Scottish German Jazz Collective
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Kenny Wheeler Gnu High Mp3, Flac, Wma
Kenny Wheeler Gnu High mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Gnu High Country: Germany Released: 1976 Style: Contemporary Jazz MP3 version RAR size: 1354 mb FLAC version RAR size: 1292 mb WMA version RAR size: 1647 mb Rating: 4.7 Votes: 634 Other Formats: MPC APE AA TTA MP3 MMF AAC Tracklist A Heyoke 21:47 B1 'Smatter 5:56 B2 Gnu Suite 12:47 Companies, etc. Phonographic Copyright (p) – ECM Records GmbH Published By – ECM Verlag Recorded At – Generation Sound Studios Credits Bass – Dave Holland Composed By – Kenny Wheeler Drums – Jack DeJohnette Engineer – Tony May Flugelhorn – Kenny Wheeler Layout – B. Wojirsch* Mixed By – Martin Wieland Photography By [Cover] – Tadayuki Naito* Piano – Keith Jarrett Producer – Manfred Eicher Notes Recorded June 1975, Generation Sound Studios, New York City. An ECM Production ℗ 1976 ECM Records GmbH Printed in W. Germany Barcode and Other Identifiers Matrix / Runout (Side A runout, stamped): ST-ECM 1069-A Matrix / Runout (Side B runout, stamped): ST-ECM 1069-B Rights Society: GEMA Other versions Category Artist Title (Format) Label Category Country Year ECM ECM 1069, 825 Kenny Gnu High (CD, ECM 1069, 825 Records, Germany Unknown 591-2 Wheeler Album, RE) 591-2 ECM Records Kenny Gnu High (LP, 25MJ 3327 ECM Records 25MJ 3327 Japan 1976 Wheeler Album) ECM ECM 1069, ECM Kenny Gnu High (LP, ECM 1069, ECM Records, Germany Unknown 1069 ST Wheeler Album, RE) 1069 ST ECM Records ECM ECM 1069, Kenny Gnu High (CD, ECM 1069, Records, US 2008 B0011628-02 Wheeler Album, RE, Dig) B0011628-02 ECM -
JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316)
Bio information: JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316) Cuneiform publicity/promotion dept.: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com [Press & world radio]; radio [-at-] cuneiformrecords.com [North American radio] www.cuneiformrecords.com FILE UNDER: JAZZ One of Europe’s foremost jazz musicians, John Surman is a masterful improvisor, composer, and multi-instrumentalist (baritone and soprano sax, bass clarinet, and synthesizers/electronics). For 45 years, he has been a major force, producing a prodigious and creative body of work that expands beyond jazz. Surman’s extensive discography as a leader and a side man numbers more than 100 recordings to date. Surman has worked with dozens of prominent artists worldwide, including John McLaughlin, Chick Corea, Chris McGregor’s Brotherhood of Breath, Dave Holland, Miroslav Vitous, Jack DeJohnette, Terje Rypdal, Weather Report, Karin Krog, Bill Frisell, Paul Motian and many more. Surman is probably most popularly known for his longstanding association with the German label ECM, who began releasing Surman’s recordings in 1979. Surman has won numerous jazz polls and awards and a number of important commissions. Every period of his career is filled with highlights, which is why Cuneiform is exceedingly proud to release for the first time ever this amazing document of the late 60s 'Brit-jazz' scene. Born in Tavistock, in England, Surman discovered music as a child, singing as soprano soloist in a Plymouth-area choir. He later bought a second- hand clarinet, took lessons from a Royal Marine Band clarinetist, and began playing traditional Dixieland jazz at local jazz clubs. -
A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period. -
The Jazz Rag
