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Herbie Hancock Mr. Hands Mp3, Flac, Wma
Herbie Hancock Mr. Hands mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: Mr. Hands Country: Europe Released: 1992 Style: Fusion MP3 version RAR size: 1631 mb FLAC version RAR size: 1810 mb WMA version RAR size: 1691 mb Rating: 4.6 Votes: 840 Other Formats: MP3 VOX WMA AHX VQF DTS ASF Tracklist Hide Credits Spiraling Prism 1 6:22 Bass – Byron MillerDrums – Leon Ndugu Chancler 2 Calypso 6:42 Just Around The Corner 3 Bass – Freddie WashingtonDrums – Alphonse MouzonGuitar – Melvin "Wah Wah" 7:34 WatsonPercussion – Sheila Escovedo 4 AM 4 5:21 Bass – Jaco PastoriusDrums – Harvey MasonPercussion – Sheila Escovedo Shiftless Shuffle 5 7:08 Bass – Paul Jackson Drums – Harvey MasonTenor Saxophone – Bennie Maupin 6 Textures 6:38 Companies, etc. Made By – DADC Austria Phonographic Copyright (p) – Sony Music Entertainment Inc. Copyright (c) – Sony Music Entertainment Inc. Distributed By – Sony Music Credits Percussion – Bill Summers (tracks: 1, 4, 5) Producer – David Rubinson, Herbie Hancock Notes Jewel case 8-page booklet Originally released on LP in 1980 Barcode and Other Identifiers Barcode (Text): 5 099747 124020 Barcode (Scanned): 5099747124020 Label Code: LC 0162 Matrix / Runout: 01-471240-10 11 A1 DADC AUSTRIA Price Code: CB 741 Price Code: CDM Other (Sony Code): 01-471240-10 Rights Society: BIEM/STEMRA Other (Mould stamp): * Other versions Category Artist Title (Format) Label Category Country Year JC 36578 Herbie Hancock Mr. Hands (LP, Album) Columbia JC 36578 US 1980 PCT 36578 Herbie Hancock Mr. Hands (Cass, Album) Columbia PCT 36578 US 1980 PC 36578 Herbie Hancock Mr. Hands (LP, Album) Columbia PC 36578 US 1980 JCA 36578 Herbie Hancock Mr. -
Normanwhitfieldblog.Pdf
2 He was a brilliant composer and record producer, one of the best to come out of Motown. He was born on May12th 1940 in Harlem, New York, and passed away on September 16th 2008 in Los Angeles, at the age of 68. He founded Whitfield Records in Los Angeles after his departure from Motown Records. He was known as the father of the “Psychedelic Funk” sound. Longer songs, a heavy bass line, distorted guitars, multi-tracked drums and inventive vocal arrangements became the trademarks of Norman’s production output, mainly with The Temptations. According to Dave Laing (Journalist for the Guardian Newspaper; Thursday 18th September 2008) stated that Norman Whitfield’s first actual job at Motown Records was as a member of staff for which he got paid $15 a week to lend a critical ear to new recordings by Motown staff, a job he said "consisted of being totally honest about what records you were listening to". He graded the tracks for Gordy's monthly staff meeting, where decisions were made on which should be released. Soon dissatisfied with quality control, Whitfield fought to be allowed to create records himself. This involved competing with such established figures as Smokey Robinson, but he got his first 3 opportunities in 1964 with lesser Motown The Temptations’ songs, during the first ten groups, co-writing and producing “Needle years of the label’s operation. Such songs as in a Haystack” by the Velvelettes and “Too “Just My Imagination (Running Away with Many Fish in the Sea” by the Marvelettes. Me)”, “Ball Confusion”, “Papa Was a Rollin’ These records brought him the chance to Stone” and “I Can’t Get Next To You” all work with the Temptations, already one of achieved platinum certification in America for Motown's elite groups. -
Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America
Diggin’ You Like Those Ol’ Soul Records 181 Diggin’ You Like Those Ol’ Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America Tammy L. Kernodle Today’s absolutist varieties of Black Nationalism have run into trouble when faced with the need to make sense of the increasingly distinct forms of black culture produced from various diaspora populations. The unashamedly hybrid character of these black cultures continually confounds any simplistic (essentialist or antiessentialist) understanding of the relationship between racial identity and racial nonidentity, between folk cultural authenticity and pop cultural betrayal. Paul Gilroy1 Funk, from its beginnings as terminology used to describe a specific genre of black music, has been equated with the following things: blackness, mascu- linity, personal and collective freedom, and the groove. Even as the genre and terminology gave way to new forms of expression, the performance aesthetic developed by myriad bands throughout the 1960s and 1970s remained an im- portant part of post-1970s black popular culture. In the early 1990s, rhythm and blues (R&B) splintered into a new substyle that reached back to the live instru- mentation and infectious grooves of funk but also reflected a new racial and social consciousness that was rooted in the experiences of the postsoul genera- tion. One of the pivotal albums advancing this style was Meshell Ndegeocello’s Plantation Lullabies (1993). Ndegeocello’s sound was an amalgamation of 0026-3079/2013/5204-181$2.50/0 American Studies, 52:4 (2013): 181-204 181 182 Tammy L. Kernodle several things. She was one part Bootsy Collins, inspiring listeners to dance to her infectious bass lines; one part Nina Simone, schooling one about life, love, hardship, and struggle in post–Civil Rights Movement America; and one part Sarah Vaughn, experimenting with the numerous timbral colors of her voice. -
Jazz at the Crossroads)
MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs. -
Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures. -
From Monk to Funk(Pdf)
Donald Byrd found a funky, commercial focus, a parallel to the jazz-rock fusion were grooving just as cool as the soul-jazz generation oJ the Sixties, when Verue and albumveteransJimmySmith,GrantGreen,LouDonaldsonandJohnPattondemonslrated could be danceable and fun again. Turns out these brothers were visionary. Acid jazz, anyone? A&&& &@4*g &:{irgtii!'::..i:r.:t:t:,,:rrll Roy Avers, perhaps more than any olher, is the godfather of acid iazz. His vibraphone sound, along with the Fender Rhodes electric piano, is the slgnifier of the jazz-funk movement, As a sideman to Herbie l\/lann, Ayers performed on the trailblazing Memphis lJndergraund LP, then broke away a year or two later to form ubiquily. A revolving-door ensemble whose impact has yet to be fully assessed, the band unleashed an astonishing 2O albums on Polydor during a twelve-year period' Ayers and Ubiquity had a big following in their day. but it seems that my hip-hop peers have developed an even stronger appreciation for them. No self-respecting DJ can be without virtually all oJ their records, and cuts like "Everybody Loves the Sunshine," "Running Away' and "We Live in Brooklyn, Baby" are trans-generational anthems. Especially inspiring to a new school of artists, though, is the breakbeat perennial "The Boogie Back." The blaing "Move to Groove," from the gulps: Japan-only Live At Montreux \1972\, shows Ayers' abiliiy to reshape a song in evoluiionary li was originally pedormed a year eadier by Edwin Birdsong as the more R&B-oriented "lt's Hard To Move," then was incorporated into "The Old One Two (l\,4ove To Groove)" on the Ayers LP A Tear To ASnile(1975)."PartySex,"anouttakefromthesessionslorFed, BlackandGreen, isalive-in-ihe- studio barnstormer. -
Louis Johnson by E.E
Thumbs Of Lion EL DEC o Thunder SA BY CC STER The Hard-Hitting Legacy Of Louis Johnson By E.E. Bradman 22 bassplayer.com / september2015 Johnson with Leo Fender The Ernie Ball Music Man In an era saturated wIth StingRay: monstrously influential players, Louis Early Days Johnson streaked across the sky as few others did. With a wide array of techniques at his By JOnaTHan Herrera command, a signature tone, and unmatched intensity, Johnson managed to balance ridic- Few players are more ulously successful, concurrent careers as a associated with a bass than Louis Johnson and his Music Man StingRay. The kinship went beyond versatile studio musician at the top of his a