DOCSLIB.ORG

WDR 3 Jazz & World, 06. Juli 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WDR 3 Jazz & World, 06. Juli 2017 WDR 3 Jazz & World, 06. Juli 2017 Szene NRW: Jazz in Köln: das 5. SummerKLAENG Festival und die Konzertreihe Chamber Remix Cologne 22:04 Uhr - 00:00 Uhr Stand: 06.07.2017 E-Mail: [email protected] | Online: jazz.wdr.de Moderation: Thomas Loewner Redaktion: Bernd Hoffmann Laufplan 1. Metro North K: Riaz Khabirpour 5:13 RIAZ KHABIRPOUR Konnex Records KCD5234; LC:08718 CD: The Seeker 2. Red-Bellied Sticklebag K: Shannon Barnett 0:25 SHANNON BARNETT QUARTETT Bandcamp CD: Juan Playschool 3. Kross K: Elisabeth Coudoux 0:31 PHASE::VIER KLAENG Records 018 CD; LC: 30645 CD: Balkongeflüster 4. Sewee K: Laura Totenhagen 0:54 OF CABBAGES AND KINGS Konzert-Mitschnitt IMM Düsseldorf 5. Nag Champa K: Akua Naru 0’57 AKUA NARU JAKARTA JAKARTA 031; LC: 15260 CD: THE JOURNEY AFLAME 6. Wood Stone String Songs K:Anna Lindblom 0:34 ANNA LINDBLOM Live-Mitschnitt CRC 8.1.2017 7. Remix: Wood Stone String Songs K: Anna Lindblom / Udo Moll 0:50 UDO MOLL Live-Mitschnitt CRC 8.1.2017 8. Wüstenhochzeit K: Benjamin Leuschner / 0:25 DUO SEIDENSTRASSE Chanyuan Zhao Live-Mitschnitt CRC 4.6.2017 9. Remix Duo Seidenstrasse K: Benjamin Leuschner / 0:37 THOMAS PAUß Charyuan Zhao / Thomas Pauß Live-Mitschnitt CRC 4.6.2017 10. Loose, Part II: Kent K: Albrecht Maurer 0:46 FLAUTANDO + A. MAURER Demo-Aufnahme Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 1 WDR 3 Jazz & World, 06. Juli 2017 Szene NRW: Jazz in Köln: das 5. SummerKLAENG Festival und die Konzertreihe Chamber Remix Cologne 22:04 Uhr - 00:00 Uhr Stand: 06.07.2017 E-Mail: [email protected] | Online: jazz.wdr.de 11. Paris In The Rain K:Sarah McKenzie 3:41 SARAH MCKENZIE Impulse! / Universal 5728243; LC: 00236 CD: Paris In The Rain 12. No Farewell To The Fanfare Hell K: Marena Whitcher 2:09 ECLECTA Tourbo / Bandcamp CD: A Symmetry 13. Hofstetten K: Nils Wogram 0:30 NOSTALGIA TRIO nWog Records nwog012, LC: 12366 CD: Nature 14. Super Blue K: Ira Ingher 0:25 FREDDIE HUBBARD Mosaic MSC 5001, LC: 04503 CD: Super Blue 15. Moose The Mooche K: Charlie Parker 0:35 AXEL FISCHBACHER QUINTETT JazzSick 5098JS; LC: 11708 CD: Five Birds 16. Sanctuary K: Nils Wogram 0:45 NOSTALGIA TRIO nWog Records nwog012, LC: 12366 CD: Nature 17. Half Way Home K: Mike Stern 5:30 MIKE STERN Heads Up International 2011-12; LC: 06488 CD: All Over The Place 18. Vardja K: Kristjan Randalu 6:32 RANDALU + MONDER Fresh Sound New Talent FSNT 403; LC: 10461 CD: Equilibrium 19. Hello Tokar K: traditionell / A.:Ensemble FisFüz 4:38 ENSEMBLE FISFÜZ Pianissimo Musik PM 0935; LC: 20164 CD: Bonsai – 20 Years Of Oriental Jazz 20. Ihmail Ya Khail K: Frank London 4:00 BANDA INTERNATIONALE Promo CD Banda Internationale CD: Welcome to the Hotel Leonardo Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 2 WDR 3 Jazz & World, 06. Juli 2017 Szene NRW: Jazz