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The Modality of Miles Davis and John Coltrane14
CURRENT A HEAD ■ 371 MILES DAVIS so what JOHN COLTRANE giant steps JOHN COLTRANE acknowledgement MILES DAVIS e.s.p. THE MODALITY OF MILES DAVIS AND JOHN COLTRANE14 ■ THE SORCERER: MILES DAVIS (1926–1991) We have encountered Miles Davis in earlier chapters, and will again in later ones. No one looms larger in the postwar era, in part because no one had a greater capacity for change. Davis was no chameleon, adapting himself to the latest trends. His innovations, signaling what he called “new directions,” changed the ground rules of jazz at least fi ve times in the years of his greatest impact, 1949–69. ■ In 1949–50, Davis’s “birth of the cool” sessions (see Chapter 12) helped to focus the attentions of a young generation of musicians looking beyond bebop, and launched the cool jazz movement. ■ In 1954, his recording of “Walkin’” acted as an antidote to cool jazz’s increasing deli- cacy and reliance on classical music, and provided an impetus for the development of hard bop. ■ From 1957 to 1960, Davis’s three major collaborations with Gil Evans enlarged the scope of jazz composition, big-band music, and recording projects, projecting a deep, meditative mood that was new in jazz. At twenty-three, Miles Davis had served a rigorous apprenticeship with Charlie Parker and was now (1949) about to launch the cool jazz © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM movement with his nonet. wwnorton.com/studyspace 371 7455_e14_p370-401.indd 371 11/24/08 3:35:58 PM 372 ■ CHAPTER 14 THE MODALITY OF MILES DAVIS AND JOHN COLTRANE ■ In 1959, Kind of Blue, the culmination of Davis’s experiments with modal improvisation, transformed jazz performance, replacing bebop’s harmonic complexity with a style that favored melody and nuance. -
Savoy and Regent Label Discography
Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli. -
SAL MOSCA/WARNE MARSH QUARTET) (Archived from Cassette Sources - 1980-1981)
Guide to Digitized Sal Mosca Audiovisual Recordings Compiled by Don Messina BOX 13 - SAL MOSCA - ARCHIVED VILLAGE VANGUARD PERFORMANCES WITH WARNE MARSH From SAL MOSCA's |PRIVATE COLLECTION (SAL MOSCA/WARNE MARSH QUARTET) (Archived from Cassette Sources - 1980-1981) SM V000X– Sal Mosca-Warne Marsh Quartet at the Village Vanguard, 7th Avenue, NY, NY; SOURCE: C=CD; CAS=Cassette. Performers: SM=Sal Mosca (Piano); WM=Warne Marsh (Tenor); FC=Frank Canino (Bass); SS=Skip Scott (Drums). (ES=Earl Sauls (Bass), and TP=Tim Pleasant (Drums) may be part of part of the rhythm section on the excerpted solos CDs). ARCHIVED (A) Miscellaneous Info SM V# SOURCE SM V# DATE & Notes SM V0001a SM V0001 (CAS) 8.11.1981 (SM,WM,FC,SS) CD 1 of 2 Love me or leave me Out of nowhere (317 East 32nd St.) Foolin myself Indiana (Back home) Ghost of a chance Crosscurrents # Cherokee # Marionette # Featherbed # You go to my head # Released on Zinnia Records - Sal Mosca/Warne Marsh Vol. 1 and Vol. 2 (103 and 104 CD) ________________________________________________________________________ SM V0001b-2 SM V0001/SM V0002 (CAS) 8.11.1981 (SM,WM,FC,SS) CD 2 of 2 SM V0001 Fishin' around Imagination SMV0002 8.11.1981 Two not one All the things you are Its you or no one (Duet SM+WM) Body and soul # Dreams # 1 Pennies in minor Sophisticated lady (incomplete) # Released on Zinnia Records - Sal Mosca/Warne Marsh Vol. 1 and Vol. 2 (103 and 104CD) ________________________________________________________________________ SM V0003a SM V0003 (CAS) 8.12.1981 (SM,WM,FC,SS) CD 1 of 2 Its you or no one 317 East 32nd St. -
Ko Ko”-- Charlie Parker, Miles Davis, Dizzy Gillespie, and Others (1945) Added to the National Registry: 2002 Essay by Ed Komara (Guest Post)*
