2017MM@M Study Guide
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Baker Eastman School of Music [email protected] I
A Cyclic Approach to Harmony in Robert Glasper’s Music Society for Music Theory Columbus, OH November 7, 2019 Ben Baker Eastman School of Music [email protected] I. Introduction Robert Glasper hip-hop R&B jazz neo-soul gospel I. Introduction Robert Glasper Blue Note releases: Canvas (2005) piano trio In My Element (2007) piano trio + R.G. Experiment Double-Booked (2009) Black Radio (2012) R.G. Experiment Black Radio 2 (2013) piano trio Covered (2015) R.G. Experiment ArtScience (2016) I. Introduction Robert Glasper “…probably the most prominent jazz musician of his generation. He’s gotten there by playing within and without jazz, and pushing the music to reconsider its boundaries.” -Russonello (NYT, 2018) I. Introduction Glasper’s Harmonic Language diatonic collections clear tonal centers tertian harmonies root motion by: 3rd (ex. Imaj7 - vi7 - IVmaj7 - ii7) descending 5th (ii7 - V7 - Imaj7) two primary chord qualities: major 7th chords + upper extensions minor 7th chords I. Introduction “Rise and Shine” (Canvas, 2005) Fmaj9 Dbmaj9 Bbm9 Gm11 ™ ™ C œ œ œ bœ œ œ œ j œ œ &b œ J bœ œ œ ˙ ˙ œ Dmaj9 Gm11 D/F# Fmaj9 ™ ™ b œ œ œ j Œ & ˙ J œ œ œ œw ˙ œ œ Dbmaj9 C7 F Bbm11 Gm11 ™ ™ b œ œ œ œ œ œ œ b˙ œw w & bœ œ œ œ œ œ œ J œ 1. Gm11 Dm11 ™ j ™ &b w œ œ œ œw w w 2. Gbmaj9 C7alt F7sus4 ™ b˙ bwœ w ˙ &b ˙ œ œ œ œ œ œ &b∑ ∑ ∑ ∑ ∑ ∑ ∑ I. Introduction “Rise and Shine” (Canvas, 2005) Fmaj9 Dbmaj9 Bbm9 Gm11 ™ ™ C œ œ œ bœ œ œ œ j œ œ &b œ J bœ œ œ ˙ ˙ œ Dmaj9 Gm11 D/F# Fmaj9 ™ ™ b œ œ œ j Œ & ˙ J œ œ œ œw ˙ œ œ Dbmaj9 C7 F Bbm11 Gm11 ™ ™ b œ œ œ œ œ œ œ b˙ œw w & bœ œ œ œ œ œ œ J œ 1. -
'Black Radio Is Like No Station You've Ever Heard, and That's Precisely Its
JANUARY/FEBRUARY 2012 ISSUE MMUSICMAG.COM REVIEWS HOLE RNobody’sOBERT GLASPER Daughter EXPERIMENT [Universal] Black Radio [Blue Note] The first album released under the Hole moniker since 1998’s Celebrity Skin is really frontwoman Courtney Love’sTo Robert Glasper, there’s no reason for traditional jazz, contemporary hip- second solo album—co-founder,hop and R&B not to be best friends. Glasper fuses those elements expertly songwriter and lead guitarist Eric Erlandson isn’t involved,on Black Radio; the keyboards include synths, Rhodes and piano, and nor is any other previous Hole member. So it’s Love andan three array of guests adds to the mix, from Meshell Ndegeocello and Musiq ringers on 11 new songs—10 of which Love wroteSoulchild with to rapper Lupe Fiasco. Glasper and collaborators offer a continually collaborators like Billy Corgan,shifting Linda sonic Perry landscape, and new from the smooth soul of “Afro Blue,” the Mongo guitarist Micko Larkin. (Perry gets full credit on one tune, “Letter to God.”) Santamaria-penned jazz classic sung here by Erykah Badu, to the harder, Much of the riveting intensity of the group’s 1990s heyday appears to havebeat-centric left along with pastiche her former that comprisesDaniel Jackson Mos Def’s title track. But the final two bandmates, but there are fl ashes here of the snarling Too often, though, the slower songs trip her up. While once fury Love deployed to suchtracks devastating are arguably effect back Black in the day.Radio they’s mostwere showcases intriguing: for harrowingcovers ofdisplays David of nakedBowie’s emotion, She spits out her vocals semi-obscurewith vengeful disdain “Letter on “Skinny to Hermione,” Little Love drivensounds bymore Bilal’s dispassionate sensual these vocal days. -
Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition. -
Robert Glasper's In
