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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. -
American Music Review the H
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Spring 2013 Invisible Woman: Vi Redd’s Contributions as a Jazz Saxophonist By Yoko Suzuki, University of Pittsburgh The story of alto saxophonist Vi Redd illustrates yet another way in which women jazz instrumentalists have been excluded from the dominant discourse on jazz history. Although she performed with such jazz greats as Count Basie, Max Roach, Dizzy Gillespie, and Earl Hines, she is rarely discussed in jazz history books except for those focusing specifically on female jazz musicians. One reason for her omission is that jazz historiography has heavily relied on commercially produced recordings. Despite her active and successful career in the 1960s, Redd released only two recordings as a bandleader, in 1962 and 1964. Reviews of these recordings, along with published accounts of her live performances and memories of her fellow musicians illuminate how Redd’s career as a jazz instrumentalist was greatly shaped by the established gender norms of the jazz world. Elvira “Vi” Redd was born in Los Angeles in 1928. Her father, New Orleans drummer Alton Redd, worked with such jazz greats as Kid Ory, Dexter Gordon, and Wardell Gray. Redd began singing in church when she was five, and started on alto saxophone around the age of twelve, when her great aunt gave her a horn and taught her how to play. Around 1948 she formed a band with her first husband, trumpeter Nathaniel Meeks. She played the saxophone and sang, and began performing professionally. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JON HENDRICKS NEA Jazz Master (1993) Interviewee: Jon Hendricks (September 16, 1921 - ) and, on August 18, his wife Judith Interviewer: James Zimmerman with recording engineer Ken Kimery Date: August 17-18, 1995 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 95 pp. Zimmerman: Today is August 17th. We’re in Washington, D.C., at the National Portrait Galley. Today we’re interviewing Mr. Jon Hendricks, composer, lyricist, playwright, singer: the poet laureate of jazz. Jon. Hendricks: Yes. Zimmerman: Would you give us your full name, the birth place, and share with us your familial history. Hendricks: My name is John – J-o-h-n – Carl Hendricks. I was born September 16th, 1921, in Newark, Ohio, the ninth child and the seventh son of Reverend and Mrs. Willie Hendricks. My father was a minister in the African Methodist Episcopal Church, the AME Church. Zimmerman: Who were your brothers and sisters? Hendricks: My brothers and sisters chronologically: Norman Stanley was the oldest. We call him Stanley. William Brooks, WB, was next. My sister, the oldest girl, Florence Hendricks – Florence Missouri Hendricks – whom we called Zuttie, for reasons I never For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 really found out – was next. Then Charles Lancel Hendricks, who is surviving, came next. Stuart Devon Hendricks was next. Then my second sister, Vivian Christina Hendricks, was next. Then Edward Alan Hendricks came next. -
Downbeat.Com March 2014 U.K. £3.50
£3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson 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 Associate Pete Fenech 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, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: 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 Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene -
Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne -
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. -
View Was Provided by the National Endowment for the Arts
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JON HENDRICKS NEA Jazz Master (1993) Interviewee: Jon Hendricks (September 16, 1921 – November 22, 2017) and, on August 18, his wife Judith Interviewer: James Zimmerman with recording engineer Ken Kimery Date: August 17-18, 1995 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 95 pp. Zimmerman: Today is August 17th. We’re in Washington, D.C., at the National Portrait Galley. Today we’re interviewing Mr. Jon Hendricks, composer, lyricist, playwright, singer: the poet laureate of jazz. Jon. Hendricks: Yes. Zimmerman: Would you give us your full name, the birth place, and share with us your familial history. Hendricks: My name is John – J-o-h-n – Carl Hendricks. I was born September 16th, 1921, in Newark, Ohio, the ninth child and the seventh son of Reverend and Mrs. Willie Hendricks. My father was a minister in the African Methodist Episcopal Church, the AME Church. Zimmerman: Who were your brothers and sisters? Hendricks: My brothers and sisters chronologically: Norman Stanley was the oldest. We call him Stanley. William Brooks, WB, was next. My sister, the oldest girl, Florence Hendricks – Florence Missouri Hendricks – whom we called Zuttie, for reasons I never For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 really found out – was next. Then Charles Lancel Hendricks, who is surviving, came next. Stuart Devon Hendricks was next. Then my second sister, Vivian Christina Hendricks, was next. -
