DOCSLIB.ORG

JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Bubeníci Jakožto Vůdčí Osobnosti Jazzových Ansámblů V Historii Bakalá

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Bubeníci Jakožto Vůdčí Osobnosti Jazzových Ansámblů V Historii Bakalá JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra jazzové interpretace Studijní obor Jazzová interpretace Bubeníci jakožto vůdčí osobnosti jazzových ansámblů v historii Bakalářská práce Autor práce: Michael Nosek Vedoucí práce: odb. as. Kamil Slezák Oponent práce: MgA. Martin Kleibl Brno 2014 Bibliografický záznam NOSEK, Michael. Bubeníci jakožto vůdčí osobnosti jazzových ansámblů v historii [Drummers as leaders of ensembles in jazz history]. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, rok 2014. Vedoucí bakalářské práce odb. as. Kamil Slezák. Anotace Bakalářská práce „Bubeníci jakožto vůdčí osobnosti jazzových ansámblů v historii” pojednává o třech bubenících, kteří vedli v historii vlastní jazzovou kapelu, či projekt. Na dva z nich (Buddy Rich a Dave Weckl) se potom zaměřuje podrobněji z hlediska herního stylu, biografie, diskografie, volby nástrojů, celkového zvuku a podobně. Mark Guilliana je zmíněn stručněji. Annotation Bachelor thesis „Drummers as leaders of ensembles in jazz history ” deals with drummers, which led their own jazz band, or project in history. The two of them (Buddy Rich and Dave Weckl) are mentioned with a lot of details focused in terms of playing style, biography, discography, choice of musical instruments, the overall sound etc. Mark Guilliana is mentioned more briefly. Klíčová slova Bubeník; bandleader; Buddy Rich; Dave Weckl; biografie; diskografie; bicí souprava; zajímavosti; publikace; Mark Guilliana. Keywords Drummer; bandleader; Buddy Rich; Dave Weckl; biography; discography; drumset; points of interest; publications; Mark Guilliana. Prohlášení: Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. V Brně, dne 2. května 2014 Michael Nosek OBSAH 1. ÚVOD ....................................................................................................................... 1 2. PŘEDMLUVA ............................................................................................................. 2 3. VYMEZENÍ POJMŮ ................................................................................................... 4 4. BUDDY RICH ............................................................................................................. 7 4.1. O životě ........................................................................................................... 7 4.2. Herní styl ......................................................................................................... 8 4.3. Zajímavosti ...................................................................................................... 9 4.4. Diskografie .................................................................................................... 10 4.5. Spolupráce .................................................................................................... 11 4.6. Ocenění ......................................................................................................... 11 4.7. Nástroje ........................................................................................................ 11 4.8. Shrnutí .......................................................................................................... 13 5. DAVE WECKL .......................................................................................................... 14 5.1. Fusion ........................................................................................................... 14 5.2. O životě ......................................................................................................... 14 5.3. Desky Dave Weckla ....................................................................................... 15 5.4. Zajímavosti .................................................................................................... 18 5.5. Weckl jako pedagog ...................................................................................... 19 5.6. Spolupráce .................................................................................................... 21 5.7. Nástroje ........................................................................................................ 21 5.8. Shrnutí .......................................................................................................... 