’s ION T T R ESSION ER CLASS S T RO Wynton Marsalis Wayne Wallace Kirk Garrison TRANSCRIP MAS P Brass School » Orbert Davis’ Mission David Hazeltine BLINDFOLD TES » » T GLASPE R JAZZ WAKE-UP CALL JAZZ WAKE-UP ROBE SLAP £3.50 £3.50 U.K. T.COM A Wes Montgomery Christian McBride Wadada Leo Smith Wadada Montgomery Wes Christian McBride DOWNBE APRIL 2012 DOWNBEAT ROBERT GLASPER // WES MONTGOMERY // WADADA LEO SmITH // OrbERT DAVIS // BRASS SCHOOL APRIL 2012 APRIL 2012 VOLume 79 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editors Ed Enright Zach Phillips Art Director Ara Tirado Production Associate Andy Williams 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 Assistant Theresa Hill 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, John McDonough Atlanta: Jon Ross; Austin: Michael Point, 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 Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
People with Disabilities Get Ready: Curtis Mayfield in the 1990S Ray Pence, Ph.D
People with Disabilities Get Ready: Curtis Mayfield in the 1990s Ray Pence, Ph.D. University of Kansas Abstract: This article breaks with precedent by emphasizing disability’s role in the life and work of Curtis Mayfield (1942-1999) and by arguing that his experience of quadriplegia had both positive and difficult dimensions. Analysis focuses on Mayfield’s representation by journalists and other writers in the 1990s, and on how Mayfield answered their portrayals as an interview subject and as a musician with his final studio album New World Order (1996). Considered within the whole of Mayfield’s career, quadriplegia is revealed as one among many difficulties that he answered with critical positive thinking and powerful music. Key Words: quadriplegia, African-American music, civil rights “When a celebrity is ‘stricken’... editors and producers of national news organizations fall all over each other to run a mass-market variation on the theme, but in terms of narrative structure the celebrity story is simply the same notes scored for a symphony orchestra rather than a string quartet” (Riley, 2005, p. 13). Introduction Curtis Lee Mayfield (1942-1999) was a master of soul, rhythm, and blues with enormous and positive cultural influence in the last forty years of the twentieth century. Mayfield was also a person with disabilities—diabetes and, more significantly, quadriplegia—that he acquired late in life. Images are as important as sounds to understanding relationships between Mayfield’s quadriplegia and his music. Three contrasting views of Mayfield lying flat on his back during the 1990s provide a sort of visual synopsis of public perceptions of his final years. -
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. -
1435 2012 ^ Five Dollar 435
BLACK RADIO - CLUSIVE BLACK ENTERTAINMENT'S PR '' 36YEARS ISSN in-1435 2012 ^ FIVE DOLLAR 435 o 'I-47 3500 4 Featuring the final recorded performances from the late music icon WHITNEY HOUSTON _LtBRATE ORIGINAL N^mON pirTI IPF SOUNDTRACK FEATURING NEW MUSIC FROM JORDIN SPARKSAND WHITNEY HOUSTON ON THE URBAN ADULT RADIO HIT PRODUCED BY R. KELLY "CELEBRATE" AND A SOUL -STIRRING RENDITION OF WHITNEY HOUSTON ON "Li le Mir IC cM TUC QPAPDOW" 13 -SONG SOUNDTRACK ALSO INCLUDES CEE LO GREEN ON "I'M A MAN," GOAPELE ON "RUNNING," AND CARMEN EJOGO AND TIKA SUMPTER JOINING JORDIN SPARKS ON "SOMETHING HE CAN FEEL" WITH THREE NEW SONGS BY JORDIN SPARKS AVAILABLE EVERYWHERE JULY 31 ON it,14 RECORDS/SONY MUSIC From the Movie Directed by SALIM AKIL in Theaters Nationwide AUGUST 17TH The state of magazines is sticky, 43 minutes per issue sticky. Media continues to proliferate. ',Attention spans continue to shrink. And free content is available everywhere, from the Internet to the insides of elevators. Why then are 93% of American adults still so attached to magazines? Why do so many people, young and old, spend so much time with a medium that's paper and ink, a medium you actually have to pay for in order to read? In a word, engagement. Reading a magazine remains a uniquely intimate and immersive experience. Not only is magazine readership up, readers spend an average of 43 minutes per issue. Further, those 43 minutes of attention are typically undivided. Among all media-digital or analog-magazine readers are least likely to engage in another activity while reading. -
