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THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography………………………………………………………………………………. -
Jason Jägel La Machine Molle February 7 - March 27, 2020 Opening Reception Friday February 7, 6-9Pm
JASON JÄGEL LA MACHINE MOLLE FEBRUARY 7 - MARCH 27, 2020 OPENING RECEPTION FRIDAY FEBRUARY 7, 6-9PM Gallery 16 is pleased to welcome artist Jason Jägel for his second solo exhibition with the gallery, La Machine Molle. Jägel presents a new series of paintings, works on paper and sculptures. There will be an opening reception for the artist on Friday, February 7th, from 6-9pm. La Machine Molle is French for The Soft Machine, the title of a 1961 cut-up novel by American author William S. Burroughs, as well as the name of seminal Canterbury scene band, Soft Machine. After being kicked out of his own band (Soft Machine), Robert Wyatt started a new band which he named Matching Mole, a linguistic pun on the French name for Soft Machine. The images in a new series of paintings refer to the 1972 live performance of Wyatt’s group on the French television program Rockenstock. Jägel broad admiration for Wyatt includes his use of everyday speech, wry humor, and self-referential elements in his lyrics. There is a kinship in the way both Jägel and Wyatt bring together elements of improvisation and lyrical narrative. In his own unique and poetic way, Jason Jägel's work cultivates a strong improvisational component, born out of a form of autobiographical fiction, his love of music, comics, and literary fiction. In the words of Kevin Killian, he is an “ace raconteur” and, above all, Jägel's work tells a story. His compositions often appear as fragments where experiences, dreams, people, places, individual narratives and past experiences intersect and intertwine to create open-ended, conversational stories full of rhythm and flow. -
ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL
Bio information: ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: ROCK “…the [Jim Hendrix] Experience let me know there was a spare bed in the house they were renting, and I could stay there with them– a spontaneous offer accepted with gratitude. They’d just hired it for a couple of months… …My goal was to make the music I’d actually like to listen to. … …I was clearly imagining life without a band at all, imagining a music I could make alone, like the painter I always wanted to be.” – Robert Wyatt, 2012 Some have called this - the complete set of Robert Wyatt's solo recordings made in the US in late 1968 - the ultimate Holy Grail. Half of the material here is not only previously unreleased - it had never been heard, even by the most dedicated collectors of Wyatt rarities. Until reappearing, seemingly out of nowhere, last year, the demo for “Rivmic Melodies”, an extended sequence of song fragments destined to form the first side of the second album by Soft Machine (the band Wyatt had helped form in 1966 as drummer and lead vocalist, and with whom he had recorded an as-yet unreleased debut album in New York the previous spring), was presumed lost forever. As for the shorter song discovered on the same acetate, “Chelsa”, it wasn't even known to exist! This music was conceived by Wyatt while off the road during and after Soft Machine's second tour of the US with the Jimi Hendrix Experience, first in New York City during the summer of 1968, then in the fall of that year while staying at the Experience's rented house in California, where he was granted free access to the TTG recording facility during studio downtime. -
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. -
Music DVD Reviews: Review of Syd Barrett: Under Review
Music DVD Reviews: Review of Syd Barrett: Under Review http://www.bullz-eye.com/music_dvd/2006/syd_barrett_under_review.htm Music DVD Reviews: Review of Syd Barrett: Under Review Music DVDs Home / Entertainment Channel / Bullz-Eye Home Syd Barrett: Under Review (2006) Entertainment Bullz-Eye Home Entertainment Music Buy your copy now from Movies Television Movie DVDs Music DVDs Games Celebrity Babes When the seminal lineup of Pink Floyd – Roger Waters, Rick Wright, Nick Entertainers Mason, and David Gilmour – reunited for the London Live 8 concert in 2005, Interviews before performing “Wish You Were Here,” Waters introduced the song by Channels saying, “we play this number for everyone who cannot be here today, but most The Opposite Sex of all, of course, for Syd.” Sports Entertainment Statistically, most of the people who heard this probably went, “Whatever, just Fitness play the song.” Some, however, got downright misty. Gadgets Vices Roger Barrett – known to his friends and admirers as Syd – was the original Wagering frontman for Pink Floyd, back in their decidedly psychedelic days of the late Humor Recreation ‘60s. None of the tracks from his era of the band have ever made it into regular Travel rotation on classic rock radio, but Barrett’s work, both with Pink Floyd and as a Stuff to Buy solo artist, have made him a hero to cult musicians (most notably Robyn News Hitchcock, who all but built his career on imitating Barrett) as well as record store clerks and music writers everywhere. Premium Members Described as “the ultimate review and critical analysis of the music of Syd Join Enter Barrett,” Under Review is, unfortunately, really only for the diehard fans who already know rather a lot about the music of Syd Barrett…and, even then, you IntenseX run into the inevitable problem of telling those people stuff they already know. -