22 6. DALŠÍ ZAJÍMAVÁ OSOBNOST.................................................................................. 24 7. MARK GUILLIANA ................................................................................................... 24 8. ZÁVĚR ..................................................................................................................... 27 9. POUŽITÉ INFORMAČNÍ ZDROJE ............................................................................. 28 1. ÚVOD Tato práce bude pojednávat o hráčích na bicí soupravu, kteří zároveň v historii vedli vlastní ansámbl. Budu se snažit přiblížit jejich život, způsob hraní a na základě nahrávek se pokusím blížeji seznámit s jejich charakteristikami, vzájemnými odlišnostmi i spojujícími prvky v jejich hře a pokusím se také popsat a zhodnotit jejich úlohu bandleaderů. Z množství takovýchto osobností jsem si nakonec vybral tři, o kterých bych rád pojednal: Buddy Rich Dave Weckl Mark Guilliana Co se zdrojů týče, budu čerpat z internetu, nahrávek, videí a interview (viz Použité informační zdroje). Tato bakalářská práce má mít charakter spíše encyklopedický. Od mého bádání si slibuji hlubší průnik do dané problematiky, tedy hlavně jakýsi sebevzdělávací proces. Před studiem na JAMU jsem se jazzem příliš do hloubky nezabýval, a proto se domnívám, že i tato práce by mne mohla určitým způsobem „dovzdělat“ v tématice, kterou zde studuji. 1 2. PŘEDMLUVA Jak jsem již dříve naznačil, tato práce by neměla být jen prostým absolventským počinem, ale možností proniknout do osobního a profesního života bubeníků, kteří mně imponují svými instrumentálními, improvizačními, vůdčími a jinými schopnostmi. Nikdy jsem se podobnými věcmi nezabýval, pouze jsem konzumoval jejich hudbu. Někdy z laického, jindy z profesního úhlu pohledu, nicméně nijak výrazně. Zhruba v době, kdy jsem začal studovat Katedru Jazzové Interpretace zde v Brně na JAMU, jsem založil vlastní autorský hudební projekt Personal Highway. V době, kdy jsem začal komponovat vlastní hudbu, jsem se částečně byl schopen oprostit od čistě sidemanského a interpretačního pojetí hudby, kterou jsem tehdy tímto způsobem chápal. Role leadera je poměrně delikátní záležitost. Bandleader by měl mít jasnou představu o hudbě, kterou v tělese hraje, měl by být schopen si své názory obhájit před ostatními, zároveň se však otevřít pro konstruktivní kritiku zbývajících členů kapely a podobně. Sám si tyto věci velmi silně uvědomuji při každé zkoušce, koncertu a nahrávání. Myslím si, že být leaderem se nelze vlastně naučit – člověk by jím měl být od přírody, podobně jako například pedagog. Ano, na škole se naučí historii, techniky výuky, způsoby ohodnocování studentů a další užitečné věci. Zároveň jej však škola nepřevychová v jeho základním charakteru. Naučí jej, jak si vydobýt autoritu, ale nenaučí jej, jak si ji společně s respektem studentů získat přirozeně. Jsem přesvědčen, že s těmito vlastnostmi se člověk rodí a vidím zde skutečně velkou paralelu mezi pedagogy a vedoucími hudebních souborů. I s vědomím faktu, že žák základní školy do ní chodí z povinnosti, kdežto hráč v kapele častěji ze zájmu. Nicméně ani to není v profesionální sféře pravidlem. Z toho vyplývá, že bandleader kapely, u které nejde tolik o vydělávání si na živobytí, ale o čistou radost z tvoření hudby, má situaci podstatně jednodušší než jeho kolega na opačné straně tohoto řekněme profesně-hudebního spektra. To zde ovšem rozebírat nehodlám. Spíše bych se chtěl zaměřit na jinou věc. Bubeníci, o kterých budu psát, byli bezesporu na tomto poli úspěšní, lze-li tak usuzovat z faktu, že projekty byli schopni 2 držet po delší dobu v obdobných sestavách. U každého z nich je však patrné, že cíle dosahovali trochu jiným způsobem. Někteří do hudby byli schopni otisknout více ega, jiní méně a to je podle mne zajímavé. Tím, že ke každému z nich pohovořím krátce o jejich životě a backgroundu a přiblížím tím tak jejich povahové rysy, bude vzrušující sledovat, zda sami sebe v hudbě potvrzují, či negují... 