DOCSLIB.ORG

Morgenstern, Dan. [Record Review: University of Illinois Jazz Band: In

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Morgenstern, Dan. [Record Review: University of Illinois Jazz Band: In Blfles No. 2; Were You There Wl tries to keep afloat. Cmcified My Lord; Shine. ,en They One other very nice thing: McCann's .P<:rsonncl: To'!lmy Gwaltney, clarinet· Sa R,mington, clarinet, alto saxophone·' w!my vocal on Hands. Poignant, simple, and (Slide) Harris, trombone· Bob Gree.{e .a ter 1 0 • propelled sympathetically to a strong cli­ Van Perry, bass; Singleto~, drums· Job.{s P ;'!,; max. It sounds, however, like either the Ree, Jr., vocals. ' on .1.n.c- vocal or the piano was added later, be­ Rating: *** 1azz cause the piano's rhythmic direction at These sessions were .~roduced by John­ BY times runs directly counter to what Mc­ son McRee, Jr., a traditional jazz enthusi­ Cann is attempting vocally. Still, a mov­ ast and promoter of Manassas, Va. ing rendition, Veteran dru~mer Singleton, in his first Eddie Sauter demonstrated some years own LP date, 1s matched with an assem­ MPS·SABA bly of stalwart traditionalists, and though ago how strings could enhance jazz of a for collectors & there are weaknesses throughout, there are swinging, lyrical nature. With the possible connoisseurs ..• also. counterbalancing st:etches of quality from Germany, exception of a very few of Bird's string settings, no one had emerged with a work­ p~ay~ng, generated especially by Singleton, "the .Jazz musician's able melange of strings and down-with­ piamst Greene, and Rimington and Gwalt­ ney. paradise!" it jazz. Fischer, apparently, has done it. Makes the record worth hearing if not The most exciting tracks are those having. -Heineman where the clarinetists match wits. Royal Garden has the two trading slashing breaks and romping in the heated ensem­ The Mecki Mark Men ble. On Snake Rag, both turn in first-rate MECK! MARK MEN-Limelight 86054: 0 pen­ ing; Get Up; Free; I Got It; Love Your Life; I solos, . Rimington. following Gwaltney. Had a Horse; Scream; Sweet Movin'; Enlighten• Wolverme No. 1 1s the best track of the ment; Love Feeling; Please. Personnel: Hans Nordstrom, tenor saxophone; session, with the two reedmen in total Mecki Bodemark, organ, vibraharp, vocals; rapport in their duets and joyous and Thomas Gartz, vibraharp, sitar, drums; Clas singing in their solos. Svanberg, guitar; Bjorn Fredholm, drums, conga. Rating:* . Trombonist Harris is not a strong solo- The Swedish are coming! The Swedish 1st but plays good supporting figures in are coming! the ensemble. Greene has studied Jelly But not yet. The music on this record­ Roll Morton to good effect; moreover, he ing is consummately dull. Worse, it is plays the blues with great feeling. His clearly wholly inspired by Jimi Hendrix, work on 219 and Winin' Boy is excellent an inspiration evident in both the char­ but it is the superb atmosphere he create~ STUFFSMITH in his accompaniments that is most re­ Black Violin SB 15 147 ST acter of the songs and in Bodemark's at­ tempts at insinuating, half-sung, half-in­ markable. Listen to him on Marie and toned vocals. Now, Hendrix's music isn't Shine, his muscled figures pushing the all that complex, but in comparison with whole band. Bodemark's, it's positively symphonic. Singleton is cold on one track (Royal Virtually every song is built on a simp­ Garden), but strong and swinging on all listic progression expressed in one riff. others. With Baby Dodds long gone, he There aren't even many solos improvising has no peer in the New Orleans press roll from the riffs (a couple of tenor spots on department, and the device, which he uses Movin' and Enlightment, neither very im­ throughout, brings joy to the front line pressive, though