DOCSLIB.ORG

Satellite Gives Lesson

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Satellite Gives Lesson US Action Promotes Gridders Tie Allegheny Cultural Exchanges By 4th Quarter Rally Page 2 Editorial Sports Page 3 VOLUME 86 Z- 572 OBERLIN OHIO TUESDAY OCTOBER 15 1957 NUMBER 9 Committee To Investigate Anyone for Bicycling Satellite Gives Lesson Campus Publicity Agencies On Humility Tufts Stellman Stresses Need for Revision Of Dining Hall Announcement System U S Pays Price of Ignoring Research By SARA WHITNEY President Misses Space Victorys Impact Dining hall announcements are ineffective Jack Stell- fa 1 By JEAN TIMBERLAKE man told Student Council in a communications- publicity re- The launching of a space satellite by the Soviet Un- port at Sunday nights meeting Council responded by di- M ion is another bit of evidence if mere were needed that Rus- recting the Non- Academic Affairs Committee to consider and of urn sian science is first class Prof Robert W Tufts told the Re- a list criteria for items in the nocn present announcements u view yesterday and to investigate the possibilities of a Publicity Workshop The evidence he referred to was Sputnik 180- The large quantity of announcements the results in stu pound satellite launched ten days ago dent inattention Stellman pointed out Many of the noting The Russians have outdone us in jet engines and jet Council Group merely propaganda for various aircraft they developed atomic student groups which could reduce energy far more rapidly than the volume of daily announce- American experts expected they Rest Essential Studies System ments by utilizing other effective it probably tested a thermonuclear publicity channels he said In the warhead for their missiles and past communications policy limit- 0 they are ahead of us in the de- To Treat Flu Of Counseling ed the dining- hall announcements velopment of missiles Professor to two lines twice a week a sys- Tufts continued on Student Council Committee tem which was more effective in t He did not believe that there is Says Durfee discussi- Non- Academic Affairs is conveying important information going to be a third World War ng the College counseling sys- to students according to Stellman Rather he commented the If and when an Asian influenza advisability of a prospect is a long epidemic begins on the campus tem the drivers Publicity Workshop for period of College cars and re- competition with the Soviet sys- we want to be ready for it Dr test fur The Publicity Workshop AV if i i V SelfG- overnment i i tem If the space satellite will Max Durfee Director of the Col- vision of Womens established will plan publicity League legislation its Students mill around degenerate- looking bicycles Saturday at the Consolidated Relief Drive teach us the virtue of humility lege Health Service told the Re- in campaigns for campus organiza- of prevailing so- Bike Auction behind Burton Hall persuade us to discard the ar- view present study the tions and utilize various and methods rogance and self- righteousness cial rules of communication to limit dining- The Health Service in cooper- which have too frequently char- To help guide its discussion of hall announcements to ation with the Lorain County the most acterized our behavior in recent the College counseling system the important items It will su- Health Department has adopted a also Interviewing Political Leaders Makes years its launching will yet prove Committee is preparing a quest- pervise posters regulating their plan to facilitate the care and to have been helpful Professor epi- ionnaire with the help of Dean size and time of display in- treatment of students if an and Tufts predicted Robert Dixon to evaluate all the organizations demic comes according to Dr struct in poster in evaluating Admin- Colleges counseling and other Washington Semester Valuable for Five Tufts the Durfee making with the new sign ma- istrations handling of the satellite personal services The Committee chine The workshop can serve as ill- By missile projects stated that for an The best treatment for this is also considering the possibility an idea Washington Semester students Emily ROGER BUFFETT center for publicity administration which prided itself ness which has an incubation of a ful- ltime College counsellor campaigns Curtis Kathy Edgerton and Lucy Peake told I got a much insight into Con- better from the outset on its psycholog- period of two to three days is rest In other ap- Another issue under considerat- action Council the Review that the programs classes sem- gress and a greater understanding of pres- ical waging of the cold war the said Dr Durfee He added that an ion is a required test for all stu- pointed Mike Rudman chairman inars and individual research projects had sure groups commented Washington Se- Eisenhower administration has epidemic should run its course dents using College cars This test of the National Student Associa- given them valuable practical experience in mester student Jon Mallamud been particularly obtuse about normally in two or three weeks If would be given through the Dean tion Co- ordinating Committee a large number of students require American government and foreign policy Mallamud spent much of his time in the impact of the satellite The of Mens office and would involve The function of the committee is treatment at the same time he The Washington Semester is a cooperative Washington last year working on his project Presidents assertion that the a written examination on state to handle correspondence with the United States didnt think of the continued the patients will bo laws and on hypothetical situat- NSA sponsor campus programs in arrangement between the American Univer The Budget Process in the Corps of Engi satellite