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Booker Little
1 The TRUMPET of BOOKER LITTLE Solographer: Jan Evensmo Last update: Feb. 11, 2020 2 Born: Memphis, April 2, 1938 Died: NYC. Oct. 5, 1961 Introduction: You may not believe this, but the vintage Oslo Jazz Circle, firmly founded on the swinging thirties, was very interested in the modern trends represented by Eric Dolphy and through him, was introduced to the magnificent trumpet playing by the young Booker Little. Even those sceptical in the beginning gave in and agreed that here was something very special. History: Born into a musical family and played clarinet for a few months before taking up the trumpet at the age of 12; he took part in jam sessions with Phineas Newborn while still in his teens. Graduated from Manassas High School. While attending the Chicago Conservatory (1956-58) he played with Johnny Griffin and Walter Perkins’s group MJT+3; he then played with Max Roach (June 1958 to February 1959), worked as a freelancer in New York with, among others, Mal Waldron, and from February 1960 worked again with Roach. With Eric Dolphy he took part in the recording of John Coltrane’s album “Africa Brass” (1961) and led a quintet at the Five Spot in New York in July 1961. Booker Little’s playing was characterized by an open, gentle tone, a breathy attack on individual notes, a nd a subtle vibrato. His soli had the brisk tempi, wide range, and clean lines of hard bop, but he also enlarged his musical vocabulary by making sophisticated use of dissonance, which, especially in his collaborations with Dolphy, brought his playing close to free jazz. -
Victory and Sorrow: the Music & Life of Booker Little
ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P. -
Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect. -
JREV3.6FULL.Pdf
KNO ED YOUNG FM98 MONDAY thru FRIDAY 11 am to 3 pm: CHARLES M. WEISENBERG SLEEPY I STEVENSON SUNDAY 8 to 9 pm: EVERYDAY 12 midnite to 2 am: STEIN MONDAY thru SATURDAY 7 to 11 pm: KNOBVT THE CENTER OF 'He THt fM DIAL FM 98 KNOB Los Angeles F as a composite contribution of Dom Cerulli, Jack Tynan and others. What LETTERS actually happened was that Jack Tracy, then editor of Down Beat, decided the magazine needed some humor and cre• ated Out of My Head by George Crater, which he wrote himself. After several issues, he welcomed contributions from the staff, and Don Gold and I began. to contribute regularly. After Jack left, I inherited Crater's column and wrote it, with occasional contributions from Don and Jack Tynan, until I found that the well was running dry. Don and I wrote it some more and then Crater sort of passed from the scene, much like last year's favorite soloist. One other thing: I think Bill Crow will be delighted to learn that the picture of Billie Holiday he so admired on the cover of the Decca Billie Holiday memo• rial album was taken by Tony Scott. Dom Cerulli New York City PRAISE FAMOUS MEN Orville K. "Bud" Jacobson died in West Palm Beach, Florida on April 12, 1960 of a heart attack. He had been there for his heart since 1956. It was Bud who gave Frank Teschemacher his first clarinet lessons, weaning him away from violin. He was directly responsible for the Okeh recording date of Louis' Hot 5. -
Jazz at the Crossroads)
MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs. -
JAZZ-Framboisierspecimen-V2.Pdf
Framboisier Bold Bold Italic Framboisier is a ‘pumped’ typeface with spiky wedge serifs inspired by the work of the late French graphic & type designer Marcel Jacnovitch better known as Jacno (1904-1989). Keeping the spirit of his nervous letterings, the Roman has a cursive companion allowing it to perform as well in display size that in smaller text settings. Aa J a zz M aTy pe 1 / 13 Specimen v0.2 www.futurefonts.xyz Framboisier Family overview BillyBold Higgins CHRISBold NEAL ElectricBold Italic Byrd SOUTHEASTBold Italic 2018 © Dorine Sauzet & Quentin Schmerber / JazzMaType 2 / 13 Specimen v0.2 www.futurefonts.xyz Framboisier Bold Mr. Cheeks GYPSY JAZZ Paul Jackson FUNKTRONICA John Corigliano SPEAK LIKE A CHILD Live from Soundscape MONORAILS AND SATELLITES ‘In a Sentimental Mood’ Letters 2018 © Dorine Sauzet & Quentin Schmerber / JazzMaType 3 / 13 Specimen v0.2 www.futurefonts.xyz Framboisier Bold I n 1 9 5 8 B l a k e y f o r m e d a n e w l i n e u p w i t h f o u r P h i l a d e l p h i a n a t i v e s : L e e M o r g a n , B e n n y G o l s o n , B o b b y T i m m o n s , a n d J y m i e M e r r i t t . T h i s m a r k e d t h e b e g i n n i n g o f p r o b a b l y t h e m o s t f r u i t f u l p e r i o d o f t h e J a z z M e s s e n g e r s . -