the former begins with horns. On Shine, he lets loose a torrent some promise )-just ensemble variations of rolls, presses, and bombs that produces ad ·nauseam. a stomping swing and is a real measure Lots of chic effects, too: extraneous of his musicianship. Marie is almost as sound effects, feedback, a wowed-in-and­ good. out vocal on Horse, abortive sorties into There are five McRee vocals, and he ".free" playing. The most unattractive of plays a kazoo chorus on Shine. all is Bodemark's leeringly chanted intro The albums are available from Fat HAMPTONHAWES Cat's Jazz Records, P.O. Box 458, Ma­ Hamp's Piano SB 15 149 ST to Free. One can almost see the half­ closed eyes, the fixed knees the flared nasas, Va. 22110. -Erskine New Call from France nostrils, as he asks the musi~al question "Do you know about freedom? Do you? University of Illinois Jazz Band - Look and see. Get free." The sire may be IN CHAMPAIGN-URBANA-Century 33132: Moten Swint;; Fly Me to the Moon; Muddy Hendrix, but the dam is pure Dick and Water; Music For Jazz Ensemble· Blues in Jane. Frankie's. (Hoss') Flat; The Thrili Is Gone; S11mmertz_me;The Lunceford Touch. They probably mean well. The musi­ Co!lecuve Personr:iel: Ken Ferrantino, Jim cianship is competent, and there's even one Darling, Jerry Tessin, Cecil Bridgewater, Ron McWilliams, Jim Knapp, trumpets; Dave Sporny, decent track, Please, climaxed by some Larry Dwyer, Frank Harmantas, Morgan Powell, Bach-goes-to-church organ by Bodemark trombones; Rieb Rousch, bass trombone, baritone horr:i; Terry Pettijohn, French born, guitar, with a false hymn-like ending leading into ban10; John Prendergast, tuba; Howie Smith, unaccompanied chromatic clusters to take J(?hn Wonsowicz, Ron Dewar, Larry Cangelosi, B!ll Feldman, Jay Cbeville, reeds; Ron Elliston, the tune out. Nice, but hardly worth the piano; Fred Atwood, bass; Chuck Braugbam, 40-minute wait. There may be a fjord in dru_ms; Bill Fries, conga drums, percussion; Don rock's future, but the Gospel doesn't ap­ Smith, vocal, flute; John Garvey, leader. pear to have crossed the Channel at this Rating: * * * * * • SABA ·--··•--"·· SIIIWD point. -Heineman I~ STOCKHOLM, SWEDEN-Century 33173: JEF GILSON Baszcally Bl11es; Collage• Medley· The Old New Call from France SB 15 081 ST Bee!zebub Blues; Latino; 'The Shad~w of Your Smile; People Got to Be Free; Sister Sadie, Zutty Singleton Personnel : as above. ZUTTY AND THE CLARINET KINGS Vols Rating: * * * * ½ Ask your dealer• or write for 1 and 2-Fat Cat's Jazz Records FCJ 100/101: r1ake Rag; Nobody Knows You: Doctor Jazz; College big bands-the ones that won free brochures. e11 !}W Dqg_ Blues; When You Wore a Tulip', Mar\e; W,n,n' Boy Blues; Of All the Wrong; at all the festivals-used to be tight as MPS- SABA- USA You ve Done; Royal Garden Blues; You Tell hell, and rather restricted in musical out­ Me Your Dream, Vol. 2: Cakewalkin Babies• 724 N. 7th St. Allentown, Penna. 18102 Tro,uble in Mind; China~own; 219 Blues; Wol look. At their best, they could come up ver,ne Blues No. I; Corrine, Corrina; Wolverine with exciting performances and admirable 24 0 DOWN BEAT musicianship, but when taken as jazz or­ and pianist Ron Elliston, though rarely and he is a genuine asset to the band. chestras, something crucial was often miss- featured, is a sensitive and individual mu­ Behind it all, and out in front to keep ing. sician. the tempos where they should be (an­ This is the band that changed all that. Drummer Chuck Braugham's only solo other important element of the band's :Musically, it is a genuine jazz ensemble, is a tongue-in-cheek job on the Lunce­ success) is John Garvey, a remarkable and though technically excellent, it never ford salute, but his section work is bril­ man and a splendid musician. He