project as a race has a confined to their dormitory beds ions which might occur while a line with the national emphasis sity in Washington DC and cer neers with special reference to peculiar ring Tufts observed Dean Mary Dolliver and Dean student is driving The group is assist College organizations in tain accredited colleges whereby flood control in the eastern part of Tufts outlined failures of past W D Holdeman will arrange with working with Dean W D Holde- gaining information about other selected students have the oppor- Conference Needs this country He contacted people United States policy and suggest- house directors to work with jun- govern- m an on this test schools and represent the College tunity to study American in both the Army Corps of Engi- ed possible revisions for the fu- ior residents and counselors if The Committee also favors a at regional and national NSA con- ment in action while studying at Students Interest neers and the Bureau of the ture The United States is now there is a need to aid the Health joint committee of members of ferences the University The academic Budget I was impressed by the paying and will long pay the Service in its program of visita- Mens and Womens Boards and Other Members program includes a seminar on To Back Functions amount of time people were will- price of the contempt for basic tion and treatment Non- Academic Affairs Committee Bill Hickman Roberta Meserve Government in Action three cred- ing to spend explaining things and research of the former Secretary The danger Five College Conference Com- in Asian flu results to act as a liaison between the Paul Potter and Ian Burton who it hours an individual research by the way in which they would of Defense Charles E Wilson from complications brought on by mittee started six years ago to go three groups and to discuss social has had extensive experience in project three credit hours and out of their way to help us Support for basic research is the illness rather than from the regular courses totaling nine cred- promote cultural exchange and rules student government at Birming- make contacts he said needed and should be given he illness itself stated Dr Durfee As ham University in England were it hours good will between Ohio colleges Last Social Project declared a result diagnosis of abnormally years Committee on ge will be continued this year if there Piatts selected as membersatlar- and Specialized Courses Tufts stated further that de- prolonged or severe cases Rules which was organized by is enough student interest in the Vince Piatt another Washing- will be Bill Rugh and Pam Roberts were fense needs should take priority important Larry Mirel has been absorbed by Miss Edgerton explained that program according to Jack Stell- ton Semester participant chose a Students are always appointed co- travel directors The program en- over budget balancing Discussing expected to go Non- Academic Affairs Committee the graduate- level man Council member Those who study of The International La- to the Health appointments followed a decision highlysp- the security system Tufts re Service at It will continue to discuss the abled her to take ecialized would like to work on the Confer- bor Movement in Underdeveloped the outset of any symp- by Council to delete the section of College Continued on p 4 col 2 toms of illness Mirel Committees proposals courses which the ence Committee should contact Countries for his project He was the By- Laws requiring the NSA pointed does not offer She out of Student Council Nom- able to work directly with the De- Co- ordinator to be a member of members that many of the lecturers at the partment of Labor AFL- Council inations Committee he said and the University were political figures CIO Freshmen To Elect Council also appointed Dave The participating schools are 3 Students Find Acceptance who might be unable to gravel to Piatt stressed the advantage
Load more

Recommended publications
  • The Connection Between Jazz and Drug Abuse: a Comparative Look at the Effects of Widespread Narcotics Abuse on Jazz Music in the 40’S, 50’S, and 60’S
    University of Denver Digital Commons @ DU Musicology and Ethnomusicology: Student Scholarship Musicology and Ethnomusicology 11-2019 The Connection Between Jazz and Drug Abuse: A Comparative Look at the Effects of Widespread Narcotics Abuse on Jazz Music in the 40’s, 50’s, and 60’s Aaron Olson University of Denver, [email protected] Follow this and additional works at: https://digitalcommons.du.edu/musicology_student Part of the Musicology Commons Recommended Citation Olson, Aaron, "The Connection Between Jazz and Drug Abuse: A Comparative Look at the Effects of Widespread Narcotics Abuse on Jazz Music in the 40’s, 50’s, and 60’s" (2019). Musicology and Ethnomusicology: Student Scholarship. 52. https://digitalcommons.du.edu/musicology_student/52 This work is licensed under a Creative Commons Attribution 4.0 License. This Bibliography is brought to you for free and open access by the Musicology and Ethnomusicology at Digital Commons @ DU. It has been accepted for inclusion in Musicology and Ethnomusicology: Student Scholarship by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. The Connection Between Jazz and Drug Abuse: A Comparative Look at the Effects of Widespread Narcotics Abuse on Jazz Music in the 40’s, 50’s, and 60’s This bibliography is available at Digital Commons @ DU: https://digitalcommons.du.edu/musicology_student/52 The Connection between Jazz and Drug Abuse: A Comparative Look at the Effects of Widespread Narcotics Abuse on Jazz Music in the 40’s, 50’s, and 60’s. An Annotated Bibliography By: Aaron Olson November, 2019 From the 1940s to the 1960s drug abuse in the jazz community was almost at epidemic proportions.