3 3. VYMEZENÍ POJMŮ Abychom se v celé práci lépe orientovali, uvádím zde krátký slovníček pojmů, se kterými se budeme v tomto textu často setkávat. Leader – obecně „vůdce“, „vůdčí osobnost“; Bandleader – kapelník; Sideman – člen kapely, který není bandleadrem; Improvizace – způsob hraní, kdy hráč využívá momentální situace v hudbě a dotváří, či ji přímo vytváří, za použití všech svých hráčských dovedností a schopností. Jde tedy o vysoce autentickou a osobní činnost, která by však vždy měla sloužit hudbě jakožto celku; Jazz – jde o typ afro-americké hudby, který se zformoval mezi koncem 19. st. a počátkem 20. st. v USA jako kombinace evropské harmonie a forem s africkými hudebními elementy jako jsou blue tóny, improvizace, polyrytmy, synkopy a houpavé frázovaní.1 Nicméně dnes již toto slovo já osobně chápu jinak. Podle mě je jazz obecně hudba, která vysloveně stojí na improvizaci a tvůrčím reagování na momentální hudební situaci. Proto zde uvádím i bubeníky, kteří jazz, jakožto styl, ve svých projektech nehrají, nicméně projekty v tomto slova smyslu duch jazzu nepostrádají; Groove – anglický výraz pro „drážku“. Napadá mě elegantní vysvětlení – když jehla gramofonu jede ve drážce, hudba hraje a „jede“, když je jehla mimo
Load more

Recommended publications
  • History of the Drum Set
    History of the Drum Set The drum set is as American as baseball, hotdogs, and apple pie. The instrument as it currently exists has seen a great deal of evolution and development. From its infancy at the start of the 20 th century to the innovations that are currently taking place, it has developed into the most visible and widely used instruments in the percussion family. Late 1800’s Brass bands were the most common type of instrumental ensemble in the United States in the later half of the 19 th century. Every town in America had bandstands were concerts were held and perhaps the reason for their existence can be attributed in part to the Civil War. Every military unit had its own squad of musicians, usually formed according to locality. Occasionally some bands stayed together after the war, while others disbanded. Each brass band consisted of two or more drummers that played snare, bass, and cymbals. In addition to marching parade commitments, these bands sometimes moved “indoors” entertaining patrons in concert providing music for occasions such as picnics and town socials. When these groups moved inside, the standard instrumentation was cut down somewhat for practical reasons. Because of this, the need for two or more drummers decreased and resourceful inventions began to flourish. The concept of one drummer playing two or more rhythms was made possible through the creation of the snare drum stand and bass drum pedal. Before the snare stand, drummers would hang the drum from their shoulder with a strap or sling, or position the drum on a chair.
    [Show full text]
  • January 1988
    VOLUME 12, NUMBER 1, ISSUE 99 Cover Photo by Lissa Wales Wales PHIL GOULD Lissa In addition to drumming with Level 42, Phil Gould also is a by songwriter and lyricist for the group, which helps him fit his drums into the total picture. Photo by Simon Goodwin 16 RICHIE MORALES After paying years of dues with such artists as Herbie Mann, Ray Barretto, Gato Barbieri, and the Brecker Bros., Richie Morales is getting wide exposure with Spyro Gyra. by Jeff Potter 22 CHICK WEBB Although he died at the age of 33, Chick Webb had a lasting impact on jazz drumming, and was idolized by such notables as Gene Krupa and Buddy Rich. by Burt Korall 26 PERSONAL RELATIONSHIPS The many demands of a music career can interfere with a marriage or relationship. We spoke to several couples, including Steve and Susan Smith, Rod and Michele Morgenstein, and Tris and Celia Imboden, to find out what makes their relationships work. by Robyn Flans 30 MD TRIVIA CONTEST Win a Yamaha drumkit. 36 EDUCATION DRIVER'S SEAT by Rick Mattingly, Bob Saydlowski, Jr., and Rick Van Horn IN THE STUDIO Matching Drum Sounds To Big Band 122 Studio-Ready Drums Figures by Ed Shaughnessy 100 ELECTRONIC REVIEW by Craig Krampf 38 Dynacord P-20 Digital MIDI Drumkit TRACKING ROCK CHARTS by Bob Saydlowski, Jr. 126 Beware Of The Simple Drum Chart Steve Smith: "Lovin", Touchin', by Hank Jaramillo 42 Squeezin' " NEW AND NOTABLE 132 JAZZ DRUMMERS' WORKSHOP by Michael Lawson 102 PROFILES Meeting A Piece Of Music For The TIMP TALK First Time Dialogue For Timpani And Drumset FROM THE PAST by Peter Erskine 60 by Vic Firth 104 England's Phil Seamen THE MACHINE SHOP by Simon Goodwin 44 The Funk Machine SOUTH OF THE BORDER by Clive Brooks 66 The Merengue PORTRAITS 108 ROCK 'N' JAZZ CLINIC by John Santos Portinho A Little Can Go Long Way CONCEPTS by Carl Stormer 68 by Rod Morgenstein 80 Confidence 116 NEWS by Roy Burns LISTENER'S GUIDE UPDATE 6 Buddy Rich CLUB SCENE INDUSTRY HAPPENINGS 128 by Mark Gauthier 82 Periodic Checkups 118 MASTER CLASS by Rick Van Horn REVIEWS Portraits In Rhythm: Etude #10 ON TAPE 62 by Anthony J.
