1/8 Scheda film a cura di Igor Francescato THE BLUES BROTHERS USA 1980 di John Landis colori - panoramico (1.85:1) commedia / musicale / azione Universal Pictures 133' - 142' Trama e critica Per impedire la chiusura della loro vecchia scuola, due fratelli organizzano un concerto. Combinano tanti guai che l'intera polizia di Chicago si mette a inseguirli a piedi, in auto, a cavallo, in elicottero. Un classico della nuova comicità demenziale, un film di culto per i fan di Belushi. Anche l'orecchio ha la sua parte con molti divi del Rhythm and Blues, da Ray Charles a Cab Calloway e Aretha Franklin. Scritto da Landis con D. Aykroyd e costato 27 milioni di dollari, è basato su una coppia di personaggi popolari nella trasmissione TV Saturday Night Live. Tra gli ospiti di passaggio i registi Frank Oz e Steven Spielberg e l'ex fotomodella Twiggy. (dal Morandini 2005) Perfettamente in sintonia con lo spirito ribellistico e irriverente dei tempi, il film di Landis si è trasformato quasi immediatamente (anche per la presenza sulfurea di Belushi) in un fenomeno di costume, un canone di eleganza (occhiali Rayban modello Wayfarer, cravatte lunghe e strette, cappello e vestito rigorosamente neri), un inno alla musica blues e una pietra miliare della comicità demenziale. Una lista infinita di partecipazioni straordinarie. Assolutamente geniale. (Paolo Mereghetti, da www.ilcinematografo.it) PERSONAGGI ED INTERPRETI JOHN BELUSHI JAKE BLUES WILLIE HALL batteria THE B. B. BAND DAN AYKROYD ELWOOD BLUES STEVE LAWRENCE AGENTE TEATRALE JAMES BROWN REVERENDO CLEOPHUS JAMES TOM MALONE trombone THE B. -
Cash Box Is Proud to Extend Its Congratulations to RICHARD IMAMURA, West Coast Editor MARK ALBERT
June 28, 1980 y^/VA/g" gLUtAAfJ i 0l tpvAc^. SEPTEMBER 26-30 MIAMI BEACH BAL HARBOUR AMERICANA HOTEL Roddy S. Shashoua President and Chairman USA HEADQUARTERS: International Music Industries, Ltd. 1414 Avenue of the Americas 6th Annual New York, New York 10019 U.S.A. Tel: (212) 489-9245' International Telex: 234107 Record/Video & Anne Stephenson Director of Operations ' Music Industry Market AUSTRALIA: FRANCE: General Public Relations Pty. Ltd. 18, avenue Matignon PO Box 451 75008 Paris, France Neutral Bay Junction 2089 Australia Tel: 622 5700 Tel: 9082411 Charles Ibgui, Telex: CLAUS AA26937 French Representative Harry Plant IF.YOU’RE IN THE Australian Representative UNITED KINGDOM: ITALY: MUSIC BUSINESS International Conferences & Via Correggio 27 Expositions Ltd. 20149 Milan, Italy 5 Chancery Lane, 4th Floor Tel: 482 456 YOU CAN’T AFFORD London WC2, England Tel: 404 0188/4567 Aldo Pagani, Telex: 896217 Roger THERE! G Italian Representative NOT TO BE - | . VOLUME XL1I — N HR 7 — June 28, 1980 THE INTERNATIONAL MUSIC RECORD WEEKLY DISH BOX GEORGE ALBERT President and Publisher MEL ALBERT EDITORML Bright Future Ahead Vice President and General Manager NICK ALBARANO It Marketing Director A full year has passed since the Founder’s Con- Recording Merchandisers (NARM). has already ALAN SUTTON ference of the Black Music Assn. (BMA) kicked off begun to heighten public awareness through its Editor In Chief the inaugural celebration of June as Black Music programs. J.B. CARMICLE Month. In that time, the BMA has grown and Communication isthe key. If information can pass General Manager, East Coast matured, and on the eve of its second convention, freely and efficiently, great headway can be made in JIM SHARP Director. -
Morgenstern, Dan. [Record Review: Randy Weston: Blue Moses] 39:19 (November 23, 1972): 23–24
