Felix Issue 0297, 1971
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Post-World War II Jazz in Britain: Venues and Values 19451970
University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture Post-World War II Jazz in Britain: Venues and Values 19451970 Williams, KA http://hdl.handle.net/10026.1/4429 10.1558/jazz.v7i1.113 Jazz Research Journal Equinox Publishing All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. [JRJ 7.1 (2013) 113-131] (print) ISSN 1753-8637 doi:10.1558/jazz.v7i1.113 (online) ISSN 1753-8645 Post-World War II Jazz in Britain: Venues and Values 1945–1970 Katherine Williams Department of Music, Plymouth University [email protected] Abstract This article explores the ways in which jazz was presented and mediated through venue in post-World War II London. During this period, jazz was presented in a variety of ways in different venues, on four of which I focus: New Orleans-style jazz commonly performed for the same audiences in Rhythm Clubs and in concert halls (as shown by George Webb’s Dixielanders at the Red Barn public house and the King’s Hall); clubs hosting different styles of jazz on different nights of the week that brought in different audiences (such as the 100 Club on Oxford Street); clubs with a fixed stylistic ideology that changed venue, taking a regular fan base and musicians to different locations (such as Ronnie Scott’s Jazz Club); and jazz in theatres (such as the Little Theatre Club and Mike West- brook’s compositions for performance in the Mermaid Theatre). -
JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316)
Bio information: JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316) Cuneiform publicity/promotion dept.: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com [Press & world radio]; radio [-at-] cuneiformrecords.com [North American radio] www.cuneiformrecords.com FILE UNDER: JAZZ One of Europe’s foremost jazz musicians, John Surman is a masterful improvisor, composer, and multi-instrumentalist (baritone and soprano sax, bass clarinet, and synthesizers/electronics). For 45 years, he has been a major force, producing a prodigious and creative body of work that expands beyond jazz. Surman’s extensive discography as a leader and a side man numbers more than 100 recordings to date. Surman has worked with dozens of prominent artists worldwide, including John McLaughlin, Chick Corea, Chris McGregor’s Brotherhood of Breath, Dave Holland, Miroslav Vitous, Jack DeJohnette, Terje Rypdal, Weather Report, Karin Krog, Bill Frisell, Paul Motian and many more. Surman is probably most popularly known for his longstanding association with the German label ECM, who began releasing Surman’s recordings in 1979. Surman has won numerous jazz polls and awards and a number of important commissions. Every period of his career is filled with highlights, which is why Cuneiform is exceedingly proud to release for the first time ever this amazing document of the late 60s 'Brit-jazz' scene. Born in Tavistock, in England, Surman discovered music as a child, singing as soprano soloist in a Plymouth-area choir. He later bought a second- hand clarinet, took lessons from a Royal Marine Band clarinetist, and began playing traditional Dixieland jazz at local jazz clubs. -
NJA British Jazz Timeline with Pics(Rev3) 11.06.19
British Jazz Timeline Pre-1900 – In the beginning The music to become known as ‘jazz’ is generally thought to have been conceived in America during the second half of the nineteenth century by African-Americans who combined their work songs, melodies, spirituals and rhythms with European music and instruments – a process that accelerated after the abolition of slavery in 1865. Black entertainment was already a reality, however, before this evolution had taken place and in 1873 the Fisk Jubilee Singers, an Afro- American a cappella ensemble, came to the UK on a fundraising tour during which they were asked to sing for Queen Victoria. The Fisk Singers were followed into Britain by a wide variety of Afro-American presentations such as