    [Show full text]
  • Buddy Rich Ex- to the Art
    BUDDY RICH MEMORIAL CONCERT MANHATTAN CENTER FOR THE ARTS/HAMMERSTEIN BALLROOM E V E N T PROGRAM O C T O BE R 18, 2008 Buddy_Program.indd 1 10/10/08 4:59:23 PM BUDDY RICH Arguably the greatest jazz drummer of all time, the legendary Buddy Rich ex- hibited his love for music through his life-long dedication to the art. His was a career that spanned seven decades, beginning when he was just 18 months old, and continuing until his death in 1987. Immensely gifted, Rich could play with remarkable speed and dexterity despite his never having received a formal lesson and refusing to practice outside of his performances. Born Bernard Rich to vaudevillians Robert and Bess Rich on September 30, 1917, the famed drummer was introduced to audiences at a very young age. By 1921, he was a seasoned solo performer with his vaudeville act, “Traps The Drum Wonder.” With his natural sense of rhythm, Rich was per- forming regularly on Broadway by the age of four. At the peak of Rich’s early career, he was the second-highest paid child entertainer in the world. “Rich’s technique has been one of the most standardized and coveted in drumming. His dexterity, speed, and smooth execution are considered holy grails of drum tech- nique. While Rich typically held his sticks using ‘traditional grip’ (left thump facing up), he was also a skilled ‘match grip’ player, and was one of few drummers to master the one-handed roll on both hands. Some of his more spectacular moves are crossover riffs, where he would criss-cross his arms from one drum to another, sometimes over the arm, and even under the arm at great speed.” — ExcERPTED FROM WIKIPEDIA Buddy_Program.indd 2 10/10/08 4:59:26 PM Rich’s jazz career began in 1937 when he began playing BUDDY RICH with Joe Marsala at New York’s Hickory House.
    [Show full text]
  • Jazz Legacy CD PDF:Steve Smith Drum Legacy.Qxd
    Steve Smith Jazz Legacy Live On Tour Steve Smith - drumset Andy Fusco - alto sax, shaker Walt Weiskopf - tenor sax, soprano sax, flute, claves Mark Soskin – piano, Fender Rhodes, maracas Baron Browne - bass Produced by Steve Smith Executive Producers: Paul Siegel and Rob Wallis Recorded live at Catalina Bar and Grill, Hollywood CA October 5-8, 2006 by Robert M. Biles Mixed October 9-12, 2006 by Robert M. Biles at Bob’s Hardware, Silverlake CA Edited by Manoj Gopinath Mastered February 2008 by Jim Brick at Absolute Audio, Atlantic Highlands NJ Photos by Tim Ellis and Rick Malkin Design by Joe Bergamini This recording is dedicated to our dear friend Steve Marcus. Special Thanks to: Extra Special thanks to my wife Diane Kiernan- Janet Williamson, Bob Biles, Tim Ellis, Mike Smith for your open attitude, warm heart and Thomas, Marko Marcinko, Tommy Coster unwavering support for the band and me. Jr., Colleen Williams, Catalina Popescu, Manny Santiago, Mark Griffith, my friends www.vitalinformation.com/steve http://www.myspace.com/stevesmithjazzlegacy at Hudson Music: Paul Siegel and Rob Wal- www.marksoskin.com lis, Zildjian: Cragie and Debbie Zildjian, www.waltweiskopf.com John DeChristopher, Paul Francis, John King, and Bob Wiczling, Sonor: Karl-Heinz Baron Browne uses Gallien-Krueger bass amps. Menzel and Thomas Barth, Vic Firth: Marco Soccoli, Vic and Tracy Firth, Remo: Matt For booking: Connors, DW pedals: Don Lombardi, Shure: Janet Williamson Music Agency Ryan Smith, Puresound Percussion: Hugh PO Box 27114 Gilmartin, Michael Bloom and Steve Orkin. Los Angeles, CA 90027 [email protected] www.janetwilliamsonmusicagency.com Copyright © 2008 Hudson Music LLC All Rights Reserved www.hudsonmusic.com Live On Tour 1.