in Köln: das 5. SummerKLAENG Festival und die Konzertreihe Chamber Remix Cologne 22:04 Uhr - 00:00 Uhr Stand: 06.07.2017 E-Mail: [email protected] | Online: jazz.wdr.de 21. Zillertaler Walzer K: traditionell 0:25 ALMA Col Legno WWE 1 CD 20428; LC: 07989 CD: Transalpin 22. Ruza K: Zarko Jovasevic 0:55 MR. ZARKO Pyrmusic PYR22 CD: Electric Gypsy Disco Noise 23. Oui Oui Oui K: Rémi Leclerc 1:05 HUMANOPHONES Eigenverlag; LC: 20256 CD: Corpus 24. Drops K: Mimmi Laaksonen 0:35 TUULTENPESÄ Live Aufnahme 25. Dipat K: traditionell 1:03 LOPEZ/PETRAKIS/CHEMIRANI Molpé Music CD: Mavra Froudia 26. Khor Halat K: Bertrand Dicale 0:46 NISHTIMAN PROJECT Accords Croisés AC 164 CD: Kobane 27. Salam Ya’lbint K: traditionell 1:10 GULAZA Eigenverlag CD: Gulaza 28. Siddhi Vinayakam K: M. Dikshitar 0:55 CHITRAVINA N RAVIKIRAN Magna Sound CD: Gottu Vadhyam 29. Melancolía K: Gerardo Jerez Le Cam 0:47 GERARDO JEREZ LE CAM Label Ouest 306.018.2 CD: Reflejos migrantes 30. Casa K: Emicida 1:10 EMICIDA Sony Music 8 88751452123; LC: 06667 CD: Sobre Crianca Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 3 WDR 3 Jazz & World, 06. Juli 2017 Szene NRW: Jazz in Köln: das 5. SummerKLAENG Festival und die Konzertreihe Chamber Remix Cologne 22:04 Uhr - 00:00 Uhr Stand: 06.07.2017 E-Mail: [email protected] | Online: jazz.wdr.de 31. No neio do üitu K: traditionell 0:50 DONA ONETE Mais Um Discos; LC: 06667 CD: Banzeiro 32. Bang Bang K: Asaf Avidan 1:20 ASAF AVIDAN Universal CD: Gold Shadow 33. Musonsu K: J.B. Ilola 1:05 JUPITER / OKWESS Editions Zamora CD: Troposphere 13 34. Godmother K: F.L. Diabate 0:50 TRIO DA KALI Carthage Music CD: Trio da Kali 35. Imarhan K: I.M. Ben Abderahmane 3:38 IMARHAN Inear Publishing CD: Radio Edit / Single 36. Páslo Dievca K: Zuzana Leharová 5:43 ZUZANA LEHAROVÁ QUARTETT unveröffentlichte Demo-Aufnahme 37. Seen Dancing K: Sebastian Gramss 6:32 SLOWFOX Traumton Records 4645; LC: 05597 CD: Gentle Giants 38. Tight K: Betty Carter 3:00 JAZZMEIA HORN Prestige Records 00112; LC: 00313 CD: Social Call 39. Social Call K: Gigi Gryce 2:20 JAZZMEIA HORN Prestige Records 00112; LC: 00313 CD: Social Call 40. Eye See You K: Jazzmeia Horn 2:30 JAZZMEIA HORN Prestige Records 00112; LC: 00313 CD: Social Call 41. People Make The World Go Round K: Thomas Bell / Linda Creek 6:45 JAZZMEIA HORN Prestige Records 00112; LC: 00313 CD: Social Call Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 4 WDR 3 Jazz & World, 06. Juli 2017 Szene NRW: Jazz in Köln: das 5. SummerKLAENG Festival und die Konzertreihe Chamber Remix Cologne 22:04 Uhr - 00:00 Uhr Stand: 06.07.2017 E-Mail: [email protected] | Online: jazz.wdr.de 42. I’m Going Down K: Norman Whitfield 1:55 JAZZMEIA HORN Prestige Records 00112; LC: 00313 CD: Social Call 43. New Year’s Blues K: Marius Peters 2:30 MARIUS PETERS TRIO + unveröffentlichte Demo-Aufnahme HEINER WIBERNY Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 5 .
