DOCSLIB.ORG

3H3b &Eotercammemc

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
3H3b &Eotercammemc teptexber 13, 197G n mcry, 3h3b & eotercammemc ' ; i i -- JG2Z5 G3JJ Vy OTil 1 1 If I ( nil if f i If tI HI- ..I 11 v "l( II II k I..V J L" J I i V uvu Lauy M Xiw the material bi isvzzs there is never doubt whose album it really releasing psckr. Yet, any Siice there have been over 20 albums of this type mar- If yca're fcto are more 251 ca is. Tens and ttzs it is Wheeler's comrnasdsig pre- jzn, tlre jped tin, keted ia the last four months, a complete review is im- fa lisccla this astena thaa ever before. tence ca the Ihil horn that drives this music into new fre-qaen- and possible. Local dubs sre bcd? sets triS cy. territories, bis horn Caching with dramatic purpose Arista com- jrrz fccreas Spontaneous Combustion from Savoy Area jazz mtr.scfcrrs arc a ? to show- warmth. grtrj bines the first two sessions ever recorded by the great case their tslssti st the Zoo Car's masiSLIy KFlfQ Add l!asfred Eicfcers flawless production and you psa. Cannonba3 Adderiey. These 1955 recordings find Adder-ley-'s deovies two hours jazz-orient- ed one the best acoustic efforts. every to come wi& cf year's Bird-inspir- Ssnday cht cp JCSHhenched and ed sax wiA such mon- musie, and the word is that the soca wi3 be ex- Kcfc!e &bzt Gcsdea prcsram by Horace Silver and, of course, tended another hour. - John Gordon makes a notable debut. Step by Step, sters as Kenny Clarke, Nat. And the best new the an- Strata-Ea- st Records. The trombonist's is brother perhsps cf i3 is recently ca background mas nounced concert series the Jazz rather but is known that he worked with the Cannon fans can't afford to it. sponsored by Ixxcla obscure, it Genius Bud an The series has luminaries as From Verve comes The of Powell, aptly Sodrty. such McCoy Tyner The tracks include and the I'odera Jazz Qsartet. titled tribute to the legendary pianist. with Brown and Max Roach, and some This snddea surge cf local minors a catioa trio settings Ray activity Powell's solo If have wile trend, judging from the avalanche of new albums examples of uncanny technique. you heard Bud Powell this would be a fine introduction "Chidi hit the stacks ever the summer. New sounds, faces never sHe-by-sa- the most brilliant ininds ever a and labels emerged de with the tried and true. to one of graced Collectors will be pleased with the availability of out jozzscapes piano. ofdate material, now appearing in reissue packages. Here's a very brief look at what's happening. house band in the musical Brown Rare Wheeler appearance Broadway Bubbling Band-perform- s Aided from Canadian Kenny Wheeler makes a rare appearance as Sugar. by inspired performances Stanley Bicentennial leader-compos-er Charles Andrew a on Gnu High. Although his Cowell, ToIIiver, Cyrille, Roland Prince trumpet and Lisle these and flugejhorn contributions to Anthony Braxton's Arista Atkinson, first accomplishments mark John Gordon as a man whoU be around awhile. albums have attracted the attentions of avant-gard- e en- Friday thusiasts, Wheeler remains unheard in the United Gordon shows off all his talents. He produces the virtually United States Armed Forces Bicentennial Band States. This album deserves to that. album, five of the six tunes are originals, and his trom- The change and Chorus will a free concert in Kimball Wheeler on the discos three cuts are virtu- bone is featured on every cut. It's all brought off super- present public Joining piano HaH 8 oso Keith Jarrett, British bassist Dave Holland and one of bly, with Gordon displaying finesse with a number of Recital at pjn. Friday. band and authorized in 1974 and activated the world's most versatile drummers, Jack DeJohnette. styles. The rest of the band carries the trademark of New The chorus, York jazz-ti- ght in was formed with from all the As an ensemble, they provide a melodic testament of and fleet. 