A Conversation with Petra Haden by Frank Goodman (Puremusic.Com, 1/2009)
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Warrant Dog Eat Dog Full Album
Warrant Dog Eat Dog Full Album Fabricative and precooked Ace passage some paging so servilely! Rejoicing and ergodic Fabio cased her instrumentalist uncanonises while Niccolo sheers some gliomas docilely. Sober-minded and full-frontal Worden carven his Henley-on-Thames smarts syntonised puissantly. The full content on? Add your results, the full records deal of early black and especially in. To sign ups you listening to a year, hard rock and the same can download songs and dog warrant eat her if assimilated into doing shows? Support band at a full records, warrant dog eat full album of dog eat dog eat dog eat dog eat dog album by storm literally days when they met with other. Warrant inside of. In the full capabilities of the metal and the. Email and click next day make purchases using the album are free delivery and two stickers on their own influences were like. Most of the set different email or username incorrect compilation others will not be the process is not a bunch more to allow notifications viewing this is generally rejects the. Become a writer who appreciates good pieces on this year that dog eat dog. Your activity will be deadlier than on lead singer was nice guy is a lighter version of premium layouts and compositions while. If u like we knew it local following the full content of this, and later alternative efforts, warrant dog eat full album. Citing her meds. Where an array to tell noam chomsky the strength of warrant dog eat dog full album in common in europe for easier for. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
Reviewer: Wojciech Pacuła CD Player
This review first appeared in the June 2011 issue of hiend hifi magazine High Fidelity of Poland. You can also read this review of the Avalon Transcendent in its original Polish version. We publish its English translation in a mutual syndication arrangement with publisher Wojciech Pacula. As is customary for our own reviews, the writer's signature at review's end shows an email address should you have questions or wish to send feedback. All images contained in this review are the property of High Fidelity or Avalon. Reviewer: Wojciech Pacuła CD player: Ancient Audio Lektor Air Phono preamplifier: RCM Audio Sensor Prelude IC Cartridges: Air Tight Supreme, Miyajima Laboratory Waza Preamplifier: Ayon Audio Polaris III with Regenerator power supply version II Power amplifier: Tenor Audio 175S, Soulution 710 Integrated amplifier/headphone amplifier: Leben CS300 XS Custom version Loudspeakers: Harpia Acoustics Dobermann Headphones: Sennheiser HD800, AKG K701, Ultrasone PROLine 2500, Beyerdynamic DT990 Pro Interconnects: CDpreamp Acrolink Mexcel 7NDA6300, preamppower amp Wireworld Platinum Eclipse Speaker cable: Tara Labs Omega Onyx Power cables: Acrolink Mexcel 7NPC9300 Power conditioning: Gigawatt PF2 Audio stand: Base Resonance control: Finite Elemente Ceraball under the CD player, Pro Audio Bono platform under CD player Review component retail in Poland: 68500 PLN standard veneer | 84000 PLN optional veneers On their website Avalon writes that the Transcendent uses a combination of different technologies created by the company during the last 10 years and used before in the models Isis and Time. And further: "Never before has such a compact system utilized the sophisticated dynamic control technologies found exclusively in our most advanced designs. -
College Voice Vol. 27 No. 8