Load more

Recommended publications
  • 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
    [Show full text]
  • Adéla Jonášová
    Wikipedista:Alfi51 Žiji v Českém Těšíně. Aleš Havlíček Jsem důchodce a rád si hraji s počítačem. Články mnou založené Alannah Currie Aldeburgh Angie Dickinson Alexandre Francois Debain Alex Sadkin Andělín Grobelný Adéla Jonášová Anita Carter Axel Stordahl The Beatmen Beatles For Sale Bedřich Havlíček Berthold Bartosch Biela voda (přítok Teplice) Billy Vera Bob Chester Bobbi Kristina Brown Bobby Vee Bobby Vinton Carlene Carter Carl Perkins Chuck Jackson Dana Vrchovská Eydie Gormé Emil Vašek Festival Kino na hranici Flora Murrayová Frankie Avalon Frank P. Banta French press Aleš v roce 2008 George Dunning George Botsford Gene Greene Hal Základní informace David Hans Mrogala Harmonium Harry James Helen Carter Help! (album) Howard Deutch Ida Münzbergová Narození 21. dubna 1951 Ina Ray Hutton Ipeľská pahorkatina Ivana Ostrava, Česko Wojtylová Izabela Trojanowska Jakub Mátl James Scott Žánry pop, blues (hudebník) Jan Hasník Javorianska hornatina Jerzy Povolání hudební skladatel, počítačový Kronhold Jimmy Durante John Keeble José Feliciano Joseph Lamb Judy Clay June Hutton Jungle fanatik a wikipedista Funk Kateřina Kornová Koruna (hudba) Kunešovská Nástroje kytara hornatina Ladislav Báča Largo (Florida) LaVerne Sophia Aktivní roky dosud Andrews Les Brown (hudebník) Let It Be (album) Louis Manžel(ka) Dagmar Krzyžánková Prima Louisa Garrett Andersonová Madelyn Deutch Maggi Hambling Martha a Tena Maxene Angelyn Andrews Děti Aleš, Martin Mezinárodní divadelní festival Na hranici Millicent Garrett Rodiče Bedřich Havlíček, Fawcett Mira Kubasińska Mud
    [Show full text]
  • Individualidade E Coletividade Na Improvisação
    UNIVERSIDADE FEDERAL DE JUIZ DE FORA INSTITUTO DE ARTES E DESIGN MESTRADO EM ARTES, CULTURA E LINGUAGENS Rafael Gonçalves INDIVIDUALIDADE, NARRATIVIDADE E INTERAÇÃO EM MÚSICA POPULAR IMPROVISADA Juiz de Fora 2017 Rafael Gonçalves INDIVIDUALIDADE, NARRATIVIDADE E INTERAÇÃO EM MÚSICA POPULAR IMPROVISADA Dissertação apresentada ao programa de Mestrado em Artes, Cultura em Linguagens, do Instituto de Artes e Design da Universidade Federal de Juiz de Fora como requisito parcial para obtenção do grau de Mestre em Artes, Cultura e Linguagens. Área de concentração: Teoria e Processos Poéticos Interdisciplinares, linha de pesquisa: Estudos Interartes e Música. Orientador: Prof. Dr. Luiz Eduardo Castelões Pereira da Silva. Juiz de Fora 2017 AGRADECIMENTOS Muito obrigado a todos que contribuíram direta e indiretamente para a realização deste trabalho - professores, colegas e servidores do Mestrado em Artes e do curso de Música da UFJF. Agradeço especialmente ao orientador Luiz Eduardo Castelões, por toda dedicação e atenção, e à minha família, Bruno e Iolanda, pelo apoio em todos os momentos. Como um músico, você tem que acreditar na sua própria expressão, e você não pode olhar em volta para obter a resposta. Como outra pessoa saberia? Essa é a lição subjacente da música de Charlie Parker: seja você mesmo. Duke Ellington disse da melhor forma: "é melhor ser um número um de você mesmo do que um número dois de outra pessoa". (MARSALIS; HINDS, 2005, p. 20 e 21, tradução nossa). RESUMO O presente trabalho discute como se dá a narratividade das improvisações em música popular improvisada - analisando exemplos do Jazz e da Música Instrumental Brasileira. No primeiro capítulo, discutimos a busca de cada intérprete pelo desenvolvimento da sua "voz" ou de sua individualidade como improvisador, por elementos como: seu vocabulário melódico de improvisação, a busca pela sua sonoridade, o desenvolvimento de sua técnica.