visual aesthetic—the StingRay’s uniquely bright, slightly scooped tone was a driving force behind game and an in-your-face bass superstar. Johnson’s kinetic and pioneering slap style. We asked a handful of experts about the development of As a session wiz, Louis contributed classic the StingRay and Johnson’s involvement: Sterling Ball (CEO of Ernie Ball Music Man), Dudley Gimpel bass parts to albums by a long list of jazz, funk, (head of Ernie Ball Music Man R&D), and Music Man collector Dave Jeffrey. R&B, fusion, pop, and rock luminaries. As a certified bass hero, Louis—known around the What were Leo Fender’s and Tom White’s goals with the StingRay bass? world as “Thunder Thumbs”—was the catalyst Sterling Ball Leo was hard of hearing, so he liked a bright sound. Bright sounded normal to him. that inspired a million thumpers: Even in the Leo was happiest with the design of the pickup and bridge. -
Louis Johnson
LOUIS JOHNSON Approfondimenti a cura di Riccardo Pantella LOUIS JOHNSON “ THUNDER-THUMBS “ Quando si parla della tecnica dello Slap spesso vengono in mente i soliti nomi di grandi musicisti, ad esempio Larry Graham che si sostiene ne sia l’inventore. Ma è impossibile parlare di questa tecnica e non citare Louis Johnson, che di certo è stato uno dei pionieri ed ha contribuito a svilupparne la tecnica. Per via del suo stile distintivo venne soprannominato Thunder-Thumbs. Da non sottovalutare le sue numerose collaborazioni come session man. Tra le più importanti potremmo citare l’album “Thriller” di Michael Jackson. Probabilmente ciò che ha dato un grande contributo alla sua carriera è stata la sua ampia musicalità e senso ritmico. BIOGRAFIA Nato a Los Angeles il 13 Aprile del 1955, Louis fin da subito mostrò un forte interesse per la musica. Suo padre regalò presto una chitarra a lui e a suo fratello George, che subito cominciarono a suonare a turno. Louis era attratto dalle note gravi e cominciò a suonare le linee di basso che ascoltava sui dischi di artisti come James Brown, The Temptations and The Supremes.. Fu così che suo padre decise di regalargli un basso, e passò poco tempo prima che Johnson cominciò a strappare e percuotere le corde per dare più groove a ciò che suonava. Tutto questo si è evoluto nella tecnica dello Slap, rendendolo un musicista di fama mondiale. Mentre era ancora a scuola a Los Angeles, insieme al fratello George e il cugino Alex Weir formarono i “Three Plus One”. Band che si è subito evoluta in un contesto professionale condividendo palchi con artisti come The Supremes e Bobby Womack. -
Lucas Stephen M 2014 Masters
TRIPLE SYNTHESIS by Stephen Lucas A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO APRIL 2014 © STEPHEN LUCAS 2014 ii Acknowledgements I would like to thank my thesis supervisors and committee members Professor Michael Coghlan and Professor Alan Henderson, for their guidance and support in the development of this thesis. I must also thank committee member Professor Holly Small for her generous input and support. In addition, I wish to thank my graduate studies Professors Dorothy de Val, Pat Bradley and David Mott for their advice and expert instruction in my coursework at York University. iii Abstract This thesis investigates the result of merging three musical approaches (jazz fusion, breakbeat/IDM and Electronic Dance Music) and their respective methodologies as applied to music composition. It is presented in a progressive manner. Chapters two to four identify and discuss each of the three styles separately in terms of the research undertaken in the preparation of this thesis. Chapter 2 discusses, through a close examination of selected compositions and recordings, both Weather Report and Herbie Hancock as representing source material for research and compositional study in terms of melody, harmony and orchestration from the 1970s jazz-fusion genre. Chapter 3 examines breakbeat and Intelligent Dance Music (IDM) drum rhythm programming through both technique and musical application. Chapter 4 presents an examination of selected contemporary Electronic Dance Music (EDM) techniques and discusses their importance in current electronic music styles. Chapters 5, 6 and 7 each present an original composition based on the application and synthesis of the styles and techniques explored in the previous three chapters, with each composition defined by proportions of influence from each of the three styles as in the Venn diagram shown in the introduction. -
