Cds Im Magazin Jazz

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CDs im Magazin Alle Titel sind ausleihbar! Bitte wenden Sie sich an die Information in der Kinder- und Jugendbibliothek Jazz Stadt Ratingen – Stadtbibliothek Peter-Brüning-Platz 3 Tel. 550-4128 Benson, George Anthology, Twice the love Bley, Carla The very Big Carla Bley Band Bley, Paul/Oxley, Tony/Peacock, Gary/Surman, Paul In the evening out there Brecker Brothers Return of the Brecker Brothers Brecker, Michael Now you see it...(now you don’t) Brecker, Randy Live at Sweet Basil Cole, Natalie Take a look, Unforgettable Conjure/ Womack, Bobby Cab Calloway stands in for the moon Connick, Harry Blue light red light, We are in love Corea, Chick Chick Corea Akoustic Band alive Crusaders Healing the wounds Davis, Miles Amandla, Aura, Dingo, Doo-bop, Double image DeJohnette, Jack Parallel realities Dennerlein, Barbara Love letters, Take off Doldinger, Klaus/ Passport Balance of happiness, Move, Passport to paradise Duke, George Snapshot Fitzgerald, Ella Ella returns to Berlin, Have a little faith Frisell, Bill This land Frith, Fred Guitar solos Garbarek, Jan I took up the runes, Twelve moons, Visible world Gismonti, Egberto Danca das Cabecas Hanrahan, Kip , Tenderness Hassell, Jon Flash of the spirit Isfort, Tim/Bargeld, Blixa/Liwa, Tom Tim Isfort Orchestra Jarrett, Keith Changeless, Changes, Cure, Personal mountain, Still live, Survivor’s suite Kronos Quartet Black angels, Winter was hard Landau, Michael Tales from the bulge Loeb, Chuck Simple things MacFerrin, Bobby Bang! zoom, Hush, Medicine music, Play, Voice MacLaughlin, John Free spirits, Heart of things, Time remembered Manhattan Jazz Quintet Face to face Mariano, Charlie Live Marsalis, Branford The beautiful ones are not yet born, Bloomington, Crazy people music Branford, Wynton Citi movement (Griot New York), Levee low moan, Standard time 3: the resolution of romance, Wynton Marsalis Quartet live at Blues Alley Meola, Al Di Tirami su, World sinfonia Metheny, Pat As falls Wichita so falls Wichita falls, Imaginary day, Questions and answer, Road to you, Secret story, Still life (talking), We live here Miller, Marcus Tales Modern Jazz Quartet For Ellington Molvaer, Nils Petter Khmer, Solid ether Parker, Maceo Maceo, Roots revisited, Southern exposure Rich, Buddy The legendary Buddy Rich Sanborn, David Close-up, Upfront Schwab, Sigi / Montarroyos, Marcio / Weber, Eberhard Amazonas Scofield John Hand jive, I can see your house from here, Time on my hands Shorter, Wayne Joy rider Tab Two Flagman ahead Terrasson, Jacky Jacky Terrasson Thompson, Barbara A cry from the heart, Breathless, Lady saxophone Towner, Ralph/Burton, Gary Matchbook United Jazz And Rock Ensemble Die neunte von United live Vienna Art Orchestra Innocence of cliches, Standing... what? Weber, Eber- hard Pendulum.

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Into the Mainstream Guide to the Moving Image Recordings from the Production of Into the Mainstream by Ned Lander, 1988
Descriptive Level Finding aid LANDER_N001 Collection title Into the Mainstream Guide to the moving image recordings from the production of Into the Mainstream by Ned Lander, 1988 Prepared 2015 by LW and IE, from audition sheets by JW Last updated November 19, 2015 ACCESS Availability of copies Digital viewing copies are available. Further information is available on the 'Ordering Collection Items' web page. Alternatively, contact the Access Unit by email to arrange an appointment to view the recordings or to order copies. Restrictions on viewing The collection is open for viewing on the AIATSIS premises. AIATSIS holds viewing copies and production materials. Contact AFI Distribution for copies and usage. Contact Ned Lander and Yothu Yindi for usage of production materials. Ned Lander has donated production materials from this film to AIATSIS as a Cultural Gift under the Taxation Incentives for the Arts Scheme. Restrictions on use The collection may only be copied or published with permission from AIATSIS. SCOPE AND CONTENT NOTE Date: 1988 Extent: 102 videocassettes (Betacam SP) (approximately 35 hrs.) : sd., col. (Moving Image 10 U-Matic tapes (Kodak EB950) (approximately 10 hrs.) : sd, col. components) 6 Betamax tapes (approximately 6 hrs.) : sd, col. 9 VHS tapes (approximately 9 hrs.) : sd, col. Production history Made as a one hour television documentary, 'Into the Mainstream' follows the Aboriginal band Yothu Yindi on its journey across America in 1988 with rock groups Midnight Oil and Graffiti Man (featuring John Trudell). Yothu Yindi is famed for drawing on the song-cycles of its Arnhem Land roots to create a mix of traditional Aboriginal music and rock and roll.