    [Show full text]
  • Print Version (Pdf)
    Special Collections and University Archives : University Libraries Miscellaneous Manuscripts 1337-2003 6 boxes (5 linear ft.) Call no.: MS 719 Collection overview Miscellaneous Manuscripts is an artificial collection that brings together various single items or small groups of related materials. A wide range of topics and formats is represented, although there is an emphasis on Massachusetts history. See similar SCUA collections: African American Agriculture Business and industry Education Family Jazz Massachusetts Military New England Printed materials Women Background SCUA regularly receives individual manuscripts and small groupings of materials that are historically valuable, but which do not stand on their own as collections. For administrative purposes, most of these are aggregated into an artificial grouping, the Miscellaneous Manuscripts Collection. Scope of collection Truly miscellaneous in scope and containing a wide Whaling ship (New Bedford, Mass.) range of content and types of formats, the Miscellaneous Manuscripts Collection spans the full range of subjects, time periods, and regions consistent with SCUA's collecting policy, with a particularyw emphasis on Massachusetts history. Materials are added to the collection on a regular basis. Inventory 77 Records and Folklore: Jazz, Blues and folk Recordings for 1976 Box 1: 1 the Connoisseur Adams, Abigail: Letter to John Quincy Adams 1751 May Box 5: 1 Adams, J. W.: Advertisement: Doolittle's Black Cap Raspberry ca. 1890 Box 1: 2 Advertisement: Bob Scobey & his Frisco Band ca. 1965 Box 1: 3 Advertisement for the Press of Robert Grabhorn and Andrew ca. 1972 Box 5: 2 Hoyem Agriculture: handbills and ribbon 1856-1871 Box 1: 4 Allen, Walter C.: Announcing the Publication of Jazz 1958 Box 1: 5 Monographs No.
    [Show full text]
  • March April 2006
    march/april 2006 issue 280 free jazz now in our 32nd year &blues report www.jazz-blues.com Jason Moran and The Bandwagon Randy Weston Yellowjackets Diane Schuur PLUS...Regina Carter, Bela Fleck & the Flecktones, Manhattan Transfer, Mulgrew Miller, Rebirth Brass Band...Jazz Meets Hip-Hop, Jazz Brunch & more... Get The Scoop...INSIDE! Published by Martin Wahl Communications Editor & Founder Bill Wahl Layout & Design Bill Wahl Operations Jim Martin Pilar Martin Contributors Michael Braxton, Mark Cole, JazzFest Time is Here Chris Hovan, Nancy Ann Lee, Festival is Expanding to Year-Round Live Jazz Peanuts, Mark Smith, Duane Verh and Ron Weinstock. For close to three decades now, mance by the Manhattan Transfer Jazz & Blues Report has featured will be held at the Ohio Theatre on Check out our new, updated web the Tri-C JazzFest in our issue at page. Now you can search for CD Saturday, April 22. Tri-C JazzFest Reviews by artists, Titles, Record this time every year. Once again, we Cleveland officially kicks off on Labels or JBR Writers. Twelve years are happy to announce yet another Wednesday April 26 at 5 p.m. with a of reviews are up and we’ll be going edition of this premier jazz festival, New Orleans-style “second line” pa- all the way back to 1974! and their expansion to year-round rade, complete with fans, admirers jazz. and festival revelers. Leading the Tri- Now in its 27th year, Tri-C Address all Correspondence to.... C JazzFest Second Line is the Re- Jazz & Blues Report JazzFest Cleveland has been a dy- birth Brass Band, who will end the 19885 Detroit Road # 320 namic force in cultivating the next procession at the House of Blues for Rocky River, Ohio 44116 generation of jazz music lovers a swinging party with The Tri-C Jazz Main Office .....
