Disability and Emigration; Worlds Apart – the Case of Marion Brown
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Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works. -
Dave Burrell, Pianist Composer Arranger Recordings As Leader from 1966 to Present Compiled by Monika Larsson
Dave Burrell, Pianist Composer Arranger Recordings as Leader From 1966 to present Compiled by Monika Larsson. All Rights Reserved (2017) Please Note: Duplication of this document is not permitted without authorization. HIGH Dave Burrell, leader, piano Norris Jones, bass Bobby Kapp, drums, side 1 and 2: b Sunny Murray, drums, side 2: a Pharoah Sanders, tambourine, side . Recording dates: February 6, 1968 and September 6, 1968, New York City, New York. Produced By: Alan Douglas. Douglas, USA #SD798, 1968-LP Side 1:West Side Story (L. Bernstein) 19:35 Side 2: a. East Side Colors (D. Burrell) 15:15 b. Margy Pargy (D. Burrell 2:58 HIGH TWO Dave Burrell, leader, arranger, piano Norris Jones, bass Sunny Murray, drums, side 1 Bobby Kapp, drums side 2. Recording Dates: February 6 and September 9, 1968, New York City, New York. Produced By: Alan Douglas. Additional production: Michael Cuscuna. Trio Freedom, Japan #PA6077 1969-LP. Side: 1: East Side Colors (D. Burrell) 15:15 Side: 2: Theme Stream Medley (D.Burrell) 15:23 a.Dave Blue b.Bittersweet Reminiscence c.Bobby and Si d.Margie Pargie (A.M. Rag) e.Oozi Oozi f.Inside Ouch Re-issues: High Two - Freedom, Japan TKCB-70327 CD Lions Abroad - Black Lion, UK Vol. 2: Piano Trios. # BLCD 7621-2 2-1996CD HIGH WON HIGH TWO Dave Burrell, leader, arranger, piano Sirone (Norris Jones) bass Bobby Kapp, drums, side 1, 2 and 4 Sunny Murray, drums, side 3 Pharoah Sanders, tambourine, side 1, 2, 4. Recording dates: February 6, 1968 and September 6, 1968, New York City, New York. -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 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 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
2007'S Best Albums in Review
KTRU 91.7 FM SPRING 2008 Houston’s Local Artists: 2007’s Best Albums in Review People often say that there isn’t much good music in Linus Pauling Quartet Bring Back The Guns Houston. They are wrong, and getting wronger by the All Things Are Light Dry Futures minute: 2007 was one of the best years for Houston music Camera Obscura Feow! in recent memory. In no particular order, KTRU runs Linus Pauling Quartet reminds us After changing names and winning down 10 of the year’s most notable releases in this quick that barbarians, aliens, malt liquor, 24- three Houston Press Music Awards guide to a banner year in a burgeoning music scene. hour Mexican food, and motorcycles (Best New Act ‘00, Best Indie Rock all lie at the foundation of rock and roll’s ‘03, Best Indie Rock ‘05), Bring Back Jana Hunter hallowed temple. Don’t call it tongue-in-cheek—every the Guns have finally released a full album, and it was There’s No Home track is backed with dead-serious Jimmy Page-grade easily worth the wait. Their guitar-driven sound is Gnomonsong Marshall-stack ass-kicking. Veterans of Houston’s psych heavy but still quick on its feet, framed by constantly Erstwhile Houstonian Jana Hunter, heyday LP4 mix hard rock imagery with utter electrified shifting time signatures, punctuated with guitar hooks an Arlington native who recently mi- competence, the way unpretentious rock was meant to be. that never end like you’d expect. Vocals are strained, grated to Baltimore, is a key player in overdriven. -
Values and Practices in Contemporary Improvised Music Author(S): David Borgo Source: Black Music Research Journal, Vol