1975, representatives what occurs when four creative musicians interact with Cyrille utilizes the entire drumset with a percussionist's militaryt services to celebrate America's 200th birthday. flair The concert is KOLNKG IN sensitivity and conviction. Jarrett is in top form. The largely because of the anchoring presence of Atkin- being sponsored by son's bass. Prince blows television and NU music Gamma Lambda. emotional range is staggering in contrasting solos he plays a variety of reeds, and his tenor society, is attractive the first side The band and called "America's Own," has a on Heyoke. Holland maintains his impeccable reputation particularly on and his flute chorus, makes a cast 90 65 instrumentalists and ng addition to the album's of throughout, and DeJohnette cuts an exuberant figure, tap-danci- significant only ballad, performers, including Memories. 24 vocalists. on the cymbals or romping through the title Making track like a wild animal. As for ToIIiver, everytime he touches his trumpet, the "America's Own" has selected and performed the air starts to bum. Stanley CowelTs piano is firmly rooted - "best" of American music from the past 200 years. The in the Barry Harris-Kenn- y Barron mode pure class. program at Kimball will include musk: by Charles Ives; But in the end, the best things on this album are John Philip Sousa, Cole Porter, Randall Thompson, Lab Theatre auditions Gordon's tunes. Each one has a fish hook hidden in the Morton Gould and others. opening lines, to snag your ear and drag you Although the concert is free, admission will be by k along.. It's exciting when an artist's first recording is this ticket. Free tickets can be obtained by mail from KOLN good. KG IN, 40th and W. streets, or may be picked up at Auditions for two original lab theatre plays will be Priceless ES53Ccat2j?e Westbrook Musk Elig. 1 24. from 3 to 5 pjn. Tuesday and from 7 to 10 pjn. Blue Note, Verve, Savoy, Milestone, Prestige-so- me of At the close of the two-ye- ar bicentennial celebration, Wednesday in the Arena Theatre, Temple Edg. 303. America's finest musk-wa-s recorded for these labels, only ' "America's Own" will have performed in every state The plays are: The Great American Nightmare by Amy to be stored in record vaults when the companies went capital and toured many other cities and towns. They Thelander and About tlie Crown Prince end the May He under. For too many years, jazz fans haven't had the already have played their music to more than a half Walked by Joseph Dildwin. chance to hear the priceless music captured on the tapes. million persons in the U, Canada, Mexico, Puerto Rico Both plays wi3 be performed Oct. 10 and 11. New distributors are acquiring rights to the masters and and the Virgin Islands. rpes ax a I r I I reTpeUrs vcEssc sfEsssecsI EIQTC ' - ' by Anny Snd2y EKsnE23, RTpdl Is a ts?fi far Czssxzfh dZ2s ' : res sysiesa-iss- e Gnsea (ife) btss' : tie teaxi tea ts tea cf tie tZZiay sa flsisl r-rrrr- H!, ytZs Lcfy Eas Qzpm rrgrsa f-fc- , 3.
