Lonnie Listen Smith Jams at UMBC Writer

Total Page:16

File Type:pdf, Size:1020Kb

Lonnie Listen Smith Jams at UMBC Writer February 20,1984 Page 5 Lonnie Listen Smith jams at UMBC by Dean Dalfonzo everything, so whatever they needed, I would and he gave it a classy touch. learn the instrument just to get into the band." Lonnie himself played modestly with his band, This Friday at 8:00 n.m., Jazz pianist Lonnie He then went on to graduate from Morgan State but on occasion, he did jump up to the higher Liston Smith will be appearing in the Grand University with a Bachelor of Science degree in scales, cutting through the Latin background. "I Ballroom in the University Center. Music Education. can really hear the high notes, and although some After a creative hiatus to "take a break, and After he played professionally with Balti- pianists don't like to play that high, it comes very find a balance between the music and the busi- more's Royal Theatre House Band, who backed natural to me." ness," Smith will begin touring with his first stop up name bands like the Supremes, Smith eventu- If Smith lives up to the spirit of his Live album, at UMBC. He will later be performing at Blues ally joined Miles Davis. his coming performance should be very enter- Alley in Baltimore City before continuing on his "When I got with Miles, I saw a whole new taining. His band will include his brother, on tour of the East Coast. world and gained more confidence in myself," he flute and vocals; Pre Meik, on saxophone; Abe While his present album Dreams of Tomor- explained . "I worked with Miles for about two Speller on drums; Billy Cohburn, on bass; and row is less than a year old, he plans to do another or three years. It was fascinating. Miles is a Steve Thornton on percussion. album "in the next month or so" between concert genius, and he brings out the best of each artist Also opening for Lonnie Liston Smith will be engagements. who performs with him. If you look back at the Maximum Strength, a local R & B group who Smith may not be extensively well known to musicians who played with Miles, most of them performed previously on campus as Family. the masses, but he has played with such musical became successful solo artists." giants as Miles Davis, Max Roach, Chuck Man- Smith eventually left Miles Davis and formed gione, and Herbie Hancock. the Cosmic Echoes, which refers to the collection During his high school years in Richmond, of musicians working with Smith on a particular Entre Nous: a French tale of two women Virginia, Smith became a proficient pianist, project. While Cosmic Echoes sounds somewhat trumpeter and tuba player. "I just wanted to be in "far out," the name is strikingly descriptive of reminiscences and dreams. But as their friend- (Guy Marchand) offers to marry her and leave Smith's style of music. by Denise Lee ship grows, they begin to see flaws in their mar- the camp, she accepts. They walk 50 miles to He has been described as a jazz/funk type of Entre Nous is a powerful and thoughtful riages, and their friendship is condemned by a freedom in Italy. composer but his music can't be easily fit under movie about personal choice and freedom. society whose members believe that a woman's Madeline, meanwhile, marries her sweetheart. the labels of freeform jazz or a funk-fusion. Translated Between us, it's the story of two only dream should be for her husband and They are both art students when the French mil- Smith says that in creating his music, he con- women who meet in France in 1952. Both have children. itia (on orders from the Germans) come to arrest stantly seeks a balance between pop and jazz We first see Lena (played by Isabelle Huppert) their teacher. When the students resist on their while still providing an improvisational element. survived World War II, although one lost her as she arrives in a relocation camp in occupied teacher's behalf, her young husband is killed in "I try to be very spontaneous. Creative, but with husband and one married a man she didn't love. They soon become close friends, sharing their France. She is young and alone. When Michel the crossfire between the French underground a contemporary rhythm. Each time we play, we and the militia. After the war, Madeline marries grow, and we try to make each concert as inspir- Costa, a man in constant pursuit of quick riches. ing as possible." Lena and Madeline accidentally meet at their Smith's live album recorded in New York five children's school play. Madeline's boy, Renee, is years ago expresses what his style is all about. a shy and sensitive child. Lena