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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).
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Miles Davis, Tutu
Gilbert DUPUIS Guitariste, titulaire du D.E.de jazz, professeur certifié d’éducation musicale Miles Davis, Tutu Inscrire Miles Davis au programme du baccalauréat est une façon officielle de rendre enfin hommage à une figure légendaire du jazz, peut-être la plus haute, et, de surcroît, à l’une des plus grandes stars de la musique afro-américaine. Avec cet album, il s’impose également d’évoquer les nouvelles technologies et la musique programmée, singularité dans l’œuvre du trompettiste. Cet article propose une vaste étude de la musique de Miles Davis et de ses contemporains. Les principaux courants sont présentés depuis le be-bop jusqu’au doo-bop, via la période électrique. Suit un avant-propos de l’ensemble de l’album Tutu, avant de se concentrer dans le détail à l’analyse musicale des trois morceaux imposés (Tutu, Tomaas, Portia). Préambule peintre (au sens propre comme au sens figuré), « coloriste », « architecte » des sons, « sculpteur », e « L’histoire du jazz au 20 siècle est aussi variée, « conteur », « poète » de la trompette, « Miles » s’est complexe, voire profuse, que la musique dite essayé, on ne peut dire à tous les courants, mais à sérieuse ; des liens qui les unissent existent pourtant, la plupart des styles ouvrant à la modernité qu’il souvent plus resserrés, intenses et intimes qu’on a très fréquemment impulsés. C’est en ce sens, 1 pourrait le suspecter . » probablement, le musicien le plus évolutif, celui Cette phrase semble vraie. Mais, comme d’autres qui ne regarde pas derrière lui et ne s’arrête pas en sur ce sujet, elle n’est pas ou plus tout à fait chemin, sauf pour laisser place au silence, oubliant juste.
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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.
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UNDERSTANDING MILES DAVIS in 9 PARTS by Greg Cwik and David Marchese ______
UNDERSTANDING MILES DAVIS IN 9 PARTS by Greg Cwik and David Marchese ________________________________________________________ [*This article appeared in the September 21, 2015 issue of New York Magazine.] PHOTO CREDIT DAVID REDFERN/REDFERNS/GETTY IMAGES hen Miles Ahead, directed by and starring Don Cheadle, premieres at the New York Film Festival in October, 2015, it’ll mark the first time that the W jazz genius Miles Davis has been the subject of a non-documentary film. It wasn’t a lack of interest that has kept Davis from movie theaters till now. Nor was it lack of material: Davis, who died in 1991, lived a dynamic and controversial life, both personally and musically. (Multiple biopics wound up in development hell.) Cheadle’s film focuses on a period when the trumpeter was living in seclusion, so here’s a broader overview of one of American music’s true giants. 1. What to Know About His Sound ____________________________________________ Grammy-nominated trumpeter and jazz educator Jon Faddis explains: “The thing that is special about his sound is economy when he was improvising. Before Miles, most people thought of the trumpet as a very extroverted instrument. Miles was more introverted in his approach. He used a Harmon mute — it wasn’t really popular before he started to use it — and it’s a very beautiful sound. I also 1 Jon Faddis: one of the things that set Miles apart was his use of space, making the space a part of the music… think his minimal use of vibrato was a tremendous influence on instrumentalists. Recordings like Round Midnight, Someday My Prince Will Come, I Thought About You were ingenious.