Negotiating Freedom: Values and Practices in Contemporary Improvised Music Author(s): David Borgo Source: Black Music Research Journal, Vol. 22, No. 2, (Autumn, 2002), pp. 165-188 Published by: Center for Black Music Research - Columbia College Chicago and University of Illinois Press Stable URL: http://www.jstor.org/stable/1519955 Accessed: 23/07/2008 16:48 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=cbmr. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org NEGOTIATINGFREEDOM: VALUES AND PRACTICES IN CONTEMPORARYIMPROVISED MUSIC DAVIDBORGO Freeimprovisation is not an action resultingfrom freedom;it is an action directedtowards freedom. -
Marion Brown Three for Shepp Mp3, Flac, Wma
Marion Brown Three For Shepp mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Three For Shepp Country: Europe Released: 1998 Style: Free Jazz MP3 version RAR size: 1397 mb FLAC version RAR size: 1452 mb WMA version RAR size: 1588 mb Rating: 4.8 Votes: 697 Other Formats: MPC AAC MP2 MIDI AUD MOD FLAC Tracklist Hide Credits New Blue 1 5:07 Written-By – Marion Brown Fortunato 2 8:50 Written-By – Marion Brown The Shadow Knows 3 3:00 Written-By – Marion Brown Spooks 4 4:28 Written-By – Archie Shepp West India 5 6:20 Written-By – Archie Shepp Delicado 6 6:38 Written-By – Archie Shepp Companies, etc. Copyright (c) – MCA Records, Inc. Record Company – Universal Music Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Remastered At – MCA Music Media Studios Credits Alto Saxophone – Marion Brown Art Direction – Hollis A. King* Bass – Norris Jones (Sirone)* Design [Graphic Design] – Isabelle Wong Drums – Beaver Harris (tracks: 4 to 6), Bobby Capp* (tracks: 1 to 3) Engineer – Rudy Van Gelder Liner Notes – Frank Kofsky Photography By – Chuck Stewart Piano – Dave Burrell (tracks: 1 to 3), Stanley Cowell (tracks: 4 to 6) Producer [Original Sessions] – Bob Thiele Reissue Producer – Michael Cuscuna Remastered By – Erick Labson Trombone – Grachan Moncur III Notes Recorded on December 1, 1966 at the Van Gelder Studio, Englewood Cliffs, New Jersey. © 1966 MCA Records, Inc. Reissue, contains a 20-page booklet including an interview between Kofsky and Brown. Remastered at MCA Studios using 20-bit Super Bit Mapping. Originally issued as -
Marion Brown Three for Shepp Mp3, Flac, Wma
Marion Brown Three For Shepp mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Three For Shepp Country: US Released: 1968 Style: Free Jazz MP3 version RAR size: 1988 mb FLAC version RAR size: 1649 mb WMA version RAR size: 1406 mb Rating: 4.4 Votes: 466 Other Formats: WAV AAC ADX AUD AC3 ASF AIFF Tracklist Hide Credits New Blue A1 4:52 Written-By – Marion Brown Fortunato A2 8:51 Written-By – Marion Brown The Shadow Knows A3 3:02 Written-By – Marion Brown Spooks B1 4:30 Written-By – Archie Shepp West India B2 6:15 Written-By – Archie Shepp Delicado B3 6:41 Written-By – Archie Shepp Companies, etc. Record Company – ABC Records, Inc. Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Designed At – Viceroy Published By – Music, Music, Music Inc. Published By – Maribo Pub. Co. Published By – JPB Music Corp. Published By – Mention Music, Inc. Published By – Pamco Music Published By – Merpine Music Corp. Credits Alto Saxophone – Marion Brown Bass – Norris Jones Design [Cover] – Robert Flynn Design [Liner] – Joe Lebow Drums – Beaver Harris (tracks: B1 to B3), Bobby Capp* (tracks: A1 to A3) Engineer – Rudy Van Gelder Liner Notes – Frank Kofsky Photography By [Cover & Liner Photos] – Ray Gibson Photography By [Liner Photos] – Marty Topp Piano – Dave Burrell (tracks: A1 to A3), Stanley Cowell (tracks: B1 to B3) Producer – Bob Thiele Trombone – Grachan Moncur III Written-By – Archie Shepp (tracks: B1 to B3), Marion Brown (tracks: A1 to A3) Notes Recorded December 1, 1966 in New York City. Housed in a gatefold sleeve. Publishing Information: A1: Music, Music, Music, Inc. -
The Wellesley Legenda