THE JAZZ RAG ISSUE 140 SPRING 2016 EARL HINES UK £3.25 CONTENTS EARL HINES A HIGHLY IMPRESSIVE NEW COLLECTION OF THE MUSIC OF THE GREAT JAZZ PIANIST - 7 CDS AND A DVD - ON STORYVILLE RECORDS IS REVIEWED ON PAGE 30. 4 NEWS 7 UPCOMING EVENTS 8 JAZZ RAG CHARTS NEW! CDS AND BOOKS SALES CHARTS 10 BIRMINGHAM-SOLIHULL JAZZ FESTIVALS LINK UP 11 BRINGING JAZZ TO THE MILLIONS JAZZ PHOTOGRAPHS AT BIRMINGHAM'S SUPER-STATION 12 26 AND COUNTING SUBSCRIBE TO THE JAZZ RAG A NEW RECORDING OF AN ESTABLISHED SHOW THE NEXT SIX EDITIONS MAILED 14 NEW BRANCH OF THE JAZZ ARCHIVE DIRECT TO YOUR DOOR FOR ONLY NJA SOUTHEND OPENS £17.50* 16 THE 50 TOP JAZZ SINGERS? Simply send us your name. address and postcode along with your payment and we’ll commence the service from the next issue. SCOTT YANOW COURTS CONTROVERSY OTHER SUBSCRIPTION RATES: EU £20.50 USA, CANADA, AUSTRALIA £24.50 18 JAZZ FESTIVALS Cheques / Postal orders payable to BIG BEAR MUSIC 21 REVIEW SECTION Please send to: LIVE AT SOUTHPORT, CDS AND FILM JAZZ RAG SUBSCRIPTIONS PO BOX 944 | Birmingham | England 32 BEGINNING TO CD LIGHT * to any UK address THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 FESTIVALS IN PERIL Fax: 0121 454 9996 Email: [email protected] In his latest Newsletter Chris Hodgkins, former head of Jazz Services, heads one item, ‘Ealing Jazz Festival under Threat’. He explains that the festival previously ran for eight Web: www.jazzrag.com days with 34 main stage concerts, then goes on: ‘Since outsourcing the management of the festival to a private contractor the Publisher / editor: Jim Simpson sponsorships have ended, admission charges have been introduced and now it is News / features: Ron Simpson proposed to cut the Festival to just two days. -
Cheltlf12 Brochure
SponSorS & SupporterS Title sponsor In association with Broadcast Partner Principal supporters Global Banking Partner Major supporters Radio Partner Festival Partners Official Wine Working in partnership Official Cider 2 The Times Cheltenham Literature Festival dIREctor Festival Assistant Jane Furze Hannah Evans Artistic dIREctor Festival INTERNS Sarah Smyth Lizzie Atkinson, Jen Liggins BOOK IT! dIREctor development dIREctor Jane Churchill Suzy Hillier Festival Managers development OFFIcER Charles Haynes, Nicola Tuxworth Claire Coleman Festival Co-ORdinator development OFFIcER Rose Stuart Alison West Welcome what words will you use to describe your festival experience? Whether it’s Jazz, Science, Music or Literature, a Cheltenham Festival experience can be intellectually challenging, educational, fun, surprising, frustrating, shocking, transformational, inspiring, comical, beautiful, odd, even life-changing. And this year’s The Times Cheltenham Literature Festival is no different. As you will see when you browse this brochure, the Festival promises Contents 10 days of discussion, debate and interview, plus lots of new ways to experience and engage with words and ideas. It’s a true celebration of 2012 NEWS 3 - 9 the power of the word - with old friends, new writers, commentators, What’s happening at this year’s Festival celebrities, sports people and scientists, and from children’s authors, illustrators, comedians and politicians to leading opinion-formers. FESTIVAL PROGRAMME 10 - 89 Your day by day guide to events I can’t praise the team enough for their exceptional dedication and flair in BOOK IT! 91 - 101 curating this year’s inspiring programme. However, there would be no Festival Our Festival for families and without the wonderful enthusiasm of our partners and loyal audiences and we young readers are extremely grateful for all the support we receive. -
DB Music Shop Must Arrive 2 Months Prior to DB Cover Date
05 5 $4.99 DownBeat.com 09281 01493 0 MAY 2010MAY U.K. £3.50 001_COVER.qxd 3/16/10 2:08 PM Page 1 DOWNBEAT MIGUEL ZENÓN // RAMSEY LEWIS & KIRK WHALUM // EVAN PARKER // SUMMER FESTIVAL GUIDE MAY 2010 002-025_FRONT.qxd 3/17/10 10:28 AM Page 2 002-025_FRONT.qxd 3/17/10 10:29 AM Page 3 002-025_FRONT.qxd 3/17/10 10:29 AM Page 4 May 2010 VOLUME 77 – NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
National Endowment for the Arts Annual Report 1993