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Miles Davis (1926-1991)
Roots of American Music Biography: Miles Davis (1926-1991) Miles Davis is the most revered jazz trumpeter of all time, not to mention one of the most important musicians of the 20th century. He was the first jazz musician of the post-hippie era to incorporate rock rhythms, and his immeasurable influence on others, in both jazz and rock, encouraged a wealth of subsequent experiments. From the bebop licks he initially played with saxophonist Charlie Parker to the wah-wah screeds he concocted to keep up with Jimi Hendrix, Davis was as restless as a performer could get. Davis was raised in an upper-middle-class home in an integrated East St. Louis neighborhood. His father was a dentist; his mother, a music teacher. In 1941 he began playing the trumpet semiprofessionally with St. Louis jazz bands. The skills were there. Four years later, his father sent him to study at New York's Juilliard School of Music. Immediately upon arriving in New York City, Davis sought out alto saxophonist Parker, whom he had met the year before in St. Louis. He became Parker's roommate and protégé, playing in his quintet on the 1945 Savoy sessions, the definitive recordings of the bebop movement. He dropped out of Juilliard and played with Benny Carter, Billy Eckstine, Charles Mingus, and Oscar Pettiford. As a trumpeter Davis was far from virtuosic, but he made up for his technical limitations by emphasizing his strengths: his ear for ensemble sound, unique phrasing, and a distinctively fragile tone. He started moving away from speedy bop and toward something more introspective.
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From Birth to Death of Cool
Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 4-2009 From Birth to Death of Cool Brandon Theriault Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Music Commons Recommended Citation Theriault, Brandon, "From Birth to Death of Cool" (2009). Honors Theses. 1657. https://scholarworks.wmich.edu/honors_theses/1657 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. FROM BIRTH TO DEATH OF COOL by Brandon Theriault An Honors Thesis Submitted to the Lee Honors College of Western Michigan University April, 2009 INTRODUCTION "Miles Davis was a bad dude. He was one of the baddest men in jazz... baddest jazzman ever." -Alvin Jones. Who is Alvin Jones? Alvin Jones is the man I just met outside of the Bernhard Center on Western Michigan University's campus in Kalamzoo, MI. I have been laboring over my honors thesis for months now; I am approaching its completion and was at a loss for a way to start the piece. As Alvin Jones stumbled up to me panhandling for a cigarette I could not help but notice his physical similarity to Miles. He looked to be approaching 65, white whiskers sparsely covering his face and making appearances throughout his eyebrows. He was slender, taller than average, and had exaggerated facial features; large luminous eyes, long eyelashes and high cheekbones.
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Integrated Analysis of the Movement and Ecology of Wild Dingoes in The
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Kenny Garrett
This pdf was last updated: Apr/23/2010. Kenny Garrett Kenny Garrett plays with the kind of clarity, strength and personality that bespeaks experience mated with wisdom - the masterful saxophonists heads for a European tour. Line-up Kenny Garrett - saxophone Shedrick Mitchell - piano Charnett Moffitt - double bass Christopher Dave - drums On Stage: 4 Travel Party: 5 Website www.kennygarrett.com Biography Kenny Garrett was born in Detroit in 1960. His musical education began virtually at birth. His father was a tenor saxophonist and therefore, young Garrett constantly heard jazz around the house. He discovered jazz greats Charlie Parker and John Coltrane while in high school, and studied sax with Bill Wiggins. Planning on attending university, Garrett changed his mind when, in 1978, he was given the opportunity to join The Duke Ellington Orchestra, led by Duke's son, Mercer. He stayed with the band for three-and-a-half years. Moving to New York in 1982, Garrett worked with The Mel Lewis Orchestra, playing the music of Thad Jones, and with Dannie Richmond's quintet, which performed the music of Charles Mingus. 1985 was Kenny's watershed year; he performed and recorded with Blakey (Feeling Good on Delos and Hard Champion on Pro Jazz), and also with Shaw, Hubbard and OTB (for Blue Note). A year later, Garrett heard that Miles Davis was looking for an alto player. He sent the trumpeter a tape, and after only a few phone calls, Kenny was hired. He played with Miles about five years and played on four Warner Bros. Records albums with the jazz giant: Amandla, Dingo (Michel Legrand), Live Around The World and Miles Davis and Quincy Jones: Live at Montreux, the latter being Miles' final recording (he died in September, 1992).