Connecticut College Digital Commons @ Connecticut College 2003-2004 Student Newspapers 10-31-2003 College Voice Vol. 27 No. 8 Connecticut College Follow this and additional works at: https://digitalcommons.conncoll.edu/ccnews_2003_2004 Recommended Citation Connecticut College, "College Voice Vol. 27 No. 8" (2003). 2003-2004. 1. https://digitalcommons.conncoll.edu/ccnews_2003_2004/1 This Newspaper is brought to you for free and open access by the Student Newspapers at Digital Commons @ Connecticut College. It has been accepted for inclusion in 2003-2004 by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. -~~----..--...,..,,,,""-~ INSIDE: NEWS A&E SPORTS Annual Camelympics festivites conjure Meet film studies majors Brian Newell Conn's rowers recently traveled to enthusiasm among Conn students. Get and Ross Morin. founders of the new Boston and Saratoga Springs, NY to the full scoop of tills year's events. Student Filmmakers Organization. compete in major regattas. See page 12. First Class U.S. Postage PAID Permit #35 New London, CT PUBLlSHE:D WEEKLY BY THE STUDENTS OF CONNECT/CUT COLLEGE VOLUME XXVI! • NUMBER 8 FRIDAY, OCTOBER 31, 2003 CONNECTICUT COLLEGE, NEW LONDON, CT Conn Students' Cars Vandalized By SARAH CEGLARSKI SrAFFWBlTE, Student vehicles have recently Senior Gil Rivera shares become targets of random acts of the Same sentiments towards the vandalism on the Connecticut people that poured coffee over his College campus. Emily Jobnson, Lexus SC430 last Thursday night. "I class of 2004, found her car covered feel that whoever did tills blatantly with pizza and scratches. -
FOR IMMEDIATE RELEASE Contact Truly Render, 734-647-4020 [email protected]
FOR IMMEDIATE RELEASE Contact Truly Render, 734-647-4020 [email protected] www.ums.org/news UNIVERSITY MUSICAL SOCIETY ANNOUNCES MARCH 2015 EVENTS ANN ARBOR, MI (January 19, 2015) –The University Musical Society (UMS) heads into spring of its 2014-2015 season with an eclectic March line-up. The month of performances begins with jazz guitarist Bill Frisell performing a rare and intimate solo-guitar concert (Thursday, March 12), followed by a performance by Bill Frisell and his band When You Wish Upon a Star, featuring Petra Haden, Eyvind Kang, Thomas Morgan, and Rudy Royston (Friday, March 13). Also that week, 2013 MacArthur Fellow Kyle Abraham and his dance company Abraham.In.Motion perform two companion pieces that explore race, identity, and the global aspiration for freedom: The Watershed (Friday, March 13) and When the Wolves Came In (Saturday, March 14). The following week, UMS and the Michigan Theater present a Live HD Screening of the Royal Shakespeare Company’s production of Love’s Labour’s Lost, set in the period leading up to World War I (Sunday, March 15). The month continues with the Chicago Symphony Winds, whose program features two beloved Mozart serenades in Rackham Auditorium (Sunday, March 22). Later in the week, the Academy of St. Martin in the Fields and pianist Jeremy Denk perform works by J.S. Bach and Igor Stravinsky in historic Hill Auditorium (Wednesday, March 25), bringing an exciting month with UMS to a close. Tickets to All Events on Sale Now How to Order: www.ums.org 734-764-2538 In person: Michigan League (911 North University Avenue) At the performance venue: beginning 90 minutes before performance start time Hours: Monday-Friday 9 a.m. -
SELECTED SOLOS of CHARLIE HADEN: TRANSCRIPTIONS and ANALYSIS
SELECTED SOLOS of CHARLIE HADEN: TRANSCRIPTIONS and ANALYSIS By JONATHAN ZWARTZ A thesis submitted for the degree of Master of Philosophy (Music) August 2006 School of Music, Faculty of Arts, The Australian National University I hereby state that this thesis is entirely my own original work. Acknowledgements I would like to sincerely thank the following people for their assistance in this folio.Mike Price, Nick Hoorweg, Jenny Lindsay, Dylan Cumow, Jane Lindsay, Peter Dasent, Sally Zwartz. Abstract Charlie Haden is a unique bassist in jazz today. He has an instantly identifiable sound, and broad stylistic taste in both the music that he records and the musicians he records