    [Show full text]
  • Victory and Sorrow: the Music & Life of Booker Little
    ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P.
    [Show full text]
  • BROWNIE the Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet
    BROWNIE The Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet Dan Morgenstern Grammy Award for Best Album Notes 1990 Disc 1 1. DELILAH 8:04 Clifford Brown-Max RoaCh Quintet: (V. Young) Clifford Brown (tp), Harold Land (ts), Richie 2. DARN THAT DREAM 4:02 Powell (p), George Morrow (b), Max RoaCh (De Lange - V. Heusen) (ds) 3. PARISIAN THOROUGHFARE 7:16 (B. Powell) 4. JORDU 7:43 (D. Jordan) 5. SWEET CLIFFORD 6:40 (C. Brown) 6. SWEET CLIFFORD (CLIFFORD’S FANTASY)* 1:45 1~3: Los Angeles, August 2, 1954 (C. Brown) 7. I DON’T STAND A GHOST OF A CHANCE* 3:03 4~8: Los Angeles, August 3, 1954 (Crosby - Washington - Young) 8. I DON’ T STAND A GHOST OF A CHANC E 7:19 9~12: Los Angeles, August 5, 1954 (Crosby - Washington - Young) 9. STOMPIN’ AT TH E SAVOY 6:24 (Goodman - Sampson - Razaf - Webb) 10. I GET A KICK OUT OF YOU 7:36 (C. Porter) 11. I GET A KICK OUT OF YOU* 8:29 * Previously released alternate take (C. Porter) 12. I’ LL STRING ALONG WITH YOU 4:10 (Warren - Dubin) Disc 2 1. JOY SPRING* 6:44 (C. Brown) Clifford Brown-Max RoaCh Quintet: 2. JOY SPRING 6:49 (C. Brown) Clifford Brown (tp), Harold Land (ts), Richie 3. MILDAMA* 3:33 (M. Roach) Powell (p), George Morrow (b), Max RoaCh (ds) 4. MILDAMA* 3:22 (M. Roach) Los Angeles, August 6, 1954 5. MILDAMA* 3:55 (M. Roach) 6.
    [Show full text]
  • JREV3.8FULL.Pdf
    JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc.
    [Show full text]
  • Proquest Dissertations
    A comparison of embellishments in performances of bebop with those in the music of Chopin Item Type text; Thesis-Reproduction (electronic) Authors Mitchell, David William, 1960- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 23:23:11 Link to Item http://hdl.handle.net/10150/278257 INFORMATION TO USERS This manuscript has been reproduced from the miaofillm master. UMI films the text directly fi^om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be fi-om any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and contLDuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • Earshot Jazz
    Tomasz Stanko: Jazz as a Synonym for Freedom b y P e t e r M o n a g h a n Tomasz Stanko, the preeminent Polish jazzman, and one of the greatest trumpeters in the art form, ever, has called Chet Baker “my first trumpet love, followed by Miles, who continued as my guru until his very end.” He also acknowledges the in­ fluence o f a wide variety of other trumpet innovators of the modern era: Clifford Brown, Kenny Dorham, Fats Navarro, Booker Little, Don Cherry... That pretty well covers the trumpet waterfront. But Stanko also nods to other essential jazz heroes: John Coltrane, Max Roach, Sonny Rollins, the Jazz Messengers... But you can get a further sense o f how the Polish trumpeter’s aesthetic works from his comment that “as far as my sound is concerned, I believe that [painter Vincent] Van Gogh, [saxophonist] Coleman Hawkins, [writer W illiam ] Faulkner, [trumpeter] Roy Eldridge, [artist Amedeo] M odigliani, [writer W illiam S.] Burroughs, and [trumpeter] Buck Clayton might have helped in its buildup.” Stanko once said: “Various media, such as film , theatre, painting, literature and poetry, as well as philosophy and humanity, in its broad sense, have had an effect on me as a composer, improviser, and artist.” This month, we’ll get another chance (Triple Door, March 19) to hear why Stanko has become, through 40 years o f play­ ing in many of the most important bands and moments of European jazz — in fact, of any jazz — a true individualist. He is, nonetheless, rooted in and resonant w ith the course of modern jazz.
