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CATALOGUE WELCOME to NAXOS JAZZ LEGENDS and NAXOS NOSTALGIA, Twin Compendiums Presenting the Best in Vintage Popular Music
NAXOS JAZZ LEGENDS/NOSTALGIA CATALOGUE WELCOME TO NAXOS JAZZ LEGENDS AND NAXOS NOSTALGIA, twin compendiums presenting the best in vintage popular music. Following in the footsteps of Naxos Historical, with its wealth of classical recordings from the golden age of the gramophone, these two upbeat labels put the stars of yesteryear back into the spotlight through glorious new restorations that capture their true essence as never before. NAXOS JAZZ LEGENDS documents the most vibrant period in the history of jazz, from the swinging ’20s to the innovative ’40s. Boasting a formidable roster of artists who forever changed the face of jazz, Naxos Jazz Legends focuses on the true giants of jazz, from the fathers of the early styles, to the queens of jazz vocalists and the great innovators of the 1940s and 1950s. NAXOS NOSTALGIA presents a similarly stunning line-up of all-time greats from the golden age of popular entertainment. Featuring the biggest stars of stage and screen performing some of the best- loved hits from the first half of the 20th century, this is a real treasure trove for fans to explore. RESTORING THE STARS OF THE PAST TO THEIR FORMER GLORY, by transforming old 78 rpm recordings into bright-sounding CDs, is an intricate task performed for Naxos by leading specialist producer-engineers using state-of-the-art-equipment. With vast personal collections at their disposal, as well as access to private and institutional libraries, they ensure that only the best available resources are used. The records are first cleaned using special equipment, carefully centred on a heavy-duty turntable, checked for the correct playing speed (often not 78 rpm), then played with the appropriate size of precision stylus. -
The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr. -
Genre, Ethnoracial Alterity, and the Genesis of Jazz Manouche
Genre, Ethnoracial Alterity, and the Genesis of jazz manouche SIV B. LIE It’s French jazz. Why suggest that it’s jazz manouche? Django obviously started it, the whole movement, on account of him being a superstar, being a Gypsy, and then afterwards the Gyp- sies copied him, and it evolved into that. It’s a category that doesn’t correspond to reality. People should say “Django style.” For me, jazz manouche doesn’t exist, in fact. It’s a fiction. [Jazz manouche] must exist because everyone talks about it.1 n the above quotations, speakers address the ontology of “jazz ma- nouche,” a genre originally grounded in the recordings of guitarist Django Reinhardt (1910–53) and invented several decades after his I 2 death. They represent only a fraction of the musings on the subject that I recorded while interviewing musicians and others involved in the jazz ma- nouche scene in France. Centered on the reproduction of Reinhardt’s musical style, the genre is commonly associated with the Manouche subgroup of I am deeply grateful to Patrick Andresz, Alain Antonietto, Stella Funaro, Gérard Gerber, Engé Helmstetter, Michel Lefort, Gigi Loeffler, Marcel Loeffler, Mandino Reinhardt, and numerous others in France for sharing their stories and lives with me. I would like to thank Michael Beckerman, J. Martin Daughtry, Maureen Mahon, Will Robin, David Samuels, Davin- dar Singh, and especially Benjamin Givan for their thoughtful comments on earlier versions of this article. I would also like to thank the anonymous reviewers of this Journal for the helpful feedback they have provided. -
QUASIMODE: Ike QUEBEC