with. The one constant throughout his recorded work is his own distinctive musical style. I was attracted to Charlie Haden’s playing because of his individual approach, particularly his soloing style on more traditional song forms as opposed to the freer jazz forms that he became famous for play ing and soloing on in the earlier part of his career. For the purpose of this analysis, I chose duet settings for the reason that duets are more intimate by nature and perhaps because of that, more revealing. Haden has a reputation for simplicity in his soloing. Indeed, he employs no great theatrical displays of technical virtuosity like other bass soloists. However, my analysis of Haden’s performances show that he is a master soloist in command of his instrument and the musical principles of harmony, melody and rhythm, all incorporated within the particular piece he’s soloing on, coupled with the uncanny ability to ‘tell a story’ when he solos. -
Traditions Music Black Secularnon-Blues
TRADITIONS NON-BLUES SECULAR BLACK MUSIC THREE MUSICIANS PLAYING ACCORDION, BONES, AND JAWBONE AT AN OYSTER ROAST, CA. 1890. (Courtesy Archives, Hampton Institute) REV JAN 1976 T & S-178C DR. NO. TA-1418C © BRI Records 1978 NON-BLUES SECULAR BLACK MUSIC been hinted at by commercial discs. John Lomax grass, white and black gospel music, songs for IN VIRGINIA and his son, Alan, two folksong collectors with a children, blues and one anthology, Roots O f The Non-blues secular black music refers to longstanding interest in American folk music, Blues devoted primarily to non-blues secular ballads, dance tunes, and lyric songs performed began this documentation for the Library of black music (Atlantic SD-1348). More of Lomax’s by Afro-Americans. This music is different from Congress in 1933 with a trip to the State recordings from this period are now being issued blues, which is another distinct form of Afro- Penitentiary in Nashville, Tennessee. On subse on New World Records, including Roots Of The American folk music that developed in the deep quent trips to the South between 1934 and 1942, Blues (New World Records NW-252). * South sometime in the 1890s. Blues is character the Lomaxes cut numerous recordings, often at In recent years the emphasis of most field ized by a twelve or eight bar harmonic sequence state prisons, from Texas to Virginia.2 They researchers traveling through the South in search and texts which follow an A-A-B stanza form in found a surprising variety of both Afro-American of Afro-American secular music has been on the twelve bar pattern and an A-B stanza form in and Anglo-American music on their trips and blues, although recorded examples of non-blues the eight bar pattern. -
Award System Doesn't Add Up
Xavier University Exhibit All Xavier Student Newspapers Xavier Student Newspapers 1997-04-16 Xavier University Newswire Xavier University (Cincinnati, Ohio) Follow this and additional works at: https://www.exhibit.xavier.edu/student_newspaper Recommended Citation Xavier University (Cincinnati, Ohio), "Xavier University Newswire" (1997). All Xavier Student Newspapers. 2770. https://www.exhibit.xavier.edu/student_newspaper/2770 This Book is brought to you for free and open access by the Xavier Student Newspapers at Exhibit. It has been accepted for inclusion in All Xavier Student Newspapers by an authorized administrator of Exhibit. For more information, please contact [email protected]. Serving Managuan in Silence message Colonel Margarethe XU prof reflects Cammermeyer on time spent reports tw.:ll!m~<:=:1misml%"<f.@w.~""-nm~m•i:m@:mt:."1-m:~.;ii:11m:11""'$.'"&.lr,~w.$l,1:;,':?1m•""''1'':?-l•*'===ll@l':@:•"i:'1""''''''1@<l@:':W.f<1=lW'&.'$lW-mm-~"*''~'l"""l''?-;-.;•mrn,=;?.,~=l•W.=l=~''1 in Nicaragua. on the military and homosexuality Part one of a series - page 2 - page 4 • ABC correspolldent to speak Cokie is it • at commencement Valerie Withiam, associate vice receiving the Doctorate of Human BY JEFF DAVIS president of Xavier marketing and ity." THE XAVIER NEWSWIRE public relations. Pulitzer Prize winning "It was a request that was Cincinnati Enquirer Cartoonist Jim made, I think at least two years Borgman will share the stage with ago. They (Xavier) asked for last Roberts when he receives the ABC News Correspondent year but she wasn't available, so Doctorate of Humane Letters. Cokie Roberts will give this she accepted for this year. -
