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Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler. -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
Analysis of Selected Percussion Literature: Concerto
ANALYSIS OF SELECTED PERCUSSION LITERATURE: CONCERTO FOR VIBRAPHONE AND ORCHESTRA BY NEY ROSAURO, SURFACE TENSION BY DAVE HOLLINDEN, URBAN SKETCHES FOR PERCUSSION TRIO BY LON W. CHAFFIN, TAKE FIVE BY PAUL DESMOND, AND DT SUPREME BY AUSTIN BARNES by AUSTIN LEE BARNES B.M.E., Fort Hays State University, 2010 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2012 Approved by: Major Professor Dr. Kurt Gartner Copyright AUSTIN LEE BANRES 2012 Abstract This is a report for anyone playing or teaching anyone of the following pieces: Concerto for Vibraphone and Orchestra by Ney Rosauro, Surface Tension by Dave Hollinden, Urban Sketches for Percussion Trio by Lon W. Chaffin, Take Five by Paul Desmond, or DT Supreme by Austin Barnes. The repertoire is analyzed by the method given in Jan Larue’s book Guidelines for Style and Analysis. The report includes interpretive decisions, technical considerations, harmonic analysis, and form. Table of Contents List of Figures ................................................................................................................................ vi List of Tables ................................................................................................................................ vii Dedication .................................................................................................................................... viii CHAPTER 1 - Concerto for Vibraphone -
Discography of the Mainstream Label
Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet -
Fru Skagerrak
FRU SKAGERRAK www.fruskagerrak.com The music of Fru Skagerrak takes you on a journey through Scandinavia; from lowlands to mountains, from slow airs to lively polkas, in major and in minor, and everything in between. Fru Skagerrak- ”Lady Skagerrak” - are three master musicians - one from each Scandinavian country: Maja Kjær Jacobsen from Denmark, Elise Wessel Hildrum from Norway and Anna Lindblad from Sweden. In 2011, these three globetrotting musicians met for the first time at Tønder Festival, Denmark’s biggest Folk Festival, in a roaring session that had engulfed the backstage bar. Through the mayhem of tunes you could feel a certain Scandinavian groove, and in that moment the connection between these three fiddlers was clear. After meeting at Tønder Festival for three consecutive years, Fru Skagerrak finally saw the light of day in August 2014. The trio brings together the diverse traditions from each of their homelands, which surround the Skagerrak strait. Through a repertoire of traditional tunes, new compositions, and songs in their respective languages, they express their kinship and love of their shared heritage. The result is an explosion of the sounds that exist in Scandinavian music today. The self-titled debut album was released in May 2016 and their second album “Ankerdram” was released in April 2018. What the press says about Fru Skagerrak’s albums: "The album brims over with confidence and bravura, and the material and performances to match. There's astonishing power and fire in the unison playing, and even the oddities come out grinning. A definite triumph" - fRoots (UK) Contact: Fru Skagerrak – www.fruskagerrak.com – [email protected] - T: +45 2537 1544 p. -
Printcatalog Realdeal 3 DO
DISCAHOLIC auction #3 2021 OLD SCHOOL: NO JOKE! This is the 3rd list of Discaholic Auctions. Free Jazz, improvised music, jazz, experimental music, sound poetry and much more. CREATIVE MUSIC the way we need it. The way we want it! Thank you all for making the previous auctions great! The network of discaholics, collectors and related is getting extended and we are happy about that and hoping for it to be spreading even more. Let´s share, let´s make the connections, let´s collect, let´s trim our (vinyl)gardens! This specific auction is named: OLD SCHOOL: NO JOKE! Rare vinyls and more. Carefully chosen vinyls, put together by Discaholic and Ayler- completist Mats Gustafsson in collaboration with fellow Discaholic and Sun Ra- completist Björn Thorstensson. After over 33 years of trading rare records with each other, we will be offering some of the rarest and most unusual records available. For this auction we have invited