minstrel shows and full-scale revues, a pattern that continued into the early twentieth century. [The Fisk Jubilee Singers c1890s © Fisk University] 1900s – The ragtime era Ragtime, a new style of syncopated popular music, was published as sheet music from the late 1890s for dance and theatre orchestras in the USA, and the availability of printed music for the piano (as well as player-piano rolls) encouraged American – and later British – enthusiasts to explore the style for themselves. Early rags like Charles Johnson’s ‘Dill Pickles’ and George Botsford’s ‘Black and White Rag’ were widely performed by parlour-pianists. Ragtime became a principal musical force in American and British popular culture (notably after the publication of Irving Berlin’s popular song ‘Alexander’s Ragtime Band’ in 1911 and the show Hullo, Ragtime! staged at the London Hippodrome the following year) and it was a central influence on the development of jazz. -
Round Midnight
UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA KATEDRA MUZIKOLOGIE Vývoj a prom ěny jazzového standardu ’Round Midnight Development And Tranformations Of Jazz Standard ’Round Midnight Bakalá řská práce Autorka práce: Tereza Štaudová Vedoucí práce: Mgr. Jan P řibil OLOMOUC 2015 Pod ěkování Up římn ě d ěkuji Mgr. Janu P řibilovi za odbornou pomoc p ři vedení mé bakalá řské práce. Velice si cením jeho p řipomínek a rad. Dále d ěkuji všem, kte ří m ě p ři psaní této práce podporovali. Prohlášení Prohlašuji, že p ředložená bakalá řská práce je mým p ůvodním autorským dílem, které jsem vypracovala samostatn ě. Veškerou literaturu a další zdroje, z nichž jsem p ři zpracování čerpala, v práci řádn ě cituji a uvádím je v seznamu použité literatury. V Olomouci dne …………… ……………………... podpis OBSAH ÚVOD .......................................................................................................................................................... 4 1. STAV BÁDÁNÍ ....................................................................................................................................... 6 2. VZNIK SKLADBY ’ROUND MIDNIGHT A JEJÍ RANÝ VÝVOJ ................................................ 17 2.1 ZÁKLADNÍ ZNAKY OSOBNOSTI A TVORBY THELONIA MONKA .......................................................... 17 2.2 VZNIK SKLADBY ’ROUND MIDNIGHT A JEJÍ ANALÝZA ....................................................................... 20 2.3 PRVNÍ NAHRÁVKY ’ROUND MIDNIGHT ............................................................................................. -
Not Necessarily “English Music”
LMJ 11 CD Not Necessarily “English Music” curated by David Toop Leonardo Music Journal CD Series Volume 11 CD ONE 8. MUSIC FOR THREE SPRINGS 5:03 Composer/performer: Hugh Davies (amplified springs) Recorded in 1977. Digital transfer by Paradigm Discs. 1. LIVE AT THE ROYAL COLLEGE OF ART 6:24 Performers: AMM 9. PIANO MUSICS I & II 5:13 Eddie Prévost, Keith Rowe, Cornelius Cardew, Lou Gare, Lawrence Composer/performer: Robert Worby Sheaff Recorded 1975. Recorded at the Royal College of Art, London, 28 March 1966. © 2001 Matchless Records & Publishing. 10. PLUM 7:07 Performers: Lol Coxhill (soprano sax, Watkins Copy Cat Echo), Steve 2. WIND FLUTES URBAN 3:17 Miller (electric piano) Sound sculptures constructed by Max Eastley Recorded live in England, 1973. Recorded in London, 1975. 11. SEARCH AND REFLECT 6:09 3. PERFORMANTS 6:40 Composer: John Stevens Composers/performers: Intermodulation Performers: Spontaneous Music Orchestra Roger Smalley, Tim Souster, Robin Thompson, Peter Britton Probable line-up: John Stevens, Lou Gare, Trevor Watts, Ron Recorded at Ely Cathedral, England, 6 July 1971. Recording prepared Herman, Paul Burwell, David Toop, Christopher Small, Herman by Simon Emmerson. Hauge, Chris Turner, Ye Min, Mike Barton Recorded at the Little Theatre Club, London, 18 January 1972. Re- 4. WEDGED INTO RELEASE 3:27 corded by David Toop. Digital conversion by Dave Hunt. Composer/performer: Frank Perry (percussion) Recorded at Command Studios, London, 1971. 12. PART 3 6:42 Performers: The People Band 5. PIECE FOR CELLO AND ACCORDION 2:50 Terry Day, Mel Davis, Lyn Dobson, Eddie Edem, Tony Edwards, Mick Composer: Michael Parsons Figgis, Frank Flowers, Terry Halman, Russ Herncy, George Khan Performers: Michael Parsons (cello), Howard Skempton (accordion) Recorded in London, 21 March 1968. -