Load more

Recommended publications
  • Kenny Wheeler Gnu High Mp3, Flac, Wma
    Kenny Wheeler Gnu High mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Gnu High Country: Germany Released: 1976 Style: Contemporary Jazz MP3 version RAR size: 1354 mb FLAC version RAR size: 1292 mb WMA version RAR size: 1647 mb Rating: 4.7 Votes: 634 Other Formats: MPC APE AA TTA MP3 MMF AAC Tracklist A Heyoke 21:47 B1 'Smatter 5:56 B2 Gnu Suite 12:47 Companies, etc. Phonographic Copyright (p) – ECM Records GmbH Published By – ECM Verlag Recorded At – Generation Sound Studios Credits Bass – Dave Holland Composed By – Kenny Wheeler Drums – Jack DeJohnette Engineer – Tony May Flugelhorn – Kenny Wheeler Layout – B. Wojirsch* Mixed By – Martin Wieland Photography By [Cover] – Tadayuki Naito* Piano – Keith Jarrett Producer – Manfred Eicher Notes Recorded June 1975, Generation Sound Studios, New York City. An ECM Production ℗ 1976 ECM Records GmbH Printed in W. Germany Barcode and Other Identifiers Matrix / Runout (Side A runout, stamped): ST-ECM 1069-A Matrix / Runout (Side B runout, stamped): ST-ECM 1069-B Rights Society: GEMA Other versions Category Artist Title (Format) Label Category Country Year ECM ECM 1069, 825 Kenny Gnu High (CD, ECM 1069, 825 Records, Germany Unknown 591-2 Wheeler Album, RE) 591-2 ECM Records Kenny Gnu High (LP, 25MJ 3327 ECM Records 25MJ 3327 Japan 1976 Wheeler Album) ECM ECM 1069, ECM Kenny Gnu High (LP, ECM 1069, ECM Records, Germany Unknown 1069 ST Wheeler Album, RE) 1069 ST ECM Records ECM ECM 1069, Kenny Gnu High (CD, ECM 1069, Records, US 2008 B0011628-02 Wheeler Album, RE, Dig) B0011628-02 ECM
    [Show full text]
  • Contact: a Journal for Contemporary Music (1971-1988) Citation
    Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Barry. Malcolm. 1977-1978. ‘Review of Company 1 (Maarten van Regteren Altena, Derek Bailey, Tristan Honsinger, Evan Parker) and Company 2 (Derek Bailey, Anthony Braxton, Evan Parker)’. Contact, 18. pp. 36-39. ISSN 0308-5066. ! Director Professor Frederick Rimmer MA B M us FRco Secretary and Librarian James. L McAdam BM us FRco Scottish R Music Archive with the support of the Scottish Arts Council for the documentation and study of Scottish music information on all matters relating to Scottish composers and Scottish music printed and manuscript scores listening facilities: tape and disc recordings Enquiries and visits welcomed: full-time staff- Mr Paul Hindmarsh (Assistant Librarian) and Miss Elizabeth Wilson (Assistant Secretary) Opening Hours: Monday to Friday 9.30 am- 5.30 pm Monday & Wednesday 6.00-9.00 pm Saturday 9.30 am- 12.30 pm .. cl o University of Glasgow 7 Lily bank Gdns. Glasgow G 12 8RZ Telephone 041-334 6393 37 INCUS it RECORDS INCUS RECORDS/ COMPATIBLE RECORDING AND PUBLISHING LTD. is a self-managed company owned and operated by musicians. The company was founded in 1970, motivated partly by the ideology of self-determination and partly by the absence of an acceptable alternative. The spectrum of music issued has been broad, but the musical policy of the company is centred on improvisation. Prior to 1970 the innovative musician had a relationship with the British record industry that could only be improved on. To be offered any chance to make a record at all was already a great favour and somehow to question the economics (fees, royalties, publishing) would certainly have been deemed ungrateful.
    [Show full text]
  • The Compositional Language of Kenny Wheeler
    THE COMPOSITIONAL LANGUAGE OF KENNY WHEELER by Paul Rushka Schulich School of Music McGill University, Montreal March 2014 A paper submitted to McGill University in partial fulfillment of the requirements of the degree of D.Mus. Performance Studies ©Paul Rushka 2014 2 ABSTRACT The roots of jazz composition are found in the canon ofthe Great American Songbook, which constitutes the majority of standard jazz repertoire and set the compositional models for jazz. Beginning in the 1960s, leading composers including Wayne Shorter and Herbie Hancock began stretching the boundaries set by this standard repertoire, with the goal of introducing new compositional elements in order to expand that model. Trumpeter, composer, and arranger Kenny Wheeler has been at the forefront of European jazz music since the late 1960s and his works exemplify a contemporary approach to jazz composition. This paper investigates six pieces from Wheeler's songbook and identifies the compositional elements of his language and how he has developed an original voice through the use and adaptation of these elements. In order to identify these traits, I analyzed the melodic, harmonic, structural and textural aspects of these works by studying both the scores and recordings. Each of the pieces I analyzed demonstrates qualities consistent with Wheeler's compositional style, such as the expansion oftonality through the use of mode mixture, non-functional harmonic progressions, melodic composition through intervallic sequence, use of metric changes within a song form, and structural variation. Finally, the demands of Wheeler's music on the performer are examined. 3 Resume La composition jazz est enracinee dans le Grand repertoire American de la chanson, ou "Great American Songbook", qui constitue la plus grande partie du repertoire standard de jazz, et en a defini les principes compositionnels.
