Charlie Haden Spiritual Transcription
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Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler. -
A Conversation with Petra Haden by Frank Goodman (Puremusic.Com, 1/2009)
A Conversation with Petra Haden by Frank Goodman (Puremusic.com, 1/2009) A short while back, we interviewed a fascinating accordionist, music-oriented photographer, and image and scene maker in Portland named Alicia J. Rose, aka Miss Murgatroid. She'd taken very compelling photos of several bands we'd covered (Sophe Lux and Boy Eats Drum Machine come to mind), and then we stumbled on to her signature accordion work, which often involved multiple effects pedals. Her best known CD was one she'd woven with her friend and musical partner Petra Haden. Although you might know Petra as a member of the Decemberists, or as one of Charlie Haden's daughters (the legendary jazz bassist), or the guest soloist in any of many bands (including the recent Foo Fighters tour), she is still and deservedly best known for her a capella version of the entire Sell Out record by The Who. (She later cut a record with Bill Frisell that happens to be rather divine, called simply Petra Haden and Bill Frisell.) But the Petra project that ignited our conversation was Hearts and Daggers, the long awaited and satisfying reunion with Miss Murgatroid. Some sounds are best heard before described, and you'll find the customary links to those audio clips along the way. We're sure you'll find Petra's words interesting, as we certainly did. And thanks to Miss Murgatroid, aka Alicia J. Rose, who led us here. Puremusic: Let's talk first about this recent release with Miss Murgatroid, Hearts and Daggers. We like that a lot. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Windward Passenger
MAY 2018—ISSUE 193 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE BURRELL WINDWARD PASSENGER PHEEROAN NICKI DOM HASAAN akLAFF PARROTT SALVADOR IBN ALI Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2018—ISSUE 193 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : PHEEROAN aklaff 6 by anders griffen [email protected] Andrey Henkin: [email protected] Artist Feature : nicki parrott 7 by jim motavalli General Inquiries: [email protected] ON The Cover : dave burrell 8 by john sharpe Advertising: [email protected] Encore : dom salvador by laurel gross Calendar: 10 [email protected] VOXNews: Lest We Forget : HASAAN IBN ALI 10 by eric wendell [email protected] LAbel Spotlight : space time by ken dryden US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIVAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD ReviewS 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Miscellany 43 Suzanne Lorge, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Event Calendar 44 Andrew Vélez, Scott Yanow Contributing Writers Kevin Canfield, Marco Cangiano, Pierre Crépon George Grella, Laurel Gross, Jim Motavalli, Greg Packham, Eric Wendell Contributing Photographers In jazz parlance, the “rhythm section” is shorthand for piano, bass and drums. -
The Twenty Greatest Music Concerts I've Ever Seen
THE TWENTY GREATEST MUSIC CONCERTS I'VE EVER SEEN Whew, I'm done. Let me remind everyone how this worked. I would go through my Ipod in that weird Ipod alphabetical order and when I would come upon an artist that I have seen live, I would replay that concert in my head. (BTW, since this segment started I no longer even have an ipod. All my music is on my laptop and phone now.) The number you see at the end of the concert description is the number of times I have seen that artist live. If it was multiple times, I would do my best to describe the one concert that I considered to be their best. If no number appears, it means I only saw that artist once. Mind you, I have seen many artists live that I do not have a song by on my Ipod. That artist is not represented here. So although the final number of concerts I have seen came to 828 concerts (wow, 828!), the number is actually higher. And there are "bar" bands and artists (like LeCompt and Sam Butera, for example) where I have seen them perform hundreds of sets, but I counted those as "one," although I have seen Lecompt in "concert" also. Any show you see with the four stars (****) means they came damn close to being one of the Top Twenty, but they fell just short. So here's the Twenty. Enjoy and thanks so much for all of your input. And don't sue me if I have a date wrong here and there. -
A Month to Celebrate Jazz, Turned Tragic
MUSIC FEATURES A Month To Celebrate Jazz, Turned Tragic April was a cruel month, but the jazz community is searching for signs of light April 30, 2020 · 7:02 AM ET NATE CHINEN Henry Grimes performs in New York in 2003. Grimes died on April 15 at the age of 84, of complications from coronavirus. Jack Vartoogian/Getty Images Amidst The Coronavirus Pandemic, A Month To Celebrate Jazz Turns Tragic : NPR In an alternate timeline, I know precisely how I would have spent the evening of April 17. The dynamic South African pianist Nduduzo Makhathini had been booked for an album-release engagement at Dizzy's Club, the in-house nightclub at Jazz at Lincoln Center. I was looking forward to hearing his band in that room — not only because Makhathini's stateside appearances are few and far between, but also because the urgent, questing spirit of his music is something best experienced in person and in close quarters, as a form of communion. Here is how I spent the evening of April 17: At that point, one month into home quarantine, I had grown accustomed to the live stream as a plucky substitute for conventional performance. I was about to cue up one of those streams when I saw reports of the death of Giuseppi Logan, a multi-reedist who made his mark in free jazz. I'd just started writing Logan's obituary when my phone rang: A friend and fellow critic wanted to know whether I was working on an obit for the revered avant-garde bassist Henry Grimes. -