Barre Phillips Discography
Barre Phillips Discography **ERIC DOLPHY / VINTAGE DOLPHY / GM RECORDINGS /GM3005D NYC: March 14/ April 18 1963 w/ Jim Hall, Phil Woods , Sticks Evans etc... **LEONARD BERNSTEIN - N.Y. PHILARMONIC / LEONARD BERNSTEIN CONDUCTS MUSIC OF OUR TIME. LARRY AUSTIN IMPROVISATIONS FOR ORCHESTRA AND JAZZ SOLISTS. COLUMBIA ML6133 NYC: January 1964 w/ Don Ellis, Joe Cocuzzo **ATTILA ZOLLER / THE HORIZON BEYOND / MERCURY / 13814MCY Berlin : March 15, 1965 w/ Don Friedman, Daniel Humair Note : Mercury 13814 MCY Emarcy MG-26013 **BOB JAMES / EXPLOSIONS / ESP1009 NYC: May 1965 w/ Robert Pozar **ARCHIE SHEPP / NEW THING AT NEWPORT / IMPULSE / A 94 Newport : July 2, 1965 w/ Bobby Hutcherson, Joe Chambers Note : Impulse A94 - Impulse IA9357/2 ** JIMMY GIUFFRE LIVE / EUROPE 1 / 710586 / CB701 Paris, Olympia, 27 February 1965 In trio w/ Don Friedman **ARCHIE SHEPP / ON THIS NIGHT / IMPULSE / A 97 Newport : July 2, 1965 w/ Bobby Hutcherson, Joe Chambers Note : Impulse A97 - Impulse IA9357/2 **PETER NERO / ON TOUR / RCA / LPM3610 Pheonix Arizona, Pueblo and Denver Colorado, February, 1966 w/ Joe Cusatis **ATTILA ZOLLER / KATZ UND MAUS / SABA / 15112ST NYC : December 14-15, 1966 w/ Jimmy Owens **HEINER STATLER / BRAINS ON FIRE VOL 1 / LABOUR RECORDS / LRS7001 - NYC : December , 1966 w/ Jimmy Owens, Garnett Brown, Joe Farrell, Don Fiedman, etc ... **CHRIS MCGREGOR SEXTET - UP TO EARTH - FLEDGING RED 3069 1969/London w/ Louis Mohoto, John Surman, Evan Parker, Mongezi Fezam Dudu Pakwana relased in 2008 - **THE CHRIS McGREGOR TRIO / FLEDGLING RED 3070 London 1969 -
Stan Tracey Mike Osborne Quartet - 1St December 1972
Stan tracey Mike Osborne Quartet - 1st December 1972 Submitted by root on Wed, 03/11/2015 - 16:16 This was the first of a series of Jazz Concerts organised by Bob Downing. Below is the programme for the event and a photo of Stan Tracey with one of the most descriptive strap lines. JAZZ AT GREAT GEORGES THE STAN MIKE QUARTET TRACEY OSBORNE STAN TRACEY Pianist, composer. Resident pianist at Ronnie Scott's club for eight years. Played with Sonny Rollins, Stan Getz and Ben Webster. Composed the Jazz suites 'Under Milk Wood' and 'Alice in Jazzland1 (both on Columbia). Now leads the Quartet and the big band 'Tentacles'. Left Stan Tracey at the piano with the strap line " I know what I'm groping for." MIKE OSBORNE Alto Sax. Played in the Mike Westbrooke band for ten years. Also plays in Chris McGregor's and. Mike Gibb's bands. Has own L.P. 'Outback' (on Turtle records). HARRY MILLER Bass. Born in South Africa. Played in the Mike Westbrooke band for five years. Now playing in Brotherhood of Breath and leads his own group 'Isipingo'. LOUIS MCHOLO Drums. Born in South Africa. Came,to England with Chris McGregor. Has played with Steve Lacey, John Tchicai, Roswell Rudd and Archie Shepp. We are contributing to this event by our presence, and by providing music, space, heat and coffee. This is costing us £154. You can contribute to the extent you wish or feel you can afford, either simply by your presence or by offering some money towards our costs. -
Routine Investigations: the University of Leeds, School of Music 2005