Kl^ I'lJi. IP 'J'-". 'Mij ii.a-,«*^.''<%»ii»-^v- eX'LIMI-S rjek y) «//^e cy^haUh Copyright, 1915, BY Juliet O. Bell - ' "- ©ebication Upo tf)e Spirit ^ of ioUitp, our prompter from tlje tuingg. ~" ~"- Ttr^t 1915 players! i)o f)erE= ^ bp present tf)ig tfjeir last plap as a uniteb companp, i)op ing from tfjc larger aubicnce of tfje toorlti Some Small portion of tfjat generous consiberation \ii1)it\) fjas been grantcb tfjem bp tfje onloofeers at tfjcir per= formances, boti) past anb present. CONTENTS Patrons and I 'atronesses ( Trustees and Faculty ) 8 Act 1-4 (Class History) 46 Audience (Class ( )fficers) • 1S7 Box Holders ( Societies ) 196 Stage Managers ( Student (lovernnient j • 218 Board of Censors ( Christian Association) 210 Translators of I'lay ( Language Chilis) 212 Critics ( I'hi Beta Kappa ) • 213 Press Agents ( Puhlications ) 214 Scene Shifters ( Athletic Association) 216 Costumes and Scenery { Barnswallows j 226 Music (Musical Cluhs) 227 State Dramatic Clulis 233 Outside Activities of the .Vcturs 234 Class Lists 236 ^atronsi anb ^atronegsfeg lioarb of Crusitccs; William Lawkexce, U.D., LL.D., D.C.L Bishop of Massachusetts President of the Board \ViLLL\M Henkv Lincoln BrookHiie, Mass. Vice-President Mrs. Henry Fowle Durant Wellesley Secretary Lewis Kennedy Morse, B.A., LL.B Boston Treasurer Edwin Hale Apam itt, LL.B Cambridge William Blodget, B..\ Boston Cyrus H. K. Curtis, M.A., LL.D Philadelphia, Pa. George Howe Davenport Boston LiLL\N Horsford Farlow Cambridge Andrew Fiske, Ph.D Boston Ruth S. Goodwin, B.A Farmington, Conn. Edwin Farnham GRiacNE, B.A Boston Caroline Hazard, M..\., Litt.D., LL.D Peace Dale, R. -
THE NARRAGANSETT DAWN Blood, and Have Nevl'r Lived out of Narragansett Territory
University of Rhode Island DigitalCommons@URI Special Collections Publications (Miscellaneous) Special Collections 2006 The aN rragansett aD wn Princess Redwing Narragansett rT ibe Ernest Hazard Narragansett rT ibe Follow this and additional works at: http://digitalcommons.uri.edu/sc_pubs Part of the History Commons, and the Library and Information Science Commons Recommended Citation Redwing, Princess and Hazard, Ernest, "The aN rragansett aD wn" (2006). Special Collections Publications (Miscellaneous). Paper 5. http://digitalcommons.uri.edu/sc_pubs/5 This Text is brought to you for free and open access by the Special Collections at DigitalCommons@URI. It has been accepted for inclusion in Special Collections Publications (Miscellaneous) by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. University of Rhode Island DigitalCommons@URI Special Collections Publications Special Collections 9-8-2006 The aN rragansett aD wn Princess Redwing Narragansett rT ibe Ernest Hazard Narragansett rT ibe Follow this and additional works at: http://digitalcommons.uri.edu/sc_pubs Part of the History Commons, and the Library and Information Science Commons Recommended Citation Redwing, Princess and Hazard, Ernest, "The aN rragansett aD wn" (2006). Special Collections Publications. Paper 5. http://digitalcommons.uri.edu/sc_pubs/5 This Text is brought to you for free and open access by the Special Collections at DigitalCommons@URI. It has been accepted for inclusion in Special Collections Publications by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. CONTENTS C ovER DESIGN E. Peek EDITQRIAL . Editor "WHAT CHEER, NETOP!" .. , . · Prophet Ernest H azard 'GREETINGS FROM FRIENDS OF THE TRIBE :Mrs. -
Newsletter Association for Recorded Sound Collections Number 136 • Fall/Winter 2014 ARSC “Steels” Into Events December 4-6, 2014