    [Show full text]
  • Morgenstern, Dan. [Record Review: Art Tatum: Piano Starts Here] Down
    monies were explored with a sense of approaching a musical dead end. For the surprise, but the shifts from one harmonic benefit of the musicians and the music as color to another soon become predictable. a whole, I hope I'm wrong. -Kart Unfortunately the design of the album emphasizes Hancock's deficiencies. The Harold Mabern tracks with horns feature opening and A FEW MILES f'ROM MEMPHIS-Prestige closing statements by the ensemble, sand­ 7568: A l',w Miles from Mem/ihis; WrrJk;,,• Bark• A Treat /or Bea; Syder, Bln,; There's a Ki,,d oi wiched around Hancock's playing. There Jllub; B & B; To Wane. are no other solos, although the horns Personnel: George Colcm~n. Buddy Ter ry, ten. or saxophones; Mabern, piano; Bill Lee, bass• occasionally contribute a background fig­ \Valter Perkins, drums, 1 ure, Rating: * * l/2 Hancock's "bluesy" playing on First Trip Harold Mabern 's first album as a leader BOTTOMSVP sounds like updated Billy Taylor. On the is an unpretentious, blues-based date­ two ballad-like pieces, Speak Like a Child three of the tunes are blues. BARRYHARRIS/BENTUCKl:~/ALANDAWSON and Goodbye to Childhood, the rhythmic Mabern has done some clever writing impulse almost disappears, and the play­ for the two tenors. On To Wane, the ing anticipates the Muzak of the 1970s. effect of voicing the horns in parallel har­ Tyner is more successful. His music is mony and then having one tenor move almost as melodicalp' barren as Hancock's, away from his previous harmonic posi­ but he can achieve rhythmic variety by tion while the other stays put is especially tying his phrases to the drummer's accents.
    [Show full text]
  • Early John Coltrane John Coltrane Side Steps
    Wednesday 5/06 Early John Coltrane John Coltrane Side Steps Prestige 2009 https://100greatestjazzalbums.blogspot.com/2009/10/john-coltrane-side-steps.html https://concord.com/concord-albums/side-steps-2/ • Elmo Hope Informal Jazz PRESTIGE 1956 https://londonjazzcollector.wordpress.com/2011/11/06/elmo-hope-sextet-informal-jazz-1956/ • Tadd Dameron Mating Call PRESTIGE 1957 https://www.npr.org/sections/ablogsupreme/2011/02/24/133899721/tadd-dameron-bebop-romanticist • Sonny Rollins Tenor Madness PRESTIGE 1956 https://www.allaboutjazz.com/tenor-madness-sonny-rollins-prestige-records-review-by-j-hunter.php • Mal Waldron Mal/2 Prestige 7111 PRESTIGE 1957 https://www.allmusic.com/album/mal-2-prestige-7111-mw0000272530 • Red Garland All Mornin’ Long PRESTIGE 1957 https://londonjazzcollector.wordpress.com/2011/11/17/red-garland-quintet-all-mornin-long-1957-2/ • Red Garland Soul Junction PRESTIGE 1957 https://www.allmusic.com/album/soul-junction-mw0000649523 • Red Garland High Pressure PRESTIGE 1957 http://flophousemagazine.com/2016/02/05/red-garland-high-pressure-prestige-195762/ • Red Garland Dig It PRESTIGE 1958 https://www.allmusic.com/album/dig-it%21-mw0000202697 • Ray Draper Quintet Feat’ John Coltrane PRESTIGE 1958 https://www.allmusic.com/album/the-ray-draper-quintet-featuring-john-coltrane-mw0000873416 • Gene Ammons The Big Sound PRESTIGE 1958 https://www.allmusic.com/album/big-sound-mw0000675253 • Gene Ammons Groove Blues PRESTIGE 1958 https://www.npr.org/2008/04/16/89689980/gene-ammons-boss-tenor-sax • John Coltrane Blue Train BLUE NOTE 1958 https://thejazzloop.wordpress.com/2014/02/04/album-of-the-week-john-coltrane-blue-train/ https://www.npr.org/2011/06/17/4555740/john-coltrane-blue-train https://www.allmusic.com/album/blue-train-mw0000187969 “I thought the Lord had taken the gift of music away from me.
