Airwaves (1980-06)
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The Sugar Shoppe the Sugar Shoppe Mp3, Flac, Wma
The Sugar Shoppe The Sugar Shoppe mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop Album: The Sugar Shoppe Country: UK Released: 2013 Style: Easy Listening, Vocal MP3 version RAR size: 1914 mb FLAC version RAR size: 1871 mb WMA version RAR size: 1786 mb Rating: 4.6 Votes: 264 Other Formats: ADX MMF MP4 ASF AU MPC VQF Tracklist Hide Credits The Original Album Skip-a-long Sam 1 3:00 Written-By – Donovan Leitch* The Attitude 2 2:18 Written-By – Peter Mann Baby Baby 3 3:18 Written-By – Helen Lewis, Kay Lewis Take Me Away 4 2:59 Written-By – Jackie Trent, Tony Hatch Let The Truth Come Out 5 2:57 Written-By – Peter Mann Follow Me (From "Camelot") 6 2:30 Written-By – F. Loewe - A.J. Lerne* Poor Papa 7 2:24 Written-By – Billy Rose, Harry Woods Privilege (From The Film "Privilege") 8 3:08 Written-By – Michael Leander* Papa, Won't You Let Me Go To Town With You 9 3:30 Written-By – Bobbie Gentry The Candy Children Song 10 2:35 Written-By – L. Hood*, P. Mann*, V. Garber* Hangin' Together 11 2:29 Written-By – L. Hood*, P. Mann*, V. Garber* The Bonus Tracks Skip A Long Sam (Mono 45) 12 3:02 Written-By – Donovan Leitch* Let The Truth Come Out (Mono 45) 13 2:59 Written-By – Peter Mann Privilege (From The Film "Privilege") (Mono 45) 14 3:12 Written-By – Michael Leander* Poor Papa (Mono 45) 15 2:26 Written-By – Billy Rose, Harry Woods Save The Country (Acetate) 16 3:04 Written-By – Laura Nyro Easy To Be Hard (Acetate) 17 3:51 Written-By – G. -
Booker Little
1 The TRUMPET of BOOKER LITTLE Solographer: Jan Evensmo Last update: Feb. 11, 2020 2 Born: Memphis, April 2, 1938 Died: NYC. Oct. 5, 1961 Introduction: You may not believe this, but the vintage Oslo Jazz Circle, firmly founded on the swinging thirties, was very interested in the modern trends represented by Eric Dolphy and through him, was introduced to the magnificent trumpet playing by the young Booker Little. Even those sceptical in the beginning gave in and agreed that here was something very special. History: Born into a musical family and played clarinet for a few months before taking up the trumpet at the age of 12; he took part in jam sessions with Phineas Newborn while still in his teens. Graduated from Manassas High School. While attending the Chicago Conservatory (1956-58) he played with Johnny Griffin and Walter Perkins’s group MJT+3; he then played with Max Roach (June 1958 to February 1959), worked as a freelancer in New York with, among others, Mal Waldron, and from February 1960 worked again with Roach. With Eric Dolphy he took part in the recording of John Coltrane’s album “Africa Brass” (1961) and led a quintet at the Five Spot in New York in July 1961. Booker Little’s playing was characterized by an open, gentle tone, a breathy attack on individual notes, a nd a subtle vibrato. His soli had the brisk tempi, wide range, and clean lines of hard bop, but he also enlarged his musical vocabulary by making sophisticated use of dissonance, which, especially in his collaborations with Dolphy, brought his playing close to free jazz. -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
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. -
View the 2019 Conductors Guild NYC Conference Program Booklet!