- mic) already present in his music. RANDYWESTON which. paced by the extraordinary Billy Cob While these elements are always interesting ham. performs admirably. I have a feeling. BLUE MOSES - CTI 6016: lfrane; Ganawa; and certainly inextricably from the whole of however. that the the percussion (notably Az Night in Medina; Ma_rrakesh Blues. , Weston's music. it continues to be marked by Personnel: Freddie Hubbard. trumpet; Grover zedin Weston's exciting conga work) was Washington. Jr .. tenor sax; Hubert Laws. flutes; a very personal and very strong melodic mixed down a bit too much-certainly it plays Weston. piano; Ron Carter or Bill Wood (track_ 3). sense. Inspired chiefly by Thelonious Monk a more prominent role in Randy's in-person bass; Billy Co_bham. drums; Ph1_I Kraus. A1rto and Duke Ellington (fellow pianist-composers performances. Moirera. Azzedin Weston. percussion. plus back themselves inter-related). Weston has long u band of John Frosk, Alan Rubin, Marvin The tunes are all fine. particularly the s\amm. trumpets; Wayne Andre. trombone. bari since established himself as a composer of haunting ~/i-011<'-a typical Weston line. There tone horn; Garnett Brown. Warren Covington. melodic-harmonic-rhythmic structures in is no padding here. just music nf uncommon paul Fanlise. trombones; _George Marge, Romeo stantly recognizable as his and no one else's. Penque. reeds. flutes; David Horowitz. Moog syn beauty. The recording. especially of the thesizer; Madame Meddah. vocal effects; Don His pieces lend themselves to creative im horns. does it full justice. Sebesky. arranger. provisation -a fact that becomes evident A.fi'ica11 Cookhook was originally released when comparing Freddie Hubbard's work Rating:***** on Weston's own label. -
CB-1986-02-08.Pdf
- 'Jl6 CAPITOt ftECOnOS. INC. ON RECORDS AND HIGH QUALITY XOR® CASSETTES FROM CAPITOL CASH BOX THE INTERNATIONAL MUSIC / COIN MACHINE / HOME ENTERTAINMENT WEEKLY VOLUME XLIX — NUMBER 34 — February 8, 1986 C4SHBO< GUEST EDITORIAL Handling Stress in Radio Records GEORGE ALBERT And President and Publisher By Dr. Keith C. Ferdinand MARK ALBERT Health is a state of mental, physical, and social well-being; it is not in your daily life is the first action to take in treating stress. If your work Vice President and General Manager merely the absence of disease. Stress may indeed be the number one cause place is impossible to deal with you may need a job change or at least SPENCE BERLAND of unhealthiness today. Americans are constantly subjected to stressful a change in schedule. Request a meeting with your boss after writing down Vice President situations; job dissatisfaction, economic insecurity, family conflict, and and outlining the problems that you see in your work place. Have available J.B. CARMICLE threats of physical attack. suggestions for possible solutions. Blowing off steam or “acting crazy" Vice President Men and women working in the communications is no substitute for a reasoned and constructive 7dAVID ADELSOli industry have a high level of work-related stress. suggestion session. This also indicates to those in Stress takes a heavy toll on the mind and body and greater authority that you have an ability to Managing Editor sometimes appears as unexplained sleep disturban- demonstrate control and maturity. If you cannot ROBERT LONG ces, headaches, loss of appetite, compulsive binge- make positive changes in your work place, consider Director Black/Urban Marketing eating, obesity, muscle tension, and a long list of other options, such as transferring to another area, JIMI FOX diseases. -
It Took More Than 20 Years for Saxophonist
Players Lou Marini Stars Aligned t took more than 20 years for saxophonist Lou Marini’s new Blujazz CD, Starmaker, Ito see the light of day. Recorded in 1990 and named after a 1937 science fiction novel by Olaf Stapledon, the album features nine orig- inal tracks performed by some of Marini’s best friends and associates. The album’s release was sidetracked due to Marini’s lack of suc- cess in finding a proper label for it, not to men- tion some personal-life distractions that pre- vented him for pursuing it further. More than two decades later, a bit of serendipity led to his renewed interest in the long-shelved but never- abandoned project, which was engineered by world-class producer Jay Messina. “About a year-and-a-half ago, I saw Jay on a recording date, and he said, ‘Where are you storing that, and have you transferred it to dig- ital yet?’” Marini recalled while in Chicago this summer during a tour with James Taylor’s band. “He said, ‘Man, you’ve got to transfer that or you could lose it.’ When I finally heard it digitally, it sounded so great. Jay said I was crazy not to put this out.” Blujazz released the CD this summer, effectively transporting lis- teners, and Marini, simultaneously back in time and firmly into the present. In his long career as a saxophonist and woodwind doubler, Marini, 67, is known for creating accessible music that’s deeply rooted in his straightahead jazz background. He has LEY been in high demand as a performer and clini- P E L cian since graduating from North Texas State REW D N A . -