    [Show full text]
  • A Typology of Musical Borrowing in Jazz Improvisation
    University of Denver Digital Commons @ DU Musicology and Ethnomusicology: Student Scholarship Musicology and Ethnomusicology 11-2020 The Myers-Briggs of Quoting: A Typology of Musical Borrowing in Jazz Improvisation University of Denver Follow this and additional works at: https://digitalcommons.du.edu/musicology_student Part of the Musicology Commons This work is licensed under a Creative Commons Attribution 4.0 International License. The Myers-Briggs of Quoting: A Typology of Musical Borrowing in Jazz Improvisation The Myers-Briggs of Quoting: A Typology of Musical Borrowing in Jazz Improvisation Myers-Briggs is a personality identifying test that uses a set of either-or criteria to create an abbreviation where each letter defines one portion of the personality, the culmination being a, hopefully, accurate descriptor of the person. I plan to take this either-or criteria culminating in an encompassing abbreviation approach to analyzing the use of quotation in jazz improvisation. The word, quoting, is most oft mentioned as an overarching explanation of musical borrowing in jazz, but I have found that the uses, implications, and outcomes vary wildly. This paper will provide a new typology of these types of quoting to allow a more effective, efficient, and encompassing analysis of musical borrowing in the idiom of jazz improvisation. Annotated Bibliography Carroll, Charles Michael. "Musical Borrowing-Grand Larceny or Great Art?" ​College Music Symposium​ 18, no. 1 (1978): 11-18. ​http://www.jstor.org/stable/40373912​. Charles Carroll’s article for the College Music Symposium is one of the first examples of modern academic writing about musical borrowing. While Carroll was not necessarily a grand figure in music academia, he was a well researched music scholar whose publishing in this respected journal showcases his validity.
    [Show full text]
  • Listening to the Blindfold Tests: Olivia Wikle Digital Initiatives Librarian a Sonic Community of 20Th Century Jazz Artists University of Idaho Leonard Feather
    Listening to the Blindfold Tests: Olivia Wikle Digital Initiatives Librarian A Sonic Community of 20th Century Jazz Artists University of Idaho Leonard Feather ❖ 1914-1994 ❖ Jazz critic, musician, composer, arranger, broadcaster, and producer Leonard Feather, 1970 Jazz Journalism Blindfold Tests ❖ Format: Feather played several selections of jazz pieces for a “blindfolded” jazz musicians, then asked them to identify who was playing ❖ Feather recorded, edited, and published (in writing) the musicians’ responses Leonard Feather with Max Roach, 1975 Blindfold Tests ❖ 1946-1994 ❖ Published in Jazz Magazines Metronome, Downbeat, Record Whirl, and JazzTimes ❖ Broadcast on Feather’s radio show, “Platterbrains” Louis Armstrong, 1955 Lionel Hampton & Leonard Feather, broadcasting from the summit on Knob. L.A., 1962 University of Idaho Blindfold Tests ❖ 1953-1986 ❖ 33 audio files ❖ Approximately 43 individual tests ❖ Files include misc. interviews, performances, and taped radio broadcasts “the best way to show what musicians really felt about music would be to subject them to an experience where they listened to what they were hearing, and then expressed their opinions. Obviously, they couldn’t be accused of prejudice if they didn’t know who it was they were listening to.” –Leonard Feather, “90 Months Behind a Blindfold,” Downbeat, June 30, 1954, 61. “Over decades, Feather embarrassed scores of musicians who thought that race or gender were audible, or that studio men can't improvise, or that big names are invariably identifiable.” –Gary Giddins “Leonard Feather Obituary,” 1994 Blindfold Tests in Downbeat ❖ 1951-1970: A pivotal time in jazz history Pearl Bailey and Louis Armstrong, 1965 Nesuhi Ertegun, Dave Lambert, Leonard Feather, Jack Teagarden, and Gene Lees LEONARD FEATHER: Well, ah, one thing that might surprise you, or it might not, is that all the records I played were made on the west coast.