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ QUASIMODE: "Oneself-Likeness" Yusuke Hirado -p,el p; Kazuhiro Sunaga -b; Takashi Okutsu -d; Takahiro Matsuoka -perc; Mamoru Yonemura -ts; Mitshuharu Fukuyama -tp; Yoshio Iwamoto -ts; Tomoyoshi Nakamura -ss; Yoshiyuki Takuma -vib; recorded 2005 to 2006 in Japan 99555 DOWN IN THE VILLAGE 6.30 99556 GIANT BLACK SHADOW 5.39 99557 1000 DAY SPIRIT 7.02 99558 LUCKY LUCIANO 7.15 99559 IPE AMARELO 6.46 99560 SKELETON COAST 6.34 99561 FEELIN' GREEN 5.33 99562 ONESELF-LIKENESS 5.58 99563 GET THE FACT - OUTRO 1.48 ------------------------------------------ Ike QUEBEC: "The Complete Blue Note Forties Recordings (Mosaic 107)" Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Milt Hinton -b; J.C. Heard -d; recorded July 18, 1944 in New York 34147 TINY'S EXERCISE 3.35 Blue Note 6507 37805 BLUE HARLEM 4.33 Blue Note 37 37806 INDIANA 3.55 Blue Note 38 39479 SHE'S FUNNY THAT WAY 4.22 --- 39480 INDIANA 3.53 Blue Note 6507 39481 BLUE HARLEM 4.42 Blue Note 544 40053 TINY'S EXERCISE 3.36 Blue Note 37 Jonah Jones -tp; Tyree Glenn -tb; Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Oscar Pettiford -b; J.C. Heard -d; recorded September 25, 1944 in New York 37810 IF I HAD YOU 3.21 Blue Note 510 37812 MAD ABOUT YOU 4.11 Blue Note 42 39482 HARD TACK 3.00 Blue Note 510 39483 --- 3.00 prev. unissued 39484 FACIN' THE FACE 3.48 --- 39485 --- 4.08 Blue Note 42 Ike Quebec -ts; Napoleon Allen -g; Dave Rivera -p; Milt Hinton -b; J.C. -
Musiclips by Ira Novoselsky
Issue: October-December 2013 Subscription: 6/20/2011 to 6/9/2014 MusiClips by Ira Novoselsky The Chimes of Liberty by Edwin Franko Goldman Album Title: BRASS & PERCUSSION: MORTON GOULD Recording: Morton Gould Symphonic Band Conductor: Morton Gould Publisher: RCA Red Seal BMG Classics 82876.66371.2 OLD COMRADES: A Classic CD Revisited 2013 is the centennial of Morton Gould's birth and I just had to review this incredible recording from over fifty years ago! Brass & Percussion features a smattering of Gould's works for band along with marches of Sousa, Goldman and Edwin Bagley's beloved National Emblem (I will admit some people may grouse about Gould's "second endings" preferences with these marches). The one work you will not find on this recording is American Salute, the perennial Gould/Lang patriotic staple but Gould's 1941 legendary band rhapsody Jericho appears… a work omitted from the earlier recordings of Brass & Percussion. Other Gould compositions featured are Parade (a unique percussion ensemble gem), Dixie, Yankee Doodle, The Fourth of July, American Youth March (sadly with some cuts), American Patrol (scored for three "marching bands") and Battle Hymn (the very first band composition I bought). The Sousa works are very familiar and need little commentary other than Gould provides his personal arranging touch on occasion with these marches. The Goldman marches are On the Mall, The Chimes of Liberty (check out the trumpets & cornets in the Trio), and the less familiar Jubilee & Happy-Go-Lucky. I'm sure there will be more Gould recordings available during his centennial but this unique, legendary CD offers something different and shouldn't be missed. -
Starten Met Jazz
Themalijst Starten met Jazz Inleiding De Openbare Bibliotheek Kortrijk heeft een zeer uitgebreide jazzcollectie een paar duizend cd’s en een paar duizend vinylelpees) waardoor het voor een leek moeilijk is het bos door de bomen te zien. Ik zie voor de leek die iets meer wil weten ver jazzmuziek drie opties: 1. Je komt naar de Bib en grasduint wat in onze fantastische collectie. Grote kans dat je de ‘verkeerde’ cd’s meeneemt en voorgoed de jazz afzweert. Wat jammer zou zijn.. 2. Je neemt enkel verzamel-cd’s mee, bijvoorbeeld de Klara cd’s 3. Ok, dan heb je een staalkaart van het beste wat er ooit verschenen is en wil je misschien nog iets dieper gaan, meer exploreren, meer voelen wat échte jazz is.. Dan lees je 4. De beknopte lijst hieronder die chronologisch in enkele tientallen cd’s je wegwijs maakt in de verschillende subgenres van de jazz. Verwacht geen uitgebreide biografieën of discografieën maar een kort situeren van de belangrijkste stromingen met haar prominentste vertegenwoordigers. Dit is alleen maar een kennismaking, een aanzet. Maar dit document probeert een chronologisch overzicht te geven met de belangrijkste namen per sub genre. Als je van al deze artiesten één cd beluisterd hebt, kan je al wat meepraten voor jazz. Het is belangrijk op te merken dat al die sub genres soms zeer lang blijven en zelfs heropleven. Uiteraard overlappen ze elkaar in de tijd. En weinig muzikanten beperken zich echt tot één stijl. Jazzrecensent Mark Van den Hoof stelt dat na de jaren ‘60 niets nieuws meer gebeurde in de jazz en dat men zich beperkt tot het spelen in de stijlen van de vorige eeuw. -