    [Show full text]
  • CLEF and NORGRAN RECORDS ’ Blic
    ne Breitest Bence Bends ndly that In the Country ere on I ob- nted rec- ncy, 8 to CLEF AND NORGRAN RECORDS ’ blic. ■tion song Host ORCHESTRA ON CLEF RECORDS LONG PUT EPC-157 Dance with Count Basie MGC-120 Count Basle and his Orchestra Collates EPC IOS Count Basie Big Band sr 1 MGC-140 Count Basle Big Band EPC IM Count Basie Big Band sr 2 MGC «26 Count Basle Dance Session #1 EPC-220 Count Basle Dance Session # 1 MGC-G47 Count Basle Dance Session 02 EPC-221 Count Basie Dance Session #2 MGC-833 Basle la» EPC-338 Count Basie Dance Session #3 EXTENDED PUT EPC-338 Count Basle Dance Session #4 EPC-132 Count Basle and His Orchestra #1 EPC-251 Basie Jan #1 EPC-14? Count Basle and His Orchestra #2 EPC 252 Basie Jan #2 ORCHISfRA ON CLEF RECORDS EXTENBEB PUT LONG PUT EPC-247 The Gene Krupa Sextet # 1 MGC-147 The Gene Krupa Sextet #1 EPC-248 The Gene Krupa Sextet #2 MGC-152 The Gene Krupe Sextet #2 MGC 831 The Gene Krupa Sextet #3 ON CLEF RECOROS MGN-1004 Memorles ot Elllngton by Johnny Hodges LONS PUT MGN-10M More of Johnny Hodges end Hli Jrchestra MCC-111 Johnny Hodges Collates #1 MGC-12» Johnny Hodges Collates 02 EXTENOEB PUT EXTENDED PUT (PN-1 Swing with Johnny Hodges #1 EPC-12» Johnny Hodges «nd His Orchestra EPN-2 Swing with Johnny Hodges 02 (PC-148 Al Hibbler with johnny Hodges 6PN 28 Memorles ot Elllngton by Johnny Hodges #1 and His Orchestra (PN 27 Memorles of Elllngton by Johnny Hodges #2 EPC 183 Dance with Johnny Hodges #1 EPN-83 More iH Johnny Hodges end His Orchestra O1 EPC 164 Oance with Johnny Hodges #2 (PN-44 Mora of Johnny Hodges
    [Show full text]
  • Trevor Tolley Jazz Recording Collection
    TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre.
    [Show full text]
  • Diego Rivera Bio 2020
    DIEGO RIVERA SAXOPHONIST - COMPOSER - ARRANGER ASSOCIATE PROFESSOR OF JAZZ SAXOPHONE - MICHIGAN STATE UNIVERSITY “...his playing is carefully phrased and beautifully nuanced…” - Jazz Times A world-class musician, composer, arranger and educator, Diego Rivera has entertained audiences for over 20 years. Rivera is known for his muscular tone and unique blend of straight-ahead mainstream jazz fused with music inspired by his Latino background and heritage. He is a tenured Associate Professor of Jazz Saxophone at Michigan State University where he also serves as Associate Director of Jazz Studies. Rivera was born in Ann Arbor, MI and raised ‘just up the road’ in East Lansing, MI. Born into a Mexican- American family, his Chicano heritage has always been important to him and shaped his creative endeavors. His parents named him after the famed muralist, Diego Rivera. A trip to the Detroit Institute of Arts at a young age inspired him to make his own mark with the Saxophone rather than the brush. He attended Michigan State University where he studied with Andrew Speight, Branford Marsalis, Ron Blake and Rodney Whitaker. In 1999, he began his professional and touring career with the Jimmy Dorsey Orchestra on their Big Band ‘99 tour. Since that maiden voyage, he has performed concerts at the most prestigious venues and festivals across the United States, Canada, Europe and Asia. He currently leads his own group, The Diego Rivera Quartet. Rivera has also toured with GRAMMY-Award winning vocalist, Kurt Elling, JUNO-Award winning Canadian Jazz Vocalist, Sophie Milman and The Rodney Whitaker Quintet. He is a member of the The Ulysses Owens Jr.