never puts technique and craft above spirit and liant; he is a big-band drummer any lead­ seems to forget that music is something content. Its repertoire is anything but re­ er would be proud to have aboard. Dwy­ that should give pleasure, and his sense stricted, and it never gets up tight. ( Com­ er's solos, while not derivative, have some of humor never allows the band to be­ peting band directors used to mutter about of the explosiveness (and oddly fey quali­ come pompous. the band's "showmanship," as if there ty) of Bill Harris, and lead trumpeter Jim If you like big band jazz, get these were something dishonest about it. But Darling is a key man worthy of Smith albums. The first LP has a slight edge in there has never been a great jazz band and Braugham. terms of variety of programming and without that attribute, and the message is Last but not least among the band's warmth of performance and recorded beginning to sink in.) standouts is singer (and sometime flute sound, but the second has Beelzebub and Furthermore, this band has real soloists soloist) Don Smith. He has a unique a lot besides. The records can be ordered and real writers, and thus a non-synthetic ballad style, can belt the blues, and has from John Garvey, School of Music, Uni­ personalit)'.. I'd stack. it up ~gainst any of humor. People Got to Be Free, written for versity of Illinois, Urbana, IL 60801. More the survivmg profess10nal big bands save him by his namesake, Howie, is a rouser, power to him. -Morgenstern the top two, and they'd do nicely on a bill with those as well. Before the hyper-partisans of collegiate jazz begin to ooh and aah, let me point out that in and of itself there should be nothing fantastic about the fact that col­ lege students are capable of playing fine jazz. Louis Armstrong and Bix Bieder­ JtltJOVE;{divisionof becke were full-fledged pros in their teens; Horace Henderson and Benny Carter and J-Jr\i'Ji'JOtlDcorporation Don Redman had college bands; Duke Ellington had his own busy combo at 19.
Load more

Recommended publications
  • Part 2 of Selected Discography
    Part 2 of Selected Discography Milt Hinton Solos Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. This is a chronological list of representative solos by Hinton as a sideman in a variety of settings throughout his career. Although not definitive, Milt was such a consistent soloist that one could cite many other equally accomplished performances. In some cases, particularly from the 1930s when bass solos were relatively rare, the recordings listed contain prominent bass accompaniment. November 4, 1930, Chicago Tiny Parham “Squeeze Me” (first Hinton recording, on tuba) 78: Recorded for Victor, unissued CD: Timeless CBC1022 (Tiny Parham, 1928–1930) January–March 1933, Hollywood Eddie South “Throw a Little Salt on the Bluebird’s Tail” (vocal) “Goofus” CD: Jazz Oracle BDW8054 (Eddie South and His International Orchestra: The Cheloni Broadcast Transcriptions) May 3, 1933, Chicago Eddie South “Old Man Harlem” (vocal) 78: Victor 24324 CD: Classics 707 (Eddie South, 1923–1937) June 12, 1933, Chicago Eddie South “My, Oh My” (slap bass) 78: Victor 24343 CD: Classics 707 (Eddie South, 1923-1937) March 3, 1937 Cab Calloway “Congo” 78: Variety 593 CD: Classics 554 (Cab Calloway, 1934–1937) January 26, 1938 Cab Calloway “I Like Music” (brief solo, slap bass) 78: Vocalion 3995 CD: Classics 568 (Cab Calloway, 1937–1938) August 30, 1939 Cab Calloway “Pluckin’ the Bass” (solo feature —slap bass) 78: Vocalion 5406 CD: Classics
    [Show full text]
  • John Colianni Marty Grosz Quintet and His Hot Winds