electronic and conceptual-music-wizard – and Ornette Coleman-completist – Christof Kurzmann to contribute with some great objects! Our auction-lists are inspired by the great auctioneer and jazz enthusiast Roberto Castelli and his amazing auction catalogues “Jazz and Improvised Music Auction List” from waaaaay back! And most definitely inspired by our discaholic friends Johan at Tiliqua-records and Brad at Vinylvault. The Discaholic network is expanding – outer space is no limit. http://www.tiliqua-records.com/ https://vinylvault.online/ We have also invited some musicians, presenters and collectors to contribute with some records and printed materials. Among others we have Joe Mcphee who has contributed with unique posters and records directly from his archive. -
DANISH TRADITIONAL FOLK MUSIC to BE PERFORMED at HARBOR HISTORY MUSEUM in GIG HARBOR Gangspil Trio to Perform Thursday, March 1St, 2018
Contact Zachary Sokolik MEDIA RELEASE Telephone 253.858.6722 February 15, 2018 Email [email protected] Website www.harborhistorymuseum.org DANISH TRADITIONAL FOLK MUSIC TO BE PERFORMED AT HARBOR HISTORY MUSEUM IN GIG HARBOR Gangspil Trio to Perform Thursday, March 1st, 2018 Gig Harbor, WA – On Thursday, March 1, 2018 at 6:30 p.m., Gangspil, the lively trio of Sonnich Lydom (accordion, harmonica), Kristian Bugge (fiddle) and Viðar Skrede (guitar), will provide those in attendance with an entertaining journey through the traditions of Danish folk music. Their performance at Harbor History Museum will include old dance tunes and songs from every corner of their Scandinavian home country: From the rural islands of Læsø to metropolitan Copenhagen, including a few of their own compositions. Expect everything from wild polkas and jigs to lyrical waltzes, fiery reels and happy hopsas, plus the exotic Sønderhoning dance tunes from the famous Island of Fanø, and long forgotten songs from all over the country. An unforgettable live experience spiced up with humor and stories from their many years on the road. Gangspil's: Danish Traditional Music will be held at Harbor History Museum, 4121 Harborview Drive, Gig Harbor, WA 98332. Offered as a special fundraising event for the museum, tickets are $25 for non- museum members and $20 for members. Tickets can be purchased online on the Museum's Buy Tickets page or by calling 253-858-6722; tickets may also be purchased at the Museum front desk. Sonnich (accordion, harmonica, vocal) is a master of Irish, French--Canadian, and especially Danish traditional tunes. -
Local Jazz Lives at Bellevue and Gig Harbor Festivals Bob Russell
INSIDE: Reviews of Marc Seales, Steve Rice Trio & Bud Shank Earshot J Seattle, July 1989 A Mirror and Focus for the Jazz Community I ^ Local Jazz Lives at Bellevue and Roots of Jazz: Gig Harbor Festivals Bob Russell Despite budget cuts and wavering sup Trumpeter Bob Russell started playing profession port from the Bellevue City Parks Depart ally in Kansas City in the 1920s, and moved to Seattle in 1944. Before coming to Seattle, he ment, it appears the Bellevue Jazz Festival, worked with drummer Vernon Brown in Milwau slated for July 10 - 16, will prevail as one of kee and recorded with Grant Moore's New Or the most important showcases for top local leans Black Devils. Brown sent for Russell in 1944 and throughout the '40s Russell was a member of jazz talent. Set in a beautiful downtown loca the popular Al Pierre band, which held down a tion against a backdrop of glass skyscrapers, steady job at Seattle s Marine (later Union) Club. the festival will spread out on a grass lawn so Laudatory mentions of Russell by other subjects ofthe "Roots of Jazz" project led us to draw out green, "it's like the lawn in your wildest his recollections. The following excerpts are from dreams," says organizer Jim Wilke. an interview taken by Ted Dzielak at Russell's This year's festival will feature a free home, March 7, 1989. This interview was made possible in part with support from the King County concert Friday evening, July 14; an evening Centennial Commission and the King County concert on Saturday, July 15 (admission S3); Landmarks Heritage Division. -
Aug 31, 1973, Vol. 02 No. 16