    [Show full text]
  • Basic Was One of Rich Was Stricken with a There Is a Tie of Affection
    well 'gain. And Basic was one of the first to telephone after be surprising. But coming from the modern camp, it is, in Rich was stricken with a heart attack in November. a sense. For Rich hasn’t always been kind to them in his There is a tie of affection between Basie and Rich that comments. During the early days of bebop, he expressed gives many persons the idea that Rich once was employed disdain for the new drummers, saying they had no right to by Basie. Actually, Rich only played as fill-in drummer break up the rhythmic flow of a band with constant explo­ with the band for two weeks after Jo Jones was drafted in sions and extraneous back beats. To him. drums constituted 1944. a complete instrument, designed to set and hold the beat, B.-'ie was playing the Club Plantation in Los Angeles at and even when throwing in explosions, he would never sacri­ that time. Rich was in Culver City, making a movie with fice rhythmic continuity. He felt the modernists were sacri­ Tommy Dorsey on the M-G-M lot. To help Basie, Buddy ficing the essential reason for drums in order to get a new worked every evening with the band after working from sound. b a.m. to 5 p.m. at M-G-M But time has mellowed Rich’s views on drummers, along For some reason, Basie and Rich never got around to with his playing, which is more restrained than it was in discussing money. After two weeks, a regular substitute the days of the Granz tours.
    [Show full text]
  • Title Arranger / Composer Arranger / Composer
    Title Arranger / Composer Arranger / Composer (Back Home Again In) Indiana FULL Big Band Barduhn+ (I Got You) Under My Skin FULL Big Band Vocal (I Love You) For Sentimental Reasons FULL Big Band Osser (Shes) Sexy + 17 FULL Big Band Lowden Stray Cats (Up A) Lazy River FULL Big Band Sy Zentner (Up A) Lazy River FULL Big Band (Vocal) Wess Bobby Darin 1237 On A Saturday Afternoon FULL Big Band Persons 2 At A Time FULL Big Band Persons 2 Bone BBQ FULL Big Band Cobine 20 Nickles FULL Big Band Beach 21st Century Schizoid Man FULL Big Band 23 Chuckles FULL Big Band Paul Clark 23 Red FULL Big Band Bill Chase Woody Herman Orchestra 23o N 82oW Full Big Band 25 Or 6 To 4 FULL Big Band Blair Chicago+ 25 Or 6 To 4 FULL Big Band Lamm Chicago 42nd Street Medley FULL Big Band Lowden 5 Foot 2 FULL Big Band (Trombone Feature) Amy 50's Medley FULL Big Band Unk 61st & Rich' It FULL Big Band Thad Jones+ 7 Come 11 FULL Big Band Henderson Benny Goodman 720 In The Books FULL Big Band Wolpe 720 In The Books FULL Big Band (Vocal) Mason 88 Basie Street Sammy Nestico 88 Basie Street Full Big Band Nestico 920 Special FULL Big Band Bunton 920 Special FULL Big Band Collins Count Basie+ 920 Special FULL Big Band Murphy A That's Freedom FULL Big Band Thad Jones A Beautiful Friendship FULL Big Band Nestico A Big Band Christmas FULL Big Band Strommen A Big Band Christmas II FULL Big Band Strommen A Brazilian Affair FULL Big Band Mintzer A Change Of Pace FULL Big Band Unk A Child Is Born FULL Big Band Thad Jones A Childrens Song FULL Big Band Mintzer A Cool Shade Of Blue
    [Show full text]
  • Album Releases Feb. Album Releases
    ) —— — ) ) — )) ) ) —— ALBUM RELEASES FEB. ALBUM RELEASES llllll!llllll!llll!l!llll!llll!llillllll!llllll!!l!llllll!lll!IIIII!lllll , , CORAL “Al Casey Quartet” —Moodsville Vol. 12 SAVOY “Midnight Special”— Al Smith — Bluesville 1013 “No More In Life” — Mildred Anderson— Bluesville POPULAR Pete Fountain’s French Quartet New Orleans” “The Fabulous Jimmy Scott”—#121 50 ( M 1017 CRL-57359(M) CRL-757359(S) 1 1 ( — “Candy And Big Maybelle” — # 401 M “Just Blues” —Memphis Slim —Bluesville 1018 Songs Everybody Knows” Teresa CRL- — Brewer— Lightning”-— Lightning Hopkins Bluesville 1019 — | 57361 (M) CRL-757361 — (S) Bud Freeman All Stars w/Shorty Baker”—Swing- Royal Caledonian Pipe Band” Pipe Major- ABC—PARAMOUNT — vill 2012 David Fairweather CRL-57318(M) TELEFUNKEN — Stasch”—Coleman Hawkins w/Prestige Blues The Irish World of Patrick O’Hagan” CRL-57316 “Dedicated To You” Ray Charles ABC-355(M) — Swingers Swingville 2013 — — (M) “Music For Lovers”—Werner Muller and His Or- — ABCS-3551S) Tate-A-Tate” —Buddy Tate w/Clark Terry Swing- ‘Come All Ye’s And Other Irish Songs” Pat Har- chestra—TP-251 6(M)—TPS-1 251 6(S) — “The Giants of Flamenco’’ Montoya & Sabicas — ville 2014 — rington— CRL-57367(M) “Beer ’N Brass” —Bohemian Polkas & Waltzes ABC-357IM) The Best of Ewan MacColl” — Prestige Int’l. 13004 ‘Irish Show Boat”—The McNulty Family—CRL- Ernst Mosch & His Bohemian Band—TP-251 5(M) “Adventures In Paradise (Vol. II)’’ Various Art- The Best of Peggy Seeger” Prestige Int'l. — 57368(M) — 13005 ists—ABC-3581 M) —ABCS-358(S) Jeannie Robertson—World’s Greatest Folk Singer” ‘Irish Jigs And Reels”—Michael Coleman CRL- “Big 15 Various Artists ABC-359(M) — —Prestige Int’l.
    [Show full text]
  • The Charlie Parker Story #1
    THE CHARLIE PARKER STORY # ELECTRONICALLY RE-RECORDED TO SIMULATE-STEREO V6-8000 (K;) Metro-Goldwyn-Mayer Inc./Printed in U.S.A. V6-8000 THE CHARLIE PARKER STORY *1 I'd like to make a few observations about Charlie Parker and his relations with Later on, on the West Coast, I was able to get Charlie to make what I believe to me during his lifetime. I won't attempt to give any biographical data on Charlie, be one of the important sessions in jazz history, when I had him record with Benny and the generalizations concerning his musicianship are obviously extraneous coming Carter and Johnny Hodges in which was clearly delineated the three greatest alto from me because by now they have become part of jazz-lore known by every fan. But stylists in jazz. there was an exchange of points-of-view, as it were, that I think needs retelling here. Towards the end, Charlie's contacts with me became less frequent except for I first heard about Charlie in 1944 from a tenor saxophonist by the name of the constant need for economic help, and I confess that he became more difficult for Merle Anderson who worked for me in my various jam sessions on the West Coast. me to try things with on a musical level. There was, for me, an abortive attempt to Merle, who, unfortunately has since died, played with Charlie in Kansas City in the combine voices with Charlie, but by then I had the feeling that these things weren't early days.
    [Show full text]
  • The Sound of Surprise 46 Pieces on Jazz.Pdf
    cz DO 079 The Sound of Surprise WHITNEY BALLIETT The Sound of Surprise 46 Pieces on Jazz E. P. BUTTON & CO., INC. NEW YORK, 1959 WHITNEY BALLDETT Copyright, , 1959 by Printed in All rights reserved. the U.SA FIRST EDITION No part of this book may be reproduced in any form without permission in writing from the publisher, except by a reviewer who wishes to quote brief excerpts in con- nection with a review written for inclusion in a magazine, newspaper or broadcast. Except for the first two pieces which ap- in peared slightly different form in the Satur- day Review and the principal section of the third in piece, which appeared, again slightly different form, in The Reporter, the material in this book appeared originally in The New Yorker and was copyrighted in 1957, 1958 and 1959 by The New Yorker Magazine, Inc. LIBRARY OF CONGRESS CATALOG CARD NUMBER: 59-5832 T0E.K.B. CONTENTS INTRODUCTION ix Part One: 19541956 PANDEMONIUM PAYS OFF 3 ARTISTRY IN LIMBO 11 THE BIBULOUS AUNT 14 Part Two: 1957 PROGRESS AND PRUDENCE 25 THE DUKE AT PLAY 29 PASTORAL 33 HOT 38 AVAUNT 42 COLOSSUS 45 DJINNI 49 MAMMOTH 54 THE M.J.Q. 59 THE OLDEN DAYS 63 COOTIE 67 HOT NIGHT, LITTLE LIGHT 71 THE THREE LOUIS 74 STRESS AND STRAIN 78 MINGUS BREAKS THROUGH 82, THE RESURGENCE OF RED ALLEN 87 HOT AND COLD 91 Vii Contents Part Three: 1958 EPITAPH 97 MELEE 101 VIC DICKENSON AND THE P.J.Q. 104 MONK 108 THIS WHISKEY IS LOVELY 113 CLOSE, BUT NO CIGAR 118 OUT OF FOCUS 123 CHAMELEON 127 THE M.J.Q.
    [Show full text]