Discography Updates (Updated May, 2021)
Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard. -
Download Press
Sumi Tonooka Pianist & Composer Biography n his liner notes to pianist, composer and Ieducator Sumi Tonooka’s fifth and latest CD, Long Ago Today, journalist Russ Musto restates his praise from thirty years ago: “. it has been a pleasure to hear her blos- som into one of the most talented musicians of her generation.” Today, Tonooka (pro- nounced To-NO-ka) reignites her successes as an architect at the keyboard with Long Ago Today (Artists Recording Collective), released nationwide on March 25, 2008. She’s joined by bassist Rufus Reid (who has appeared on all of her releases) and the late drummer Bob Braye. Nine of the ten tunes are penned by her. Born on October 3, 1956 in Philadelphia, a city that has few rivals in terms of its rich music history — jazz, gospel, punk, R&B, The Philly Soul Sound — Tonooka experienced unfettered freedom at the piano as a young child. She started piano and music instruction at the age of seven at the Settlement Music School in Philly with Ester Cinberg and then Gary Goldschneider. Tonooka, who grew up in a multicultural household, was introduced to the extramundane con- cepts and executions of pianist Thelonious Monk at the age of 13. “My parents took me to see Thelonious Monk ‘live’ at the Aqua Lounge for my thirteenth birthday and it was then and there . that’s when I decided to be a jazz musician.” He, along with pianist/composer Duke Ellington and close associate and admirer pianist Kenny Barron, have been her torches in the night as she’s glanced through and past many ideologies and perceptions of performance and tunesmithing. -
Rahsaan Roland Kirk Blacknuss Mp3, Flac, Wma
Rahsaan Roland Kirk Blacknuss mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Blacknuss Country: US Released: 1972 Style: Fusion, Jazz-Funk MP3 version RAR size: 1562 mb FLAC version RAR size: 1363 mb WMA version RAR size: 1601 mb Rating: 4.1 Votes: 952 Other Formats: DXD FLAC RA MIDI AA MP3 ASF Tracklist Hide Credits Ain't No Sunshine A1 2:26 Written-By – Bill Withers What's Goin' On A2a 3:46 Written-By – Cleveland*, Gaye*, Benson* Mercy Mercy Me (The Ecology) A2b Written-By – Marvin Gaye Take Me Girl, I'm Ready A3 2:48 Written-By – Chris Allen*, Johnny Cameron I Love You Yes I Do A4 3:19 Written-By – Bristol*, Ware*, Sawyer* My Girl A5 3:06 Written-By – Ronald White, William Robinson* Which Way Is It Going A6 2:24 Written-By – Rahsaan Roland Kirk* One Nation A7 3:40 Written-By, Vocals – Princess Patience Burton Never Can Say Goodbye B1 4:00 Vocals – Cissy HoustonWritten-By – Clifton Davis Old Rugged Cross B2 7:14 Arranged By – Rahsaan Roland Kirk*Written-By [Release Credit] – Trad.* Make It With You B3 4:50 Written-By – David Gates Blacknuss B4 5:13 Vocals – Cissy HoustonWritten-By – Rahsaan Roland Kirk* Companies, etc. Manufactured By – Atlantic Recording Corporation Phonographic Copyright (p) – Atlantic Recording Corporation Remixed At – Atlantic Studios Recorded At – Regent Sound Studios, New York City Remixed At – Regent Sound Studios, New York City Mastered At – Atlantic Studios Pressed By – Presswell Recorded At – Atlantic Studios Credits Artwork – Haig Adishian Bass – Henry Pearson (tracks: A1, B1, B4), Bill Salter* -
Stanley Cowell Samuel Blaser Shunzo Ohno Barney
JUNE 2015—ISSUE 158 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM RAN BLAKE PRIMACY OF THE EAR STANLEY SAMUEL SHUNZO BARNEY COWELL BLASER OHNO WILEN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 116 Pinehurst Avenue, Ste. J41 JUNE 2015—ISSUE 158 New York, NY 10033 United States New York@Night 4 Laurence Donohue-Greene: [email protected] Interview : Stanley Cowell by anders griffen Andrey Henkin: 6 [email protected] General Inquiries: Artist Feature : Samuel Blaser 7 by ken waxman [email protected] Advertising: On The Cover : Ran Blake 8 by suzanne lorge [email protected] Editorial: [email protected] Encore : Shunzo Ohno 10 by russ musto Calendar: [email protected] Lest We Forget : Barney Wilen 10 by clifford allen VOXNews: [email protected] Letters to the Editor: LAbel Spotlight : Summit 11 by ken dryden [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, Thomas Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Miscellany 41 Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Event Calendar Terrell Holmes, Robert Iannapollo, 42 Suzanne Lorge, Marc Medwin, Robert Milburn, Russ Musto, Sean J. O’Connell, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman There is a nobility to turning 80 and a certain mystery to the attendant noun: octogenarian. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana