(Iowa City, Iowa), 1979-03-06
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Album Covers Through Jazz
SantiagoAlbum LaRochelle Covers Through Jazz Album covers are an essential part to music as nowadays almost any project or single alike will be accompanied by album artwork or some form of artistic direction. This is the reality we live with in today’s digital age but in the age of vinyl this artwork held even more power as the consumer would not only own a physical copy of the music but a 12’’ x 12’’ print of the artwork as well. In the 40’s vinyl was sold in brown paper sleeves with the artists’ name printed in black type. The implementation of artwork on these vinyl encasings coincided with years of progress to be made in the genre as a whole, creating a marriage between the two mediums that is visible in the fact that many of the most acclaimed jazz albums are considered to have the greatest album covers visually as well. One is not responsible for the other but rather, they each amplify and highlight each other, both aspects playing a role in the artistic, musical, and historical success of the album. From Capitol Records’ first artistic director, Alex Steinweiss, and his predecessor S. Neil Fujita, to all artists to be recruited by Blue Note Records’ founder, Alfred Lion, these artists laid the groundwork for the role art plays in music today. Time Out Sadamitsu "S. Neil" Fujita Recorded June 1959 Columbia Records Born in Hawaii to japanese immigrants, Fujita began studying art Dave Brubeck- piano Paul Desmond- alto sax at an early age through his boarding school. -
Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
A Mirror and Focus for the Jazz Community Greg Williamson Art Of
January 2007 VolVol. 23, NoNo. 1 EARSHOTA MirrorMirror andand FocusFocus fforor tthehe JJazzazz CCommunityommunity JASeattle,SeZattle, WashingtoWaZshington Greg Williamson Art of Jazz Tom Baker Quartet Greg Williamson Practice This: Rick Mandyck Photo by Daniel Sheehan Notes EARSHOT J A Z Z A Mirror and Focus for the Jazz Community Art of Jazz Series struments are welcome, as fi nding homes Th is month in the series, held at Seattle for them with students eager to play is not Executive Director: John Gilbreath Asian Art Museum in Volunteer Park, at a problem. Earshot Jazz is collecting in- Earshot Jazz Editor: Peter Monaghan 5pm: Th e Victor Noriega Trio, featuring struments, indefi nitely, at 3429 Fremont Contributing Writers: Andrew Bartlett, the fi ne pianist, on January 10. Admis- Place #309, Seattle WA 98103. For more information, call 206-547-6763, or email Paul Harding, Josie Holtzman, Peter sion to the events is free with museum Monaghan, Lloyd Peterson admission by modest suggested donation. [email protected]. Coming February 8: Rochelle House, Events Listings Photography: Daniel Sheehan and on March 8: Blue Street Voices. Layout: Karen Caropepe Please send gig listings to Mailing: Lola Pedrini Call for Unwanted Instruments [email protected]. Also send Program Manager: Karen Caropepe Earshot Jazz asks that people who have links to your own websites, so we can Program Assistant: Josie Holtzman instruments that are unused and are sim- update our links page. Please format your ply taking up space to consider donating gig listings in keeping with the way they Calendar Information: mail to 3429 them to needy students. -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
March April 2006
march/april 2006 issue 280 free jazz now in our 32nd year &blues report www.jazz-blues.com Jason Moran and The Bandwagon Randy Weston Yellowjackets Diane Schuur PLUS...Regina Carter, Bela Fleck & the Flecktones, Manhattan Transfer, Mulgrew Miller, Rebirth Brass Band...Jazz Meets Hip-Hop, Jazz Brunch & more... Get The Scoop...INSIDE! Published by Martin Wahl Communications Editor & Founder Bill Wahl Layout & Design Bill Wahl Operations Jim Martin Pilar Martin Contributors Michael Braxton, Mark Cole, JazzFest Time is Here Chris Hovan, Nancy Ann Lee, Festival is Expanding to Year-Round Live Jazz Peanuts, Mark Smith, Duane Verh and Ron Weinstock. For close to three decades now, mance by the Manhattan Transfer Jazz & Blues Report has featured will be held at the Ohio Theatre on Check out our new, updated web the Tri-C JazzFest in our issue at page. Now you can search for CD Saturday, April 22. Tri-C JazzFest Reviews by artists, Titles, Record this time every year. Once again, we Cleveland officially kicks off on Labels or JBR Writers. Twelve years are happy to announce yet another Wednesday April 26 at 5 p.m. with a of reviews are up and we’ll be going edition of this premier jazz festival, New Orleans-style “second line” pa- all the way back to 1974! and their expansion to year-round rade, complete with fans, admirers jazz. and festival revelers. Leading the Tri- Now in its 27th year, Tri-C Address all Correspondence to.... C JazzFest Second Line is the Re- Jazz & Blues Report JazzFest Cleveland has been a dy- birth Brass Band, who will end the 19885 Detroit Road # 320 namic force in cultivating the next procession at the House of Blues for Rocky River, Ohio 44116 generation of jazz music lovers a swinging party with The Tri-C Jazz Main Office ..... -