The World´s Only Manufacturer of the Celesta CELESTA ACTION The sound plate is placed above a wooden resonator By pressing the key the felt hammer is set in moti on The felt hammer strikes the sound plate from above CELESTA MODELS: 3 ½ octave (f1-c5) 4 octave (c1-c5) 5 octave (c-c5) 5 ½ octave Compact model (c-f5) 5 ½ octave Studio model (c-f5) (Cabinet available in natural or black oak - other colors on request) OTHER PRODUCTS: Built-in Celesta/Glockenspiel for Pipe Organs Keyboard Glockenspiel „Papageno“ (c2-g5) NEW: The Bellesta: Concert Glockenspiel 5½ octave Compact model, natural oak with wooden resonators (c2-e5) SERVICES: worldwide delivery, rental, maintenance, repair and overhaul Schiedmayer Celesta GmbH Phone Tel. +49 (0)7024 / 5019840 Schäferhauser Str. 10/2 [email protected] 73240 Wendlingen/Germany www.celesta-schiedmayer.de President's Welcome Dear Friends and Colleagues, Welcome to New York City! My fellow officers, directors, and I would like to welcome you to the 2019 Conductors Guild National Conference. Any event in New York City is bound to be an exciting experience, and this year’s conference promises to be one you won’t forget. We began our conference with visits to the Metropolitan Opera for a rehearsal and backstage tour, and then we were off to the Juilliard School to see some of their outstanding manuscripts and rare music collection! Our session presenters will share helpful information, insightful and inspiring thoughts, and memories of one of the 20th Century’s greatest composers and conductors, Pierre Boulez. And, what would a New York event be without a little Broadway, and Ballet? An event such as this requires dedication and work from a committed planning committee. -
Powell, His Trombone Student Bradley Cooper, Weeks
Interview with Benny Powell By Todd Bryant Weeks Present: Powell, his trombone student Bradley Cooper, Weeks TBW: Today is August the 6th, 2009, believe it or not, and I’m interviewing Mr. Benny Powell. We’re at his apartment in Manhattan, on 55th Street on the West Side of Manhattan. I feel honored to be here. Thanks very much for inviting me into your home. BP: Thank you. TBW: How long have you been here, in this location? BP: Over forty years. Or more, actually. This is such a nice location. I’ve lived in other places—I was in California for about ten years, but I’ve always kept this place because it’s so centrally located. Of course, when I was doing Broadway, it was great, because I can practically stumble from my house to Broadway, and a lot of times it came in handy when there were snow storms and things, when other musicians had to come in from Long Island or New Jersey, and I could be on call. It really worked very well for me in those days. TBW: You played Broadway for many years, is that right? BP: Yeah. TBW: Starting when? BP: I left Count Basie in 1963, and I started doing Broadway about 1964. TBW: At that time Broadway was not, nor is it now, particularly integrated. I think you and Joe Wilder were among the first to integrate Broadway. BP: It’s funny how it’s turned around. When I began in the early 1960s, there were very few black musicians on Broadway, then in about 1970, when I went to California, it was beginning to get more integrated. -
PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space. -
An Interview with Sherman Ferguson
AN INTERVIEW WITH SHERMAN FERGUSON LOS ANGELES, CALIFORNIA KCRW-FM September 7, 1981 Bob Rosenbaum 1981, All Rights Reserved (music — "On the Stairs," Pat Martino) DO YOU HAVE LIKE A — SOME MUSICIANS USE A REFERENCE POINT, OTHER DRUMMERS OR OTHER "ON THE STAIRS," WHICH FEATURES GUITARIST PAT HORN PLAYERS. DO YOU LISTEN TO OTHER DRUMMERS MARTINO, EDDIE GREEN ON THE PIANO, TYRONE SPECIFICALLY? BROWN ON BASS AND DRUMMER SHERMAN FERGUSON, You mean, for inspiration? I listen to all the WHO IS WITH US HERE THIS EVENING. YOU WERE JUST other drummers for inspiration! Yeah. ABOUT TO TELL ME THAT "ON THE STAIRS" WAS WRITTEN ON THE STAIRS... ANY PARTICULAR DRUMMER? BILLY HART IS ONE Literally on the stairs, yeah. WHO IS— Oh, Billy Hart, he's like a brother to me. I love IN WHAT WAY? DID YOU WRITE IT? him. He's been a major influence on me. No, that's Pat's tune. But we were working in Grendal's Land, Philadelphia, and we were on YOU WROTE A SONG FOR HIM. our way down to do the second set, and he Yeah I did. A couple of years ago. Boy, it's been started, you know, fooling around with more than a couple of years. About 10 years ago. something. And (laughs) he literally, he wrote it Boy, how time flies! going down the stairs! And it's a real nice tune. And it's alot of fun to play. THAT WAS IN PHILADELPHIA. Yeah, with the Catalyst band. On our very first album. That was my very first composition to be I listen to a little bit of recorded. -