    [Show full text]
  • Charlie Parker International Jam Sessions Mp3, Flac, Wma
    Charlie Parker International Jam Sessions mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: International Jam Sessions Country: France Released: 1976 MP3 version RAR size: 1405 mb FLAC version RAR size: 1652 mb WMA version RAR size: 1623 mb Rating: 4.6 Votes: 895 Other Formats: AU MP1 AC3 VQF ASF AHX MIDI Tracklist A1 Anthropology 5:47 A2 Cheers 6:24 A3 Loverman 1:50 A4 Cool Blues 4:20 A5 Indiana 10:20 B1 Yardbird Suite 10:30 B2 Scrapple From The Apple 13:10 Credits Alto Saxophone – Charlie Parker, Phil Woods Baritone Saxophone – Cecil Payne Bass – Erik Moseholm, Thore Jederby, Wendell Marshall Drums – Arthur Taylor*, Jack Noren Piano – Duke Jordan, Costa Theselius*, Jorgen Bengtson* Tenor Saxophone – Frank Socolow Trumpet – Jorgen Ryg*, Rolf Ericson Notes french issue of Xanadu 122 Other versions Category Artist Title (Format) Label Category Country Year Charlie Parker / Clifford Charlie Parker / Brown / Phil Woods - Xanadu Xanadu 122 Clifford Brown / Xanadu 122 US 1976 International Jam Sessions Records Phil Woods (LP, Comp) Charlie Parker / Clifford Charlie Parker / Brown / Phil Woods - Xanadu XCD 1232 Clifford Brown / XCD 1232 US 1995 International Jam Sessions Records Phil Woods (CD, RE, RM) Related Music albums to International Jam Sessions by Charlie Parker Charlie Parker - Charlie Parker On Dial Volume 4 Charlie Parker - Cool Blues Charlie Parker - The Definite Charlie Parker, Vol. 4 Charlie Parker - Charlie Parker Memorial Volume Six Charlie Parker - The Immortal Charlie Parker Phil Woods - I Remember (A Collection Of Compositions By Phil Woods) Charlie Parker - Charlie Parker On Dial Volume 1 Charlie Parker - The Genius Of Charlie Parker Miles Davis - Miles To Go The Phil Woods Quartet, Gene Quill - Phil Talks With Quill (The Phil Woods Quartet With Gene Quill Sitting In).
    [Show full text]
  • Bob Gordon Discography
    BOB GORDON DISCOGRAPHY BOB GORDON RECORDINGS, CONCERTS AND WHEREABOUTS Bob Gordon was born in St. Louis, Missouri, June 11, 1928. He passed away in a car accident between Hollywood and San Diego, CA., August 28, 1955 by Kenneth Hallqvist, Sweden January 2019 Bob Gordon DISCOGRAPHY - Recordings, Concerts and Whereabouts by Kenneth Hallqvist - page No. 1 INTERNAL INFORMATION Colour markings for physical position: IKEA-boxes with Bob Gordon = GREEN IKEA-boxes with Lars Gullin = YELLOW IKEA-boxes with Gerry Mulligan = BLUE Shelves = ORANGE Cupboard = RED Bob played tenor sax with: Shorty Sherock (1946) Alvino Ray (1948-1951) Billy May (1952) Horace Heidt (1952-1953) George Redman (1954) Search for LPs/CDs: GNP J.S.L.P. 50.042: "Maynard Ferguson - Dimensions" (Trip Jazz LP available) EMArcy LP #MG 36044: "Lyle Murphy: Four saxophones in twelwe tones" (10" LP 1955) Mercury CD EJD-1016: COMPACT JAZZ - Maynard Ferguson with Bob Gordon (released in Japan 1989) EMArcy CD #3071: "Introducing Bob Gordon" Bob Gordon DISCOGRAPHY - Recordings, Concerts and Whereabouts by Kenneth Hallqvist - page No. 2 Abbreviations used in this discography acc accordion mda mandola arr arranger mdln mandolin as alto saxophone mel melodica b bass (contrabass or double bass) mgs Moog synthesizer b-cl bass clarinet oboe oboe b-tb bass trombone oca ocarina b-tp bass trumpet org organ bars baritone saxophone p piano bgs bongos panfl pan flute bjo banjo perc percussion bnd bandoneon saxes saxophones bs bass saxophone sop soprano saxophone bsn bassoon st-d steel drums cgs
    [Show full text]