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 -
Sounding Nostalgia in Post-World War I Paris
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing. -
Jacques Butler “Jack”
1 The TRUMPET of JACQUES BUTLER “JACK” Solographer: Jan Evensmo Last update: July 7, 2019 2 Born: April 29, 1909 Died: 2003 Introduction: There is no doubt: Jacques Butler was well known in the Norwegian jazz community, because he was visiting Oslo in 1940 and recorded one 78 rpm. together with our own best jazz performers. So, we grew up with him! History: Raised in Washington, D.C., studied dentistry at Howard University, began playing trumpet at the age of 17. Moved to New York City, worked with Cliff Jackson in the late 1920s, with Horace Henderson (1930-1). Led own band (in New York and on tour) 1934-35, worked with Willie Bryant, then to Europe. Joined Willie Lewis band (late 1936), worked mainly with Willie Lewis until 1939, then toured Scandinavia from June 1939. Was in Norway at the commencement of World War II, returned to the U.S.A. in April 1940. Led own band, worked with Mezz Mezzrow (spring 1943), with Art Hodes (summer 1943- 44), with Bingie Madison (1945), with bassist Cass Carr (summer 1947). Worked in Toronto, Canada (1948). Returned to Europe in late 1950, led own band on various tours, then played long residency at ‘La Cigale’, Paris, from 1953 until returning to the U.S.A. in 1968. Still plays regularly in New York (at the time of writing). Appeared in the film ‘Paris Blues’ (1961). (ref. John Chilton). 3 JACK BUTLER SOLOGRAPHY SAMMY LEWIS & HIS BAMVILLE SYNCOPATORS NYC. June 14, 1926 Edwin Swayze (cnt, arr), Jack Butler (cnt, cl?), Oscar Hammond (tb), Eugene Eikelberger (cl, as), Paul Serminole (p), Jimmy McLin (bjo), Lester Nichols (dm), Sammy Lewis (vo). -
Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297). -
Really the Blues Free
FREE REALLY THE BLUES PDF Mezz Mezzrow,Bernard Wolfe | 416 pages | 07 Apr 2009 | Souvenir Press Ltd | 9780285638457 | English | London, United Kingdom Mezz Mezzrow - Wikipedia Really the Blues helps Really the Blues keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Really the Blues and try again. Open Preview See a Problem? Details Really the Blues other :. Thanks for telling us about the problem. Return to Book Page. Preview — Really the Blues by Mezz Mezzrow. Really the Blues by Mezz Mezzrow. Bernard Wolfe. Barry Gifford Contributor. The story of Milton Mezzrow--a white kid who fell in love with black culture. First published in"Really the Blues" was a rousing wake-up call to alienated young whites to explore the world of jazz, the first music America could call its own. Told in the jive lingo of the underground's inner circle, this classic is an unforgettable chronicle of street life, Really the Blues clu The story of Milton Mezzrow--a white kid who fell in love with black culture. Told in the jive lingo of the underground's inner circle, this classic Really the Blues an unforgettable chronicle of street life, smoky clubs, and roadhouse dances. Get A Copy. Paperbackpages. Published December 1st by Citadel Underground first published More Details Original Title. Other Editions Friend Reviews. To Really the Blues what your friends thought of this book, please sign up. To ask other readers questions about Really the Bluesplease sign up. Lists with This Book. -
Karaoke Mietsystem Songlist
Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.