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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 -
Nick Grondin Songlist
NICK GRONDIN SONGLIST CLASSICAL Air - Bach Ave Maria - Gounod Cannon in D - Pachabel Gymnopedie - Satie Jesu, Joy Of Man's Desiring - Bach La Rejouissance (From The Royal Fireworks) - Handel Minuet In G - Bach O Mio Babbino Caro - Puccini Ode To Joy - Beethoven Spring (From The Four Seasons) - Vivaldi Trumpet Voluntary - Clarke JAZZ All Blues - Miles Davis Blue In Green - Miles Davis Blue Trane - John Coltrane Do Nothing Til You Hear From Me - Ellington Don't Get Around Much Anymore - Ellington Equinox - John Coltrane Fly Me to the Moon - Sinatra Four - Miles Davis Freddie Freeloader - Miles Davis The Girl From Ipanema - Jobim I Got Rhythm - Gershwin If I Were A Bell - Sinatra In A Sentimental Mood - Ellington Moon River - Sinatra My Favorite Things - Rodgers and Hammerstein My Funny Valentine - Sinatra The Nearness Of You - Sinatra Naima - John Coltrane On The Sunny Side Of The Street - Sinatra Our Love Is Here To Stay - Gershwin Prelude to A Kiss - Ellington Quiet Nights of Quiet Stars - Jobim So What - Miles Davis Sonnymoon For Two - Sonny Rollins St. Thomas - Sonny Rollins Summertime - Gershwin Take The A Train - Ellington You Can't Take That Away From Me - Gershwin Wave - Jobim POPULAR All My Loving - Beatles All You Need Is Love - Beatles Beautiful Day - U2 Blackbird - Beatles Here Comes The Sun - Beatles Hey Jude - Beatles And I Love Her - Beatles I'm Yours - Jason Mraz In My Life - Beatles I Still Haven't Found What I'm Looking For - U2 I Will - Beatles Let It Be - Beatles Ob-la-di, Ob-la-da - Beatles Somewhere Over The Rainbow - Iz Stand By Me - Ben E. -
June 2020 Volume 87 / Number 6
JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
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. -
MALAUENE Umn 0130E 22082.Pdf
A history of music and politics in Mozambique from the 1890s to the present A DISSERTATION SUBMITTED TO THE COLLEGE OF LIBERAL ARTS OF THE UNIVERSITY OF MINNESOTA BY DENISE MARIA MALAUENE IN PARTIAL FULFILLMENT OF THE REQUEREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY ALLEN F. ISAACMAN JANUARY 2021 Ó DENISE MARIA MALAUENE, 2021 Acknowledgements Nhi bongide ku womi ni vikelo Thank you for life and protection Nhi bongide gurula ni guhodza Thank you for peace and provision Nhi bongide gu nengela omo gu Thank you for happiness in times of tsanisegani suffering Nhi bongide Pfumu Thank you, God! Denise Malauene song titled “Nhi bongide Pfumu”1 Pfumu Nungungulu, nhi bongide ngudzu! (Thank you, God!) My children Eric Silvino Tale and Malik TSakane Malauene Waete: I thank you for your unconditional love, Support, and understanding aS many timeS I could not be with you nor could meet your needs because I waS studying or writing. Mom and dad Helena ZacariaS Pedro Garrine and João Malauene, nhi bongide ku SatSavbo. My Siblings Eduardo Malauene, GiSela Malauene, Guidjima Donaldo, CriStina AgneSS Raúl, DioníSio, Edson Malauene, ChelSea Malauene, Kevin Malauene, obrigada por tudo. I am grateful to my adviSor Allen IsSacman for the advice, guidance, and encouragement, particularly during the difficult timeS in my Ph.D. trajectory Somewhat affected by Several challengeS including CycloneS Idai, the armed instability in central and northern Mozambique, and Covid 19. Barbara’s and hiS support are greatly appreciated. I am grateful to ProfeSSor Helena Pohlandt-McCormick for her encouragement, guidance, and Support. Her contribution to the completion of my degree in claSSeS, reading groups, paper preSentations, grant applications, the completion of my prelimS, and Michael’s and her support are greatly appreciated. -
Flamenco Sketches”
Fyffe, Jamie Robert (2017) Kind of Blue and the Signifyin(g) Voice of Miles Davis. PhD thesis. http://theses.gla.ac.uk/8066/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] Kind of Blue and the Signifyin(g) Voice of Miles Davis Jamie Robert Fyffe Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow October 2016 Abstract Kind of Blue remains one of the most influential and successful jazz albums ever recorded, yet we know surprisingly few details concerning how it was written and the creative roles played by its participants. Previous studies in the literature emphasise modal and blues content within the album, overlooking the creative principle that underpins Kind of Blue – repetition and variation. Davis composed his album by Signifyin(g), transforming and recombining musical items of interest adopted from recent recordings of the period. This thesis employs an interdisciplinary framework that combines note-based observations with intertextual theory. -
Down-Beat-1952-06-04
Granz Tells Story Of Tour; Lauds European Jazz Fans French Noisiest— Swedes, Belgians Hippest: Norman CHICAGO, JUNE 4, 1952 (Ed. Note: The following i» an account of Jau At The Philhar ■nonic's lour of Europe as related by J A rp’s impresario. Nornian Spinning With Web Grana.) For many years. I'd thought of taking JATP to Europe. We had had feelers from Eu- A Tribute To A Musician mpeatt promoters since 1948, but, mainly because of financial reason». 1 wa» unable to take the »how over. In fact, in 1950 1 went With Guts—Barclay Allen to Europe determined tu promote JATP there myself, but I was un By HAL WEBMAN able lo do it; I tried again in 1951, but the difficulties connected It’s often been said that show business has no soul, and with foreign exchange were just though it has been said, it can never be verified that it has too great. no heart. There have been myriad instances of show business Finally, 1 thought I’d try one courage like that of Jane Froman, whose heroic attributes more time, 1952. I had several let currently being shown ters from European promoters, and the country i to begin with. It's all about a mu in almost every instance, except flicker called With A Song In My sician who ran into some real bad ing one—Nils Hellstrom — there Heart. But examples like this one luck. His name, Barclay Allen. was only lukewarm interest. This is a curious fact about European have become public property, sort Bud Accide nt of living specimens that the show promoters: they evince little, if will always go on no matter what. -
David Liebman Papers and Sound Recordings BCA-041 Finding Aid Prepared by Amanda Axel
David Liebman papers and sound recordings BCA-041 Finding aid prepared by Amanda Axel This finding aid was produced using the Archivists' Toolkit November 30, 2018 Describing Archives: A Content Standard Berklee Archives Berklee College of Music 1140 Boylston St Boston, MA, 02215 617-747-8001 David Liebman papers and sound recordings BCA-041 Table of Contents Summary Information ................................................................................................................................. 3 Biographical/Historical note.......................................................................................................................... 4 Scope and Contents note............................................................................................................................... 4 Arrangement note...........................................................................................................................................4 Administrative Information .........................................................................................................................5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 Scores and Charts................................................................................................................................... -
50 Easy Jazz Solos by Jazz Masters
50 EASY JAZZ SOLOS BY JAZZ MASTERS COMPILED BY JEFF LIBMAN Band Leader Time Soloist Song Recording Of Recording Type Of Tune Musical Style Sig Form Barney Kessel Embraceable You To Swing or Not to Barney Kessel standard ballad 4/4 ABAC Swing Blue Mitchell Oh When the Saints Out of the Blue Blue Mitchell folk song swing - 4/4 16 bar medium up Cannonball Adderley Au Privave Cannonball Adderley Cannonball blues swing - 4/4 blues and the Poll Winners Adderley medium up Cannonball Adderley Never Will I Marry Nancy Wilson & Nancy Wilson & standard swing - 4/4 ABACBA Cannonball Adderley Cannonball medium up Adderley Charlie Parker Cool Blues Bird: The Complete Charlie Parker jazz standard swing - 4/4 blues Savoy Recordings medium Chet Baker Time After Time The Best Of Chet Chet Baker standard swing - 4/4 ABAC Baker Sings medium Chet Baker I Fall in Love Too The Best Of Chet Chet Baker standard ballad 4/4 ABCD Easily Baker Sings Chet Baker Therer Will Never Be The Best Of Chet Chet Baker standard swing - 4/4 ABAC Another You Baker Sings medium up Chet Baker You're Driving me It Could Happen To Chet Baker standard swing - 4/4 AABA Crazy You medium Chet Baker Do it the Hard Way It Could Happen To Chet Baker standard swing - 4/4 ABAC You medium up Clifford Brown Stompin' at the Brown and Roach, Clifford Brown standard swing - 4/4 AABC Savoy Inc. and Max Roach medium up Curtis Fuller Blue Room The Sermon Jimmy Smith standard swing - 4/4 AABA Curtis Fuller In the Wee Small Caravan Art Blakey standard mediumballad 4/4 ABAC Hours of the Curtis Fuller -
Jazz Studio from Basie Through Coltrane
Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 (925) 439-2181 Course Title: Jazz Studio-from Basie through Coltrane Subject Area/Course Number: MUSIC- 074 New Course OR Existing Course Instructor(s)/Author(s): Michael Zilber Subject Area/Course No.: MUSIC-074 Units: 2 Course Name/Title: Jazz Studio – from Basie through Coltrane Discipline(s): Music, Commercial Music Pre-Requisite(s): None Co-Requisite(s): None Advisories: Fundamental skill on a jazz band instrument and placement audition by professor. Catalog Description: A course for student musicians of basic to intermediate level. Student musician must have fundamental skill on a jazz band instrument playing in a large jazz ensemble. For the student musician wishing to investigate basic jazz band material in the jazz canon in the styles of Duke Ellington, Count Basie, Charlie Parker, Miles Davis, Thad Jones, Slide Hampton and John Coltrane. There are several public performances per semester. Schedule Description: Are you an aspiring musician looking for the opportunity to improve your skills in soloing, writing and reading entry level jazz music of all eras, and doing so under the expert guidance of four of the Bay Area’s best jazz musicians? Then this is the band for you! This is a band where you can do that as well as perform some of the best available level-appropriate compositions for modern big band. There will be several public performances both on and off campus, and students will have the opportunity to play with some of the country’s leading jazz soloists, who will be guest artists with the band. -
Drew Gress, Artistic Integrity, and Some Kind of Accep- Portunity to Engage Visiting Artists and Craig Taborn, Tim Berne Tance, Even Within Its Own Mainstream
Welcome to the 2006 Earshot Jazz Festival This year, “Seattle’s most important in three-day residency with the Seattle Roosevelt High School Band shares a bill annual jazz event” includes more than Repertory Jazz Orchestra that includes with the Ted Nash Quintet. 60 events over 18 days between October open rehearsals and workshops as well Th e Earshot Jazz Festival is by far the 19 and November 5. With more than as two concerts. biggest undertaking of the Earshot Jazz 200 artists participating, from around Once again, we’ll feature Seattle’s award- organization, but it is far from our only the world and around our city, this year’s winningest high-school jazz ensembles in activity. We present our own concerts event off ers as much as any of its prede- mainstage concerts with special guest throughout the year, collaborate on con- cessors to music lovers of the Seattle area. artist. Guest artists who have rehearsed cert presenting initiatives like SAM’s Art Th e festival includes main stage concerts, and performed with Garfi eld and Roos- of Jazz, the Anacortes Jazz Festival, and, club dates, meet-the-artist receptions, evelt High School Bands in the past have coming up, EMP’s Jazz in January. We jazz fi lms, and plenty of opportunities included saxophonists Ravi Coltrane publish the monthly Earshot Jazz news- for all fans of all ages to learn a bit more and Joshua Redman and New Orleans letter, and work to provide educational about the music and the musicians. trumpeter Nicholas Payton. Th is year, opportunities and advancements to the We’re excited about this festival. -
Jazz Collection: Kenny Barron
Jazz Collection: Kenny Barron Dienstag, 04. Juni 2013, 21.00 - 23.00 Uhr Samstag, 08. Juni 2013, 22.00 - 24.00 Uhr (Zweitsendung) Geboren am 9.Juni 1943 in Philadelphia, genoss Barron eine klassische Klavier-Ausbildung und spielte zunächst in der gleichen Band wie sein älterer Bruder, der Saxophonist Bill Baron (1927-1989). Nach seinem Umzug nach New York etablierte sich Kenny Barron Anfang der 1960er Jahre als hochbegehrter Sideman in der Szene. Durch James Moody kam er in Kontakt mit Dizzy Gillespie, in dessen Band er für 3 Jahre spielte. Aus der fast unüberschaubaren Auswahl an Aufnahmen mit Kenny Barron stechen die Duos mit Stan Getz hervor, die kurz vor dem Tod des grossen Tenorsaxophonisten in Kopenhagen entstanden. Mit dem Quartett «Sphere» widmete sich Barron seit 1982 zudem lange Zeit intensiv dem Erbe des Bebop-Komponisten Thelonious Monk. Der Pianist und Barron-Kenner Stewy von Wattenwyl, zu Gast in Jazz Collection, hat Kenny Barron wiederholt getroffen und gesprochen.. Bill Barron: The Tenor Stylings of Kenny Barron (1961) CD Savoy, SV-0212 Track 5: Back Lash Kenny Barron: Peruvian Blue (1974) CD 32 Jazz, 32083 Track 3: The Procession Kenny Barron Trio: Green Chimneys (1983) CD Criss Cross, 1008CD Track 1: Softly As In A Morning Sunrise Kevin Mahogany: Double Rainbow (1993) CD Enja, ENJ-7097 2 Track 4: Save That Time Kenny Barron: The Only One (1990) CD Reservoir Track 3: The Courtship Thelonius Monk: Live at Mybeck Vol.10 (1990) CD Concord, CCD-4466 Track 5: Well You Needn’t Stan Getz – Kenny Barron: People Time (1992) CD