On the Beat Calderone School of Music
A WATCHUNG COMMUNICATIONS, INC. PUBLICATION The Westfield Leader and THE TIMES of Scotch Plains – Fanwood Thursday, October 10, 2002 Page 21 Peter Gabriel’s ‘Up’ Is Downer; But Indies Don’t Disappoint Arts & Entertainment By ANDY GOLDENBERG happening. Specially Written for The Westfield Leader and The Times Universal Music sent some good As fall arrives, the quantity of CD reissue material beginning with a two- Pen & Ink releases continues unabated. disc Deluxe Edition of The Who’s CONTINUED FROM PAGE 22 Beginning with his first album in “My Generation” album complete and make trouble,” encouraged about 30 (well, 10) years by Peter with bonus material and the sound Sarandon, who coincidentally has Gabriel, “Up” on Geffen Records is quality is extraordinary. Also from not as much a return to Universal come great a movie coming out this month. form as it is a continua- compilations of “Kiss” As inappropriate as the enter- tion of form from his last and “T-Rex.” tainment industry’s desperate album “Us.” Some smaller labels The moody keyboard have put out some great scramble to stage a 9/11 sounds abound, there is a reissue and new material fundraiser (which I’m still con- lot of dark lyrical imag- beginning with Cunei- vinced was done to keep the peace ery. While the themes of form Records out of the last album dealt with Maryland. Known for the between their pocketbooks and relationships, “Up” deals devotion to Progressive their adoring fans), it is equally more with the finality and Rock, Cuneiform has just improper for celebrities to get fragility of life. -
MUSIC 351: Psychedelic Rock of the 1960S Spring 2015, T 7:00–9:40 P.M., ENS-280
MUSIC 351: Psychedelic Rock of the 1960s Spring 2015, T 7:00–9:40 p.m., ENS-280 Instructor: Eric Smigel ([email protected]) M-235, office hours: Mondays & Tuesdays, 3:00–4:00 p.m. This is a lecture class that surveys psychedelic rock music and culture of the 1960s. Psychedelic music played an important role in the development of rock music as a predominant art form during one of the most formative decades in American history. Emerging along with the powerful counterculture of hippies in the mid-1960s, psychedelic rock reflects key elements of the “Love Generation,” including the peace movement, the sexual revolution, the pervasive use of recreational drugs (especially marijuana and LSD), and the growing awareness of Eastern philosophy. The main centers of countercultural activity—the Haight-Ashbury district of San Francisco and the London Underground—drew a high volume of media exposure, resulting in the famous “Summer of Love” and culminating in popular music festivals in Monterey, Woodstock, and Altamont. Students in this course will examine the music and lyrics of a selection of representative songs by The Grateful Dead, The Jefferson Airplane, Big Brother and the Holding Company, The Beatles, Pink Floyd, The Jimi Hendrix Experience, and other bands closely associated with the burgeoning psychedelic scene. Students will also consult primary source material—including interviews with several of the musicians, influential literature of the period, and essays by key figures of the movement—in order to gain insight into the social, political, -
The Soft Machine Will Give Tonight's Jazz in the Garden Concert (Thursday
The Museum of Modem Art i-- ^s ^ ^^ • FOR RELEASE: 11 West 53 street, New York, N.Y. 10019 Tel. 245-3200 Cable; Modernart Thursday, July 11, I968 The Soft Machine will give tonight's Jazz in the Garden concert (Thursday, July 11) at The Museum of Modern Art, 11 West 53 Street, at 8:50. This English, hard rock group consists of Robert Wyatt, drums, lead singer; Michael Ratledge, organ; Kevin Ayers, bass. This summer's Jazz in the Garden series^ directed by Ed Bland, features a variety of contemporary musical styles including some of the various attempts at synthesizing jazz and rock. The Pazant Brothers, a Harlem group, will give the July 18 concert. The concert to have been given by the Clark Terry Quintet on June 27 was cancelled because of rain, and has been rescheduled for August 29. The entire Museum is open Thursday evening until 10 throughout the summer. The regular Museum admission, $1.50, admits visitors to galleries and to 8 p. m. film showings in the Aduitorium; there is no charge for Musftua members. Admission to jazz concerts is an additional 75 cents for members and public. As in previous Jazz in the Garden concerts, tickets for each concert are on sale in the Museum lobby from the preceding Saturday until the time of the Thursday evening performance. A few chairs are available on the garden terraces, but most of the audience stands or sits on the ground. Cushions may be rented for 25 cents. Beer and sandwiches are available for concert patrons. When a concert is cancelled because of rain, tickets are honored for the following Thursday. -
Re-Issues Reviews
Re-issues Reviews Home To the reviews index News A healthy nihilism goes all bellicose for the poet who turns his pen into a sword. Interviews In the most Orwellian of years Joseph Smalkowski, or Copernicus, decided it was time Reviews for his verses to not only produce a verbal music but also put some external sound to the words - and got himself a kindred-minded band. "Let the musicians declare war!!" goes Index "I Know What I Think", and they do so, indeed, with a full-blown aural onslaught onto DVD which the leader lays his punky stentorian chant. Deranged delight! - unlike the mournful Magazines recital of "Let Me Rest" clocking at 11.11. Books But the opener "I Won't Hurt You" delivers on its sweet, slithery, soulful promise that Specials either skanks or slides to form the most romantic song Copernicus could offer. Still, COPERNICUS - being himself he couldn't help but break such an innocence in the sonic terror of Photo Nothing Exists "Nagasaki", hung on an urgent, oscillating and scintillating rock 'n' roll guitar riff. It's here that the poet denies the existence of everything, him included, so "Atomic Nevermore" Links Nevermore 1984 spreads its spoken word over the emotional desert which somehow makes the listener MoonJune 2010 explore the album's dry landscape again. DME/Personal ***1/2 Guestbook Mail me The original angularity seeps away for guitar to feed on - and feedback - on a honeysuckle vine. Having tapped into the fusion fad of the day with "Bundles", the machinists might have thought they arrived at the right station, yet the restless passenger in Allan Holdsworth knew better. -
Vinyl Continuity Being the Queues to Collector Record Cover Versions
spanned an often balladic broad ★ musical palette – the main Vinyl continuity being the queues to Collector record cover versions. by Paul Rigby This 25-track compilation of career highlights is packed with classics, starting with The Troggs (who also covered Anyway That You Want Me – here by Tina Mason) and ending with Taylor’s later forays into country music. In between there are timeless gems such as Out Of Focus debut, Wake Up, which owed more outspoken and Lorraine Ellison’s Try (Just A Wake Up a debt to early UK prog targeted, highlighting religion Little Bit Harder) (later huge for ★★★ outfits, weaving improvised as a particular cause célèbre. Janis Joplin), Merillee Rush’s Sandy Denny Missing Vinyl MV 004 passages through Its follow-up, Four Letter Angel Of The Morning and She Moves Through The Out Of Focus conventional song structure. Monday Afternoon, released Picture Me Gone – originally a Fair ★★★★ The weakest of the three, the same year, presented a hit for Taylor’s protégé Evie ★★★ Missing Vinyl MV 006 Wake Up is, however, still a full-on Soft Machine-like jazz- Sands (present with I Can’t Let Stamford Audio STAMPLP 1003 Four Letter Monday recommended listen, thanks rock fusion, with avant-garde Go) and covered sublimely here Conventional release for the Afternoon to its funk-based grooves touches and more extended by the often-overlooked hardcore fan ★★★★ and a lyrical depth that instrumental experiments. Madeline Bell. Recorded by Denny when she Missing Vinyl MV 005 (2-LP) reflected social and political Across the double album Out Other names include Aretha was just 19 years old, this Lens your ears to this ideas without hitting you over Of Focus, the group were able Franklin, Peggy Lee, Billy Vera, limited, 500-only EP consists prog barrage the head with its tenets. -
The Wild Boys Works by William S
THE WILD BOYS WORKS BY WILLIAM S. BURROUGHS PUBLISHED BY GROVE PRESS Naked Lunch The Ticket That Exploded The Soft Machine Nova Express The Wild Boys Word Virus: The William S. Burroughs Reader Last Words THE WILD BOYS A BOOK OF THE DEAD William S. Burroughs Copyright © 1969, 1970, 1971 by William S. Burroughs All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, or the facilitation thereof, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Any members of educational institutions wishing to photocopy part or all of the work for classroom use, or publishers who would like to obtain permission to include the work in an anthology, should send their inquiries to Grove/Atlantic, Inc., 841 Broadway, New York, NY 10003. Acknowledgment is due to Alfred A. Knopf, Inc., for permission to quote from The Trial by Franz Kafka, translated by Willa and Edwin Muir, copyright © 1937, copyright © 1956 by Alfred A. Knopf, Inc. “Mother and I Would Like to Know” was first published in Evergreen Review No. 67; an earlier version appeared in Mayfair and was reprinted in The Job. The Wild Boys appeared in the collection The Soft Machine, Nova Express, and The Wild Boys: Three Novels, published as a Black Cat Book in 1980 and an Evergreen Book in 1988. Published simultaneously in Canada Printed in the United States of America Library of Congress Cataloging-in-Publication Data Burroughs, William S., 1914-1997. -
“I Was in a Position to Dismantle It”: Industrial Music
“I WAS IN A POSITION TO DISMANTLE IT”: INDUSTRIAL MUSIC APPROPRIATIONS OF WILLIAM S. BURROUGHS by Joseph Vecchio, A.A., B.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Music with a major in Music May 2014 Committee Members: Kevin Mooney, Chair Ludim Pedroza Charles Ditto COPYRIGHT by Joseph Vecchio 2014 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Joseph Vecchio, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. DEDICATION To Ruth, with all of my love. ACKNOWLEDGEMENTS I would like to thank Dr. Kevin Mooney for his unwavering support for this project, enthusiasm about the material, and wonderful editorial remarks. Thank you to Dr. Ludim Pedroza for being a true inspiration for a multidisciplinary approach to musicology. Thank you to Dr. Charles Ditto for his membership on my committee and eagerness to see this project carried to fruition. Ruth Vecchio, your knowledge of industrial music is encyclopedic and has been an extremely valuable tool in aiding the completion of this project, and your help with editing has been invaluable.