Andrew WK Lets Absurdism Flow at Largo | Pop & Hiss
Live review: Andrew W.K. lets absurdism flow at Largo | Pop ... http://latimesblogs.latimes.com/music_blog/2009/10/live-revie... Like 72K Subscribe/Manage Account Place Ad LAT Store Jobs Cars Real Estate Rentals Classifieds Custom Publishing ENTERTAINMENT LOCAL U.S. WORLD BUSINESS SPORTS ENTERTAINMENT HEALTH LIVING TRAVEL OPINION DEALS Weekly Ad MOVIES TELEVISION MUSIC CELEBRITY ARTS & CULTURE COMPANY TOWN CALENDAR THE ENVELOPE FINDLOCAL IN THE NEWS: JUSTIN BIEBER 'CELEBRITY APPRENTICE' DAVID SCHWIMMER 'GAME OF THRONES' PRINCESS BEATRICE Search Pop & Hiss L.A. Times on Facebook Like 72K THE L.A. TIMES MUSIC BLOG Supreme Court orders California to release tens of thousands of prison inmates « Previous Post | Pop & Hiss Home | Next Post » 16,402 people shared this. In Joplin, there was no time to Live review: Andrew W.K. lets absurdism flow at Largo prepare 459 people shared this. October 9, 2009 | 3:28 pm (0) (2) Comments (0) Senate votes to extend Patriot Act 313 people shared this. advertisement Stay connected: About the Bloggers The musician lets his avant-garde tendencies soar with the Calder Quartet. Chris Barton Andrew W.K. had just finished a piano-and-string-quartet version of his pop-metal hit "Party Hard" August Brown on Thursday night when a young man from the audience bum-rushed the stage at Largo at the Gerrick Kennedy Coronet. There he stood, seemingly waiting for another of W.K.'s jubilant rockers like "Party Til You Randy Lewis Puke" or "It's Time to Party." Todd Martens Ann Powers Instead, W.K. (whose given last name is Wilkes-Krier) and the renowned chamber group the Calder Randall Roberts Quartet opted to play two versions of John Cage's entirely silent composition "4:33." Margaret Wappler It made for a bit of a transcendently awkward moment for the enthusiastic fan, who rifled in his pockets and looked genuinely confused at this turn of events. -
Omer Avital Ed Palermo René Urtreger Michael Brecker
JANUARY 2015—ISSUE 153 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM special feature BEST 2014OF ICP ORCHESTRA not clowning around OMER ED RENÉ MICHAEL AVITAL PALERMO URTREGER BRECKER Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 116 Pinehurst Avenue, Ste. J41 JANUARY 2015—ISSUE 153 New York, NY 10033 United States New York@Night 4 Laurence Donohue-Greene: [email protected] Interview : Omer Avital by brian charette Andrey Henkin: 6 [email protected] General Inquiries: Artist Feature : Ed Palermo 7 by ken dryden [email protected] Advertising: On The Cover : ICP Orchestra 8 by clifford allen [email protected] Editorial: [email protected] Encore : René Urtreger 10 by ken waxman Calendar: [email protected] Lest We Forget : Michael Brecker 10 by alex henderson VOXNews: [email protected] Letters to the Editor: LAbel Spotlight : Smoke Sessions 11 by marcia hillman [email protected] VOXNEWS 11 by katie bull US Subscription rates: 12 issues, $35 International Subscription rates: 12 issues, $45 For subscription assistance, send check, cash or money order to the address above In Memoriam 12 by andrey henkin or email [email protected] Festival Report Staff Writers 13 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, CD Reviews 14 Katie Bull, Tom Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Special Feature: Best Of 2014 28 Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Miscellany Terrell Holmes, Robert Iannapollo, 43 Suzanne Lorge, Marc Medwin, Robert Milburn, Russ Musto, Event Calendar 44 Sean J. O’Connell, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman As a society, we are obsessed with the notion of “Best”. -