Magic Triangle Jazz Series Timeline
Close to the Music 25 Years of Magic Triangle Jazz Series Close to the Music 25 Years of Magic Triangle Jazz Series February 2014 WMUA 91.1 FM and the Fine Arts Center University of Massachusetts Amherst Concept and Project Director: Priscilla Page Founding Director of Magic Triangle: Glenn Siegel Book and Cover Design: Rebecca Neimark, Twenty-Six Letters Magic Triangle Posters: Ryan O’Donnell Contributing Writers: John Bracey, Jason Robinson, Ed Hazell Contributing Photographers: Jim Gipe, Ed Cohen, Maurice Robertson, Ben Barnhart, Parthasarathi Valluri, Frank Ward !!!"\$%&'()*%$(%'"*+,-,&./*('/&$.0% Magic Triangle archives are housed in the UMass Special Collections and University Archives, W.E.B. DuBois Library. Information at: 1((23--0/4'&'5"6,&))"%76-)2*+00- . Front Cover: Jonathan Finlayson, April 26, 2012, photo: Parthasarathi Valluri Back Cover: Bezanson Recital Hall, April 26, 2012, photo: Maurice Robertson © 2014 All Rights Reserved Glenn Siegel would like to thank: Dr. Fred Tillis, Director Emeritus of the UMass Fine Arts Center, !1+8\')(826(8/$)(/(6(/+$&08'%)+6'*%)84%1/$78+6'8%$(16)/&),"89+4%'(&8:$+;8<+6$7/$.8=/'%*(+'8+<8>%!8 WORLD Theater, for giving me entré to the world of presenting via the Bright Moments Festival and the Black Musicians Conference. Dr. Willie Hill and the entire FAC staff, for their unwavering sup- port. The jazz djs of WMUA-91.1FM. The Pioneer Valley is blessed to have a college radio station so *+,,/((%78(+8'%&08,6)/*&087/?%')/(5"8@+48A$(/08<+'8$6'(6'/$.8(1%8B%'/%)8(1'+6.18/()8\')(87%*&7%"8C58 beloved Priscilla Page, she hatched this book idea, and was its shepherd. -
Salsero Del Mes • Jerry Conzález Discografía
SALSERO DEL MES • JERRY CONZÁLEZ DISCOGRAFÍA El maestro Jerry González participó en la grabación de discos ganadores de un Grammy como lo son: Unfinished Masterpiece, Eddie Palmieri. Año 1974. Jerry González: Congas On Broadway, Tito Puente. Año 1983. Jerry Gonzalez: Congas, Flugelhorn Turning Point, McCoy Tyner. Año 1992. Jerry González: Percusión Journey, McCoy Tyner. Año 1993. Jerry González: Congas, Percusión, Trompeta Por: Sergio A. Rendón Ángel • Para: www.latinastereo.com • Medellín, Diciembre de 2018 SALSERO DEL MES • JERRY CONZÁLEZ DISCOGRAFÍA Participó también en los álbumes premiados con el Grammy Latino: Cositas Buenas, Paco de Lucía. Año Jerry González: Trompeta Picasso en mis Ojos, Diego El Cigala. Año 2005. Jerry González: Trompeta JERRY GONZALEZ DISCOGRAFIA 1. Jerry González - Ya Yo Me Curé, American Clavé – AMCL 1001, Formato: LP Año 1980. Lado A: Créditos: 1. Agüeybana Zemi 6:43 Backing Vocals – Milton Cardona 2. Nefertiti Written-By – (tracks: 1) Wayne Shorter 8:19 Bass, Coro – Andy González 3. Ya Yo Me Curé 5:18 Bata – Gene Golden (2) 4. The Lucy Theme 2:53 Coro – Carlos Mestre Lado B: Drums – Don Alias (tracks: 5) 1. Evidence Written-By – Electric Guitar – Edgardo Miranda Thelonious Monk 8:57 Güiro, Percusión – Vincente George 2. Baba Fieden Orisha 6:43 Lead Vocals, Bata – Frankie Rodríguez 3. Caravan Written-By – Piano – Hilton Ruiz Duke Ellington 8:17 Saxophone, Coro – Mario Rivera (2) Timbales – Nicky Marrero Trombón – Steve Turre Trombón, Coro – Papo Vázquez Trompeta, Flugelhorn, Coro – Jerry González Por: Sergio A. Rendón Ángel • Para: www.latinastereo.com • Medellín, Diciembre de 2018 SALSERO DEL MES • JERRY CONZÁLEZ DISCOGRAFÍA 2. -
F U S I O N ZOOT SIMS – ZOOT at EASE Zoot Sims Was Famous for Epitomizing the Swinging Musician, Never Playing an Inappropriate Phrase, Always Sounding Inspired