    [Show full text]
  • "Seagrams Part 7"
    Elektra To Issue 1 1 LP’s For Feb. WATCH FOR 4 Albums In Mar. UA Sets NEW YORK— United Artists Records men,” a new Folk group making their PRESTIGE'S NEW YORK—Elektra Records will is unveiling eleven new packages this album debut. issue four albums next month under month, including pop, classical and Jazz releases include “Patterns” by mm SMASH SINGLE the promotional tag of “March Merry- jazz releases. the Modern Jazz Quartet, “Benny Heading the pop albums is “Latin Golson and The Philadelphians,” Go-Round,’’ The LP’s include: “From by Pianos” by Ferrante and Teicher and “Paul Quinichette,” “Jazz Calendar” Bondage To Freedom,” Theodore Bikel the sound track of the new Clark featuring Benny Carter and his or- singing freedom songs of many lands; Gable, Marilyn Monroe, Montgomery chestra, and “Down Home Reunion” “Up In The Air,” with Oscar Brand; Clift starrer, “The Misfits.” Also in with Phineas Newborn, Calvin New- the pop category is “Magnificent Mo- born and an all-star group. “The Dudain,” an Israeli vocal group tion Picture Music” by Don Costa and On the classical side, “Great making their initial U.S. disk show- his orchestra, “Music For Cocktails” Waltzes” played by Walter Hautzig ing; “Balalaika,” with Sasha Polinoff. by Til Dieterle and “The Highway- is also included. Label veep and general manager, Art Talmadge pointed out that the sound track of “The Misfits” was Mercury Launches Phase 2 In PPS Promo rushed out as a result of heavy re- quests from distribs throughout the CHICAGO—-At a meeting of Mercury not only at present consumers, but country following the national release Record’s A & R and field sales staff also at new stereo buyers.
    [Show full text]
  • Thelonious Monk Misterioso (Riverside) Misterioso Thelonious
    Thelonious Monk Misterioso (Riverside) Misterioso Thelonious Monk, piano; Johnny Griffin, tenor sax; Ahmed Abdul-Malik, bass; Roy Haynes, drums. 1. Nutty (Thelonious Monk) 5:25 2. Blues Five Spot (Thelonious Monk) 8:17 Produced by ORRIN KEEPNEWS 3. Let's Cool One (Thelonious Monk) 9:16 Cover Painting by GIORGIO DeCHIRICO 4. In Walked Bud (Thelonious Monk) 11:23 Cover Design by PAUL BACON 5. Just A Gigolo (Brammer--Caesar) 2:09 Recording by RAY FOWLER 6. Misterioso (Thelonious Monk) 10:54 Recorded on August 1, 1958 7. 'Round Midnight (Thelonious Monk) 6:15 8. Evidence (Thelonious Monk) 10:14 This album captures the exciting core of an evening's performance by a unique jazz group at an unusual club. The group is unique simply because any jazz unit led and moulded by Thelonious Monk deserves that adjective; the club is unusual because, as a casual bar deep down on New York's East Side, it contrasts sharply with the formal chic-ness or the alternative high-pressure pseudo-hipness of most of today's jazz spots. And, when the future jazz histories are written, the combination of Monk and the Five Spot may go down as one of the important legends and landmarks. For it was in this club that Thelonious spent the vast bulk of his working hours during 1957 and 58, years in which the critics and the jazz public seemed finally to be making themselves fully aware of the vast significance of Monk's role in jazz and also of the great vitality and sheer enjoyment value of his writing and playing.
    [Show full text]
  • Performing Authenticity “In Your Own Sweet Way”
    Journal of Jazz Studies vol. 12, no. 1, pp. 72-91 (2019) Performing Authenticity “In Your Own Sweet Way” Kelsey A. Klotz In a 2001 interview for a PBS documentary titled Rediscovering Dave Brubeck, jazz critic Ira Gitler volunteered that the songs “In Your Own Sweet Way” and “The Duke,” both Dave Brubeck originals, became jazz standards “when Miles Davis played them, that gave them the official stamp of approval.”1 When inter- viewer Hedrick Smith asked Gitler why Davis could give the songs a stamp ap- proval that Brubeck himself could not, Gitler responded, “Well because Miles Davis, in giving his stamp of approval to these Brubeck compositions by recording them, here was a black jazz man who was respected in both the black and white circles, and when he did it black people had to say, you know, ‘that’s cool.’”2 Put simply, Davis’s versions were “cool”—were somehow authentic—while Brubeck’s versions were not, despite being considered by most critics and audiences to be part of the cool jazz genre. In distinguishing between these uses of the term “cool,” Gitler rooted Davis’s authenticity and jazz authority in his blackness, implying that Brubeck’s whiteness kept him from achieving the same status. However, it was not enough for Davis to be accepted as an authority figure by black musicians, critics, and audiences; as Gitler notes, Davis’s authority also came from “white circles.” For Gitler, Davis only “counted” when white critics and au- diences saw and heard him; however, his authority in jazz could only be deter- mined by black people who said, “that’s cool.” But despite being recognized by black and white audiences, Gitler attributed Davis’s authenticity to his blackness, and the blackness of those confirming his authority, rather than his musical, sty- listic, or improvisational prowess, which ultimately diminished the extent to which Davis was recognized by whites beyond his race.