and Michel have The album is so relaxing it gives one the feeling of two little girls. Soon, the two women become sitting in a hot tub, with warm water burbling close friends and the two families share picnics around. and other activities together. Michel and Costa But the mellower songs are arranged with share a business venture. inventive Latin percussion and melody changes. But Lena and Madeline have the most in com- While they sound similar to pop ballads, the mon. They begin to see flaws in their marriages as other forces in the band pull away from that their friendship deepens. They yearn for the free- sound, heading towards a more Santana/Spiro dom to follow their own dreams, and to achieve Gyra type song. Lonnie's brother, Donald, the simple, personal accomplishments that have played flute and sang vocals on the Live album been denied them. Lonnie Litton Smith These feelings upset their husbands, and Michel eventually forbids the two women to see each other. It is to the director's credit she does Writer gets stuck on giving not portray the husbands as 1970-type male chauvinists. They are realistically played as men with traditional values married to two very his time and blood to others unconventional women. by Dave Keith Overman "Are you all right?" It was the nurse. The result is that friendship wins over I nodded yes, of course I'm all right. marriage—but knowing the ending won't spoil To some of us, a blooa drive is a wondrous "You're not breathing." this movie for you. If anything, you suspect the sight; the very thought of hundreds of people Oh. I exhaled and felt much better. Okay, so I ending all along, and knowing it frees you to giving up a not insignificant amount of time and forgot to breathe. Give me a break. I mean, it's become absorbed in the emotional lives of these comfort just to perform a largely anonymous my first time, okay? Lena (Isabelle Huppert) and Madeleine (Mlou Miou) find solace in their friendship. see Movie, page 6 good deed is very touching indeed. For want of anything better to do, I calculated There are scads of volunteers needed to run a the number of tiles on the ceiling and then pro- blood drive, people who work for no external ceeded to count them. Five minutes later the reward making posters, recruiting donors, run- nurse tapped me on the shoulder and made me ning ads, working out logistics with the univer- lose count. No Heroes reveals Criminal intentions sity and the Red Cross, helping during the actual "You're done." drive, and even recruiting other volunteers. I started to get up; the nurse pushed me back music, and all of his band members, most of When the Bloodmobile comes to the UMBC by Tony Sclafani everybody else." down. 1 had forgotten about the needle that was Speaking of the radio, will No Heroes be whom are from the area, feel the same way. University Center Ballroom February 27, there still in my arm. She closed off the pack, took out releasing any records in the near future? Once No Heroes' soundcheck ended and the will be even more volunteers needed, to schedule I'd been given detention for going into the girls the needle, put a gauze pad over the site and told "Criminal Records just released a live album rest of the band arrived, we left the locker room appointments and pre-type the forms. bathroom in high school, but until! interviewed me to hold the gauze in place while holding my . pf us at Painters Mill, entitled The End. Also, and went downstairs. No Heroes equipment was I myself donate every eight weeks, like clock- Carey Ziegler, the bass player for No Heroes, I'd arm straight up. My arm joined about a dozen now that Crack the Sky is officially broken up, now fully set up. It looked and sounded as if it work. I do have a few personal reasons for carry- never been in a girls locker room! other arms already in the air. I went back to Lifesong Records, Crack's first label, should be would shatter the windows of the Commuter ing generosity to such an admittedly ridiculous Well for those who are interested, the girls counting ceiling tiles. releasing all of the old albums," Carey explained. Cafeteria if it were pushed to its full volume. extreme; then again, there are other people just locker room, located above the Commuter When I finally got off the table, I felt good. I "We were still under the old Crack the Sky deal Once the band finished messing around with the as extreme without such reasons. Maybe they do Cafeteria, is much bigger and cleaner than I it out of habit.
Recommended publications
  • 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.