    [Show full text]
  • Fred Hersch Trio Since Its Inception in 1985
    UPCOMING THEATER EVENT wexner center for the arts THE OHIO STATE UNIVERSITY PRESENTS Wexner Center Artist Residency Award recipient Young Jean Lee’s Theater Company WORLD PREMIERE Fred STRAIGHT Hersch Trio WHITE MEN THU–SAT, APR 10–12 | 8 pm Provocative playwright/director Young SUN, APR 13 | 2 pm Jean Lee and her fantastic cast plumb issues of privilege and social justice PERFORMANCE SPACE with nuance and wit. “Hands down, the most adventurous downtown FRI, MAR 28 | 8 pm playwright of her generation.”—NEW YORK TIMES PERFORMANCE SPACE PHOTO: BLAINEPHOTO: DAVIS ON SALE NOW—TICKETS.WEXARTS.ORG | (614) 292-3535 2013–14 PERFORMING ARTS SEASON PROGRAM PROGRAM NOTES This is the fifth iteration of the Fred Hersch Trio since its inception in 1985. The Wall Street Fred Hersch Trio Journal calls the trio “one of the major ensembles of our time,” and the New Yorker describes their musical sound as having “high lyricism and high danger.” This version of the trio started Fred Hersch ...............piano playing together in 2009 and have since released two albums, Whirl (2010) and Alive at the Vanguard (2012). Whirl found its way into numerous 2010 Best-Recordings-of-the-Year lists, John Hébert ...............bass and the trio has toured extensively in both Europe and the US to wide acclaim. John Hébert and Eric McPherson also served as legendary pianist Andrew Hill’s final rhythm section and Eric McPherson ............drums have a long history of playing together. All compositions will be announced from the stage. BIOGRAPHIES Fred Hersch plays the Steinway piano. Fred Hersch is represented by Mike Epstein.
    [Show full text]
  • Jazz Practice and Pedagogy in Canada
    The Relevance of Jazz History in the Twenty-First Century: Jazz Practice and Pedagogy in Canada JEREMY HEPNER azz history in Canada is the story of a people and their relationship to a jazz identity; however, jazz in Canada has always been greatly influenced Jby its proximity to the United States. As Duke Ellington put it: I am well aware that a problem of communication exists between Canada with its twenty-one million people and us, the big neighbor to the south, with our two hundred and three million. Canada has a character and a spirit of its own, which we should recognize and never take for granted.1 Despite living in the shadow of the US, Canada has produced a number of major jazz innovators. Many jazz aficionados are often surprised to hear that some of the great names in jazz—including artists such as Oscar Peterson, Gil Evans, Kenny Wheeler, Maynard Ferguson, and Paul Bley—are in fact Cana- dians.2 Our jazz heritage must be preserved and taught so that our music stu- dents become aware of the significant contributions made by Canadians. As jazz emerged from New Orleans and began to move north in the early twentieth century, large Canadian cities located close to the border became stops for American touring ensembles. The first known jazz concert in Can- ada took place when the Creole Band from New Orleans performed in Winni- peg, Manitoba in 1914, as part of a Pantages Theatre tour. By the 1930s, jazz broadcasts from strong American radio signals and the new recordings flow- ing north from the United States, lifted jazz to new heights of musical popu- larity in Canada.