    [Show full text]
  • Thelonious Monk Timeline
    Thelonious Monk Timeline 1917. Thelonious Monk was born on October 10, 1917 in Rocky Mount, North Carolina. His badly written birth certificate misspelled his first name as "Thelious" or "Thelius". It also did not list his middle name, taken from his maternal grandfather, Sphere Batts. 1921. When he was just four, his parents, Barbara and Thelonious, Sr., moved to 2 43 West 63rd Street, in Manhattan, New York City, where he would spend the next five decades of his life. 1928. Monk began studying classical piano when he was eleven but had already shown some aptitude for the instrument. "I learned how to read before I took lessons," he later recalled. "You know, watching my sister practice her lessons over her shoulder." 1930. By the time Monk was thirteen, he had won the weekly amateur competition at the Apollo Theater so many times that the management banned him from re­entering the contest. 1934. At age seventeen, Monk dropped out of the esteemed Stuyvesant High School to pursue his music career. He toured with the so­called "Texas Warhorse," an evangelist and faith healer, before assembling a quartet of his own. Although it was typical to play for a big band at this time, Monk preferred a more intimate work dynamic that would allow him to experiment with his sound. 1941. At age twenty four, Monk began working at Minton's Playhouse in Harlem, where he joined the house band and helped develop the school of jazz known as bebop. Alongside Charlie Parker and Dizzy Gillespie, he explored the fast, jarring, and often improvised styles that would later become synonymous with modern jazz.
    [Show full text]
  • Spring 2004) Refereed Journal & Newsletter of the South Central Chapter — the College Music Society ______
    South Central Music Bulletin ISSN 1545-2271 Volume II, Number 2 (Spring 2004) Refereed Journal & Newsletter of the South Central Chapter — The College Music Society ______________________________________________________________________________ Editor: Dr. Nico Schüler, Texas State University-San Marcos Editorial Review Board: Dr. Paula Conlon, University of Oklahoma Dr. Lynn Job, University of North Texas Dr. Kevin Mooney, University of Texas at Austin Sunnie Oh, University of Oklahoma Dr. Deborah Schwartz-Kates, University of Texas at San Antonio Dr. Robin Stein, Texas State University-San Marcos Dr. Paolo Susanni, Clavier Werke School of Music (Austin) Dr. Lori Wooden, University of Central Oklahoma Subscription: Free This Journal can be downloaded from http://www.txstate.edu/scmb/ Publisher: South Central Chapter — The College Music Society c /o Nico Schüler, Ph.D. Texas State University-San Marcos School of Music 601 University Drive San Marcos, TX 78666 USA ______________________________________________________________________________ Ó Copyright 2004 by the Authors. All Rights Reserved. South Central Music Bulletin II/2 (Spring 2004) ______________________________________________________________________________ Table of Contents Message from the Editor by Nico Schüler ... Page 4 Visit the CMS South Central Website ... Page 4 Visit the South Central Music Bulletin (SCMB) Website ... Page 4 CMS South Central Annual Meeting 2004: Preliminary Conference Program ... Page 5 Articles: Polka in the Plains: Ethnic Identity and the Mainstream by Addie A. deHilster ... Page 8 The Roots of and Stylistic Influences on Red Garland’s Jazz Piano Style by Ryan Davis ... Page 13 An Unlikely Prophet? A Cultural Perspective on the Music and Life of Bob Marley by David Terrell ... Page 19 Elements of Romanticism in Piano Sonata op.
    [Show full text]