Newsletter Association For Recorded Sound Collections Number 136 • Fall/Winter 2014 ARSC “Steels” Into Events December 4-6, 2014. 9th Art of Record Pittsburgh Production Conference. Oslo, Sweden Known variously as the Steel City, January 25-26, 2015. Society of Indian Record the ‘Burgh, the Golden Triangle, Collectors, Sunny’s Gramophone Museum and the City of Bridges, downtown opening. Plassanal, Kerala, India Pittsburgh is a compact, walkable February 25, 2015. Music Library Association metropolitan center situated on a Pre-Conference Workshop: An Introduction point where the confluence of the to Archives and Special Collections for Music Allegheny and Monongahela Rivers Librarians. Denver, Colorado form the Ohio River. The scenic beauty of the area is enhanced by many rolling hills, with steep cliffs along the rivers offering many vistas of the city and be- May 27-30, 2015. ARSC 49th Annual Conference. yond, to the Allegheny National Forest. Though Pittsburgh has a storied past as Pittsburgh, Pennsylvania an industrial center, in recent years the city has been transformed into the “Paris July 13-16, 2015. International Council on of Appalachia,” renowned for its high tech industries, medical centers, muse- Archives, Section on University and Research ums, parks, universities, libraries, sports teams, and vibrant cultural districts. Yet Institution Archives: Audiovisual Archives in many of the neighborhoods originally settled by Polish, German, Italian, African University and Research Institution Archives American and Jewish immigrants still retain their unique ethnic character. Chapel Hill, North Carolina, USA The 49th annual ARSC conference will be held downtown in the Westin Con- September 27-October 1, 2015. International vention Center hotel, an upscale property offering easy access to the city’s main Association of Sound and Audiovisual Archives attractions, restaurants and sports venues. -
The Jazz Avant-Garde of the 1960S, the Black Aesthetic, and the Black Arts Movement
Critical Studies in Improvisation / Études critiques en improvisation, Vol 1, No 2 (2005) The Challenge of the Changing Same: The Jazz Avant-garde of the 1960s, the Black Aesthetic, and the Black Arts Movement Jason Robinson, University of California, San Diego On March 28, 1965, a benefit concert for the newly formed Black Arts Repertory Theatre/School was held at the Village Gate in New York City.1 Arranged by LeRoi Jones, founder of the organization and influential Black Arts Movement writer who later changed his name to Amiri Baraka, this event represents an historic confluence of dominant figures in the so-called “avant-garde” jazz movement of the 1960s. The concert brought together diverse voices from the experimental fringes of the jazz community, many of whom were entrenched in improvisatory methodologies that challenged traditional assumptions about jazz. In addition to performances by John Coltrane and Sun Ra, two of the primary innovators of the new music, a number of "first wave" experimentalists, like Archie Shepp and Albert Ayler, also appeared. Baraka was an outspoken black critic and supporter of the music sui generis; his essays frequently appeared in Down Beat and other music magazines; in 1963 he published Blues People, a landmark socio-political history of African American music; and his 1968 anthology of music criticism entitled Black Music analyzes the emergence of the jazz avant-garde in broad detail. This new music, or "New Black Music" as Baraka branded it, became the soundtrack to a developing black nationalism in literature. The Black Arts Movement looked to black musical expression as a site of authentic artistic "blackness." By exploring the conjuncture of music and literature, we see the emergence of a discursive critical space that generates a number of questions about “meaning” in music, and that is centrally constructed around improvisation, experimentation, and new musical vocabularies. -
Eric Nemeyer's
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