“Ko Ko”-- Charlie Parker, Miles Davis, Dizzy Gillespie, and others (1945) Added to the National Registry: 2002 Essay by Ed Komara (guest post)* Charlie Parker Original label “Ko Ko” was Charlie Parker’s signature jazz piece, conceived during his apprenticeship with Kansas City bands and hatched in the after-hours clubs of New York City. But when “Ko Ko” was first released by Savoy Records in early 1946, it seemed more like a call for musical revolution than a result of evolution. “Ko Ko” was developed from a musical challenge that, from 1938 through 1945, confounded many jazzmen. The piece uses the chord structure of “Cherokee,” an elaborate, massive composition that was written by dance-band composer Ray Noble. “Cherokee” was the finale to a concept suite on Native American tribes, the other four movements being “Comanche War Dance,” “Iroquois,” “Sioux Sue,” and “Seminole.” If a standard blues is notated in 12-measures, and a pop song like George Gershwin’s “I Got Rhythm” is in 32 measures, Noble’s “Cherokee” is in 64 measures. In 1939, Charlie Barnet popularized “Cherokee” through a hit version for RCA Victor. Meanwhile, jazz musicians noticed the piece, and they tried clumsily to improvise solos to its chord progression. Count Basie, for one, with his Kansas City band, recorded “Cherokee” in February 1939. At the time, Basie had some of the best soloists in jazz like Lester Young, Ed Lewis, and Dicky Wells. But on this record, these four musicians improvised only during the A sections, leaving the very difficult “bridge” sections (measures 33-48 of the piece) to be played by the whole band. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
2018 Institute Application Final
THELONIOUS MONK INSTITUTE OF JAZZ PERFORMANCE AT THE UCLA HERB ALPERT SCHOOL OF MUSIC APPLICATION FOR ADMISSION - CLASS ENTERING FALL 2018 Eligibility The Thelonious Monk Institute of Jazz Performance accepts up to eight (8) extremely talented jazz musicians into a two-year Master’s program, designed to enhance their musicianship and develop their artistic vision through intensive study with renowned jazz masters, combined with a unique performance-based education. The program aims to create a learning environment in which gifted jazz musicians can create and experiment musically without the artistic and financial pressures of the working world. All applicants must be planning to pursue a career as a performing and/or recording jazz musician. Applicants should note that the program requires a two-year commitment, during which time the program must take priority over all other music touring, teaching and recording opportunities. An advanced level of performance skills, including sight-reading ability, is required. International applicants must submit a TOEFL score. Applications may be submitted to study the following instruments: saxophone, trumpet, trombone, piano, electric guitar, acoustic bass, vibraphone, violin, drums, and vocals. Applicants who double or play secondary instruments and those who compose may be given extra consideration. The musicians accepted to attend the Thelonious Monk Institute of Jazz Performance must complete the full two-year program of study. The Thelonious Monk Institute of Jazz Performance encourages applications from all candidates without regard to race, color, religion, gender, age, national or ethnic origin, sexual orientation, mental or physical handicap, or veteran status in administration of its educational policies, admissions policies, scholarship programs and other activities. -
The Avant-Garde in Jazz As Representative of Late 20Th Century American Art Music
THE AVANT-GARDE IN JAZZ AS REPRESENTATIVE OF LATE 20TH CENTURY AMERICAN ART MUSIC By LONGINEU PARSONS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2017 © 2017 Longineu Parsons To all of these great musicians who opened artistic doors for us to walk through, enjoy and spread peace to the planet. ACKNOWLEDGMENTS I would like to thank my professors at the University of Florida for their help and encouragement in this endeavor. An extra special thanks to my mentor through this process, Dr. Paul Richards, whose forward-thinking approach to music made this possible. Dr. James P. Sain introduced me to new ways to think about composition; Scott Wilson showed me other ways of understanding jazz pedagogy. I also thank my colleagues at Florida A&M University for their encouragement and support of this endeavor, especially Dr. Kawachi Clemons and Professor Lindsey Sarjeant. I am fortunate to be able to call you friends. I also acknowledge my friends, relatives and business partners who helped convince me that I wasn’t insane for going back to school at my age. Above all, I thank my wife Joanna for her unwavering support throughout this process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF EXAMPLES ...................................................................................................... 7 ABSTRACT -
Marshall University Music Department Presents Craig Burletic, Bass Craig Burletic Marshall University
Marshall University Marshall Digital Scholar All Performances Performance Collection 4-26-2014 Marshall University Music Department Presents Craig Burletic, Bass Craig Burletic Marshall University Follow this and additional works at: http://mds.marshall.edu/music_perf Part of the Fine Arts Commons, and the Music Performance Commons Recommended Citation Burletic, Craig, "Marshall University Music Department Presents Craig Burletic, Bass" (2014). All Performances. Book 337. http://mds.marshall.edu/music_perf/337 This Recital is brought to you for free and open access by the Performance Collection at Marshall Digital Scholar. It has been accepted for inclusion in All Performances by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. Program School of Music and Theatre Spunky Sprawl Esbjorn Svensson 1964-2008) MUSIC Bye Bye Blackbird Ray Henderson presents (1896-1970) Walking 'Round All Nostalgic Craig Burletic (b. 1989) Craig Burletic Greasin' Easy Hank Mobley (1930-1986) Bass 500 Miles High Chick Corea (b. 1941) Assisted by: Donna Lee Charlie Parker Molly Page, Violin (1920-1955) Jarohn Grandstaff, Soprano Saxophone Bryce Duncan, Alto Saxophone Waltz for Debby Bill Evans (1929-1980) Zach Arbogast, Piano Nick Vassar, Guitar Tenn Town Jaco Pastorius Rod Elkins, Drums (1951-1987) Spunky Sprawl Esbjorn Svensson JomieJazz Center Forum Before his untimely death in 2008, Esbjorn Svennson was one of Friday, Apri126, 2014 Europe's most successful jazz musicians. Starting as a rock musician in his early years, Svennson transitioned to <;:lassical and then jazz, cutting his teeth in the Swedish jazz scene in the 1980's. It's during this time he met 8:00p.m. -
Charlie Parker Transcriptions Collection
http://oac.cdlib.org/findaid/ark:/13030/ft4v19n6vq No online items Finding Aid for the Charlie Parker Transcriptions Collection Collection processed and machine-readable finding aid created by UCLA Performing Arts Special Collections staff. UCLA Library, Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm © 2002 The Regents of the University of California. All rights reserved. Note Arts and Humanities--Music Finding Aid for the Charlie Parker 182 1 Transcriptions Collection Finding Aid of the Charlie Parker Transcriptions Collection Collection number: 182 UCLA Library, Performing Arts Special Collections University of California, Los Angeles Los Angeles, CA Contact Information University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm Processed by: UCLA Performing Arts Special Collections staff Date Completed: 2001 Encoded by: Bryan Griest © 2002 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Charlie Parker Transcriptions Collection Collection number: 182 Creator: Parker, Charlie Extent: 1 box (0.5 linear ft.) Repository: University of California, Los Angeles. Library. Performing Arts Special Collections Los Angeles, California 90095-1575 Abstract: This collection consists of transcriptions by Andrew White of sound recordings of saxophone solos Physical location: Stored off-site at SRLF. -
Charlie Parker (“Bird”)
Charlie Parker (“Bird”) Greatest single musician in history of jazz Considered one of the most influential jazz performers in jazz history Charlie Parker General style characteristics Tone quality varied from strident to lush Vibrato slightly slower and narrower than predecessors Longer phrases than predecessors Unexpected accents at key points in the phrase Tremendous command of technique (virtuoso) Large repository of material to draw upon Complete mastery of the bebop language (i.e., harmonic as well as melodic) Charlie Parker Timeline Born 8/29/20 in Kansas City, KS Moved to Kansas City, Missouri in 1927 Played baritone horn in high school Quit HS in 1935 & played 1st gig Joined George E. Lee band in 1937 (Ozark Mountains and Prez recordings) In New York City ca. 1938-39 (Tatum?) Rejoined Jay McShann Band in 1940 (earliest recordings) Charlie Parker Timeline, cont. Joins Earl “Fatha” Hines in 1943 w/Diz & on tenor *Sweet Georgia