L T 1 TO THE CONGRESS OF THE UNITED STATES: It is my special pleasure to transmit herewith the Annual Report of the National Endowment for the Arts for the fiscal year 1993. The National Endowment for the Arts has awarded over 100,000 grants since 1965 for arts projects that touch every community in the Nation. Through its grants to individual artists, the agency has helped to launch and sustain the voice and grace of a generation--such as the brilliance of Rita Dove, now the U.S. Poet Laureate, or the daring of dancer Arthur Mitchell. Through its grants to art organizations, it has helped invigorate community arts centers and museums, preserve our folk heritage, and advance the perform ing, literary, and visual arts. Since its inception, the Arts Endowment has believed that all children should have an education in the arts. Over the past few years, the agency has worked hard to include the arts in our national education reform movement. Today, the arts are helping to lead the way in renewing American schools. I have seen first-hand the success story of this small agency. In my home State of Arkansas, the National Endowment for the Arts worked in partnership with the State arts agency and the private sector to bring artists into our schools, to help cities revive downtown centers, and to support opera and jazz, literature and music. All across the United States, the Endowment invests in our cultural institutions and artists. People in communities small and large in every State have greater opportunities to participate and enjoy the arts. -
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality By Carlo Estolano Commentaries for the PhD folio of compositions University of York Music December 2017 2 3 Unbound Jazz: Composing and Performing in a Multi-Cultural Tonality Thesis submitted in partial fulfilment of a PhD degree in Music at The University of York, December 2018 by Carlo Estolano. Abstract This folio is conceived to propose and demonstrate music realisation of original compositions throughout the employment of elements of mainly two distinct sources: a selection from the wide palette of Brazilian folk styles that have improvisation as a strong element, which is internationally acknowledged as Brazilian Jazz; and its intersections with a certain style of European Jazz represented by artists notable by their keenness to combine elements from distinct musical genres with their Classical background, such as Ralph Towner, Jan Garbarek, John Abercrombie, Eberhard Weber, Kenny Wheeler, Terje Rypdal, Keith Jarrett to name a few. Both Brazilian and European approaches to Jazz seem to share processes of appropriation of foreign musical languages, as well as utilising characteristic features of their own traditions. Another common ground is their relation with some elements and procedures of classical music. The methodology to accomplish an organized collection of musical material was to divide them in five major influences, part of them by composers and part by genres notable by having evolved through absorbing elements from distinct cultural sources. In five projects, fifteen original compositions are provided along with their recorded and/or filmed performances and commentaries about the compositional aspects, concerningthe style or composer focused on. -
NJA British Jazz Timeline with Pics(Rev3) 11.06.19
British Jazz Timeline Pre-1900 – In the beginning The music to become known as ‘jazz’ is generally thought to have been conceived in America during the second half of the nineteenth century by African-Americans who combined their work songs, melodies, spirituals and rhythms with European music and instruments – a process that accelerated after the abolition of slavery in 1865. Black entertainment was already a reality, however, before this evolution had taken place and in 1873 the Fisk Jubilee Singers, an Afro- American a cappella ensemble, came to the UK on a fundraising tour during which they were asked to sing for Queen Victoria. The Fisk Singers were followed into Britain by a wide variety of Afro-American presentations such as minstrel shows and full-scale revues, a pattern that continued into the early twentieth