Art Pepper Roadgame Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Art Pepper Roadgame mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Roadgame Country: Italy Released: 1982 Style: Post Bop MP3 version RAR size: 1654 mb FLAC version RAR size: 1220 mb WMA version RAR size: 1219 mb Rating: 4.7 Votes: 950 Other Formats: AA AC3 DMF WAV FLAC APE VOX Tracklist Hide Credits Roadgame A1 9:30 Composed By – Pepper* Road Waltz A2 10:55 Composed By – Pepper* When You're Smiling B1 8:46 Composed By – Goodwin*, Shay*, Fisher* Everything Happens To Me B2 12:04 Composed By – Dennis*, Adair* Credits Alto Saxophone – Art Pepper (tracks: A1, A2, B2) Art Direction – Phil Carroll Bass – David Williams Clarinet – Art Pepper (tracks: B1) Design – Jamie Putnam Drums – Carl Burnett Engineer – Baker Bigsby Mastered By – George Horn Photography By – Steve Fitch Piano – George Cables Producer – Ed Michel Notes Recorded in performance at Maiden Voyage, Los Angeles, August 15, 1981, a full moon night. Mixed in Studio B, Fantasy Studios, Barkley. Mastered at Fantasy Studios. ℗ 1982, Galaxy Records. Marketed By Fonit Cetra - Made in Italy Other versions Category Artist Title (Format) Label Category Country Year Roadgame (LP, GXY-5142 Art Pepper Galaxy GXY-5142 US 1982 Album) Original Jazz OJCCD 774-2 Art Pepper Roadgame (CD, RM) OJCCD 774-2 Germany 1993 Classics VIJ-6387, GXY Roadgame (LP, Galaxy, VIJ-6387, GXY Art Pepper Japan 1982 5142 Album) Galaxy 5142 Roadgame (LP, FAN 96-19 Art Pepper Fantasy FAN 96-19 Portugal 1982 Album) Roadgame (LP, GX 01-1279 Art Pepper Gamma GX 01-1279 Mexico 1982 Album) Related Music albums to Roadgame by Art Pepper Art Pepper Quartet - Live At Fat Tuesday's Art Pepper - The Complete Pacific Jazz Small Group Recordings Of Art Pepper Art Pepper - Friday Night At The Village Vanguard Richie Cole And . - Return To Alto Acres Art Pepper - Winter Moon Art Pepper - Unreleased Art, Vol. II - The Last Concert May 30, 1982 - Kennedy Center, Washington D.C. Art Pepper & Sonny Redd - Art Pepper & Sonny Redd Art Pepper - Today Art Pepper - Four Classic Albums The Beatles - Sg Pepper Art Pepper Quintet - Smack Up Barry Altschul, Pepper Adams - Be-Bop?.

Copy Link

Recommended publications

Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A.
[Show full text]
Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK
[Show full text]
Musica Jazz Autore Titolo Ubicazione
MUSICA JAZZ AUTORE TITOLO UBICAZIONE AA.VV. Blues for Dummies MSJ/CD BLU AA.VV. \The \\metronomes MSJ/CD MET AA.VV. Beat & Be Bop MSJ/CD BEA AA.VV. Casino lights '99 MSJ/CD CAS AA.VV. Casino lights '99 MSJ/CD CAS AA.VV. Victor Jazz History vol. 13 MSJ/CD VIC AA.VV. Blue'60s MSJ/CD BLU AA.VV. 8 Bold Souls MSJ/CD EIG AA.VV. Original Mambo Kings (The) MSJ/CD MAM AA.VV. Woodstock Jazz Festival 1 MSJ/CD WOO AA.VV. New Orleans MSJ/CD NEW AA.VV. Woodstock Jazz Festival 2 MSJ/CD WOO AA.VV. Real birth of Fusion (The) MSJ/CD REA AA.VV. \Le \\grandi trombe del Jazz MSJ/CD GRA AA.VV. Real birth of Fusion two (The) MSJ/CD REA AA.VV. Saint-Germain-des-Pres Cafe III: the finest electro-jazz compilationMSJ/CD SAI AA.VV. Celebrating the music of Weather Report MSJ/CD CEL AA.VV. Night and Day : The Cole Porter Songbook MSJ/CD NIG AA.VV. \L'\\album jazz più bello del mondo MSJ/CD ALB AA.VV. \L'\\album jazz più bello del mondo MSJ/CD ALB AA.VV. Blues jam in Chicago MSJ/CD BLU AA.VV. Blues jam in Chicago MSJ/CD BLU AA.VV. Saint-Germain-des-Pres Cafe II: the finest electro-jazz compilationMSJ/CD SAI Adderley, Cannonball Cannonball Adderley MSJ/CD ADD Aires Tango Origenes [CD] MSJ/CD AIR Al Caiola Serenade In Blue MSJ/CD ALC Allison, Mose Jazz Profile MSJ/CD ALL Allison, Mose Greatest Hits MSJ/CD ALL Allyson, Karrin Footprints MSJ/CD ALL Anikulapo Kuti, Fela Teacher dont't teach me nonsense MSJ/CD ANI Armstrong, Louis Louis In New York MSJ/CD ARM Armstrong, Louis Louis Armstrong live in Europe MSJ/CD ARM Armstrong, Louis Satchmo MSJ/CD ARM Armstrong, Louis