    [Show full text]
  • Concerts Thursday 17Th November
    C0NCERTS Thursday 17th November Royal Conservatoire of Scotland (RCS) Glasgow Friday 18th November The Blue Lamp, Aberdeen Concerts Thursday 17th November, Royal Conservatoire of Scotland (RCS) Glasgow Friday 18th November, The Blue Lamp, Aberdeen WELCOME TO TONIGHT’S CONCERT BY THE 2016 EURORADIO JAZZ ORCHESTRA It is a great honour to be hosting the 2016 Euroradio Jazz Orchestra. We are particularly thrilled that Tommy Smith, Scotland’s most prominent jazz artist and a leading and prolific educator is such an integral part of this project. The Euroradio Jazz Orchestra is a unique initiative which supports jazz at the highest level. Each player here tonight has been nominated to represent their country by their national broadcaster. We hope that they will enjoy both a profound musical experience and also make lasting friendships as they build on their professional careers. The concert at RCS Glasgow on 17th November will be recorded, and made available for broadcast by EBU radio organizations from 25th November onwards. It will be broadcast on Radio 3’s Jazz Line Up on the10th December 2016. Highlights will also feature on Radio Scotland’s Jazz House. And finally, we are delighted to introduce Alexandra Ridout, the reigning BBC Young Musician of the Year - Jazz Award to our colleagues in Europe to perform Kenny Wheeler’s solo part in the Sweet Sister Suite. Enjoy a unique moment in jazz history tonight! Lindsay Pell Senior Producer, Music BBC Scotland | BBC Radio 3 BBC Broadcasting House 40 Pacific Quay Glasgow G51 1DA Email: [email protected]
    [Show full text]
  • 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
    [Show full text]
  • Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings.
    [Show full text]
  • Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality
    Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality By Carlo Estolano Commentaries for the PhD folio of compositions University of York Music December 2017 2 3 Unbound Jazz: Composing and Performing in a Multi-Cultural Tonality Thesis submitted in partial fulfilment of a PhD degree in Music at The University of York, December 2018 by Carlo Estolano. Abstract This folio is conceived to propose and demonstrate music realisation of original compositions throughout the employment of elements of mainly two distinct sources: a selection from the wide palette of Brazilian folk styles that have improvisation as a strong element, which is internationally acknowledged as Brazilian Jazz; and its intersections with a certain style of European Jazz represented by artists notable by their keenness to combine elements from distinct musical genres with their Classical background, such as Ralph Towner, Jan Garbarek, John Abercrombie, Eberhard Weber, Kenny Wheeler, Terje Rypdal, Keith Jarrett to name a few. Both Brazilian and European approaches to Jazz seem to share processes of appropriation of foreign musical languages, as well as utilising characteristic features of their own traditions. Another common ground is their relation with some elements and procedures of classical music. The methodology to accomplish an organized collection of musical material was to divide them in five major influences, part of them by composers and part by genres notable by having evolved through absorbing elements from distinct cultural sources. In five projects, fifteen original compositions are provided along with their recorded and/or filmed performances and commentaries about the compositional aspects, concerningthe style or composer focused on.
    [Show full text]
  • No Beethoven an Autobiography & Chronicle of Weather Report by Peter Erskine
    No Beethoven An Autobiography & Chronicle of Weather Report by Peter Erskine edited by Rick Mattingly book design by Kio Griffth photography by Shigeru Uchiyama, Peter Erskine & others 1 of 338 About the Author Peter Erskine has played the drums since the age of four and is known for his versatility and love of working in different musical contexts. He appears on 700 albums and film scores, and has won two Grammy Awards plus an Honorary Doctorate from the Berklee School of Music. Fifty albums have been released under his own name or as co-leader. He has played with the Stan Kenton and Maynard Ferguson big bands, Weather Report, Steps Ahead, Joni Mitchell, Steely Dan, Diana Krall, Kenny Wheeler, The Brecker Brothers, The Yellowjackets, Pat Metheny and Gary Burton, John Abercrombie, John Scofield, et al, and has appeared as a soloist with the London, Los Angeles, Chicago, Oslo, Helsinki, Bremen, Beethovenhalle, Frankfurt Radio, Scottish Chamber, Royal Opera House, New York City Opera, L.A. Opera, BBC Symphony and Berlin Philharmonic Orchestras. Peter has been named ’Best Jazz Drummer of the Year’ ten times by Modern Drummer magazine and was inducted into the magazine’s Hall of Fame. Peter graduated from the Interlochen Arts Academy and studied at Indiana University under George Gaber. He is currently Professor of Practice and Director of Drumset Studies at the Thornton School of Music at the University of Southern California. Peter is married with two children and has lived in Santa Monica since 1987. 4 of 338 Table of Contents Foreword by Mitch Haupers . 8 1.