F U S I O N ZOOT SIMS – ZOOT AT EASE Zoot Sims was famous for epitomizing the swinging musician, never playing an inappropriate phrase, always sounding inspired. His enthu- siasm and creativity never wavered and throughout his career he never gave up on what many consider his greatest asset: his incredible sense of swing. «No matter what he played, it was perfectly in time,» said saxophonist Harry Allen. «If you were making your own perfect saxo- phone player up in your head, that’s where you’d put the notes. And [Sims] managed to do that without fail.» BEN WEBSTER – GENTLE BEN If you want a great example of later Ben Webster, this recording splen- didly reproduces Ben’s glorious, utterly unique rich sound. The audio- phile recording made in a small theatre directly to a two track tape recorder, is further enhanced through the 2xHD Fusion re-mastering process. The title ‘Gentle Ben’ was inspired by the warm and gentle atmosphere created by Ben during this, his last recording session before his death. The bluster has gone and he could caress a theme like ‘The Man I Love’ with tenderness. One of the paradoxes of Ben was that in person he was quite an aggressive man but in his music he was gentle, seductive and sensual. Pepe Montoliu is himself a virtuoso but here he is the supreme accompaniment. BUDDY TATE/HARRY EDISON – I CRIED FOR YOU Here is a beautiful partnership between one of the more individual tenors from the swing era the distinctive Buddy Tate, and the always swinging Harry “Sweets” Edison who got the most mileage out of a single note and is immediately recognizable within a note or two for his long-used repetition and simplicity. -
Round Midnight
UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA KATEDRA MUZIKOLOGIE Vývoj a prom ěny jazzového standardu ’Round Midnight Development And Tranformations Of Jazz Standard ’Round Midnight Bakalá řská práce Autorka práce: Tereza Štaudová Vedoucí práce: Mgr. Jan P řibil OLOMOUC 2015 Pod ěkování Up římn ě d ěkuji Mgr. Janu P řibilovi za odbornou pomoc p ři vedení mé bakalá řské práce. Velice si cením jeho p řipomínek a rad. Dále d ěkuji všem, kte ří m ě p ři psaní této práce podporovali. Prohlášení Prohlašuji, že p ředložená bakalá řská práce je mým p ůvodním autorským dílem, které jsem vypracovala samostatn ě. Veškerou literaturu a další zdroje, z nichž jsem p ři zpracování čerpala, v práci řádn ě cituji a uvádím je v seznamu použité literatury. V Olomouci dne …………… ……………………... podpis OBSAH ÚVOD .......................................................................................................................................................... 4 1. STAV BÁDÁNÍ ....................................................................................................................................... 6 2. VZNIK SKLADBY ’ROUND MIDNIGHT A JEJÍ RANÝ VÝVOJ ................................................ 17 2.1 ZÁKLADNÍ ZNAKY OSOBNOSTI A TVORBY THELONIA MONKA .......................................................... 17 2.2 VZNIK SKLADBY ’ROUND MIDNIGHT A JEJÍ ANALÝZA ....................................................................... 20 2.3 PRVNÍ NAHRÁVKY ’ROUND MIDNIGHT ............................................................................................. -
Woody Shaw - Gladsaxe Jazzlytteklub - 20
Woody Shaw - Gladsaxe Jazzlytteklub - 20. marts 2019 Woody Shaw (W. Herman S. Jr.) Amerikansk trompetist, f. 21.12.1944 i Laurinburg, NC. d. 9.5.1989. Begyndte at spille trompet da han var 11 , og spillede som 18- årig med Willie Bobo og derefter med Eric Dolphy, hvis harmoniske opfattelse påvirkede ham stærkt. Opholdt sig i Paris1964-65 og spillede hér med bl.a. Johnny Griffin, Kenny Clarke og Art Taylor og spillede efter hjemkomsten med Horace Silver (The Cape Verdean Blues; Blue Note, 1965), Larry Young, Chick Corea (Tones for Joan's Bones; Atlantic, 1966), McCoy Tyner og Max Roach (1968-69). Var 1971-72 medlem af Art Blakeys Jazz Messengers (Mission Eternal; Prestige, 1972) og ledede i midten af 70'erne sammen med Louis Hayes en kvintet, der bl.a. akkompagnerede Dexter Gordon (Homecoming; CBS, 1976). Trods sygdom, misbrugsproblemer og svigtende syn havde han igennem 80'erne egne grupper med bl.a. Steve Turre og Mulgrew Miller og aver 1984-85 medlem af Paris Reunion Band. De sidste par år af sit lov var han kun sporadisk aktiv og han døde af komplikationer efter at have mistet sin ene arm ved at falde ud foran et tog i undergrundsbanen i New York. Med udgangspunkt i Lee Morgan og Freddie Hubbard absorberede Shaw påvirkninger fra Booker Little og Eric Dolphy og førte derved det typiske neobop trompetspil et skridt videre imod et rytmisk og harmonisk friere udtryk. Hans spil har siden haft betydning for bl.a. Tom Harrell og Dave Douglas, og det var primært af hans personlige problemer der var årsag til at han aldrig fik den bredere anerkendelse, som hans spils originalitet berettigede ham til.