Versione Estesa 148 Min)
The Blues Brothers . The Blues Brothers Titolo The Blues Brothers originale Paese di USA produzione Anno 1980 Durata 133 min (versione estesa 148 min) Colore Colore Audio Sonoro Genere musicale, commedia, azi one Regia John Landis Soggetto John Landis, Dan Aykroyd Sceneggiatu John Landis, Dan ra Aykroyd Fotografia Stephen M. Katz Montaggio George Folsey Jr. Musiche AA. VV. Scenografia Hal Gausman, Leslie McCarthy- Frankenheimer Interpreti e personaggi John Belushi: Jake "Joliet" Blues Dan Aykroyd: Elwood Blues James Brown: reverendo Cleophus James Cab Calloway: Curtis Ray Charles: Ray, proprietario del negozio di strumenti Aretha Franklin: moglie di Matt Murphy Matt Murphy: Matt "Guitar" Murphy Steve Cropper: Steve "The Colonel" Cropper Donald Dunn: Donald "Duck" Dunn Murphy Dunne: Murph Willie Hall: Willie "Too Big" Hall Tom Malone: Tom "Bones" Malone Lou Marini: Lou "Blue" Marini Alan Rubin: Mr. Fabulous Carrie Fisher: ex-fidanzata di Jake Henry Gibson: capo dei nazisti dell'Illinois Eugene J. Anthony: Gruppenführer John Candy: comandante di polizia Burton Mercer Kathleen Freeman: sorella Mary Stigmata, "la Pinguina" Steve Lawrence: Maury Sline, agente teatrale Twiggy: ragazza chic Jeff Morris: Bob Charles Napier: Tucker McElroy John Lee Hooker: Slim, cantante di strada Frank Oz: ufficiale del carcere John Landis: Trooper La Fong Steven Spielberg: impiegato dell'ufficio delle tasse Joe Walsh: uno dei carcerati nella scena finale Paul Reubens: cameriere Carolyn Franklin: Doppiatori italiani Massimo Giuliani: Jake Blues Piero Tiberi: Elwood Blues Angelo Nicotra: reverendo Cleophus James Sergio Fiorentini: Curtis Glauco Onorato: Ray, proprietario del negozio di strumenti Rita Savagnone: moglie di Matt Murphy Vittorio Di Prima: Matt Murphy Micaela Esdra: ex-fidanzata di Jake Manlio De Angelis: comandante di polizia Burton Mercer Gianni Marzocchi: Mr. -
Honors 21 Srs. Pep Rally Tuesday Night!
COUNT YOUR BLESSINGS THE R.O.T.C. BALL THANKSGIVING TOMORROW DAY SIENA NEWS NIGHT College of Saint Bernardine of Siena Vol. XXI. SIENA COLLEGE, LOUDONVILLE, N. Y., NOVEMBER 20, 1959 No. 7 'Who's Who' Honors 21 Srs. Fr. Brian F. Duffy, OFM, Dean of Siena College, and a committee Arrangements Finished for Saga Pictures composed of faculty members from the college have selected twenty-one Seniors whose names will be included in the publication "Who's Who Will the following please report Among Students in American Uni ROTCMilitaryBallSaturday to the front of the library during versities and Colleges" for the year free period on Tuesday, November "Around the World With the United States Army" is the theme of 1959-1960. 24th, for Saga pictures. Coat and Blood Donated the ROTC Military Ball. The ball will be held tomorrow night in Gibbons The students were chosen on their Tie Please! Hall at 9:00 p.m. individual leadership and participa Because of the large nimiber in this year's corp and its spirit, the Sophs In Fall Drive tion in extra-curricular and aca demic activities, as well as their annual ball is expected to be the • Peter Aalto The Blood Bank's Fall Drive held excellence and sincerity in scholar biggest held on the Siena College Last year he returned to Newport Thomas Abbott on November 11th netted 36 pints ship. Also imder consideration were campus. with a band of young professional David Adams of blood. This brings the bank's the student's citizenship and service The decorating committee, under musicians gathered from seventeen James Aiken total to 80 V2 pints on credit at George Allen to the school and his promise of the leadership of Joe Masi and Don countries in Europe, but it was a Bender Laboratory.