    [Show full text]
  • Charlie Parr Louisiana Red Crack the Sky Butch Thompson & Pat
    the highly successful Aqualung album better. Parr’s “tours” consist of sleeping The 19 tracks range from Blind Blake’s with the progressive rock classic, Thick in highway rest stops, cooking meals on “Poker Woman” to James P. Johnson’s As A Brick. It was written as a spoof his mini-van’s exhaust manifold, and “You Can’t Lose A Broken Heart,” sev- in response to the critical reception playing his music each night with serious eral Carr classics, and a variety of tunes of Aqualung, which was proclaimed passion. Talk about commitment. by Thompson’s mentor, Little Brother a concept album (it was not), and a He employs a wood-bodied National Crack the Sky Montgomery. parody of prog rock bands like Yes and resonator, a Fraulini 12-string guitar Ostrich Donohue plays like he has Southern Genesis. And Thick As A Brick remains made by Todd Cambio, and a Kevin Aluminum Cat Recordings soil under his fingernails, despite the fact the only album in history to reach #1 Enoch fretless banjo. The album was Crack the Sky never gives up. Their that he hails from St. Paul, Minnesota. on the Billboard charts containing only cut live to tape with no tracking, Parr music is by turns funky, industrial, His fingerpicking interweaves with the one song. playing in a trio with Mikkel Beckmen crunchy, and occasionally just weird. And piano lines, offering counterpoint and At 43 minutes, the album centers on washboard and Dave Hundreiser on their lyrics are cynical, biting, goofy, and syncopation. He plays a masterful slide, on a poem by a fictional eight-year- harmonica.
    [Show full text]
  • The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
    04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS
    [Show full text]
  • St. Nick Spotted Near Campus
    October 12, 2009 WWW.UNEWS.COM Vol. 77, Issue 8 St. Nick spotted near campus Continuing campus crime posses threat Tyler Allen Assistant News Editor Crime is a looming problem on campus. Last year alone, there were 142 crimes reported at UMKC. “Even though UMKC is sur- rounded by some bad streets I always felt safe here,” student Kelsey Gos- sen said, “but now that I’m hearing about everything going on, I worry and I try to watch my back.” Other students are not too wor- ried. “I’m not concerned about crime on campus, quite simply because I know exactly how to avoid it,” stu- dent Rachael Herndon said. Unfortunately, not everyone on campus can avoid crime. In the past month, there have been two burglaries at 4747 Troost Ave., the building that houses the In- Blistery, cold weather blew into Kansas City stitute for Entrepreneurship and In- novation. The first incident occurred on Saturday morning and along with it around noon on Sept. 21 when a victim’s money was stolen out of his came a jolly Christmas spirit. desk. painted interior and exterior walls, laid The second incident occurred on Alexia Stout-Lang News Editor carpet, pulled weeds and even moved Sept. 25 and involved Cary Clark, some furniture. Sam Walton Fellow and director of pproximately 20 stu- “This is just such a blessing,” Freddie Students in Free Enterprise. dents, staff and faculty from UMKC bundled up Slaughter, one of the homeowners, said and faced the chill to par- as tears ran down her cheeks. “I just don’t “It’s just sort of random ticipate in the second an- know how to thank you all.” crime.
    [Show full text]
  • Vinyls-Collection.Com Page 1/222 - Total : 8629 Vinyls Au 05/10/2021 Collection "Artistes Divers Toutes Catã©Gorie
    Collection "Artistes divers toutes catégorie. TOUT FORMATS." de yvinyl Artiste Titre Format Ref Pays de pressage !!! !!! LP GSL39 Etats Unis Amerique 10cc Windows In The Jungle LP MERL 28 Royaume-Uni 10cc The Original Soundtrack LP 9102 500 France 10cc Ten Out Of 10 LP 6359 048 France 10cc Look Hear? LP 6310 507 Allemagne 10cc Live And Let Live 2LP 6641 698 Royaume-Uni 10cc How Dare You! LP 9102.501 France 10cc Deceptive Bends LP 9102 502 France 10cc Bloody Tourists LP 9102 503 France 12°5 12°5 LP BAL 13015 France 13th Floor Elevators The Psychedelic Sounds LP LIKP 003 Inconnu 13th Floor Elevators Live LP LIKP 002 Inconnu 13th Floor Elevators Easter Everywhere LP IA 5 Etats Unis Amerique 18 Karat Gold All-bumm LP UAS 29 559 1 Allemagne 20/20 20/20 LP 83898 Pays-Bas 20th Century Steel Band Yellow Bird Is Dead LP UAS 29980 France 3 Hur-el Hürel Arsivi LP 002 Inconnu 38 Special Wild Eyed Southern Boys LP 64835 Pays-Bas 38 Special W.w. Rockin' Into The Night LP 64782 Pays-Bas 38 Special Tour De Force LP SP 4971 Etats Unis Amerique 38 Special Strength In Numbers LP SP 5115 Etats Unis Amerique 38 Special Special Forces LP 64888 Pays-Bas 38 Special Special Delivery LP SP-3165 Etats Unis Amerique 38 Special Rock & Roll Strategy LP SP 5218 Etats Unis Amerique 45s (the) 45s CD hag 009 Inconnu A Cid Symphony Ernie Fischbach And Charles Ew...3LP AK 090/3 Italie A Euphonius Wail A Euphonius Wail LP KS-3668 Etats Unis Amerique A Foot In Coldwater Or All Around Us LP 7E-1025 Etats Unis Amerique A's (the A's) The A's LP AB 4238 Etats Unis Amerique A.b.