Titelliste Rollercoaster 1 1. Jethro Tull: Teacher 2
Titelliste Rollercoaster 1 1. Jethro Tull: Teacher 2. Frijid Pink: House of the rising sun 3. Mandrill: Mandrill 4. Chris Rea: The road to hell 5. GesmbH: Move on 6. Roger Chapman: Moth of a flame 7. Wah Wah Watson: Goo goo wah wah 8. Temptations: Aint no justice 9. Juicy Lucy: Willie the pimp 10. Cressida: Munich 11. Leon Redbone: My walking stick Titelliste Rollercoaster 2 1. Steppenwolf: Born to be wild 2. Family: The weavers answer 3. Kevin Ayers: Heartbreak hotel 4. Weather Report: Black market 5. Golden Earring: The wall of dolls 6. Stooges: Down the street 7. Pink Floyd: Let there be more light 8. Chicago: I'm a man 9. Gentle Giant: The house, the street, the room 10. King Crimson: In the court of the crimson king 11. Leon Redbone: Somebody stole my gal Titelliste Rollercoaster 3 1. Black Sabbath: Paranoid 2. Pat Martino: Deeda 3. Camel: Slow yourself down 4. Frank zappa: Muffin man 5. Pete Brown & Piblokto: Station song platform two 6. Chase: Bochawa 7. Deep Purple: No no no 8. Electric Flag: Sunny 9. Iron Butterfly: In a gaddda da vida 10. Leon Redbone: Desert blues Titelliste Rollercoaster 4 1. Jimi Hendrix: All along the watchtower 2. Barclay James Harvest: Ball and chain 3. El Chicano: I'm a good woman 4. Bob Dylan: Knocking on heavens door 5. Quicksilver Messenger Service: Fresh air 6. Passport: Jadoo 7. Blood, Sweat & Tears: Hi-de-Ho 8. Walpurgis: Queen of Saba 9. Climax Blues Band: Amerita/Sense of direction 10. Beggars Opera: Light cavalry 11. -
Download Herbie Hancock Headhunters Zip
1 / 3 Download Herbie Hancock Headhunters Zip DOWNLOAD in >>MP3 Head Hunters By Herbie Hancock Album. Public ... Head Hunters download album online ... download Head Hunters full album zip. Artist: Herbie Hancock Download Album: Headhunters (Live) Genre: Jazz Year: 2018 The Format: MP3 / FLAC Quality: 320Kbps / Lossless .... Category, Artist, Title (Format), Label, Category, Country, Year. WOU 9899, Herbie Hancock, Flood (CD, Album, RE, RM), Wounded Bird Records, WOU 9899 .... Download « herbie- hancock-head-hunters-ep-zip » · Funkytown / Matlo44 - Créer un blog sur Eklablog - Terms and Conditions - Report abuse .... Free Sheet Music; Download Watermelon Man Herbie Hancock Medium Rock sheet ... THE ZIP FILE IS APPROXIMATELY 5MB AND IS BEST DOWNLOADED ... 2. save Save Herbie-Hancock-Headhunters-Watermelon-Man-C. Major 7th: Bali .... Herbie Hancock - Head Hunters. ... download the track Soul Mission, Brutha Basil – Deep Belief (Mosfet Dub Instrumental) Zip, just click the download link above ... Stream & Download "Royce da 5'9 - The Allegory" Album Zip Below ... up to Herbie Hancock's brilliant 'Headhunters' and 'Thrust',the albums that wrote the book .... Herbie Hancock is a true icon of modern music. ... V.S.O.P (Columbia 1976) - (V.S.OP., Headhunters, Mwandishi); The Herbie Hancock Trio (Columbia 1977) / alternate ... _-_Hear__O_Israel_-_A_Prayer_Ceremony_In_Jazz_2008_.zip ... I can t download O Israel and i would really love to hear it , can you .... Sly (10:21); Vein Melter (9:09). DOWNLOAD FROM FILECAT.NET >>> Head Hunters was a pivotal point in Herbie Hancock's career .... Download Herbie Hancock Headhunters Zip >> http://picfs.com/17yyhy f42d4e2d88 Check out Head Hunters by Herbie Hancock on Amazon .... Written by Matlo44 in Accueil on 12 August 2014 à 17:01. -
Downbeat.Com June 2014 U.K. £3.50
JUNE 2014 U.K. £3.50 DOWNBEAT.COM JUNE 2014 VOLUME 81 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [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, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom