Jazzvenue #206 Tues, May 25, 2021 Playlist

Total Page:16

File Type:pdf, Size:1020Kb

Jazzvenue #206 Tues, May 25, 2021 Playlist Jazzvenue is a weekly two-hour radio show produced in Penticton British Columbia at Peach City Radio (CFUZ-FM). Host Larry Arthur presents jazz new and old from across the globe, focussing occasionally on other idioms that relate to jazz. Episode: #206 Original Air Date: Tuesday, May 25, 2121 TRACKLIST (Track/Artist/Album) *** incomplete track 01 The Rich/Keith Jarrett Sextet/Treasure Island (9:26)(1974) 02 For Heaven’s Sake/Mike Melito Quartet/You’re It (5:38)(2020)CANCON 03 Thou Swell/Lucy YeghiazaryanBlue Heaven (5:04)(2019)CANCON 04 Ace/Marcello Tonolo Quartet/Our Family Affair (5:26)(2021) 05 Offering/Benito Gonzales Trio/Sing To The World (9:20)(2021) 06 Back To Abnormal/Behn Gillece Quartet/Still Doing Our Thing (5:22)(2021) 07Alone Time/Be Patterson Quintet/Push The Limits (6:06)(2020) 08 Lullaby Of Broadway/Don Fagerquist NonetEight By Eight (4:14)(1957) 09 My Heart Belongs To Daddy/Dave Pell Octet/The Caziest Dream (2:44)(1957) 10 Solar/Chuck Mangione Quintet/Recuerdo (4:19)(1962) 11 Afternoon In Paris/Armel Dupas/Jammin’ With Friends (6:06)(2020) ………………………BREAK………………………………. 12 Some Other Spring/Billie Holiday/Vocalion (3:06)(1939) 13 That’s All/Ben Webster Septet/King Of Tenors (3:50)(1953) 14 I Left My Baby/Jimmy Rushing, Count Basie/The Sound Of Jazz (4:17)(1957) 15 I Want To Be Loved/Coleman Hawkins/Coleman Hawkins, Red Garland (5:57)(1959) 16 Parker’s Mood/Eddie Jefferson/James Moody Flute ’N The Blues (3:23)(1956) 17 Long Ago And Far Away/Gene Ammons Quintet/Boss Tenors In Orbit (6:19)(1962) 18 Toledo Blues/Art Tatum/God’s In The House (3:36)(1941) 19 She’s Funny That Way/Lester Young Quintet/Aladdin (3:19)(1946) 20 Congeniality/Ornette Coleman Quartet/The Shape Of Jazz To Come (6:47)(1959) 21 Piano Reassures/Galag Massimiliano,Bruno Belloni/Talk And Fly (2:10(2013) 22 Won’t You Please Come Home/Miles Davis/Seven Steps To Heaven (8:29)(1963)***.
Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
    [Show full text]
  • SEVEN STEPS to HEAVEN (With Thanks to Jiggs Whigham)
    SEVEN STEPS TO HEAVEN (with thanks to Jiggs Whigham) 1. Memorize the melody. Listen to a wide variety of recordings of the song. Work on playing the song in different keys, tempos and styles. Try to exhaust the melodic possibilities of the song and absorb it into your subconscious. 2. Memorize the form of the song (blues, AABA, etc.) and the chord progression. Play through the entire form using root/third/fifth patterns on the changes. Play through the form using whole notes & half notes (background figures) and quarter notes (as in a bass line). 3. Play through the tune using short, repeated rhythmic patterns (riffs) and note groupings (non-repetitive) of three to seven notes. 4. Play using long, connected lines (mostly eighth notes) without breaking the flow. Concentrate on creating as much density (ala Coltrane) as possible. 5. Play using very few notes and relying primarily on color (vibrato, bends, growls, sub-tone, etc.) and space. Concentrate on creating as much space (ala Miles) as possible. 6. Work on varying articulation by playing through the tune entirely in a legato style and then again in a marcato style. Experience the extremes of each method of attack and work to integrate them more naturally into your playing style. 7. Work on the elasticity of your time conception by playing “on top” of the beat, “behind” the beat (laying back) and “ahead” of the beat (rushing). Practice with a metronome set for “2 and 4” (ie: the drummer’s hi-hat) and on all four beats (ie: a walking bass line).
    [Show full text]
  • University of Southampton Research Repository Eprints Soton
    University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON School of Humanities: Music Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Thesis for the degree of Doctor of Philosophy October 2012 i UNIVERSITY OF SOUTHAMPTON ABSTRACT Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Josef Zawinul (1932-2007) holds a rare place in the world of jazz in view of the fact that as a European he forged a long and distinguished musical career in America. Indeed, from a position of relative obscurity when he arrived in New York in 1959, he went on to become one of contemporary jazz’s most prolific and commercially successful composers. The main focus of this dissertation will be Zawinul’s rise to prominence in American jazz during the 1960s and 1970s.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • JREV3.8FULL.Pdf
    JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc.
    [Show full text]
  • Miles Davis - Discografia Essenziale 01/07/01
    Miles Davis - Discografia essenziale 01/07/01 Anno Titolo Formazione R Note 1950 Birth of the Cool Gruppo 9 el. M 1954 Bags' Groove Monk, Rollins, M. Jackson M Walkin' Sestetto 1 (0) M Blue & Boogie Sestetto 1 M 1955 The New Miles Davis Quintet Quintetto 1 M (1) Miles and Coltrane " M 1956 Relaxin' with the Miles Davis Quintet Quintetto 1 M Workin' Quintetto 1 M Steamin' Quintetto 1 M Cookin' Quintetto 1 M Round Midnight M Music for Brass Ballads M This is Miles: Acoustic side M 1957 Miles Ahead Gil Evans + orch. 19 el. M L'ascensour pour l'Echefaud Form. francese M 1958 Milestones Sestetto 2 M (2) On Green Dolphin Street Sestetto 2 + B.Evans M Porgy & Bess Gil Evans + orch. S Miles and Monk at Newport 1959 Kind of Blue Sestetto 2 + B.Evans S (3) 1960 Sketches of Spain Gil Evans + orch. S Directions 1961 Some Day my Prince will Come Quintetto 1 M Black Hawk Concerts Quintetto 1 Vivo M.D. at Carnegie Hall Orchestra Vivo Live Miles Vivo 1962 Quiet Nights Gil Evans + orch Antologia 1963 Seven Steps to Heaven Hancock, T.Williams M.D. in Europe Europea Fest. Antibes 1964 Four & More Vivo. Phil. Hall (ritm.) My Funny Valentine Vivo. Phil. Hall (class.) Miles in Tokyo Vivo Miles in Berlin Vivo 1965 E.S.P. Quintetto 2 (4) Live at Plugged Nickel Quintetto 2 5LP 1966 Miles Smiles Quintetto 2 1967 Sorcerer Quintetto 2 Nefertiti Quintetto 2 1968 Miles in the Sky Quintetto 2 + J.McLaughin e al. Filles de Kilimanjaro Quintetto 2 Water Babies 1969 In a Silent Way Quintetto 2 + Zawinul, JML Bitches Brew Quintetto 2 + Zawinul, JML 1970 Live-Evil con K.Jarrett Black Beauty Quintetto 2 Vivo Fillmore West Live at Fillmore West Quintetto 2 Tribute to Jack Johnson Quintetto 2 1972 On the Corner Form.
    [Show full text]
  • The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
    THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.
    [Show full text]
  • Miles Davis Biografia E Discografia
    Miles Davis Biografia e Discografia PDF generato attraverso il toolkit opensource ''mwlib''. Per maggiori informazioni, vedi [[http://code.pediapress.com/ http://code.pediapress.com/]]. PDF generated at: Tue, 05 Jan 2010 08:28:28 UTC Indice Voci Miles Davis 1 Discografia di Miles Davis 27 Note Fonti e autori delle voci 31 Fonti, licenze e autori delle immagini 32 Licenze della voce Licenza 33 Miles Davis 1 Miles Davis Miles Davis [1] Ritratto di Miles Davis (foto Tom Palumbo ) Nazionalità Stati Uniti d'America (crea redirect al codice) Genere Jazz Bebop Hard bop Jazz modale Fusion Periodo di attività 1944 - 1975, 1980 - 1991 Album pubblicati 92 Studio 53 Live 32 Raccolte 17 [2] Sito ufficiale miles-davis.com Si invita a seguire lo schema del Progetto Musica « Per me la musica e la vita sono una questione di stile. » [3] (Miles Davis ) Miles Dewey Davis III (Alton, 26 maggio 1926 – Santa Monica, 28 settembre 1991) è stato un compositore, trombettista jazz statunitense, considerato uno dei più influenti, innovativi ed originali musicisti del XX secolo. È molto difficile disconoscere a Davis un ruolo di innovatore e genio musicale. Dotato di uno stile inconfondibile ed una incomparabile gamma espressiva, per quasi trent'anni Miles Davis è stato una figura chiave del jazz e della musica popolare del XX secolo in generale. Dopo aver preso parte alla rivoluzione bebop, egli fu fondatore di numerosi stili jazz, fra cui il cool jazz, l'hard bop, il modal jazz ed il jazz elettrico o jazz-rock. Le sue registrazioni, assieme agli spettacoli dal vivo dei numerosi gruppi guidati da lui stesso, furono fondamentali per lo sviluppo artistico del jazz.