    [Show full text]
  • IN the UNITED STATES DISTRICT COURT for the NORTHERN DISTRICT of ILLINOIS EASTERN DIVISION ABDUL WALI MUHAMMAD, F/K/A ) ERIC P
    Case: 1:17-cv-06558 Document #: 1 Filed: 09/12/17 Page 1 of 8 PageID #:1 IN THE UNITED STATES DISTRICT COURT FOR THE NORTHERN DISTRICT OF ILLINOIS EASTERN DIVISION ABDUL WALI MUHAMMAD, f/k/a ) ERIC P. SAUNDERS, ) ) Plaintiff, ) v. ) No. 17-cv-6558 ) CHANCELLOR BENNETT, ) known as “CHANCE THE RAPPER,” ) Jury Demanded and CHANCE THE RAPPER, LLC ) ) Defendants. ) COMPLAINT FOR COPYRIGHT INFRINGEMENT Now comes the Plaintiff, Abdul Wali Muhammad f/k/a Eric P. Saunders (“Muhammad”), through his undersigned attorneys, and maintains the following Complaint for Copyright Infringement against the Defendants, Chancellor Bennett, known as “Chance the Rapper” (“Chance”), and Chance the Rapper, LLC, stating as follows: INTRODUCTION This is an action for copyright infringement. The Plaintiff, Muhammad, is a composer and jazz musician. Muhammad composed and owns registered copyrights on the composition to a song named “Bridge Through Time.” Chance sampled a significant portion of that song in Chance’s song “Windows.” Chance did not have permission from Muhammad to use any portion of Muhammad’s copyrighted song. Chance’s actions constitute copyright infringement. This Complaint seeks damages from Chance, and from his company established to license Chance’s merchandise and to promote Chance’s concerts and other performances, for Chance’s blatant and willful infringement of Muhammad’s copyright. 1 Case: 1:17-cv-06558 Document #: 1 Filed: 09/12/17 Page 2 of 8 PageID #:2 PARTIES 1. Plaintiff, Muhammad, was formerly known as Eric P. Saunders. He legally changed his name to Abdul Wali Muhammad in 1985. Muhammad is a resident of Brewster, New York.
    [Show full text]
  • Seven Lee Morgan Lessons Seven Lee Morgan Lessons
    SEVEN LEE MORGAN LESSONS One of Philadelphia’s most talented offerings would have been 75 years old come July 10 th , 2013. The lessons we can learn from his work and his life have been deemed immeasurable. As the Philadelphia Clef Club Of Jazz and Performing Arts prepares to celebrate his having been part of our family, we thought the following might give Lee some new talking points as a sage at this age. Lee Morgan Lesson 1 : WHY LIMIT YOURSELF ??? “Originally interested in the vibraphone, he soon showed a growing enthusiasm for the trumpet. Morgan also knew how to play the alto saxophone ”. Lee Morgan Lesson 2 ::: DON’T JUST HANG AROUND OTHER MUSICIANS; MAKE IT YOUR BUSINESS TO TOURTOUR,, RECORD, INSPIRE & MATURE WITH THEM. “His primary stylistic influence was Clifford Brown , who gave the teenager a few lessons before he joined the Dizzy Gillespie Big Band at 18, He began recording for Blue Note Records in 1956, Lee also recorded for a variety of labels, including Blue Note, Vee-Jay, Roulette, Jazzland and Trip eventually recording 25 albums as a leader for the company with more than 250 musicians ”, A SERIOUSLY SMALL SAMPLING of this list includes: Hank Mobley John Coltrane Art Blakey Benny Golson Wayne Shorter Bobby Timmons Jymie Merritt Billy Hart Grachan Moncur III Freddie Hubbard Wynton Kelly Paul Chambers Grant Green Herbie Hancock Reggie Workman Billy Higgins John Gilmore Stanley Turrentine Jackie McLean Ron Carter Joe Henderson McCoy Tyner Lonnie Liston-Smith Elvin Jones Jack Wilson Reuben Wilson Larry Young Clifford Jordan Andrew Hill Billy Harper Bennie Maupin Marold Mabern Mickey Rokey Freddie Waits Oscar Peterson Lee Morgan Lesson 333: NO MATTMATTERER HOW GREAT THE INFLUENCEINFLUENCE,, DON’T LET THEM INFLUENCE YOU WITH DANGEROUS, SSTUPIDTUPID HABITS LIKE DRUGSDRUGS.DRUGS ..