Routine Investigations: Expanding the Language of Improvisation through Interdisciplinary Interaction. Matthew John Bourne The University of Leeds, School of Music 2005 I confirm that the work submitted is my own and that appropriate credit has been given where reference has been made to the work of others. Submitted in accordance with the requirements for the degree of PhD in Performance. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. THESIS CONTAINS CD/DVD for hear ... all who music 2 Acknowledgements For their support: Janeand John Phipps, Geoff and Judith Wills. For excellent and astutesupervision: Luke Windsor. To Boris Cruse for the transfer of `Un Chant d'Amour' from DV tape To DVD. To friends and musicians and those who have tolerated my existenceover the years: Jonny Flockton, Mike Osborne, Christophe de Bezenac, Richard Ormrod, Amy Walker, Jonny Flockton, Petter Fadnes, Chris Sharkey, Stephen Drury, John Zorn, Tony Bevan, Dave Kane, Steve Davis, Dave Black, Riaan Vosloo, Sam Hobbs, Mark Creswell, Marc Silver, Steve Beresford. To those responsible for providing platforms: Steve Shepherd & BBC Radio 3, John Cumming & Serious International Music Producers, Jean-PierreBissot, Xavier Lemettre, The British Council, Geoff Amos, Peter Luxton, Nod Knowles. And finally, to the girl who laughs in her sleep and makes sense of all the rubbish that comesout from time to time... 3 Abstract The focus of this PhD has been to explore new ways of expanding the language of my improvised solo piano performancesthrough the investigation of, and immersion in various forms of creative media. -
SOS [John Surman, Mike Osborne, Alan Skidmore] Title: LOOKING for the NEXT ONE (Cuneiform Rune 360/361) Format: Cdx2 / DIGITAL
Bio information: SOS [John Surman, Mike Osborne, Alan Skidmore] Title: LOOKING FOR THE NEXT ONE (Cuneiform Rune 360/361) Format: CDx2 / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: JAZZ In 1974, three poll-winning British saxophonists joined forces around a radical concept: Dispense with a bass player and a drummer and go it alone. The result was SOS, the trio of John Surman, Mike Osborne and Alan Skidmore, saxophonists who led or played on many of the groundbreaking British jazz recordings of the late 1960s and ‘70s. Although SOS lasted less than three years, they paved the way for World Saxophone Quartet, Rova and other all-sax bands. During their brief existence, SOS recorded only one LP – a self-titled studio album for the legendary Ogun label – that has been frequently cited by critics and historians for almost 40 years as a landmark recording in British jazz history. Undoubtedly, Cuneiform’s release of Looking For The Next One, a 2-CD compilation of studio sessions and live recordings, will not only rekindle discussions about SOS’s innovative music among connoisseurs, but introduce their exciting, virtuosic music to a new generation of listeners. The inclusion of the entirety of their legendary July 1974 Balver Höhle Jazz Festival concert is a game- changer, as it reveals SOS’s penchant for connecting multiple compositions with open improvisations, an approach they did not employ on the Ogun album. The concert also documents how Surman seamlessly integrated keyboards and synthesizers – instruments that were overdubbed for SOS – into a performance, and gives more space to Skidmore’s energetic drumming than on the Ogun album. -
En Gylden Epoke for Britisk Jazz, 1960-1980 (13.11.2014 - TNB)
Dypdykk i musikkhistorien - Del 3: En gylden epoke for britisk jazz, 1960-1980 (13.11.2014 - TNB) Spilleliste pluss noen ekstra lyttetips: GJENNOMBRUDDET / MODERNE JAZZ Baubles, bangles and beads (The night is Scott and you're so swingable (1966) / Ronnie Scott) Formation (Free Form (1961) / Joe Harriott Quintet) Subject ; Tonal (Abstract (1962) / Joe Harriott Quintet) Doxy (Solid Bond (1963) / The Graham Bond Quartet) Man, have you ever heard (Moonscape (1964) / Michael Garrick Trio) Starless and bible black ; I lost my step in nantucket (Under milk wood : jazz suite (1965) / The Stan Tracey Quartet) Tan samfu (Dusk Fire (1966) Don Rendell - Ian Carr Quintet) Pendulum (Pendulum (1966) / Mike Taylor Quartet) Just a blues (Trio (1967) / Mike Taylor Trio) Pastoral ; Awakening (Celebration (1967) / The Mike Westbrook Concert Band) Tony's basement (1967) Tony Coe & The Lansdowne String Quartet Things we like (Things we like (1970) / Jack Bruce) Flow stream flow ; Rolly's tune (Flare up (1970) / Harry Beckett) VOKAL Song by the sea (The heart is Lotus (1970) / Michael Garrick Trio) Edge of time (1971) / Norma Winstone Sunset glow (1975) / Julie Tippets POST-BOP Phase III (1968) / Don Rendell - Ian Carr Quintet Extrapolation (Extrapolation (1969) / John McLaughlin) Oh dear (The Trio (1970) / The Trio) The yolk ; Old San Juan (Once upon a time (1970) / Alan Skidmore Quintet) Toot-toot (Songs for someone (1973) Kenny Wheeler) Arbeia (Arbeia (1978) / Kathy Stobart) ORKESTER / STORBAND Pisces ; Aries (The Zodiak variations (1965) / John Dankworth) -