    [Show full text]
  • Edward Brian “Tubby” Hayes (30 Januar 1935 - 8 Juni 1973) Tenor Sax Spiller (Også Flute, Soprano Sax Og Vibes), Komponist Og Big Band Arranger
    Edward Brian “Tubby” Hayes (30 januar 1935 - 8 juni 1973) Tenor sax spiller (også flute, soprano sax og vibes), komponist og big band arranger. Født i London. Far var BBC orkester violinist. Tubby var lidt af et vidunderbarn, spillede klaver som 10-årige og startede med tenor sax som 11-årig. Hans professionelle karriere begyndte da han var 16 år i Kenny Baker Sextet. Han spillede senere i big bands under Ambrose, Terry Brown, Tito Burns, Roy Fox, Vic Lewis og Jack Parnell. Startede egen octet i 1955. Fra 1957 til 1959 var han co-leder med Ronnie Scott af The Jazz Couriers qvintet. Bagefter, gendannede han sin egen qvartet og var på turnee i Tyskland med Kurt Edelhagen. Første besøg i America fandt sted i 1961, med koncerter i The Half Note og han indspillet “Tubbs in N.Y”. Tilbage til USA igen i 1962, indspillede “Return Visit”. Tilbage endnu en gang i 1964 med koncerter i The Half Note og Boston Jazz Workshop og sidste gang i 1965, hvor han spillede i The Manne Hole i Los Angeles I London, samlede Hayes et big band og fik arbejde i film, fjernsyn og radio, med egen TV-serie 1961-62 og 1963. Han overtog tenor pladsen for Paul Gonsalves med meget kort varsel i februar 1964 under Ellington's koncert i Royal Festival Hall. Hayes var med i flere film bla. All Night Long (1961) med Charles Mingus og Dave Brubeck, og Chaplin film A King in New York (1957), The Beauty Jungle (1964) and Dr. Terror's House of Horrors (1965).
    [Show full text]
  • Jazzletter 93024--024-0 April 1993 V01
    » » G606 L665 P.O. Box 240 Ojai, Calif. Jazzletter 93024--024-0 April 1993 V01. 12 Na 4 Carl Barriteau, born in Trinidad February 7, 1914, grew up Come Back Last Summer in Maracaibo, Venezuela. He moved to London in the late Part Two 1930s and played with Ken (Snake Hips) Johnson’s West Indian Swing Band. He formed his own recording group in the middle ‘By this time it was Christmas, the end of ’52,‘ Kermy said. ‘I of World War II and entertained British and American troops left Canada atthe end of September or early October. after the war, in Europe, North Africa, and Southeast Asia. ‘I read that they needed helpers in the post office for the ‘I’m not sure when I went with that band,‘ Kenny said. Christmas mail. So I got a job doing that. But meanwhile I’d ‘Wait a minute, I can pin it, because it was the year I came met Doreen on the telephone. The young Scotsman used to go over to visit,‘ I said. ‘You were with that band in 1954.‘ with Doreen’s girlfriend, tmbeknown to the guy he was living ‘Carl was great,‘ Kenny said. ‘I loved working for him. I 'rith. Doreen rang up one day to say that her girlfriend couldn’t really shouldn’t have taken the job, because I didn’t have the make this date with the Scotsman. So being young and stupid, chops for it. It was a really hard book. There was a front line I suppose, I started to kid around with her on the phone, and of about five people.
    [Show full text]