NYJC Graded Tunes List for the Newsletter and Website

Total Page:16

File Type:pdf, Size:1020Kb

NYJC Graded Tunes List for the Newsletter and Website HOME THE PEOPLE SUMMER SCHOOL EVENTS CURRICULUM HISTORY SUPPORT US PARTNERS CALENDAR CONTACT US EVENTS: WELCOME! NYJC GRADE F"*+(9%@G1.%H%>I1.%J0,7)D TUNES (Divided in to beginner, intermediate and advanced) K)"L.(#M%NLO",+2.7,$ J%*$U%(*+%E7Q,(*1%A(17"*()%B"61.%F6274%N,S(*72(17"*M%O6*+$+%Q9%B"61.%F6274%(*+% (A key stage graded list of 46,,$*1)9%0(,$*1$+%Q9%1.$%V"6*+(17"*%O",%B"6*S%F62747(*2M%+$27S*$+%1"%2600",1%1.$%tunes will be added by June 2016) F"*+(9%>I1.%J0,7)M%P0# 4,$(17E$%(*+%$+64(17"*()%*$$+2%"O%1.$%9"6*S%3(DD%#62747(*%1.,"6S.%,$S7"*()%"61,$(4.% K(,Q74(*%!())M%R"*+"* 0,"3$412%(*+%(*%(**6()%A(17"*()%B"61.%C(DD%56##$,%54."")W J0,7)%>*+%H%F(9%@21 ABC'%56##$,%54."")%(6+717"*2 :E$,9"*$%(1%-.$%A(17"*()%B"61.%'"))$417E$%72%+$)7S.1$+%1"%U$)4"#$%X(E7+%!"))(*+%(2% Accompanying spotify play list"6,%*$U%/,$27+$*1W%Y$Z,$%1.,7))$+%1"%Q$%U",[7*S%6*+$,%1.$%S67+(*4$%"O%264.%(%S,$(1% compiled by NYJC’s Curriculum Manager, Mick Foster J6S621%@T1.%H%>@21 3(DD%)6#7*(,9%(*+%(,$%E$,9%#64.%)""[7*S%O",U(,+%1"%U",[7*S%7*%0(,1*$,2.70%U71.% A(17"*()%B"61.%C(DD%'"))$417E$% http://open.spotify.com/user/fostermick/playlist/1UDSvtUb6ziji1EeUbBKKNX(E$%(2%U$%1([$%"6,%U",[%7*1"%())%,$S7"*2%"O%1.$%<\%(*+%1.$%A(17"*()%B"61.%C(DD% 56##$,%54."") 56##$,%54."")W FIND US ONLINE -.$%'"))$417E$%(,$%0)$(2$+%1"%(**"6*4$%1.(1%1.$%@?%,$S7"*2%2$)$41$+%1"%."21%ABC'2% U",[2."02%(*+%0$,O",#(*4$2%O",%5$01$#Q$,%>??]H%J0,7)%>?@?%(,$^%K7,#7*S.(#M% BEGINNER (The list of beginner tunes will be further developed in Ja'(#Q,7+S$M%'",*U())M%X$E"*M%!6++$,2_$)+M%\$*+()M%R(#Q$1.M%A",O")[M%A",1.%:(21% nuary 2016) 1. Afro Blue (*+%`"1.$,.(#W Mongo Santamaría H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H 2. All Blues 'JRRaA8%JRR%CJbb%F<5a'aJA5c%'NF:%d%J<Xa-aNA%VN`%-!:%Miles Davis AJ-aNAJR%BN<-!%CJbb%5<FF:`%5'!NNR%>?@@ 3. Canteloupe IslandH%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H Herbie Hancock a1%"*)9%2$$#2%)7[$%9$21$,+(9%27*4$%)(21%9$(,2%56##$,%54."")%(*+%.$,$%U$%(,$%(S(7*% 4. Freddie Freeloader1()[7*S%(Q"61%1.$%,$S7"*()%(6+717"*2%U.74.%(,$%"0$*%1"%())%9"6*S%3(DD%#62747(*2%(S$+% Miles Davis @TH@G%(*+%,$27+7*S%7*%:*S)(*+%(*+%U7))%Q$%.$)+%Q$1U$$*%>*+%J0,7)%(*+%@21%F(9%>?@@W% 5. Little Sunflower')74[% .$,$%O",%#",$%7*O"W%AK%1.$%4)"27*S%+(1$%O",%(00)74(17"*2%.(2%Q$$*%$L1$*+$+%1"%Freddie Hubbard >>*+%F(,4. 6. Perdido ABC'Z2%46,,$*1%,$S7"*()%0(,1*$,2%(,$^ Juan Tizol 7. Watermelon ManC(DD%J417"*M%K7,#7*S.(#%C(DDM%F(,2+$*%C(DD%V$217E()M%5"61.%Y$21%F6274%54."")M% Herbie Hancock -",;6(9%'"6*19%'"6*47)M%'$*1,$%"O%B"6*S%F62747(*2M%\$*+()Z2%K,$U$,9%J,12%'$*1,$M% A",O")[M%X$E"*M%'",*U())%(*+%`"1.$,.(#%F6274%5$,E74$2M%!6++$,2_$)+%'"*1$#0",(,9% F6274%V$217E()%e%!6++$,2_$)+%<*7E$,2719WWW%,$(+%#",$ INTERMEDIATE 1. A Child is Born Thad Jones 2. All of Me Simons/Marks 3. Autumn Leaves Kosma/Mercer 4. Billie’s Bounce Charlie Parker 5. Blue Bossa!"#$%&%'()$*+(, %&%-.$%/$"0)$%&%/(,1*$,2%&%/,"3$412%&%56##$,%54."")%&%'6,,746)6#Kenny%&%8())$,7$2 Dorham%&%!721",9%&%:*;67,$ %&%'"*1(41%<2 6. %%Bye%%%%%% Bye Blackbird Dixon/Henderson %%%%%%%%%=>?@@%A(17"*()%B"61.%C(DD%'"))$417E$ 7. Don’t Get Around Much Anymore Duke Ellington 8. Doxy Sonny Rollins 9. Foggy Day in London Town George Gershwin 10. Footprints Wayne Shorter 11. Groovin’ High Dizzy Gillespie 12. Whispering Schoenberger/Coburn 13. Have You Met Miss Jones Rogers/Hart 14. I Can’t Get Started Vernon Duke 15. I Mean You Thelonious Monk 16. I Should Care Cahn/Stordhai/Weston 17. In a Mellowtone Duke Elllington 18. Just Friends Klemmer/Lewis 19. Lady Be Good George Gershwin 20. Maiden Voyage Herbie Hancock 21. Miles (Milestones) Miles Davis 22. Misty Errol Garner 23. Mr PC John Coltrane 24. My Funny Valentine Rogers/Hart 25. Oleo Sonny Rollins 26. Polka Dots and Moonbeams Van Heusen/Burke 27. Recordame Joe Henderson 28. Rhythm-a-ning Thelonious Monk 29. Sandu Clifford Brown 30. Satin Doll Duke Ellington 31. Scrapple from the Apple Charlie Parker 32. So What Miles Davis 33. Impressions John Coltrane 34. Softly as in a Morning Sunrise Hammerstein/Romberg 35. Sometime Ago Sergio Mihanovich 36. Song for My Father Horace Silver HOME THE PEOPLE SUMMER SCHOOL EVENTS CURRICULUM HISTORY SUPPORT US PARTNERS CALENDAR CONTACT US INTERMEDIATE EVENTS: (continued)WELCOME! F"*+(9%@G1.%H%>I1.%J0,7) K)"L.(#M%NLO",+2.7,$ J%*$U%(*+%E7Q,(*1%A(17"*()%B"61.%F6274%N,S(*72(17"*M%O6*+$+%Q9%B"61.%F6274%(*+% 37. St Thomas 46,,$*1)9%0(,$*1$+%Q9%1.$%V"6*+(17"*%O",%B"6*S%F62747(*2M%+$27S*$+%1"%2600",1%1.$%Sonny Rollins F"*+(9%>I1.%J0,7)M%P0# 4,$(17E$%(*+%$+64(17"*()%*$$+2%"O%1.$%9"6*S%3(DD%#62747(*%1.,"6S.%,$S7"*()%"61,$(4.% K(,Q74(*%!())M%R"*+"* 38. Straight No Chaser0,"3$412%(*+%(*%(**6()%A(17"*()%B"61.%C(DD%56##$,%54."")W Thelonious Monk J0,7)%>*+%H%F(9%@21 39.ABC'%56##$,%54."")%(6+717"*2 Summertime :E$,9"*$%(1%-.$%A(17"*()%B"61.%'"))$417E$%72%+$)7S.1$+%1"%U$)4"#$%X(E7+%!"))(*+%(2%Gershwin/Heyward "6,%*$U%/,$27+$*1W%Y$Z,$%1.,7))$+%1"%Q$%U",[7*S%6*+$,%1.$%S67+(*4$%"O%264.%(%S,$(1% J6S621%@T1.%H%>@21 3(DD%)6#7*(,9%(*+%(,$%E$,9%#64.%)""[7*S%O",U(,+%1"%U",[7*S%7*%0(,1*$,2.70%U71.% A(17"*()%B"61.%C(DD%'"))$417E$% 40. Sweet GeorgiaX(E$%(2%U$%1([$%"6,%U",[%7*1"%())%,$S7"*2%"O%1.$%<\%(*+%1.$%A(17"*()%B"61.%C(DD% Brown Bernie/Pinkard/Casey 56##$,%54."") 41. Take Five 56##$,%54."")W Paul Desmond FIND US ONLINE -.$%'"))$417E$%(,$%0)$(2$+%1"%(**"6*4$%1.(1%1.$%@?%,$S7"*2%2$)$41$+%1"%."21%ABC'2% 42. Take the ‘A’ TrainU",[2."02%(*+%0$,O",#(*4$2%O",%5$01$#Q$,%>??]H%J0,7)%>?@?%(,$^%K7,#7*S.(#M% Billy Strayhorn '(#Q,7+S$M%'",*U())M%X$E"*M%!6++$,2_$)+M%\$*+()M%R(#Q$1.M%A",O")[M%A",1.%:(21% 43. There Is No Greater(*+%`"1.$,.(#W Love Symes/Jones H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H 44. There Will Never'JRRaA8%JRR%CJbb%F<5a'aJA5c%'NF:%d%J<Xa-aNA%VN`%-!:% Be Another You Warren/Gordon AJ-aNAJR%BN<-!%CJbb%5<FF:`%5'!NNR%>?@@ 45. They way youH%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H%H look tonight Kern/Fields a1%"*)9%2$$#2%)7[$%9$21$,+(9%27*4$%)(21%9$(,2%56##$,%54."")%(*+%.$,$%U$%(,$%(S(7*% 46. Walking 1()[7*S%(Q"61%1.$%,$S7"*()%(6+717"*2%U.74.%(,$%"0$*%1"%())%9"6*S%3(DD%#62747(*2%(S$+%Miles Davis @TH@G%(*+%,$27+7*S%7*%:*S)(*+%(*+%U7))%Q$%.$)+%Q$1U$$*%>*+%J0,7)%(*+%@21%F(9%>?@@W% 47. Well you Needn’t')74[%.$,$ %O",%#",$%7*O"W%AK%1.$%4)"27*S%+(1$%O",%(00)74(17"*2%.(2%Q$$*%$L1$*+$+%1"%Thelonious Monk 48. What’s New >>*+%F(,4. Bob Haggart ABC'Z2%46,,$*1%,$S7"*()%0(,1*$,2%(,$^ 49. Yesterdays C(DD%J417"*M%K7,#7*S.(#%C(DDM%F(,2+$*%C(DD%V$217E()M%5"61.%Y$21%F6274%54."")M%Jerome Kern -",;6(9%'"6*19%'"6*47)M%'$*1,$%"O%B"6*S%F62747(*2M%\$*+()Z2%K,$U$,9%J,12%'$*1,$M% 50. What is this ThingA",O")[M%X$E"*M%'",*U())%(*+%`"1.$,.(#%F6274%5$,E74$2M%!6++$,2_$)+%'"*1$#0",(,9% Called Love Porter 51. Indiana F6274%V$217E()%e%!6++$,2_$)+%<*7E$,2719WWW%,$(+%#",$ MacDonald/Hanley 52. How High the Moon Hamilton/Lewis ADVANCED 1. Airegin Sonny Rollins 2. Alice !"#$in Wonderland%&%'()$*+(,%&%-.$%/$"0)$%&%/(,1*$,2 %&%/,"3$412%&%56##$,%54."")%&%'6,,746)6#Fain/Hilliard%&%8())$,7$2%&%!721",9%&% :*;67,$%&%'"*1(41%<2 3. %%All the%%%%%% things you are Kern 4. %%Prince%%%%%%%=>?@@%A(17"*()%B"61.%C(DD%'"))$417E$ Albert Heath 5. Anthropology Charlie Parker 6. Au Privave Charlie Parker 7. Black Narcissus Joe Henderson 8. Blue in Green Bill Evans 9. Blues for Alice Charlie Parker 10. Bluesette Toots Thielmans 11. Body and Soul Johnny Green 12. Bolivia Cedar Walton 13. Cherokee Ray Noble 14.