Dave Holland Musikalische Biografie
DAVE HOLLAND MUSIKALISCHE BIOGRAFIE Eine jazzhistorische und analytische Perspektive Dissertation zur Erlangung des akademischen Grades Doctor philosophiae (Dr. phil.) am Institut für Jazzforschung der Universität für Musik und darstellende Kunst Graz Vorgelegt von Mag. phil. Bettina Schöberl Lanzenkirchen, August 2016 Betreuer: em.O.Univ.Prof. Dr.phil. Franz Kerschbaumer, KUG Graz Inhaltsverzeichnis Vorwort ...................................................................................................................................... 3 Danksagung ................................................................................................................................ 4 1. Einleitung ........................................................................................................................... 5 1.1. Ziel und Methodik ....................................................................................................... 5 1.2. Anmerkung zu den Notenbeispielen ............................................................................ 6 2. Der musikalische Beginn (1946 – 1964) ............................................................................ 7 3. London – vom Traditional Jazz über Bebop und Hard Bop zum Free Jazz (1964 – 1968)….11 4. New York: Miles Davis (Fusion 1968 – 1970) ................................................................ 15 4.1. Musikalischer Stil und analytische Betrachtungen .................................................... 26 4.1.1. Miles Davis – „Filles De Kilimanjaro” ........................................................... -
John Stevens Discography Part 2: 1970 to 1974 ______Amalgam – ‘Jazz Workshop’ Broadcast Trevor Watts (As/Ss), Mike Pyne (P), Ron Mathewson (B), John Stevens (D)
John Stevens discography part 2: 1970 to 1974 _________________________________________________________________________________________________ Amalgam – ‘Jazz Workshop’ broadcast Trevor Watts (as/ss), Mike Pyne (p), Ron Mathewson (b), John Stevens (d). Rec. by BBC Radio, London, November 14th, 1969; tr: BBC Radio 1, ‘Jazz Workshop’, Sun January 11th, 1970. Hope (Watts) 5’45 Expectancy (Stevens) 9’15 Tales of sadness (Watts) 13’05 Anxiety (Watts) 4’45 Tape copy survives. _________________________________________________________________________________________________ Spontaneous Music Orchestra* – ‘For You To Share’ (cd - part) John Stevens (perc/voc), Trevor Watts (ss), plus unidentified group of workshop students playing saxophones, flute, guitar, double bass, percussion and voices. Rec. in a London studio, January 23rd, 1970. Peace music (Stevens) 27’46 Emanem 4023 (cd) 7.5ips mono copy master: NSA C577/116. Peace Music is essentially the Sustained Piece from the suite For You To Share. Reviewed in Cadence, vol. 24 (Aug 1998), p28-30. _________________________________________________________________________________________________ Spontaneous Music Orchestra* – ‘For CND, For Peace, For You To Share’** (lp/cd - part) Trevor Watts (as/ss), John Stevens (d), with a workshop group comprising unidentified young musicians "who had just joined in and who were interested" and audience members "who weren’t playing but just wanted to take part... singing and playing gongs". Rec. live by Bob Brown at the Crypt, Ladbroke Grove, London, May 20th, 1970. For you to share (suite comp. Stevens) – Click piece 1’45 A Records A 01 (lp), Emanem 4023 (cd) – Sustained piece 1 12’26 – – – Sustained piece 2 12’20 – – – If you want to see a vision 10’35 – – Sustained piece 1 features Watts (ss)/Stevens (perc) duo.