century. [The Fisk Jubilee Singers c1890s © Fisk University] 1900s – The ragtime era Ragtime, a new style of syncopated popular music, was published as sheet music from the late 1890s for dance and theatre orchestras in the USA, and the availability of printed music for the piano (as well as player-piano rolls) encouraged American – and later British – enthusiasts to explore the style for themselves. Early rags like Charles Johnson’s ‘Dill Pickles’ and George Botsford’s ‘Black and White Rag’ were widely performed by parlour-pianists. Ragtime became a principal musical force in American and British popular culture (notably after the publication of Irving Berlin’s popular song ‘Alexander’s Ragtime Band’ in 1911 and the show Hullo, Ragtime! staged at the London Hippodrome the following year) and it was a central influence on the development of jazz. -
Jazzletter 93024--024-0 April 1993 V01
» » G606 L665 P.O. Box 240 Ojai, Calif. Jazzletter 93024--024-0 April 1993 V01. 12 Na 4 Carl Barriteau, born in Trinidad February 7, 1914, grew up Come Back Last Summer in Maracaibo, Venezuela. He moved to London in the late Part Two 1930s and played with Ken (Snake Hips) Johnson’s West Indian Swing Band. He formed his own recording group in the middle ‘By this time it was Christmas, the end of ’52,‘ Kermy said. ‘I of World War II and entertained British and American troops left Canada atthe end of September or early October. after the war, in Europe, North Africa, and Southeast Asia. ‘I read that they needed helpers in the post office for the ‘I’m not sure when I went with that band,‘ Kenny said. Christmas mail. So I got a job doing that. But meanwhile I’d ‘Wait a minute, I can pin it, because it was the year I came met Doreen on the telephone. The young Scotsman used to go over to visit,‘ I said. ‘You were with that band in 1954.‘ with Doreen’s girlfriend, tmbeknown to the guy he was living ‘Carl was great,‘ Kenny said. ‘I loved working for him. I 'rith. Doreen rang up one day to say that her girlfriend couldn’t really shouldn’t have taken the job, because I didn’t have the make this date with the Scotsman. So being young and stupid, chops for it. It was a really hard book. There was a front line I suppose, I started to kid around with her on the phone, and of about five people. -
EFG London Jazz Festival 2017 at the Barbican Friday 10 – Sunday 19 November
Monday 23 October 2017 EFG London Jazz Festival 2017 at the Barbican Friday 10 – Sunday 19 November Just announced - Renowned keyboardist Django Bates is now confirmed as a featured soloist for the performance of Joe Zawinul’s masterpiece Stories of the Danube Featured artists across the festival at the Barbican include: Pat Metheny, Black Top featuring Orphy Robinson, Pat Thomas, Jean Paul Bourelly and Anthony Joseph, Chucho Valdés + Gonzalo Rubalcaba, Zakir Hussain, Roland Perrin, Chris Thile and Brad Mehldau, Phronesis + Engines Orchestra, Herbie Hancock, Robert Glasper, Carminho, Pharoah Sanders Quartet + Denys Baptiste + Alina Bzhezhinska, Terence Blanchard Quartet, Django Bates The EFG London Jazz Festival - produced by Barbican Associate Producer Serious - celebrates its 25th anniversary this year. The annual event once again presents an array of global talent over a ten day programme of performances, film screenings and talks. As the landmark festival reaches this significant milestone the Barbican’s stages are preparing to host jazz legends, as well as future stars of the genre. Highlights of the EFG London Jazz Festival 2017 include: An event exploring the dynamic between jazz and the paintings of American artist Jean-Michel Basquiat in Basquiat and Jazz featuring Black Top and guests (10 November) Chucho Valdés and Gonzalo Rubalcaba, the leading living exponents of two generations in the great Cuban piano tradition perform together (11 November) The Portuguese fado singer Carminho celebrates the music of Antônio Carlos Jobim,