[Show full text]
Art Pepper a Taste of Pepper Mp3, Flac, Wma
Art Pepper A Taste Of Pepper mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: A Taste Of Pepper Country: Europe Released: 2010 Style: Bop MP3 version RAR size: 1175 mb FLAC version RAR size: 1614 mb WMA version RAR size: 1715 mb Rating: 4.8 Votes: 650 Other Formats: VOC WMA AC3 AAC MIDI AIFF MPC Tracklist Hide Credits Art Pepper Meets The Rhythm Section ( 1957 ) You'd Be So Nice To Come Home To 1-1 5:29 Composed By – C. Porter* Red Pepper Blues 1-2 3:41 Composed By – R. Garland* Imagination 1-3 5:55 Composed By – J. Van Heusen And J. Burke* Waltz Me Blues 1-4 3:00 Composed By – A. Pepper*, P. Chambers* Straight Life 1-5 4:02 Composed By – A. Pepper* Jazz Me Blues 1-6 4:50 Composed By – T. Delaney* Tin Tin Deo 1-7 7:45 Composed By – C. Pozo*, G. Fuller* Star Eyes 1-8 5:16 Composed By – D. Raye*, G. DePaul* Birks Works 1-9 4:20 Composed By – D. Gillespie* Mucho Calor ( 1958 ) Mucho Calor 2-1 6:55 Arranged By – Bill HolmanComposed By – B. Holman* Autumn Leaves 2-2 Arranged By – Benny CarterComposed By – G. Parsons*, J. Prévert*, J. 3:07 Mercer*, J. Kosma* Mambo De La Pinta 2-3 5:30 Arranged By – Art PepperComposed By – A. Pepper* I'll Remember April 2-4 2:22 Arranged By – Art PepperComposed By – D. Raye*, G. DePaul*, P. Johnston* Vaya Hombre Vaya 2-5 3:23 Arranged By – Bill HolmanComposed By – B. Holman* I Love You 2-6 5:49 Arranged By – Bill HolmanComposed By – C.
[Show full text]
Scholarships…A Mission, Not an Option! by Don Bestor, Jr
Winter, 2012 The Fort Pierce Jazz & Blues Society Newsletter Volume XVI MISSION: To promote the growth, appreciation and performance of Jazz & Blues – great American music art forms – through scholarships, workshops, clinics, weekly jazz jams and community outreach programs. Scholarships…a mission, not an option! By Don Bestor, Jr. prospective scholarship applicants to basis requires an extra effort to affect President get involved. Our very well put together positive results. This is just part of what A while ago, one scholarship program, I might add, is goes on “behind the scenes.” None of of our regular fans headed by one of our Board members, this deters our determination to get on approached me Mr. Al Hager, an award-winning educa- with what we’re here to accomplish. and asked if we were still sponsor- tor for more than 25 years! Please allow me to yell the answer ing students on their way to college in To manage an organization like the to the question of us being pro-active in the form of scholarships. That ques- Jazz and Blues Society of Fort Pierce the scholarship program: "YES!" We tion took me by surprise because that is an honor and it is something that remain committed to providing scholar- is why many of us dedicate our time I’m very respectful of. As you may or ships to those high school seniors who to this organization. The Society ac- may not know, many things happen, qualify for our program and we are so tively pursues student applicants with transpire, pop-up and sometimes it can very proud to be able to do that! We a monthly letter to every band director happen every day.