Andy Arleo Université De Nantes (CRINI)
LAURA NYRO’S ELI AND THE THIRTEENTH CONFESSION: TRANSCENDING THE DICHOTOMIES OF THE WOODSTOCK YEARS Andy Arleo Université de Nantes (CRINI) As Wavy Gravy says, if you can remember the sixties, you weren't really there (Van Ronk 141) Introduction1 As a member of the so-called Woodstock Generation, I am aware of the potential pitfalls of writing about this period. As Dave Van Ronk points out in his quote from Merry Prankster Wavy Gravy (Hugh Romney), memories of those times tend to be hazy. On the other hand, research on memory has shown that there is a “reminiscence bump,” that is “people tend to remember disproportionately more events from the period between their adolescence and early adulthood” (Foster 64). In any case, it is clear that memory, whether it is individual and collective, reconstructs past experience, and that my own experience of the era has inevitably flavored the content of this article, making it impossible to aspire completely to the traditional ideals of scholarly distance and detachment. Future generations of cultural analysts will no doubt reassess the Woodstock Years through different lenses. The name “Laura Nyro” may not ring a bell for many readers, as it did not for many of my students, colleagues and friends whom I have informally surveyed. This is understandable since, unlike other singer-songwriter icons of the period (e.g., Bob Dylan, Joni Mitchell, James Taylor), Nyro was never really in the mainstream, although her songs have often been covered by a broad spectrum of singers and bands in a remarkable variety of musical styles, sometimes achieving a fair amount of commercial success. -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
Cherry’S Career
BLACK HISTORY MONTH UNEARTHED GEMS flow, a continuously inventive line peppered with playing, but the music is in a traditional bop format. myriad shifts and accents and propelled by a force that For reasons unknown, this release gives October made him as much rhythm section as soloist. 1965 as the recording date although Danmarks Radio The material, presented in reverse chronological archives place the session on Feb. 2nd, 1965. The few order, opens with a radio studio set of short months in between mattered much in Cherry’s career. performances of modern jazz and Broadway standards, In Europe, following a quartet tour with Albert Ayler’s which could have made up one side of a standard LP of greatest formation, he would assemble in Paris the the day. Rollins is a towering presence and the tunes band with whom he made his first major mark as assume forms at once personal and perfect. Jacobs and leader, playing the fast-paced suites made up of myriad Palais des Beaux Arts 1963 Bennink, who together represented the poles of Dutch themes segueing into each other heard on his classic Thelonious Monk (Tidal Waves Music) jazz—Jacobs a modernist traditionalist, Bennink the Complete Communion. by Duck Baker quintessential anarchist avant-gardist—were also the Until then, working with Ornette Coleman or country’s finest rhythm team, regular accompanists to Sonny Rollins, Cherry had rarely recorded his own This excellent release went somewhat unnoticed, touring mainstream masters like Johnny Griffin, Dexter compositions. Hearing them outside of the suite owing in part to the attention given to the nearly Gordon and Clark Terry. -
Pat Metheny 80/81 Mp3, Flac, Wma
Pat Metheny 80/81 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: 80/81 Country: Japan Released: 1980 Style: Post Bop, Contemporary Jazz MP3 version RAR size: 1322 mb FLAC version RAR size: 1569 mb WMA version RAR size: 1314 mb Rating: 4.4 Votes: 404 Other Formats: AU RA MP1 MIDI AHX MOD MMF Tracklist Hide Credits Two Folk Songs 1st 1 13:17 Composed By – Pat Metheny 2nd 2 7:31 Composed By – Charlie Haden - 80/81 3 7:28 Composed By – Pat Metheny The Bat 4 5:58 Composed By – Pat Metheny Turnaround 5 7:05 Composed By – Ornette Coleman Open 6 Composed By – Haden*, Redman*, DeJohnette*, Brecker*, Metheny*Composed 14:25 By [Final Theme] – Pat Metheny Pretty Scattered 7 6:56 Composed By – Pat Metheny Every Day (I Thank You) 8 13:16 Composed By – Pat Metheny Goin' Ahead 9 3:56 Composed By – Pat Metheny Companies, etc. Recorded At – Talent Studio Lacquer Cut At – PRS Hannover Credits Bass – Charlie Haden Design – Barbara Wojirsch Drums – Jack DeJohnette Engineer – Jan Erik Kongshaug Guitar – Pat Metheny Photography By [Back] – Dag Alveng Photography By [Inside] – Rainer Drechsler Producer – Manfred Eicher Tenor Saxophone – Dewey Redman (tracks: B1, B2, C1, C2), Mike Brecker* (tracks: A1, A2, B2, C1, C2, D1) Notes Recorded May 26-29, 1980 at Talent Studios, Oslo. An ECM Production. ℗ 1980 ECM Records GmbH. Barcode and Other Identifiers Barcode: 042281557941 Other versions Category Artist Title (Format) Label Category Country Year ECM 1180/81, 80/81 (2xLP, ECM Records, ECM 1180/81, Pat Metheny Germany 1980 2641 180 Album) ECM Records