    THE TRI-STATE SKYLARK STRUTTER Member of South Jersey Cultural Alliance and Greater Philadelphia Cultural Alliance VOLUME 19 NUMBER 7 BEST OF SOUTH JERSEY 2008 MARCH 2009 ******************************************************************************************************************************** OUR NEXT CONCERTS SUNDAY, MARCH 15 SUNDAY MARCH 29 2 PM 2 PM JOHN COLIANNI MARTY GROSZ QUINTET AND HIS HOT WINDS BROOKLAWN AMERICAN LEGION HALL Dd CONCERT ADMISSION $20 ADMISSION $15 MEMBERS $10 STUDENTS $10 FIRST TIME MEMBER GUESTS Pay At the Door No Advanced Sales S SAINT MATTHEW LUTHERAN CHURCH JOHN COLIANNI 318 CHESTER AVENUE John Colianni grew up in the Washington, D.C. metro area and first heard Jazz MOORESTOWN, NJ 08057-2590 on swing-era LP re-issues (Ellington, Goodman, Jimmie Lunceford, Count Basie, Armstrong, etc.) in his parents' home. A performance by Teddy Wilson 3 BLOCKS from Main Street in Washington attended by John when he was about 12 years old also left a strong impression, as did a Duke Ellington performance (more later). 1 THE QUINTET : In 2006, looking for an outlet for his high velocity piano for Torme' from early 1991 to mid 1995, touring and recording six albums. improvisations, John formed the John Colianni Quintet. In July 2007, the group recorded its first CD, "Johnny Chops" (Patuxent Records), which was released PLAYERS FEATURED ON JOHN'S CURRENT CD this year. JUSTIN LEES: Justin, whose guitar work is characterized by a bluesy and LES PAUL: Les Paul offered the piano spot in his group to John in August infectiously swinging phrasing and a distinctive tone, is a fresh face on the jazz 2003. Les had not used a pianist in his combo since the 1950s and, in looking scene.
    [Show full text]
  • Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
    STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach.
    [Show full text]
  • Myspace.Com - - 43 - Male - PHILAD
    MySpace.com - WWW.RECORDCASTLE.COM - 43 - Male - PHILAD... http://www.myspace.com/recordcastle Sponsored Links Gear Ink JazznBlues Tees Largest selection of jazz and blues t-shirts available. Over 100 styles www.gearink.com WWW.RECORDCASTLE.COM WWW.RECORDCASTLE.COM is in your extended "it's an abomination that we are in an network. obama nation ... ron view more paul 2012 ... balance the budget and bring back tube WWW.RECORDCASTLE.COM's Latest Blog Entry [ Subscribe to this Blog ] amps" [View All Blog Entries ] Male 43 years old PHILADELPHIA, Pennsylvania WWW.RECORDCASTLE.COM's Blurbs United States About me: I have been an avid music collector since I was a kid. I ran a store for 20 years and now trade online. Last Login: 4/24/2009 I BUY PHONOGRAPH RECORDS ( 33 lp albums / 45 rpms / 78s ), COMPACT DISCS, DVD'S, CONCERT MEMORABILIA, VINTAGE POSTERS, BEATLES ITEMS, KISS ITEMS & More Mood: electric View My: Pics | Videos | Playlists Especially seeking Private Pressings / Psychedelic / Rockabilly / Be Bop & Avant Garde Jazz / Punk / Obscure '60s Funk & Soul Records / Original Contacting WWW.RECORDCASTLE.COM concert posters 1950's & 1960's era / Original Beatles memorabilia I Offer A Professional Buying Service Of Music Items * LPs 45s 78s CDS DVDS Posters Beatles Etc.. Private Collections ** Industry Contacts ** Estates Large Collections / Warehouse finds ***** PAYMENT IN CASH ***** Over 20 Years experience buying collections MySpace URL: www.myspace.com/recordcastle I pay more for High Quality Collections In Excellent condition Let's Discuss What You May Have For Sale Call Or Email - 717 209 0797 Will Pick Up in Bucks County / Delaware County / Montgomery County / Philadelphia / South Jersey / Lancaster County / Berks County I travel the country for huge collections Print This Page - When You Are Ready To Sell Let Me Make An Offer ----------------------------------------------------------- Who I'd like to meet: WWW.RECORDCASTLE.COM's Friend Space (Top 4) WWW.RECORDCASTLE.COM has 57 friends.