[Show full text]
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot.
[Show full text]
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
[Show full text]
Legends of West Brochure
JAZZ AID P U.S. POSTAGE presents WEST NONPROFIT ORG. PERMIT NO. 1260 LONG BEACH, CA. COAST 3 LEGENDS OF THE WEST 17 Concerts 8 Panel Discussions A Four Day 5 Film Showings Jazz Festival September 29 ~ October 2, 2005 8-0038 Four Points Sheraton-LAX NG BEACH, CA 9080 CA BEACH, NG .O. BOX 8038.O. BOX LO THE ANGELES LOS JAZZ INSTITUTE P WAY OUT WEST 1957 BY WILLIAM CLAXTON lajazzinstitute.org Bud Shank | Johnny Mandel | Chico Hamilton Quintet | Paul Horn BONUS EVENT Frank Morgan | Buddy Collette | Med Flory | Howard Rumsey In our continuing effort to pay tribute to the Lennie Niehaus | Jack Costanzo | Dave Pell Octet | Herb Geller brilliant artists who have Allyn Ferguson’s Chamber Jazz Sextet | Anthony Ortega | Bill Trujillo been significant figures of the Los Angeles Jazz Scene, FEATURING Claude Williamson | Chuck Flores | John Pisano | Fred Katz we are pleased to announce Jazz West Coast 3- ABOUT THE Legends of the West. Festival Los Angeles Legends of the West is a musical celebration of Facts Jazz Institute both the musicians and The Los Angeles Jazz Institute houses the behind the scenes people Dates and maintains one of the largest whose innovative explorations SEPTEMBER 29-OCTOBER 2, 2005 jazz archives in the world.All styles created a unique jazz scene and eras are represented with a here on the west coast. Place special emphasis on the preservation The Four Points Sheraton at LAX and documentation of jazz in southern In addition to 17 concerts, 9750 Airport Blvd., California. Many artists personal there will also be film showings, Los Angeles, CA 90045 collections are being preserved at panel discussions, photo exhibits The special convention rate is the Institute including the archives and special presentations where $82 and $92 per night.
[Show full text]
Los Angeles: Recorded Magic (1945-1960)
Los Angeles: Recorded Magic (1945-1960) Essential Questions How did advances in technology impact jazz? How did Los Angeles (LA) become a segregated city? How did Los Angeles (LA) become a city of recorded jazz? What is West Coast bop? How does it reflect the black jazz scene in segregated LA? What is West Coast jazz? How is it a product of postwar Southern California? How does the music and literature of Los Angeles reflect its history and culture? How do you listen to jazz? The importance of listening Obtaining a jazz vocabulary Understanding and appreciating major movements in jazz Understanding and appreciating the life and sounds of jazz innovators Historical context of jazz Objectives: 1. Determine how advances in technology impacted jazz and the recording industry. 2. Rank the local, state and federal policies that contributed to the segregation of Los Angeles. 3. Explain how the music and of Los Angeles reflected its segregated population. 4. Analyze West Coast jazz and bop in historical context. Historical Context: Postwar Los Angeles (Marcie Hutchinson) Based on Why Jazz Happened by Marc Myers (social history of jazz) Introduction Profound impact of technology on the history of jazz Radio, records, the phonograph, the jukebox, film Music more accessible, more convenient, pleasing to the ear Postwar Period Jazz transformed from dance music to a sociopolitical movement Major jazz styles: bebop, jazz-classical, cool, West Coast jazz, hard bop, jazz-gospel, spiritual jazz, jazz- pop, avant-garde jazz and jazz-rock fusion Jazz reshaped from 1945-1972 Grip of 3 major record companies (Victor, Columbia, Decca) weakened by labor actions Increased competition from new labels Jazz musicians gain greater creative independence due to competition.