Brown Plays in Billy Eckstine’s band in 1944 Records with Tiny Grimes (9-15-44) *Tiny’s Tempo Swing meets Bebop (1945) *Hallelujah Records w/Diz’s group (2-29-45) & again in June that year *Groovin’ High First true bebop recording (“Charlie Parker Beboppers”), 11-29-45 (Parker, Diz/Miles, Sadik Hakim, Curley Russell, Max Roach) *Koko Bird & Diz in California, 1946 Committed to Camarillo Hospital (7-29-46) for six months Charlie Parker Timeline, cont. 1947 begins Bird’s best periods Records with quintet ca. 1947-49 (Miles/ Dorham, Duke Jordon/Al Haig, Tommy Potter, Max Roach) *Dexterity Leap Frog (11 takes) Misc. ensembles 1948-1955, in particular, recordings with strings (November 1949) *Just Friends Poll Winner (video with Diz) Charlie Parker Timeline, cont. -
The Object of This Paper Is to Prove That the Importance of Jaco Pastorius
What Does Donna Lee Mean? An Analysis of the Construction of Meaning in Music Uri González Uppsala Universitet Institutionen för musikvetenskap C-uppsats Ht 2004 Handledare: Lars Berglund Abstract This essay examines the construction of the meaning of bassist Jaco Pastorius’ solo on Charlie Parker’s composition Donna Lee (Pastorius 1976) according to musicologist Jean- Jacques Nattiez’ semiological tripartition theory. After the application of Nattiez’ approach, the following conclusions can be established: 1. At the time of its conception, 1976, Donna Lee represented both a big step forward in the developments of the instrumental possibilities of the electric bass. In its refusal to submit to exclusively rhythmic tasks it gradually became an increasingly soloistic voice. This arrived to the point where it actually was conceivable for a bass player to take upon a three chorus long solo on a classic jazz standard. 2. Despite this innovative spirit which drives Pastorius artistic output, his Donna Lee pays hommage to the jazz tradition and to the group of stylistic constraints that today characterize what is known as bebop. 3. The final meaning of Donna Lee and of any other musical text goes beyond its historical vicissitudes and its immanent structures. Meaning is not imposed by the exterior but is constructed by the individual mind in a perception that is creative and over-productive in a circular dialog with the environment. The essay will also make reference to the theories of musical semioticians and cognitive psychologists such as James Gibson, Robert Hatten, Ruben Lopez Cano, José Antonio Marina, among others. Table of contents ABSTRACT ............................................................................................................................ -
NYJC Graded Tunes List for the Newsletter and Website
HOME THE PEOPLE SUMMER SCHOOL EVENTS CURRICULUM HISTORY SUPPORT US PARTNERS CALENDAR CONTACT US EVENTS: WELCOME! NYJC GRADE F"*+(9%@G1.%H%>I1.%J0,7)D TUNES (Divided in to beginner, intermediate and advanced) K)"L.(#M%NLO",+2.7,$ J%*$U%(*+%E7Q,(*1%A(17"*()%B"61.%F6274%N,S(*72(17"*M%O6*+$+%Q9%B"61.%F6274%(*+% (A key stage graded list of 46,,$*1)9%0(,$*1$+%Q9%1.$%V"6*+(17"*%O",%B"6*S%F62747(*2M%+$27S*$+%1"%2600",1%1.$%tunes will be added by June 2016) F"*+(9%>I1.%J0,7)M%P0# 4,$(17E$%(*+%$+64(17"*()%*$$+2%"O%1.$%9"6*S%3(DD%#62747(*%1.,"6S.%,$S7"*()%"61,$(4.% K(,Q74(*%!())M%R"*+"* 0,"3$412%(*+%(*%(**6()%A(17"*()%B"61.%C(DD%56##$,%54."")W J0,7)%>*+%H%F(9%@21 ABC'%56##$,%54."")%(6+717"*2 :E$,9"*$%(1%-.$%A(17"*()%B"61.%'"))$417E$%72%+$)7S.1$+%1"%U$)4"#$%X(E7+%!"))(*+%(2% Accompanying spotify play list"6,%*$U%/,$27+$*1W%Y$Z,$%1.,7))$+%1"%Q$%U",[7*S%6*+$,%1.$%S67+(*4$%"O%264.%(%S,$(1% compiled by NYJC’s Curriculum Manager, Mick Foster J6S621%@T1.%H%>@21 3(DD%)6#7*(,9%(*+%(,$%E$,9%#64.%)""[7*S%O",U(,+%1"%U",[7*S%7*%0(,1*$,2.70%U71.% A(17"*()%B"61.%C(DD%'"))$417E$% http://open.spotify.com/user/fostermick/playlist/1UDSvtUb6ziji1EeUbBKKNX(E$%(2%U$%1([$%"6,%U",[%7*1"%())%,$S7"*2%"O%1.$%<\%(*+%1.$%A(17"*()%B"61.%C(DD% 56##$,%54."") 56##$,%54."")W FIND US ONLINE -.$%'"))$417E$%(,$%0)$(2$+%1"%(**"6*4$%1.(1%1.$%@?%,$S7"*2%2$)$41$+%1"%."21%ABC'2% U",[2."02%(*+%0$,O",#(*4$2%O",%5$01$#Q$,%>??]H%J0,7)%>?@?%(,$^%K7,#7*S.(#M% BEGINNER (The list of beginner tunes will be further developed in Ja'(#Q,7+S$M%'",*U())M%X$E"*M%!6++$,2_$)+M%\$*+()M%R(#Q$1.M%A",O")[M%A",1.%:(21% nuary 2016) 1.