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]
  • The 2017 NEA Jazz Masters Tribute Concert Honoring the 2017 National Endowment for the Arts Jazz Masters
    4-3 NEA JAZZ.qxp_WPAS 3/24/17 8:41 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN, Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 3, 2017 at 7:30 The Kennedy Center and the National Endowment for the Arts present The 2017 NEA Jazz Masters Tribute Concert Honoring the 2017 National Endowment for the Arts Jazz Masters DEE DEE BRIDGEWATER IRA GITLER DAVE HOLLAND DICK HYMAN DR. LONNIE SMITH Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-3 NEA JAZZ.qxp_WPAS 3/24/17 8:41 AM Page 2 THE 2017 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts KENNY BARRON, NEA Jazz Master DAN MORGENSTERN, NEA Jazz Master GARY GIDDINS, jazz and film critic JESSYE NORMAN, Kennedy Center Honoree and recipient, National Medal of Arts The 2017 NEA JAzz MASTERS Performances by PAQUITO D’RIVERA, saxophone LEE KONITz, alto saxophone Special Guests Bill Charlap, piano Sherrie Maricle and the Theo Croker, trumpet DIVA Jazz Orchestra Aaron Diehl, piano Sherrie Maricle, leader and drummer Robin Eubanks, trombone Tomoko Ohno, piano James Genus, bass Noriko Ueda, bass Donald Harrison, saxophone Jennifer Krupa , lead trombonist Booker T.
    [Show full text]
  • 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.
    [Show full text]
  • Dee Dee Bridgewater
    B.H. Hopper Management Stievestr. 9 - D-80638 München - Tel. +49 (0)89-177031 - Fax. +49 (0)89-177067 email: [email protected] - http://www.hopper-management.com DEE DEE BRIDGEWATER Biography Today Dee Dee is a sparkling ambassador for jazz, but she bathed in its music before she could walk: her mother played the greatest albums of Ella Fitzgerald for her, and her father was a trumpeter who taught music - to Booker Little, Charles Lloyd and George Coleman, amongst others - and who also played in the summer with Dinah Washington. It's the kind of background that leaves its mark on an adolescent, especially one who appeared solo and with a trio as soon as she was able. Dee Dee's other vocation, that of a globetrotter, reared its head when she toured the Soviet Union, in 1969, with the University of Illinois Big Band. A year later, she followed her then husband, Cecil Bridgewater, to New York. Cecil was playing with pianist Horace Silver, and Dee Dee's dream was to sing Horace's compositions one day... Love and Peace, (Verve), her irresistible 1994 album, was that same dream come true. The young singer made an earth-shattering debut in New York; for four years she was the lead vocalist with the band led by Thad Jones and Mel Lewis, an early career marked by concerts and recordings with such authentic giants as Sonny Rollins, Dizzy Gillespie, Dexter Gordon, Max Roach, Roland Kirk... and also rich experiences with Norman Connors, Stanley Clarke, and Frank Foster's "Loud Minority".