    [Show full text]
  • The Complete Clifford Jordan Strata-East Sessions
    RECORD REV!EWS TAfrZ celebrated or discussed. Martin Bough's jaw-dropping photos from the rI actual sessions transport us precisely to that time and place. fiiflvsJ The booklet also reproduces a full- page ad in support of the albums, eJ. 'Ware's minus Sup,sv Bass and Shades of Edward Blackwell, the late drummer's L968 debut, issued here for the first time ever. These rarities greatly increase the set's historical value. So does the five-minute interview with 'Ware CLIFFORD JORDAN (even if "Wilbur" is misspelled in The Complete Clifford lordan Strata- 'the track listing). East Sessions A Chicago riitirr.,Jordan came of Clifford Jordan, Charles Brackeen, Sonny Fortune, age in bands led by Horace Silver, Max Luqman Lateel Cecil Payne, Pharoah Sanders, Roach, and Charles Mingus, but he saxophones; Don Cherry, Kenny Dorham, was out there as a leader by his mid- trumpets; Julian Priester, trombone; Howard Johnson, tuba; Stanley Cowel!, 20s. His agile lines, sinewy tone, and Wynton Kelly, Lonnie Liston Smith, Cedar Walton, deep blues feeling mark him as one of piano; guitar; Sonny Sharrock, Richard Davis, the era's great tenors. A creative risk- Charlie Haden, Sam Jones, Bill Lee, Cecil McBee, Sirone, Wilbur Ware, bass; Ed Blackwell, Dennis taker, too: he used fwo bassists and Charles, Billy Hart, Roy Haynes, Albert Heath, drummers on In the World, an imperflect Ttte Haven for Billy Higgins, Majeed Shabazz, drums; record that nonetheless allows us to Chief Bey, others, percussion; Leon Thomas, hear Don Cherry and'W.ynton Kelly Music Lorers in the Mosa ic M D6-2sJ?:'l S$:liirlt',no rd r orda n, in the same band.
    [Show full text]
  • 59Th Annual Critics Poll
    Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • Pharoah Sanders, Straight-Ahead and Avant-Garde
    Jazz Perspectives ISSN: 1749-4060 (Print) 1749-4079 (Online) Journal homepage: http://www.tandfonline.com/loi/rjaz20 Pharoah Sanders, Straight-Ahead and Avant-Garde Benjamin Bierman To cite this article: Benjamin Bierman (2015) Pharoah Sanders, Straight-Ahead and Avant- Garde, Jazz Perspectives, 9:1, 65-93, DOI: 10.1080/17494060.2015.1132517 To link to this article: http://dx.doi.org/10.1080/17494060.2015.1132517 Published online: 28 Jan 2015. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rjaz20 Download by: [Benjamin Bierman] Date: 29 January 2016, At: 09:13 Jazz Perspectives, 2015 Vol. 9, No. 1, 65–93, http://dx.doi.org/10.1080/17494060.2015.1132517 Pharoah Sanders, Straight-Ahead and Avant-Garde Benjamin Bierman Introduction Throughout the early 1980s, Sweet Basil, a popular jazz club in New York City, was regularly packed and infused with energy as the Pharoah Sanders Quartet was slam- ming it—Sanders on tenor, John Hicks on piano, Walter Booker on bass, and Idris Muhammad on drums.1 The music was up-tempo and unflagging in its intensity and drive. The rhythm section was playing with a straight-ahead yet contemporary feel, while Sanders was seamlessly blending the avant-garde or free aesthetic and main- stream straight-ahead jazz, as well as the blues and R&B influences from early in his career.2 This band—and this period of Sanders’s career—have been largely neglected and Sanders himself has generally been poorly represented in the media.3 Sanders, as is true for many, many musicians, suffers from the fact that in critical discourses jazz styles often remain conceptualized as fitting into pre-conceived cat- egories such as straight-ahead, mainstream, and avant-garde or free jazz.
