Sonny Rollins Sonny Boy Mp3, Flac, Wma

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Sonny Rollins Sonny Boy mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Sonny Boy Country: France Released: 1990 Style: Bop, Hard Bop MP3 version RAR size: 1207 mb FLAC version RAR size: 1603 mb WMA version RAR size: 1521 mb Rating: 4.6 Votes: 954 Other Formats: AA ASF AUD VQF TTA FLAC WAV Tracklist Hide Credits 1 Ee-Ah 6:53 2 B. Quick 9:11 3 B. Swift 5:14 The House I Live In 4 9:21 Piano – Wade LeggeTrumpet – Kenny Dorham 5 Sonny Boy 8:22 Companies, etc. Distributed By – Carrere – 99 929 Phonographic Copyright (p) – Fantasy, Inc. Copyright (c) – Fantasy, Inc. Credits Bass – George Morrow Design – Don Schlitten Drums – Max Roach Engineer – Rudy Van Gelder Mastered By – Phil De Lancie Piano – Kenny Drew (tracks: 1 to 3, 5) Tenor Saxophone, Composed By – Sonny Rollins Notes ℗&© 1990, Fantasy Inc. #4 : Recorded October 5, 1956. #1-3, 5 : Recorded December 7, 1956. Other versions Category Artist Title (Format) Label Category Country Year Sonny Boy (LP, Sonny Prestige, PR 7207, PRLP 7207 Album, Mono, PR 7207, PRLP 7207 US 1961 Rollins Prestige RM) Sonny Boy (LP, Sonny ACV 2075 Album, Ltd, Doxy ACV 2075 Italy 2016 Rollins Num, RE) Sonny Boy (LP, Sonny PR 7207 Album, Mono, Prestige PR 7207 US 1964 Rollins RE, RM) Original Jazz Sonny Sonny Boy (CD, 00025218634823 Classics, 00025218634823 Europe 2006 Rollins Album, RE, RM) Prestige Original Jazz Sonny Sonny Boy (LP, OJC-348, P-7207 Classics, OJC-348, P-7207 US 1989 Rollins Album, RE, RM) Prestige Related Music albums to Sonny Boy by Sonny Rollins Thelonious Monk / Sonny Rollins - Work! Sonny Rollins - The Best Of Sonny Rollins Sonny Rollins - Tour De Force Sonny Rollins - Sorry Rollins With The Modern Jazz Quartet Sonny Rollins Quintet - Rollins Plays For Bird Sonny Rollins - Plus 4 Sonny Rollins Quartet - Tenor Madness Sonny Rollins With The Modern Jazz Quartet Featuring Art Blakey And Kenny Drew - Sonny Rollins With The Modern Jazz Quartet Sonny Rollins - Moving Out Sonny Rollins - Saxophone Colossus.

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1982-12 and 1983-01
AIRWAVES . A Service of Continuing Education and Extension l5i1 University of Minnesota, Duluth Vol. 3 Number 7 December 1982 January 1983 Dick Paske and Leif Brush rehearse Leif Brush Work . to be Broadcast on KUMD 1 I\UMU §taff Station Managtt ... .... Tum Livingston Program Ditt<;tor .......•. John Zi~gltr ,\Ht. Progr~m Dirtt~or .. ... Paul Schmnz •:nginttring .. •. ... .• .•.. Kirk Kint~n fo the LiJener Producn/Outruch ..••.• . Jran Johnson AIRWAVES is the bi-month! y program guide of KUMD, which is the 100,000 watt public radio station at the ..., By Tom. Uvlngeton, Station Manager University of Minnesota-Duluth, broadcasting at 103.3 fm. KUMD is part of University Media Resources, a· Marathon Holly Near Jottings: department of Continuing Education Our fall fundraiser drive fell short of 'The November I 0th concert in Superior Our satellite dish installation will be and Extension at the University of other fall efforts as 350 people pledged by womens musician Holly Near was a complete some time this month, and we Minnesota. KUMD's program philosophy is to provide the highest just under $13,000. Thanks to everyone tremendous success. A near-sellout, the will be adding Jazz Allve and NPR who called! Why did we do less than we concert was a great energy generator for Playhouse at that time. Thanks to quality non-commercial program- hoped? Was it the economy, our new everyone involved, and received rave C.S. Zidek, whose generouse challenge ming, including music, news and programming, or something else? reviews in both Rag Times Magazine match helped the Folk Migrations public affairs, and information Please share your thoughts with us, and and The Duluth News Tribune & program to a total of $1,200 for one programs, K UMD encourages if you didn't renew during the Herald.
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QUASIMODE: Ike QUEBEC
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ QUASIMODE: "Oneself-Likeness" Yusuke Hirado -p,el p; Kazuhiro Sunaga -b; Takashi Okutsu -d; Takahiro Matsuoka -perc; Mamoru Yonemura -ts; Mitshuharu Fukuyama -tp; Yoshio Iwamoto -ts; Tomoyoshi Nakamura -ss; Yoshiyuki Takuma -vib; recorded 2005 to 2006 in Japan 99555 DOWN IN THE VILLAGE 6.30 99556 GIANT BLACK SHADOW 5.39 99557 1000 DAY SPIRIT 7.02 99558 LUCKY LUCIANO 7.15 99559 IPE AMARELO 6.46 99560 SKELETON COAST 6.34 99561 FEELIN' GREEN 5.33 99562 ONESELF-LIKENESS 5.58 99563 GET THE FACT - OUTRO 1.48 ------------------------------------------ Ike QUEBEC: "The Complete Blue Note Forties Recordings (Mosaic 107)" Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Milt Hinton -b; J.C. Heard -d; recorded July 18, 1944 in New York 34147 TINY'S EXERCISE 3.35 Blue Note 6507 37805 BLUE HARLEM 4.33 Blue Note 37 37806 INDIANA 3.55 Blue Note 38 39479 SHE'S FUNNY THAT WAY 4.22 --- 39480 INDIANA 3.53 Blue Note 6507 39481 BLUE HARLEM 4.42 Blue Note 544 40053 TINY'S EXERCISE 3.36 Blue Note 37 Jonah Jones -tp; Tyree Glenn -tb; Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Oscar Pettiford -b; J.C. Heard -d; recorded September 25, 1944 in New York 37810 IF I HAD YOU 3.21 Blue Note 510 37812 MAD ABOUT YOU 4.11 Blue Note 42 39482 HARD TACK 3.00 Blue Note 510 39483 --- 3.00 prev. unissued 39484 FACIN' THE FACE 3.48 --- 39485 --- 4.08 Blue Note 42 Ike Quebec -ts; Napoleon Allen -g; Dave Rivera -p; Milt Hinton -b; J.C.
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BROWNIE the Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet
BROWNIE The Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet Dan Morgenstern Grammy Award for Best Album Notes 1990 Disc 1 1. DELILAH 8:04 Clifford Brown-Max RoaCh Quintet: (V. Young) Clifford Brown (tp), Harold Land (ts), Richie 2. DARN THAT DREAM 4:02 Powell (p), George Morrow (b), Max RoaCh (De Lange - V. Heusen) (ds) 3. PARISIAN THOROUGHFARE 7:16 (B. Powell) 4. JORDU 7:43 (D. Jordan) 5. SWEET CLIFFORD 6:40 (C. Brown) 6. SWEET CLIFFORD (CLIFFORD’S FANTASY)* 1:45 1~3: Los Angeles, August 2, 1954 (C. Brown) 7. I DON’T STAND A GHOST OF A CHANCE* 3:03 4~8: Los Angeles, August 3, 1954 (Crosby - Washington - Young) 8. I DON’ T STAND A GHOST OF A CHANC E 7:19 9~12: Los Angeles, August 5, 1954 (Crosby - Washington - Young) 9. STOMPIN’ AT TH E SAVOY 6:24 (Goodman - Sampson - Razaf - Webb) 10. I GET A KICK OUT OF YOU 7:36 (C. Porter) 11. I GET A KICK OUT OF YOU* 8:29 * Previously released alternate take (C. Porter) 12. I’ LL STRING ALONG WITH YOU 4:10 (Warren - Dubin) Disc 2 1. JOY SPRING* 6:44 (C. Brown) Clifford Brown-Max RoaCh Quintet: 2. JOY SPRING 6:49 (C. Brown) Clifford Brown (tp), Harold Land (ts), Richie 3. MILDAMA* 3:33 (M. Roach) Powell (p), George Morrow (b), Max RoaCh (ds) 4. MILDAMA* 3:22 (M. Roach) Los Angeles, August 6, 1954 5. MILDAMA* 3:55 (M. Roach) 6.
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Top 10 Albums Rhythm Section Players Should Listen to 1
Top 10 Albums Rhythm Section Players Should Listen To 1. Money Jungle by Duke Ellington Duke Ellington-Piano Charles Mingus-Bass Max Roach-Drums RELEASED IN 1963 Favorite Track: Caravan 2. Monk Plays Duke by Thelonious Monk Thelonious Monk- Piano Oscar Pettiford-Bass Kenny Clarke-Drums RELEASED IN 1956 Favorite Track: I Let A Song Out of My Heart 3. We Get Request by Oscar Peterson Trio Oscar Peterson-Piano Ray Brown-Bass Ed Thigpen-Drums RELEASED IN 1964 Favorite Track: Girl from Ipanema 4. Now He Sings, Now He Sobs by Chick Corea Chick Corea-Piano Miroslav Vitous-Bass Roy Haynes-Drums RELEASED IN 1968 Favorite Track: Matrix 5. We Three by Roy Haynes Phineas Newborn-Piano Paul Chambers-Bass Roy Haynes-Drums RELEASED IN 1958 Favorite Track(s): Sugar Ray & Reflections 6. Soul Station by Hank Mobley Hank Mobley-Tenor Sax Wynton Kelly-Piano Paul Chambers-Bass Art Blakey-Drums RELEASED IN 1960 Favorite Track: THE ENTIRE ALBUM! 7. Free for All by Art Blakey and the Jazz Messengers Freddie Hubbard-Trumpet Curtis Fuller-Trombone Wayne Shorter-Tenor Saxophone Cedar Walton-Piano Reggie Workman-Bass Art Blakey-Drums RELEASED IN 1964 Favorite Track: THE ENTIRE ALBUM 8. Live at the IT Club by Thelonious Monk Charlie Rouse-Alto Saxophone Thelonious Monk-Piano Larry Gales-Bass Ben Riley-Drums RECORDED IN 1964; RELEASED IN 1988 Favorite Track: THE ENTIRE ALBUM 9. Clifford Brown & Max Roach by Clifford Brown & Max Roach Clifford Brown-Trumpet Harold Land-Tenor Saxophone Richie Powell-Piano George Morrow-Bass Max Roach-Drums RELEASED IN 1954 Favorite Track(s): Jordu, Daahoud, and Joy Spring 10.
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Finding Aid to the Historymakers ® Video Oral History with Sonny Rollins
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Acoustic Sounds Catalog Update
WINTER 2013 You spoke … We listened For the last year, many of you have asked us numerous times for high-resolution audio downloads using Direct Stream Digital (DSD). Well, after countless hours of research and development, we’re thrilled to announce our new high-resolution service www.superhirez.com. Acoustic Sounds’ new music download service debuts with a selection of mainstream audiophile music using the most advanced audio technology available…DSD. It’s the same digital technology used to produce SACDs and to our ears, it most closely replicates the analog experience. They’re audio files for audiophiles. Of course, we’ll also offer audio downloads in other high-resolution PCM formats. We all like to listen to music. But when Acoustic Sounds’ customers speak, we really listen. Call The Professionals contact our experts for equipment and software guidance RECOMMENDED EQUIPMENT RECOMMENDED SOFTWARE Windows & Mac Mac Only Chord Electronics Limited Mytek Chordette QuteHD Stereo 192-DSD-DAC Preamp Version Ultra-High Res DAC Mac Only Windows Only Teac Playback Designs UD-501 PCM & DSD USB DAC Music Playback System MPS-5 superhirez.com | acousticsounds.com | 800.716.3553 ACOUSTIC SOUNDS FEATURED STORIES 02 Super HiRez: The Story More big news! 04 Supre HiRez: Featured Digital Audio Thanks to such support from so many great customers, we’ve been able to use this space in our cata- 08 RCA Living Stereo from logs to regularly announce exciting developments. We’re growing – in size and scope – all possible Analogue Productions because of your business. I told you not too long ago about our move from 6,000 square feet to 18,000 10 A Tribute To Clark Williams square feet.
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Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
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Annual Dixie Jubilee Shows Two-Beat Still Draws Well
finishes >r Paci- J<J md Reciprocity Annual Dixie Jubilee Shows New York—For a recent private irty in Westchester, a pianist Two-Beat Still Draws Well e 2> of ith jazz leanings was hired. For vn Hall ouch of the night, the pianist Hollywood—That the traditional jazz forms stiM have their loyally r. MJV, lietly amused herself running oanges and softly wailing. Toward enthusiastic following was pointed up again as a near-capacity crowd uidnight, an imposing matron hov- assembled at L. A.’s 6,700-seat Shrine auditorium on the night of red over and said with infinite Sept. 29 for the 9th Annual Dixieland Jubilee, presented, as in former nidescension: “Do you think it years, by its founders, Frank Bull and . Norm ill possible for you to find some- Gene Norman. mphony vhere in your repertoire something George Lewis again brought his crew Local 47 Approves least i ng > which we might dance?” of veteran jazzmen up from New Or Tommy The pianist continued playing, leans. Also from New Orleans for the Europe, .md after a minute, looked up in- Jubilee came Al Hirt, trumpet; Pete ith Bill incently: “Well—uh—how well do Fountain, clarinet, and Warren Luen- Increase In Dues you dance?" mg, trumpet. The latter is a 14-year-old youngster who built his reputation in Hollywood—Members of AFM’s Lo . Lionel cal 47 have voted to increase dues from ock and the Crescent city and whose reception $4.50 to $6 a quarter ($22 a year if lay oin here indicated he was no disappoint ment to the west coast two-beat tribe paid in advance) in order to meet the More Than 1,000 However, for the more critical of admitted financial crisis the local’s those present, the real star and the treasury is facing.
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BARRY HARRIS NEA Jazz Master (1989)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BARRY HARRIS NEA Jazz Master (1989) Interviewee: Barry Harris (December 19, 1929 - ) Interviewer: Aaron Graves with recording engineer Ken Kimery Date: August 20th, 2010 Repository: Archives Center, National Museum of American History Description: Transcript, 36 pp. Graves: My name is Aaron Graves, today is August the 20th 2010. We’re here at the University of the Streets with Master Barry Harris. And we’re going to ask Mr. Harris, if you would to give us – state your name for us. Harris: Okay. Barry D. Harris. The “D” stands for Doyle. Barry Doyle Harris. Graves: Barry Doyle Harris. Harris: That’s right. Graves: That’s new to the world? Harris: All Irish all the way. Graves: Irish? Harris: Irish and English and Scottish. And born – when – December 15th, 1929. Graves: Mm-hm. Harris: In a little cabin. [laughs] Graves: When – where were you born? Harris: Where was I born? For additional information contact the Archives Center at 202.633.3270 or [email protected] Graves: Where were you born? Harris: I was born in Herman Kiefer Hospital in Detroit. You know, so Detroit was really my home, you know for quite a few years. Graves: So, mother and father. What’s your mother and father’s names? Harris: Mother’s named Bessie, father’s named Melvin. Graves: Melvin. Harris: That’s right, as you know. Graves: Alright. So who named you? Do you know who named you – your name is Barry Doyle… Harris: Don’t ask me.
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How Sonny Defeated the Dragon in His Six-Decade Career, Legendary Saxophonist Sonny Rollins Has Claimed Many a Triumph
How Sonny Defeated the Dragon In his six-decade career, legendary saxophonist Sonny Rollins has claimed many a triumph. But his greatest may have come during a quiet period in Chicago By Neil Tesser (Chicago Reader) A decade ago, on September 9, 1998, the YMCA building at 3763 S. Wabash became an official Chicago landmark. Completed in 1913, it gained an annex in 1945, and today it remains a hub of neighborhood activity. Stately on its quiet and well-kept Bronzeville block, it bears a plaque describing it as “an important center of community life” that offered housing and job training for “new arrivals from the South during the ‘Great Migration’ of African-Americans in the first decades of the 20th century.” In a perfect world, there would be a second plaque below it: “Sonny Rollins slept here.” Another such plaque might adorn the considerably less well-kept Central Arms Hotel at 520 E. 47th, just east of Vincennes. Still another could mark an empty lot on the 300 block of East Garfield, where the Rhumboogie Club once stood, but it wouldn’t say anything about sleeping: Rollins played at the Rhumboogie with the man who would become Sun Ra, and nobody slept with Sun Ra around. In 1955 Rollins was already a veteran of studio groups led by Miles Davis and Thelonious Monk, and he would soon be acclaimed as the outstanding tenor saxophone voice of his generation. But for most of that year he lived in obscurity on Chicago’s south side, working menial jobs and barely gigging.