    [Show full text]
  • Psicodelia-1.Pdf
    CÍRCULO DE BELLAS ARTES EXPOSICIÓN presidente comisario Juan Miguel Hernández León Zdenek Primus director área de Artes Plásticas del CBA Juan Barja Laura Manzano subdirectora coordinación Lidija Šircelj Virginia Gómez directora de proyectos y relaciones externas producción gráfica Pilar García Velasco SAR directora de programación montaje Laura Manzano Méndez Área de Mantenimiento del CBA directora de publicaciones seguro Carolina del Olmo Vadok Arte directora económico-financiera transporte Isabel Pozo Dobel Art CATÁLOGO CENTRO CHECO área de edición del CBA director Carolina del Olmo Stanislav Škoda Elena Iglesias Serna Hara Hernández subdirectora Iveta Gonzalezová proyecto gráfico y diseño de cubierta Estudio Joaquín Gallego impresión Brizzolis, arte en gráficas © Círculo de Bellas Artes, 2018 Alcalá, 42. 28014 Madrid www.circulobellasartes.com © de los textos: sus autores © de las fotografías y digitalización: Hana Hamplová y Marcel Rozhon Zdenek Primus, comisario de la exposición, quiere agradecer de corazón a todos aquellos que le han ayudado: Jaroslav Bezdeˇ k, Jaroslav Fajgl, Jaroslav Foršt, Karel Habal, Pavel Jasanský, Eric King, Ivo Marek, Ray Mortenson, Aleš Novák, Jaroslav Novotný, Jan Oravec, Jan Placák, Václav Prošek, Pavel Rajcˇ an, Jirˇ í Rybárˇ , Tomáš Sanetrník, Ota Semotán, Jaroslav Šteˇ drý, Pavel Váneˇ , David Webr y Vladimír Zelenka. También a la Biblioteca Nacional de la República Checa y, por supuesto, al PopMuseum de Praga, en concreto, a Radek Diestler. ISBN: 978-84-947752-8-4 Depósito Legal: M-31906-2018 [COLECCIÓN DE ZDENEK PRIMUS] Si pensamos en contracultura juvenil, las primeras imágenes que se nos vienen a la mente seguramente incluyen grupos de jóvenes melenudos, marihuana, LSD y música, mucha música.
    [Show full text]
  • History of Jazz Tenor Saxophone Black Artists
    HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz.
    [Show full text]
  • Mediation, Improvisations, and All That Jazz
    Journal of Dispute Resolution Volume 2007 Issue 2 Article 1 2007 Mediation, Improvisations, and All That Jazz John W. Cooley Follow this and additional works at: https://scholarship.law.missouri.edu/jdr Part of the Dispute Resolution and Arbitration Commons Recommended Citation John W. Cooley, Mediation, Improvisations, and All That Jazz, 2007 J. Disp. Resol. (2007) Available at: https://scholarship.law.missouri.edu/jdr/vol2007/iss2/1 This Article is brought to you for free and open access by the Law Journals at University of Missouri School of Law Scholarship Repository. It has been accepted for inclusion in Journal of Dispute Resolution by an authorized editor of University of Missouri School of Law Scholarship Repository. For more information, please contact [email protected]. Cooley: Cooley: Mediation, Improvisations, and All That Jazz JOURNAL OF DISPUTE RESOLUTION VOLUME 2007 NUMBER 2 ARTICLES Mediation, Improvisation, and All That Jazz John W Cooley* I. INTRODUCTION ................................................................................................ 327 II. IMPROVISATION-GENERAL ...................................................... ........ 329 A. Improvisation in the PerformanceArts ................................................... 329 1. Improvisation in Theater Performance-Improvisation as Problem Solving and Playing the Game............................................................ 329 2. Improvisation in Dance Performance ................................................. 331 3. Improvisation in Comedy Performance..............................................
    [Show full text]
  • For Additional Information Contact the Archives Center at 202.633.3270 Or
    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. HANK JONES NEA Jazz Master (1989) Interviewee: Hank Jones (July 31, 1918 – May 16, 2010) Interviewer: Bill Brower Date: November 26-27, 2004 Repository: Archives Center, National Museum of American History Description: Transcript, pp. 134 Hank Jones: I was over there for about two and a half weeks doing a promotional tour. I had done a couple of CDs; one was with my brother Elvin and Richard Davis, the bass player. They made – – I think they made two releases from that date. And I did another date with Jack DeJohnette and John Patitucci. But, these two albums were the objects of the promotion. I mean, they promote very, very heavily everyday. I must have had 40 interviews and about 30 record signings at the record shops, plus all of the recording. We did seven concerts and people inevitably want the records, CDs of the concert for us to sign. I have a trio over there, with Jimmy Cobb and John Fink. It was called, “The Great Jazz Trio.” It was not my name, but the Japanese have special names for everything, you know? That's only one in a series of tree others which he called the great jazz trio. The first one was Ron Carter, Tony Williams and myself. But, there had been a succession of different changes in personnel. It changed about six times. The current one was Jimmy Cobb and Dave Fink--Oh, the cookies have arrived and not a minute too soon.
    [Show full text]