Title Format Released Abyssinians, the Satta Dub CD 1998 Acklin
Title Format Released Abyssinians, The Satta Dub CD 1998 Acklin, Barbara The Brunswick Anthology (Disc 2) CD 2002 The Brunswick Anthology (Disc 1) CD 2002 Adams Johnny Johnny Adams Sings Doc Pomus: The Real Me CD 1991 Adams, Johnny I Won't Cry CD 1991 Walking On A Tightrope - The Songs Of Percy Mayfield CD 1989 Good Morning Heartache CD 1993 Ade & His African Beats, King Sunny Juju Music CD 1982 Ade, King Sunny Odu CD 1998 Alabama Feels So Right CD 1981 Alexander, Arthur Lonely Just Like Me CD 1993 Allison, DeAnn Tumbleweed CD 2000 Allman Brothers Band, The Beginnings CD 1971 American Song-poem Anthology, The Do You Know The Difference Between Big Wood And Brush CD 2003 Animals, The Animals - Greatest Hits CD 1983 The E.P. Collection CD 1964 Aorta Aorta CD 1968 Astronauts, The Down The Line/ Travelin' Man CD 1997 Competition Coupe/Astronauts Orbit Kampus CD 1997 Rarities CD 1991 Go Go Go /For You From Us CD 1997 Surfin' With The Astronauts/Everything Is A-OK! CD 1997 Austin Lounge Lizards Paint Me on Velvet CD 1993 Average White Band Face To Face - Live CD 1997 Page 1 of 45 Title Format Released Badalamenti, Angelo Blue Velvet CD 1986 Twin Peaks - Fire Walk With Me CD 1992 Badfinger Day After Day [Live] CD 1990 The Very Best Of Badfinger CD 2000 Baker, Lavern Sings Bessie Smith CD 1988 Ball, Angela Strehli & Lou Ann Barton, Marcia Dreams Come True CD 1990 Ballard, Hank Sexy Ways: The Best of Hank Ballard & The Midnighters CD 1993 Band, The The Night They Drove Old Dixie Down: The Best Of The Band [Live] CD 1992 Rock Of Ages [Disc 1] CD 1990 Music From Big Pink CD 1968 The Band CD 1969 The Last Waltz [Disc 2] CD 1978 The Last Waltz [Disc 1] CD 1978 Rock Of Ages [Disc 2] CD 1990 Barker, Danny Save The Bones CD 1988 Barton, Lou Ann Read My Lips CD 1989 Baugh, Phil 64/65 Live Wire! CD 1965 Beach Boys, The Today! / Summer Days (And Summer Nights!!) CD 1990 Concert/Live In London [Bonus Track] [Live] CD 1990 Pet Sounds [Bonus Tracks] CD 1990 Merry Christmas From The Beach Boys CD 2000 Beatles, The Past Masters, Vol. -
Madonna - 1982 - 2009 : the Lyrics Book - 1 SOMMAIRE
Madonna - 1982 - 2009 : The Lyrics Book - www.madonnalex.net 1 SOMMAIRE P.03 P.21 P.51 P.06 P.26 P.56 P.09 P.28 P.59 P.10 P.35 P.66 P.14 P.40 P.74 P.15 P.42 P.17 P.47 Madonna - 1982 - 2009 : The Lyrics Book - www.madonnalex.net 2 ‘Cause you got the best of me Chorus: Borderline feels like I’m going to lose my mind You just keep on pushing my love over the borderline (repeat chorus again) Keep on pushing me baby Don’t you know you drive me crazy You just keep on pushing my love over the borderline Something in your eyes is makin’ such a fool of me When you hold me in your arms you love me till I just can’t see But then you let me down, when I look around, baby you just can’t be found Stop driving me away, I just wanna stay, There’s something I just got to say Just try to understand, I’ve given all I can, ‘Cause you got the best of me (chorus) Keep on pushing me baby MADONNA / Don’t you know you drive me crazy You just keep on pushing my love over the borderline THE FIRST ALBUM Look what your love has done to me 1982 Come on baby set me free You just keep on pushing my love over the borderline You cause me so much pain, I think I’m going insane What does it take to make you see? LUCKY STAR You just keep on pushing my love over the borderline written by Madonna 5:38 You must be my Lucky Star ‘Cause you shine on me wherever you are I just think of you and I start to glow BURNING UP And I need your light written by Madonna 3:45 Don’t put me off ‘cause I’m on fire And baby you know And I can’t quench my desire Don’t you know that I’m burning -