    [Show full text]
  • {Qudta 16 `Jamboree' Tees 11 RUSH There's No Business Like
    48 bienE Billboard SPECIAL SURVEY For Week Ending 3/19/78 15 Hours Of Rock Sounds Delight Massive Audience Bands To Play Top Boxoffice LOS ANGELES -A wide variety pend On- and, as the encore, "Evil Benefit Show of rock sounds constituted the musi- Ways." PHILADELPHIA -Woody Her- ,Copyright 1978, Billboard Publications, Inc. No part of this pubi cation may be reproduced cal fare at Cal Jam II held in nearby man, Thad Jones & Mel Lewis stored in a retrieval system. or transmitted, in any form or by any means. electronic. mechanical The group performed only six are photocopying. recording, Ontario, Calif., March 18. or otherwise, without the prior written pe-mission of the publisher songs, spotlighting its instrumental- contributiing their services for a big Bob Welch's early morning set in- ists on colorful jams on most of the band bash Wednesday (29) at a ben- -efit for the family of tenor saxo- Total Ticket cluded both of his big Capitol hits, numbers. ARTIST- Promoter, Facility, Dates phonist Gregory Herbert, who was Á Ticket Price Gross the mellow, serene "Sentimental Heart offered ''DENOTES SELLOUT PERFORMANCE Sales Scale Receipts one of the most found dead under clouded circum- Lady" and the catchy, uptempo thoroughly diversified perform- stances in Amsterdam, Holland, on Stadiums "Ebony Eyes." Welch was backed ances, mixing soft ballads like & Festivals (More Than 20,000) by a five -man band in addition to Jan. 31. "Dreamboat Annie" and "Love 1 CALIFORNIA JAM II -Sandy Feldmen & Lenny Stevie Nicks on tambourine A localite, he had been touring 290,000 $12.50- $17.00 $2,500,000* and Alive" with energetic rockers like Stogell /Wolf & Rissmiller Concerts, Motor Mick Fleetwood with Blood, Sweat & Tears.
    [Show full text]
  • Flying Dutchman Label Discography
    Flying Dutchman Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Flying Dutchman Label Discography Flying Dutchman was a jazz label created 1969 by the renowned producer/arranger Bob Thiele. It produced a fascinating mix of forward thinking music; the label combined the sounds of jazz, soul, experimentation, and black politics. Although the label put out some standard jazz albums, their most incredible records were those of unique musicians such as Leon Thomas, Lonnie Liston Smith, Gil Scott-Heron and Angela Davis. Initially the label was distributed by Atco Division of Atlantic, but later was switched to Bob Shad’s Mainstream label for two years. By 1974 the distribution was switched to RCA which distributed the label to 1984. The Flying Dutchman catalog was acquired by Legacy Recordings in 1993 from Bob Shad's daughter Tamara when she sold the assets of Mainstream Records, which had distributed Flying Dutchman until it closed in 1978. The Flying Dutchman label had several subsidiaries the specialized in different musical styles. The Amsterdam label concentrated on popular music including the recordings of Thiele’s wife Teresa Brewer. The Reggae label was established to release the reggae music from Jamaica. The Bluestime label was established to release blues recordings. Starting in 1974, Flying Dutchman albums were released in the RCA numbering system and were distributed by RCA. This numbering system was also used for albums on the Signature which was reactivated in 1974; Thiele also established the Bob Thiele Music label. For other albums on the Flying Dutchman, Signature, Bob Thiele Music label releases see the discography of the Bob Thiele labels.
    [Show full text]