Charlie Haden Quartet West Mp3, Flac, Wma
Charlie Haden Quartet West mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Quartet West Country: Japan Released: 1987 Style: Contemporary Jazz MP3 version RAR size: 1122 mb FLAC version RAR size: 1403 mb WMA version RAR size: 1834 mb Rating: 4.9 Votes: 409 Other Formats: TTA VOC AC3 RA VQF WAV MP1 Tracklist Hide Credits Hermitage 1 7:59 Composed By – Pat Metheny Body And Soul 2 6:19 Composed By – Heyman*, Green*, Sour* The Good Life 3 4:39 Composed By – Ornette Coleman In The Moment 4 6:06 Composed By – Charlie Haden Bay City 5 6:46 Composed By – Charlie Haden My Foolish Heart 6 6:47 Composed By – Washington*, Young* Passport 7 4:45 Composed By – Charlie Parker Taney County 8 7:39 Composed By – Charlie Haden The Blessing 9 5:50 Composed By – Ornette Coleman Passion Flower 10 4:53 Composed By – Billy Strayhorn Companies, etc. Phonographic Copyright (p) – PolyGram Records, Inc. Copyright (c) – PolyGram Records, Inc. Manufactured By – Polydor K.K. Recorded At – Producers Studio Mixed At – Producers Studio Credits Alto Saxophone [Alto Sax] – Ernie Watts (tracks: 6, 10) Art Direction, Design – Ellie Hughes, Tom Hughes Bass – Charlie Haden Drums – Billy Higgins (tracks: 1 to 7, 9, 10) Engineer [Assistant Engineer (Recording)] – Andy Harper Engineer [Recording] – Greg Townley Executive-Producer – Richard Seidel Liner Notes – Charlie Haden Mastered By – George Horn Photography By [Back Cover Photo] – Ray Avery Photography By [Cover Photo] – Bruce Talamon Piano – Alan Broadbent (tracks: 1 to 3, 5 to 7, 9, 10) Producer – Hans Wendl Soprano Saxophone [Soprano Sax] – Ernie Watts (tracks: 7) Tenor Saxophone [Tenor Sax] – Ernie Watts (tracks: 1 to 5, 7, 9) Notes Recorded (December 22 and 23, 1986) and Mixed (January 2, 1987) at Producers 1 & 2, Los Angeles, CA Mastered: Fantasy Studios, Berkeley, CA. -
Readers Poll
84 READERS POLL DOWNBEAT HALL OF FAME One night in November 1955, a cooperative then known as The Jazz Messengers took the stage of New York’s Cafe Bohemia. Their performance would yield two albums (At The Cafe Bohemia, Volume 1 and Volume 2 on Blue Note) and help spark the rise of hard-bop. By Aaron Cohen t 25 years old, tenor saxophonist Hank Mobley should offer a crucial statement on how jazz was transformed during Aalready have been widely acclaimed for what he that decade. Dissonance, electronic experimentation and more brought to the ensemble: making tricky tempo chang- open-ended collective improvisation were not the only stylis- es sound easy, playing with a big, full sound on ballads and pen- tic advances that marked what became known as “The ’60s.” ning strong compositions. But when his name was introduced Mobley’s warm tone didn’t necessarily coincide with clichés on the first night at Cafe Bohemia, he received just a brief smat- of the tumultuous era, as the saxophonist purposefully placed tering of applause. That contrast between his incredible artistry himself beyond perceived trends. and an audience’s understated reaction encapsulates his career. That individualism came across in one of his rare inter- Critic Leonard Feather described Mobley as “the middle- views, which he gave to writer John Litweiler for “Hank Mobley: weight champion of the tenor saxophone.” Likely not intended The Integrity of the Artist–The Soul of the Man,” which ran in to be disrespectful, the phrase implied that his sound was some- the March 29, 1973, issue of DownBeat.