The Sounds of Liberation: Resistance, Cultural Retention, and Progressive Traditions for Social Justice in African American Music
THE SOUNDS OF LIBERATION: RESISTANCE, CULTURAL RETENTION, AND PROGRESSIVE TRADITIONS FOR SOCIAL JUSTICE IN AFRICAN AMERICAN MUSIC A Thesis Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Master of Professional Studies by Luqman Muhammad Abdullah May 2009 © 2009 Luqman Muhammad Abdullah ABSTRACT The cultural production of music in the Black community has traditionally operated as much more than a source of entertainment. In fact, my thesis illustrates how progressive traditions for social justice in Black music have acted as a source of agency and a tool for resistance against oppression. This study also explains how the music of African Americans has served as a primary mechanism for disseminating their cultural legacy. I have selected four Black artists who exhibit the aforementioned principles in their musical production. Bernice Johnson Reagon, John Coltrane, Curtis Mayfield and Gil Scott-Heron comprise the talented cadre of musicians that exemplify the progressive Black musical tradition for social justice in their respective genres of gospel, jazz, soul and spoken word. The methods utilized for my study include a socio-historical account of the origins of Black music, an overview of the artists’ careers, and a lyrical analysis of selected songs created by each of the artists. This study will contribute to the body of literature surrounding the progressive roles, functions and utilities of African American music. BIOGRAPHICAL SKETCH My mother garners the nickname “gypsy” from her siblings due to the fact that she is always moving and relocating to new and different places. -
Make It New: Reshaping Jazz in the 21St Century
Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of -
The Jazz Gene: Examining the Use of Jazz Aesthetics in Hip-Hop Music P
The Jazz Gene: Examining the use of Jazz Aesthetics in Hip-Hop Music P. Thomas Francis 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 JUNE 2017 P. Thomas Francis, 2017 ii ABSTRACT This thesis is made up of 7 original compositions that aid in exploring the common cultural traits and practices of African-American music — referred to using the metaphor of the Jazz ‘Gene’. These conventions are historically contextualized and analyzed through two categories of rhythm and harmony from a post-Jazz perspective. The compositions in this thesis also highlight influences and artists from various African-American genres whose active compositional styles create unique frameworks in their genres — such as James Brown, Joshua Redman, Roy Hargrove, Robert Glasper, and Dr. Dre. I surmise that without these common traits and practices found through these unique frameworks, Hip-Hop music would not persevere or evolve. These aesthetics exist in Hip-Hop just as much as they exist in Funk, Soul, R&B, Gospel, and Jazz music. iii DEDICATION This paper is dedicated to my family. Mom, Dad, Shelkah, and Sherma, thank you for your continued support and I hope this paper does you all proud. Catherine, you are reason the house is a home, the little volcanoes, and the dream that came to life to which my life becomes a dream. Thank you for ALWAYS being available and constantly reading, re-reading, and staring at these pages until I couldn’t take it anymore! You’re brilliant and wonderful.