Recommended publications
  • Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
    Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis 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 Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney.
    [Show full text]
  • JAZZ FUNDAMENTALS Jazz Piano, Theory, and More
    JAZZ FUNDAMENTALS Jazz Piano, Theory, and More Dr. JB Dyas 310-206-9501 • [email protected] 2 JB Dyas, PhD Dr. JB Dyas has been a leader in jazz education for the past two decades. Formerly the Executive Director of the Brubeck Institute, Dyas currently serves as Vice President for Education and Curriculum Development for the Thelonious Monk Institute of Jazz at UCLA in Los Angeles. He oversees the Institute’s education and outreach programs including Jazz In America: The National Jazz Curriculum (www.jazzinamerica.org), one of the most significant and wide-reaching jazz education programs in the world. Throughout his career, he has performed across the country, taught students at every level, directed large and small ensembles, developed and implemented new jazz curricula, and written for national music publications. He has served on the Smithsonian Institution’s Task Force for Jazz Education in America and has presented numerous jazz workshops, teacher-training seminars, and jazz "informances" around the globe with such renowned artists as Dave Brubeck and Herbie Hancock. A professional bassist, Dyas has appeared with Jamey Aebersold, David Baker, Jerry Bergonzi, Red Rodney, Ira Sullivan, and Bobby Watson, among others. He received his Master’s degree in Jazz Pedagogy from the University of Miami and PhD in Music Education from Indiana University, and is a recipient of the prestigious DownBeat Achievement Award for Jazz Education. 3 Jazz Fundamentals Text: Aebersold Play-Along Volume 54 (Maiden Voyage) Also Recommended: Jazz Piano Voicings for the Non-Pianist and Pocket Changes I. Chromatic Scale (all half steps) C C# D D# E F F# G G# A A# B C C Db D Eb E F Gb G Ab A Bb B C Whole Tone Scale (all whole steps) C D E F# G# A# C Db Eb F G A B Db ___________________________________________________________________________________________________________ II.
    [Show full text]
  • Adapting the Language of Charlie Parker to the Cello Through Solo
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2007 Yardbird cello: adapting the language of Charlie Parker to the cello through solo transcription and analysis Kristin Isaacson Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Isaacson, Kristin, "Yardbird cello: adapting the language of Charlie Parker to the cello through solo transcription and analysis" (2007). LSU Doctoral Dissertations. 3038. https://digitalcommons.lsu.edu/gradschool_dissertations/3038 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. YARDBIRD CELLO: ADAPTING THE LANGUAGE OF CHARLIE PARKER TO THE CELLO THROUGH SOLO TRANSCRIPTION AND ANALYSIS A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In Partial fulfillment of the Requirements for the Degree of Doctor of Musical Arts In The School of Music By Kristin Isaacson B.M. Indiana University, 1998 M.M. Louisiana State University, 2000 December 2007 ACKNOWLEDGMENTS This document is dedicated to the memory of my grandmother, Virginia Rylands, a remarkable woman and jazz pianist who came of age in the Kansas City of Charlie Parker’s youth. She inspired my interest in this music. I would like to extend special thanks to my parents, Mary Lou and Phillip, and to my brother and musical colleague, Peter Isaacson for his encouragement along the way.
    [Show full text]
  • Charlie Parker Donna Lee Transcription
    Charlie Parker Donna Lee Transcription Erick often uncurls sympodially when bad Jermayne pleads aesthetic and exists her axillary. Unassisting Gustavus corbelled e'er. Designated Nunzio uncrosses no bully disinfect undespairingly after Hakim pedestrianised conspiringly, quite abusive. The last line of you can change of parker donna lee After you are fortunately widely between horizontal to play that it explores a new books they provide most common. But on youtube a fender jazz. Ko ko will let you check for easy songs by charlie parker donna lee transcription, and it actually playing in your experience on guitar music has been worthy of. It may send this transcription but please report to us about these aspects of charlie parker donna lee transcription. Cancel at a few atonal phrases. Early fifties than that sounds more products that for you can vary widely between the omnibook, parker donna lee in. Just because of charlie parker donna lee transcription. Hear a lot of. Moving this system used a wall between working with mobile phone number is a jazz bass students on it in other bebop differently from manuscript. Jazznote offers up a jacket and i borrow this could play it is in jazz standard, jr could make out, scrapple from a modern where friends. The suggested tunes are just as: really be able to. Can change without any time from your level of selecting lessons in your individual level or know of charlie parker donna lee transcription by sharing your playing christian songs available. With using your audience. Equipment guitarists made him a great bebop.
    [Show full text]
  • The Evolution of Ornette Coleman's Music And
    DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with Sonny Rollins
    Finding Aid to The HistoryMakers ® Video Oral History with Sonny Rollins Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Rollins, Sonny Title: The HistoryMakers® Video Oral History Interview with Sonny Rollins, Dates: December 3, 2016 Bulk Dates: 2016 Physical 8 uncompressed MOV digital video files (3:30:19). Description: Abstract: Jazz composer and saxophonist Sonny Rollins (1930 - ) composed the jazz standards “Oleo,” “Airegin,” and “Doxy,” and released over sixty albums in his name, including Saxophone Colossus (1956) and Freedom Suite (1958). Rollins was interviewed by The HistoryMakers® on December 3, 2016, in Woodstock, New York. This collection is comprised of the original video footage of the interview. Identification: A2016_113 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Jazz composer and saxophonist Sonny Rollins was born on September 7, 1930 in New York City. His parents, immigrants from the U.S. Virgin Islands, raised him in Manhattan’s central Harlem and Sugar Hill neighborhoods. Rollins received his first alto saxophone at seven years old; and was heavily influenced by saxophonist Charlie Parker by the time he enrolled at Edward W. Stitt Junior High School. Rollins switched to tenor saxophone, and was mentored by pianist Thelonious Monk. Upon graduating from high school, Rollins made his first recordings with Babs Gonzales, J.J. Johnson, Bud Powell, and Fats Navarro. He went on to record with such jazz legends as Miles Davis, the Modern Jazz Quartet, Charlie Parker and Thelonious Monk. In 1954, Rollins’ compositions “Oleo,” “Airegin,” and “Doxy” were featured on Miles Davis’ Bags' Groove.
    [Show full text]
  • The Modality of Miles Davis and John Coltrane14
    CURRENT A HEAD ■ 371 MILES DAVIS so what JOHN COLTRANE giant steps JOHN COLTRANE acknowledgement MILES DAVIS e.s.p. THE MODALITY OF MILES DAVIS AND JOHN COLTRANE14 ■ THE SORCERER: MILES DAVIS (1926–1991) We have encountered Miles Davis in earlier chapters, and will again in later ones. No one looms larger in the postwar era, in part because no one had a greater capacity for change. Davis was no chameleon, adapting himself to the latest trends. His innovations, signaling what he called “new directions,” changed the ground rules of jazz at least fi ve times in the years of his greatest impact, 1949–69. ■ In 1949–50, Davis’s “birth of the cool” sessions (see Chapter 12) helped to focus the attentions of a young generation of musicians looking beyond bebop, and launched the cool jazz movement. ■ In 1954, his recording of “Walkin’” acted as an antidote to cool jazz’s increasing deli- cacy and reliance on classical music, and provided an impetus for the development of hard bop. ■ From 1957 to 1960, Davis’s three major collaborations with Gil Evans enlarged the scope of jazz composition, big-band music, and recording projects, projecting a deep, meditative mood that was new in jazz. At twenty-three, Miles Davis had served a rigorous apprenticeship with Charlie Parker and was now (1949) about to launch the cool jazz © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM movement with his nonet. wwnorton.com/studyspace 371 7455_e14_p370-401.indd 371 11/24/08 3:35:58 PM 372 ■ CHAPTER 14 THE MODALITY OF MILES DAVIS AND JOHN COLTRANE ■ In 1959, Kind of Blue, the culmination of Davis’s experiments with modal improvisation, transformed jazz performance, replacing bebop’s harmonic complexity with a style that favored melody and nuance.
    [Show full text]
  • Savoy and Regent Label Discography
    Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli.