[Show full text]
1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement.
[Show full text]
Art Pepper's Not the Same by John Tynan 07/30/1964 Downbeat
Art Pepper's Not the Same by John Tynan 07/30/1964 DownBeat With a laureate's fervor, Alfred Lord Tennyson once cried, "Let the great world spin forever down the ringing grooves of change." The poet was, of course, playing it safe. Because what the society of his time, and, indeed, the world at large was engaged in, as now and forever, was the process of constant change. In the context of the world of jazz though, Tennyson's phrase "ringing grooves of change" seems oddly apt when applied to much of the jazz record output these days and the changing styles of the players. Alto saxophonist Art Pepper is a perfect case in point. A little more than five years ago, Pepper said that Zoot Sims was "the most natural, swinging musician I've ever heard. I think I could achieve complete satisfaction playing with him in a small group. Add Miles [Davis] for the third horn, and going to work each night would be the ultimate." Perhaps Pepper still feels this way about Sims. The point is, though, he shows no inclination to speak of the tenorist anymore. At least the altoist did not so incline in a recent interview that centered about Pepper's present approach to improvisation and the reasons for his radical switch from the style identified with him for the last 15 years to the rawly emotional outbursts on his horn to which he exposed audiences at Shelly Manne-Hole in Hollywood recently. John Coltrane appears to have displaced Zoot Sims as Pepper's current weathervane and symbol of continuing change.
[Show full text]
ÐÑ€Ñ‚ Ðÿðµð¿Ñšñ€ ÐÐ»Ð±Ñƒð¼ ÑÐ¿Ð¸ÑÑšðº (Ð ´Ð¸Ñ
ÐÑ €Ñ‚ ÐŸÐµÐ¿ÑŠÑ€ ÐÐ »Ð±ÑƒÐ¼ ÑÐ ¿Ð¸ÑÑ ŠÐº (Ð ´Ð¸ÑÐ ºÐ¾Ð³Ñ€Ð°Ñ„Ð¸ÑÑ ‚Ð° & Ð³Ñ€Ð°Ñ„Ð¸Ðº) Straight Life https://bg.listvote.com/lists/music/albums/straight-life-1446067/songs So in Love https://bg.listvote.com/lists/music/albums/so-in-love-28452495/songs https://bg.listvote.com/lists/music/albums/art-pepper-with-warne-marsh- Art Pepper with Warne Marsh 2864557/songs New York Album https://bg.listvote.com/lists/music/albums/new-york-album-27818530/songs Modern Art https://bg.listvote.com/lists/music/albums/modern-art-11784473/songs Living Legend https://bg.listvote.com/lists/music/albums/living-legend-3257150/songs Popo https://bg.listvote.com/lists/music/albums/popo-1765447/songs Art 'n' Zoot https://bg.listvote.com/lists/music/albums/art-%27n%27-zoot-27818837/songs The Return of Art Pepper https://bg.listvote.com/lists/music/albums/the-return-of-art-pepper-9358181/songs Tokyo Debut https://bg.listvote.com/lists/music/albums/tokyo-debut-3530519/songs Art Pepper with Duke Jordan in Copenhagen https://bg.listvote.com/lists/music/albums/art-pepper-with-duke-jordan-in- 1981 copenhagen-1981-27818796/songs The Trip https://bg.listvote.com/lists/music/albums/the-trip-3523093/songs Art Pepper Today https://bg.listvote.com/lists/music/albums/art-pepper-today-3530231/songs The Art Pepper Quartet https://bg.listvote.com/lists/music/albums/the-art-pepper-quartet-3519815/songs Smack Up https://bg.listvote.com/lists/music/albums/smack-up-609881/songs The Early Show https://bg.listvote.com/lists/music/albums/the-early-show-1764297/songs Intensity
[Show full text]