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Multimedia Processing Techniques for Retrieving, Extracting, and Accessing Musical Content
Multimedia Processing Techniques for Retrieving, Extracting, and Accessing Musical Content Techniken der Multimediaverarbeitung zur Suche, Extraktion und den Zugriff auf musikalische Inhalte Dissertation Der Technischen Fakultät der Friedrich-Alexander-UniversitätErlangen-Nürnberg zur Erlangung des Doktorgrades Doktor der Ingenieurwissenschaften (Dr.-Ing.) vorgelegt von Stefan Balke aus Höxter Als Dissertation genehmigt von der Technischen Fakultät der Friedrich-Alexander-UniversitätErlangen-Nürnberg Tag der mündlichen Prüfung: 21.03.2018 Vorsitzender des Promotionsorgans: Prof. Dr.-Ing. Reinhard Lerch 1. Gutachter: Prof. Dr. Meinard Müller 2. Gutachter: Prof. Dr. Gerhard Widmer Abstract Music constitutes a challenging multimedia scenario. Besides music recordings, there exist a number of other media objects including symbolic music representations, video recordings, scanned sheet music, or textual metadata. Developing tools that allow users to retrieve information from different types of music-related data is central to the research area known as Music Information Retrieval (MIR). This requires techniques from various engineering fields such as digital signal processing, image processing, data management, and machine learning. In this thesis, we develop novel multimedia processing techniques and explore their capabilities and limitations within different complex music scenarios. The thesis consists of three main parts. In the first part, we consider retrieval scenarios within a Western classical music setting. For example, given a short monophonic melodic theme in symbolic notation as a query, retrieve all corresponding documents in a collection of polyphonic music recordings. In another related retrieval scenario, we aim to link the score of musical themes, scanned from book pages, to their symbolic counterparts given in MIDI format.
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Study in Brown – Liner Notes
Clifford Brown Study In Brown (EmArcy) Study In Brown Clifford Brown, trumpet; Max Roach, drums; Harold Land, tenor sax; Richie Powell, piano; George Morrow, bass. 6. Sandu (Clifford Brown) 4:57 1. Cherokee (Ray Noble) 5:44 7. Gerkin For Perkin (Clifford Brown) 2:57 2. Jacqui (Richie Powell) 5:11 8. If I Love Again (Murray--Oakland) 3:24 3. Swingin' (Clifford Brown) 2:53 9. Take The A Train (Billy Strayhorn) 4:18 4. Lands End (Harold Land) 4:58 5. George's Dilemma (Clifford Brown) 5:36 Recorded on February 23, 1955. The career of Clifford Brown and Max Roach has followed a steadily climbing course since these two amazing musicians were signed to an exclusive EmArcy contract barely a year ago. The release of a new set of performances by them is an event of major importance in jazz circles. The numbers on this particular set have a special distinction: they are the first Brown-Roach combo sides recorded in New York. First on the menu is the 20-year-old Ray Noble standard "Cherokee." Starting out with the melody played in unison by the two horns while Max offers a simple after-beat rhythm accompaniment, the performance gets into high hear with a phenomenal solo by Clifford. The same comments apply, to a large degree, to the solos of Harold Land on tenor saxophone, Richie Powell on piano, and when Max takes over for a demonstration of his unique agility on the snares. "Jacqui" is a light-hearted original composition by pianist Richie Powell, with a theme that has the two horns running parallel, mostly in thirds, with a twelve-bar blues format for the middle part.
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