■f t ia.'i;;-:;;!.--;'«':' /v.-^ ■ii'’'a. “ ■V - ■"‘‘X. • ■ . > (> .- , ■ DANNY / NEXT ISSUE Friday 9 "14 DEADLINE Monday Q - j O V olum e n Issue B16 August 31, 1973 626-0656 MBCCA PUBUCATTONS, P. O. b o x 627 S. F. CA. 94101 News Caps In San Francisco at the comer of Church and 17th, sprayed in black paint across a building, are these words. ALL POWER TO THOSE WHO DARE TO STRUGGLE, ♦ ♦lie**!*!********* For the first time scientists have predicted an EARTHQUAKE. This one in the Aderondack Moun tains of New Yoilr State. The prediction was two days in ad vance and occurred exactly as predicted at 2. 5 on the Richter S cale. In New York City the Jews are upset about the opening of the film version of JESUS CHRIST SUPERSTAR, charging that it is anti-semetic, and the Catholics are in an outrage over two remn episodes on t, v. of MAUDE whic react sympathetically to Maude's decision to have an abortion. RUDOIP NUREYEV of Ritch Street fame has been learning to sail in the ancient harbor of Tel Aviv. Learning, he collided with another boat and once with the harbor wall. NDCON still says he's innocent and the polls indicate some Amer icans still believe him. Among those is California's own Ronald Reagan. According to Nixon, John Dean is the man who'led him astray. He pledges now "a new level of political decency and integrity. Meanwhile the "legmen"—those little guys who carry out the orders like Howard Hunt Jr. --brood it out in jail and the reality of the American Dream continues. -
Tal Og Perspektiver MUSIKSELSKABERFOTO: WIFOPRO.DK 2016 - TAL OG PERSPEKTIVER S
MUSIK- SELSKABER 2016 tal og perspektiver MUSIKSELSKABERFOTO: WIFOPRO.DK 2016 - TAL OG PERSPEKTIVER S. 2 FORORD I mere end et århundrede har man kunnet høre musik Løsningen ligger imidlertid lige for. Den europæiske i de danske hjem. I starten af 1900-tallet var det dog lovgivning – og særligt den aktuelle reform af ophavs- kun de velbjærgede borgere forundt at opleve grammo- retten – bør understrege, at alle tjenester, der aktivt fonen frembringe lyd i stuen. På daværende tidspunkt udbyder musik, selvfølgelig skal indhente tilladelse fra kostede en grammofon nemlig mere end en månedsløn dem, der leverer musikken, før den kan udbydes. Også for de fleste danskere. amerikanske giganter som YouTube, der baserer de- res succesfulde forretningsmodel på, at brugerne selv Sådan er det heldigvis ikke i dag. Tværtimod kan alle uploader musik til tjenesten. nu få adgang til millioner af musiknumre med en lav månedlig ydelse og få klik på mobilen. Forbruget af Det er bekymrende, at artister, sangskrivere og mu- indspillet musik har således næppe været større, end sikselskaber ikke får en anstændig betaling for deres det er i dag. hårde arbejde fra sådanne tjenester i dag. Mindst lige så bekymrende er det imidlertid, at konkurrencesitua- Derfor er det ikke med udelt begejstring, vi kan konsta- tionen mellem tjenesterne er så grotesk, at den reelt er tere, at musikselskabernes indtægter for salg af ind- en bombe under udviklingen af nye spændende mulig- spillet musik udgør 494 mio. kr. i 2016. For selvom der heder til forbrugerne. er tale om en vækst på 9 % sammenlignet med 2015, burde markedet være markant større, når man ser på For hvor er incitamentet til videreudvikling hos tje- det faktiske forbrug af musik i Danmark. -
Weeksville Lost Jazz Shrines
1 Weeksville Lost Jazz Shrines Annotated Bibliography and Discography Primary Sources Interviews Note: Most of the artists listed below were interviewed over a period of two years (April, 2010 –October, 2011 through Weeksville’s Lost Jazz Shrine Project). Artists interviewed include: Brooklyn natives; longtime Brooklyn residents; or artists who performed frequently at some of Brooklyn's Lost Jazz Shrines and in some cases, continue to perform in Brooklyn. Abdullah, Ahmed. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 46 mins 36 sec. Barnes, Wade E. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 7 December 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 51 min. 26 sec. Barron, Kenny. Oral History Interview. Interviewed by Willard Jenkins. 9 October 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Braithwaite, “Fab 5” Freddie. Oral History Interview. Interviewed by Willard Jenkins and Jennifer Scott. 7 Oct 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 25 mins. 32 secs. Carroll, Alma. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 24 August 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 10 mins. 34 secs. Cheatham, Jo Ann. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. -
June 2020 Volume 87 / Number 6
JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.