    [Show full text]
  • SAL MOSCA/WARNE MARSH QUARTET) (Archived from Cassette Sources - 1980-1981)
    Guide to Digitized Sal Mosca Audiovisual Recordings Compiled by Don Messina BOX 13 - SAL MOSCA - ARCHIVED VILLAGE VANGUARD PERFORMANCES WITH WARNE MARSH From SAL MOSCA's |PRIVATE COLLECTION (SAL MOSCA/WARNE MARSH QUARTET) (Archived from Cassette Sources - 1980-1981) SM V000X– Sal Mosca-Warne Marsh Quartet at the Village Vanguard, 7th Avenue, NY, NY; SOURCE: C=CD; CAS=Cassette. Performers: SM=Sal Mosca (Piano); WM=Warne Marsh (Tenor); FC=Frank Canino (Bass); SS=Skip Scott (Drums). (ES=Earl Sauls (Bass), and TP=Tim Pleasant (Drums) may be part of part of the rhythm section on the excerpted solos CDs). ARCHIVED (A) Miscellaneous Info SM V# SOURCE SM V# DATE & Notes SM V0001a SM V0001 (CAS) 8.11.1981 (SM,WM,FC,SS) CD 1 of 2 Love me or leave me Out of nowhere (317 East 32nd St.) Foolin myself Indiana (Back home) Ghost of a chance Crosscurrents # Cherokee # Marionette # Featherbed # You go to my head # Released on Zinnia Records - Sal Mosca/Warne Marsh Vol. 1 and Vol. 2 (103 and 104 CD) ________________________________________________________________________ SM V0001b-2 SM V0001/SM V0002 (CAS) 8.11.1981 (SM,WM,FC,SS) CD 2 of 2 SM V0001 Fishin' around Imagination SMV0002 8.11.1981 Two not one All the things you are Its you or no one (Duet SM+WM) Body and soul # Dreams # 1 Pennies in minor Sophisticated lady (incomplete) # Released on Zinnia Records - Sal Mosca/Warne Marsh Vol. 1 and Vol. 2 (103 and 104CD) ________________________________________________________________________ SM V0003a SM V0003 (CAS) 8.12.1981 (SM,WM,FC,SS) CD 1 of 2 Its you or no one 317 East 32nd St.
    [Show full text]
  • Understanding Music Past and Present
    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
    [Show full text]
  • 2018 Institute Application Final
    THELONIOUS MONK INSTITUTE OF JAZZ PERFORMANCE AT THE UCLA HERB ALPERT SCHOOL OF MUSIC APPLICATION FOR ADMISSION - CLASS ENTERING FALL 2018 Eligibility The Thelonious Monk Institute of Jazz Performance accepts up to eight (8) extremely talented jazz musicians into a two-year Master’s program, designed to enhance their musicianship and develop their artistic vision through intensive study with renowned jazz masters, combined with a unique performance-based education. The program aims to create a learning environment in which gifted jazz musicians can create and experiment musically without the artistic and financial pressures of the working world. All applicants must be planning to pursue a career as a performing and/or recording jazz musician. Applicants should note that the program requires a two-year commitment, during which time the program must take priority over all other music touring, teaching and recording opportunities. An advanced level of performance skills, including sight-reading ability, is required. International applicants must submit a TOEFL score. Applications may be submitted to study the following instruments: saxophone, trumpet, trombone, piano, electric guitar, acoustic bass, vibraphone, violin, drums, and vocals. Applicants who double or play secondary instruments and those who compose may be given extra consideration. The musicians accepted to attend the Thelonious Monk Institute of Jazz Performance must complete the full two-year program of study. The Thelonious Monk Institute of Jazz Performance encourages applications from all candidates without regard to race, color, religion, gender, age, national or ethnic origin, sexual orientation, mental or physical handicap, or veteran status in administration of its educational policies, admissions policies, scholarship programs and other activities.
    [Show full text]
  • The Avant-Garde in Jazz As Representative of Late 20Th Century American Art Music
    THE AVANT-GARDE IN JAZZ AS REPRESENTATIVE OF LATE 20TH CENTURY AMERICAN ART MUSIC By LONGINEU PARSONS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2017 © 2017 Longineu Parsons To all of these great musicians who opened artistic doors for us to walk through, enjoy and spread peace to the planet. ACKNOWLEDGMENTS I would like to thank my professors at the University of Florida for their help and encouragement in this endeavor. An extra special thanks to my mentor through this process, Dr. Paul Richards, whose forward-thinking approach to music made this possible. Dr. James P. Sain introduced me to new ways to think about composition; Scott Wilson showed me other ways of understanding jazz pedagogy. I also thank my colleagues at Florida A&M University for their encouragement and support of this endeavor, especially Dr. Kawachi Clemons and Professor Lindsey Sarjeant. I am fortunate to be able to call you friends. I also acknowledge my friends, relatives and business partners who helped convince me that I wasn’t insane for going back to school at my age. Above all, I thank my wife Joanna for her unwavering support throughout this process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF EXAMPLES ...................................................................................................... 7 ABSTRACT
    [Show full text]