WDR 3 Jazz & World, 06. Juli 2017
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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 -
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 -
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. -
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. -
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 ..... -
![Morgenstern, Dan. [Record Review: Art Tatum: Piano Starts Here] Down](https://docslib.b-cdn.net/cover/2337/morgenstern-dan-record-review-art-tatum-piano-starts-here-down-3782337.webp)
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. -
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. -
"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. -
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. -
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. -
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. -
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.