  • I a COMPARATIVE STUDY of the JAZZ TRUMPET STYLES of CLIFFORD BROWN, DONALD BYRD, and FREDDIE HUBBARD an EXAMINATION of IMPROVISA
    A COMPARATIVE STUDY OF THE JAZZ TRUMPET STYLES OF CLIFFORD BROWN, DONALD BYRD, AND FREDDIE HUBBARD AN EXAMINATION OF IMPROVISATIONAL STYLE FROM 1953-1964 by JAMES HARRISON MOORE Bachelor of Music, West Virginia University, 2003 Master of Music, University of the Arts, 2006 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 2012 i UNIVERSITY OF PITTSBURGH Dietrich School of Arts and Sciences This dissertation was presented by James Harrison Moore It was defended on March 29, 2012 Committee Members: Dean L. Root, Professor, Music Mathew Rosenblum, Professor, Music Lawrence Glasco, Professor, History Dissertation Advisor: Nathan T. Davis, Professor, Music ii Copyright © by James Harrison Moore 2012 iii Nathan T. Davis, PhD A COMPARATIVE STUDY OF THE JAZZ TRUMPET STYLES OF CLIFFORD BROWN, DONALD BYRD, AND FREDDIE HUBBARD: AN EXAMINATION OF IMPROVISATIONAL STYE FROM 1953-1964. James Harrison Moore, PhD University of Pittsburgh, 2012 This study is a comparative examination of the musical lives and improvisational styles of jazz trumpeter Clifford Brown, and two prominent jazz trumpeters whom historians assert were influenced by Brown—Donald Byrd and Freddie Hubbard. Though Brown died in 1956 at the age of 25, the reverence among the jazz community for his improvisational style was so great that generations of modern jazz trumpeters were affected by his playing. It is widely said that Brown remains one of the most influential modern jazz trumpeters of all time. In the case of Donald Byrd, exposure to Brown’s style was significant, but the extent to which Brown’s playing was foundational or transformative has not been examined.
    [Show full text]
  • A Night at Birdland, Volumes 1 and 2”—Art Blakey Quintet (1954) Added to the National Registry: 2013 Essay by Alan Goldsher (Guest Post)*
    “A Night at Birdland, Volumes 1 and 2”—Art Blakey Quintet (1954) Added to the National Registry: 2013 Essay by Alan Goldsher (guest post)* Original album Original label Art Blakey Due to its improvisational nature—and the nature of improvisation—jazz, when performed in a club or a concert hall for a throng of paying customers, can be exhilarating, or infuriating, or transcendent, or tedious, all in the span of 32 bars. But live jazz’s most endemic characteristic is that of the ephemeral, because the moment an improvised solo leaves the musician’s instrument, it’s gone, off into the ozone, never to be repeated in the exact manner. The instrumentalist can play the identical lick in the identical part of the identical song at the identical venue for seven consecutive nights, but it will never sound the same, never: maybe the tune’s tempo will be slightly slower, compelling the soloist to hold back, where he might have otherwise jumped the beat; maybe the temperature on the bandstand caused the bassist’s instrument to drift incrementally out of tune, which unconsciously tweaked the soloist’s attack to the point that he placed an accent on the high Bb rather than the high C, as he’d intended; maybe the lubricated gentleman in the front row shouted, “Blow, saxophone player, blow!” which broke the soloist’s concentration, which led to a cracked note. For the vast majority of the time, none of these factors make the improvisation any better or worse, just different. Not only is live jazz ephemeral, it’s also elusive—some nights it’s there, and some nights, it ain’t.
    [Show full text]