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THE WATERFINDERS. a Cultural History of the Australian Dingo Justine Philip Phd Ecosystem Management
Theme edition. The dingo dilemma: cull; contain or conserve, edited by Thomas Newsome, Chris Dickman and Daniel Lunney. THE WATERFINDERS. A cultural history of the Australian dingo Justine Philip PhD Ecosystem Management. Le Moulin Neuf, Pont Melvez 22390 FRANCE Honorary Associate, Museums Victoria, AUSTRALIA Email: [email protected]; [email protected] Downloaded from http://meridian.allenpress.com/australian-zoologist/article-pdf/doi/10.7882/AZ.2020.034/2645734/10.7882_az.2020.034.pdf by guest on 01 October 2021 For thousands of years, the water-finding abilities of the Australian dingo (Canis dingo), has assisted human survival in one of the most extreme, arid environments on earth. In addition to their contribution to Traditional Aboriginal society as a guardian, living blanket, hunting assistant and companion, the dingo’s role as intermediary between the earth’s surface and the river systems that flow beneath the continent is legendary. Both the ancestral/mythical dingo and the contemporary dingo are attributed with having assisted people in the location of aquifers, billabongs, inland lakes. They guided people safely across hundreds of kilometers of desert, locating the places where water sources reach up closest to the earth’s surface from the underground lakes and waterways that flow beneath the continent. The dingo’s status in Aboriginal culture is celebrated in the naming of waterholes, soaks, river systems and aquifers. This paper follows the path of the ancient dingo, tracing how, as a cultural keystone species, dingoes have shaped human society and belief systems, encouraging cultures of reciprocity and laws of protection for vital resources.
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The Aural Point of View in the Early Films of Rolf De Heer
QUT Digital Repository: http://eprints.qut.edu.au/ Starrs, D. Bruno (2010) The aural point of view in the early films of Rolf de Heer. Quarterly Review of Film and Video In Press. © Copyright 2010 Taylor & Francis 1 The Aural Point of View in the Early Films of Rolf de Heer. Australian film-maker Rolf de Heer has written, directed and/or produced twelve feature films, none of which feature the typically hyper-masculine, controlling heroes that much of mainstream or classical Hollywood cinema is renowned for. In this paper I argue that in de Heer’s early films his unlikely protagonists are made the subject of audience identification through use of what Edward Branigan in 1984 called the aural point of view (Branigan 94) or APOV.1 This post- production technique enables the audience to hear what the character on screen apparently imagines her or himself to have heard. The key to understanding the mechanism by which de Heer’s characteristic use of the APOV works to support a unique, auteurial worldview lies in what Melissa Iocca and Anna Hickey-Moody call his “aural construction of subjectivity” (Iocca and Hickey- Moody 122) regarding such unusual protagonists as the socially awkward pre-teen Orville in Tail of a Tiger (1984, Rolf de Heer), the young eponym of Dingo (1991, Rolf de Heer), the 35 year old man-child in Bad Boy Bubby (1993, Rolf de Heer), or the mute little girl in The Quiet Room (1996, Rolf de Heer). Although they confine their study to his cult hit Bad Boy Bubby, Iocca and Hickey- Moody note de Heer’s use of binaural sound recording to create a “pre-Oedipal soundscape” -- signaling their pertinent psychoanalytic interpretation of this film -- which contributes to “a marked move away from insipid approaches to film soundtracks” (ibid.), suggesting here the tameness of much of what Hollywood makes audiences hear.
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Meeting-Miles-Davis.Pdf
JAZZIZ Subscription Ad Miles.pdf 1 4/4/18 9:56 AM C M Y CM MY CY CMY K MILES DAVIS: CONVERSATION FROM JAZZIZ JAN/FEB 1985 BY ERIC SNIDER iles and I made a deal. In the Did Columbia want you to do it? Did you decide to do music press, his career has it? Did you like doing it? been analyzed, scrutinized, Yeah, it was OK. It takes a long time. You can spend chronologized and categorized your whole day on things like that. You have to get over the years, and he thinks everything together. most of it is “bullshit” anyway. Frankly, I was getting a little I saw it on HBO and they introduced it as a “jazz video.” tired of reading it. There had When you say “jazz,” it always limits a musician. to be more to Miles Davis I was talking to my drummer [Al Foster] about that than musician/bandleader/trendsetter/mysterious last night. I don’t like the word, ya know, because it’s Mintimidator. He’s a man after all, and he puts his really a disgrace to be labeled a jazz musician because pants on just like you and me — though his pants they don’t do anything. Everybody can see that they are probably more stylish.So even though it wasn’t don’t do anything — that they’re just comfortable a condition for doing the interview, we struck a playing the same old thing. You have to match these gentleman’s deal that he could speak freely, and I different synthesized sounds.
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