    [Show full text]
  • The Sound of Jazz“
    Bemerkungen zu „The Sound of Jazz“ Erscheinungsjahr: 1957 Produktion: Robert Herridge Mitwirkende: Henry „Red“ Allen, Roy Eldrige, Vic Dickenson, Benny Morton, Jimmy Giuffre, Coleman Hawkins, Ben Webster, Lester Young, Earle Warren, Gerry Mulligan, Pee Wee Russell, Billy Holiday, Jimmy Rushing, Count Basie, Mal Waldron, Nat Pierce, Thelonious Monk, Eddie Jones, Ahmed Abdul-Malik, Milt Hinton, Jo Jones, Osie Johnson, Danny Barker, Freddie Green, Jim Hall, Dicky Wells u.a. DVD-Cover Vorbemerkungen: Einer der bekanntesten Jazzfilme der fünfziger Jahre des vergangenen Jahrhunderts wurde 1959 mit „Jazz on a summers day“ von Bert Stern (vgl. auch diese Webseite) gedreht. Ein wesentliches Ereignis, das live im Fernsehen 1957 gezeigt wurde und auf unzähligen VHS-Kassetten und DVDs später erschien, war die Jazz-TV-Sendung „The Sound of Jazz“ von CBS am 8.12.1957, die live aus dem CBS Studio 58 in New York übertragen Wurde. Selten wurde bis zu diesem Zeitpunkt ein Jazz-Ereignis dokumentiert, das so viele Jazz-Heroen gemeinsam zeigte. Robert Herridge, ein TV-Produzent, der eine Sendereihe mit dem Titel „The Seven Lively Arts“ entwickelte und produzierte, hatte die Idee zu dieser Sendung. Unterstützt wurde er dabei von den Jazz-Kritikern und –Autoren Nat Hentoff und Whitney Balliet, die ihr umfangreiches Wissen zur Verfügung stellten. Inhalt: In lausiger Bildqualität eröffnet die Count Basie-Allstar-Band mit dem Titel von Nat Pierce „Open All Night“. Soli spielen der Drummer Jo Jones, Tenor- Saxophonist Ben Webster, Posaunist Dicky Wells, Bariton-Saxophonist Gerry Mulligan, Trompeter Joe Newman und Bandleader Count Basie. Die Band, die für die TV-Übertragung zusammengestellt wurde, klingt kraftvoll, spritzig und wunderbar swingend, außerdem sehr präzise.
    [Show full text]
  • Teacher Guide—Unit 10
    From Ragtime to Rock: An Introduction to 100 Years of American Popular Music Teacher Guide—Unit 10 The Swing Era The Swing Era straddles a turbulent era in America, highlighted by the Great Depression and World War II. In the midst of these worldwide calamities, jazz music (now completely mainstream and called “swing”) offered an escape with its high energy, sunny outlook, and danceable beat. Starting in 1935, “big bands” consisting of 18 or more musicians became the most popular vehicle for bringing swing to the masses. These bands and their leaders helped usher in a new era of respectability for jazz and broke down racial barriers that, in the past, had prevented black and white musicians from performing together on the same stage. Discussion Topics 1. The Popularity of Swing Question: Why did big band swing become so popular in troubled times like the Great Depression and World War II? Sample Answers: a) Swing music had a high-energy, danceable beat that provided fun in the face of tough times; b) The energy, passion, and romance of big band swing offered hope for a better future; c) Swing musicians played a big role in the war effort. 2. The War Effort—During World War II, the entire country participated in the “war effort,” part of which meant rationing everyday items like gasoline, metal, and rubber. Question: How did jazz and swing musicians play a part in the “war effort” that engulfed America during World War II? Sample Answers: a) Swing musicians produced special recordings, radio broadcasts, and concert tours for the troops; b) The happy feel of swing music helped lift the spirits of America’s allies in Europe and Asia; c) After the war, swing music was a very effective tool for winning over the hearts and minds of defeated enemies like Germany and Japan.
    [Show full text]
  • 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.
    [Show full text]
  • Sammy Figueroa & His Latin Jazz Explosion
    Sammy Figueroa & His Latin Jazz Explosion The Magician Savant June 2007 By Scott Albin The fact that conguero-percussionist Figueroa has been so busy for over 30 years performing with numerous top jazz and pop artists may explain why he did not form his own band—the Latin Jazz Explosion—until 2002, with encouragement from Ron Weber of South Florida Friends of Jazz and bassist Don Wilner, the musical director of Miami’s Van Dyke Café. Figueroa is now among the top locally based South Florida jazz musicians, a list that includes trumpeter Arturo Sandoval, multi-instrumentalist Ira Sullivan, pianist Eddie Higgins and singer-violinist Nicole Yarling. Figueroa’s first Latin Jazz Explosion CD, And Sammy Walked In, won a Grammy nomination, and The Magician could do the same. He has assembled an outstanding band. Tenor saxophonists John Michalak and Troy Roberts are both muscular, intense and polished players, and Roberts also impresses greatly on soprano. Trumpeter Alex Norris is consistently excellent throughout, with an impeccable, rich sound, fertile imagination, and flowing, rhythmically varied delivery. Michael Orta and Silvano Monasterios split the piano duties, and each is a technically gifted, stirring soloist. Bassists Nicky Orta and Gabriel Vivas drive the momentum of the music hard, and Orta is a virtuoso of the electric bass. The drum chair is shared by Ludwig Afonso, Götz Kujack and Nomar Negroni, all able players. Figueroa, of course, holds it all together with his exuberant and tasteful conga work. The diverse program includes the Miles Davis classic “Seven Steps to Heaven,” Hubert Laws’ “Together” (as a “jazz boogaloo”), Cedar Walton’s memorable “Firm Roots,” and Horace Silver’s “Gregory Is Here,” all refreshingly Latinized.
    [Show full text]