Jazzletter P-Q Ocrober 1986 P 5Jno;..1O
Jazzletter P-Q ocrober 1986 P 5jNo;..1o . u-1'!-an J.R. Davis,.Bill Davis, Rusty Dedrick, Buddy DeFranco, Blair The Readers . Deiermann, Rene de Knight,‘ Ron Della Chiesa (WGBH), As of August 25, I986, the JazzIetrer’s readers were: Louise Dennys, Joe Derise, Vince Dellosa, Roger DeShon, Michael Abene, John Abbott, Mariano F. Accardi, Harlan John Dever, Harvey Diamond, Samuel H. Dibert’, Richard Adamcik, Keith Albano, Howard Alden, Eleanore Aldrich, DiCarlo, Gene DiNovi, Victor DiNovi, Chuck Domanico, Jeff Alexander, Steve Allen, Vernon Alley, Alternate and Arthur Domaschenz, Mr. and Mrs. Steve Donahue, William E. Independent Study Program, Bill Angel, Alfred Appel J r, Ted Donoghue, Bob Dorough, Ed Dougherty, Hermie Dressel, Len Arenson, Bruce R. Armstrong, Jim Armstrong, Tex Arnold, Dresslar, Kenny Drew, Ray Drummond, R.H. Duffield, Lloyd Kenny Ascher, George Avakian, Heman B. Averill, L. Dulbecco, Larry Dunlap, Marilyn Dunlap, Brian Duran, Jean Bach, Bob Bain, Charles Baker (Kent State University Eddie Duran, Mike Dutton (KCBX), ' School of Music), Bill Ballentine, Whitney Balliett, Julius Wendell Echols, Harry (Sweets) Edison,Jim_Eigo, Rachel Banas, Jim Barker, Robert H. Barnes, Charlie Barnet, Shira Elkind-Tourre, Jack Elliott, Herb Ellis, Jim Ellison, Jack r Barnett, Jeff Barr, E.M. Barto Jr, Randolph Bean, Jack Ellsworth (WLIM), Matt Elmore (KCBX FM), Gene Elzy Beckerman, Bruce B. Bee, Lori Bell, Malcolm Bell Jr, Carroll J . (WJR), Ralph Enriquez, Dewey Emey, Ricardo Estaban, Ray Bellis MD, Mr and Mrs Mike Benedict, Myron Bennett, Dick Eubanks (Capital University Conservatory of Music), Gil Bentley, Stephen C. Berens MD, Alan Bergman, James L. Evans, Prof Tom Everett (Harvard University), Berkowitz, Sheldon L. -
Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N. -
National Endowment for the Arts Annual Report 1982
Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per The diversity of artistic activity in America is cent gain over state appropriations for FY 81. -
Edscratch Teachers Guide
Teaching guide and answer key The EdScratch Lesson Plans Set by Kat Kennewell and Jin Peng is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Document number: 3.2.4.3.1 Rev 1.1 About this guide .................................................................................................................... 3 What’s in this guide ........................................................................................................... 3 Creative Commons licence ............................................................................................... 3 How to use this guide ............................................................................................................ 4 Understanding the activity types ........................................................................................ 4 Reading the activity overview ............................................................................................ 5 Using the answer key ........................................................................................................ 6 Supplies you will need ....................................................................................................... 7 Frequently asked questions .............................................................................................. 8 Before you start ................................................................................................................... 12 Get Edison ready ...........................................................................................................