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 -
Jared Sims, Saxophone Jared Sims Performs on All of the Saxophones
Joe Parillo, Piano Joe Parillo has performed in Brazil, Italy, Germany, New Zealand and Taiwan and has played nationally and internationally with the Glenn Miller Orchestra and vibraphonist Jay Hoggard. He was featured artist for the Steinway Artists Celebration at Boston Symphony Hall in honor of the 150th anniversary of Steinway and Sons. Parillo has been commissioned to write three jazz ballets and has arranged and recorded more than 25 full-length children's productions. He has also produced SongBook, Clouds and the CDs “Almost Carefree” and “Block Island Summer” for his ensemble as well as the gospel CD “Meditations of the Heart.” Parillo has been director of jazz studies at the University of Rhode Island for the past 30 years and is the current chairman of the music department. In 2003, he brought to fruition the jazz studies specialization under the B.A. degree as well as the jazz studies minor at the university. He holds a master's degree in composition from the New England Conservatory and has written and arranged music for theater and film. His most recent works have aired on WSBE-TV and the SciFi Channel's "First Wave." Jared Sims, saxophone Jared Sims performs on all of the saxophones as well as clarinet and flute. He has toured throughout the United States and in Europe, South America, and Asia. Sims has performed live with an array of artists that include Han Bennink, Cecil McBee, Bob Brookmeyer, Stefon Harris, Landau Eugene Murphy, The Temptations, The Four Tops, Melvin Sparks, Soulive, Oteil Burbridge (Allman Brothers), DJ Logic, Kiddus I, Matisyahu, the 10,000 Maniacs, and Noel Gallagher (Oasis). -
The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H. Keith Jackson, DMA, Committee Chair Constinia Charbonnette, EDD David Taddie, Ph.D. Michael Vercelli, DMA Mitchell Arnold, DMA Music Morgantown, West Virginia 2019 Keywords: Hard Bop, Trombone, Jazz, Jazz Improvisation Copyright 2019 Emmett C. Goods The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964). Emmett C. Goods This dissertation examines the improvisational stylings of Curtis Fuller, Locksley “Slide” Hampton, Julian Priester and Grachan Moncur III from 1955 through 1964. In part one of this study, each musician is presented through their improvisational connections to J.J. Johnson, the leading trombonist of the Bebop era. His improvisational signatures are then traced through to the musical innovations of the Hard-Bop Trombone Era. Source material for this part of the study includes published books, dissertations, articles, online sources, discographies and personal interviews. Part two of this paper analyzes selected solos from each of the four subjects to identify the defining characteristics of the Hard-Bop Trombone Era. Evidence for these claims is bolstered by interviews conducted with the four men and their protégés. In a third and final part, a discography has been compiled for each artists during the defined era. Through historical analysis of these four artists’ music and recording of first-hand accounts from the artists themselves, this document attempts to properly contextualize the Hard-Bop Trombone Era as unique and important to the further development of the jazz trombone. -
The John Coltrane Quartet Africa/Brass Mp3, Flac, Wma
The John Coltrane Quartet Africa/Brass mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Africa/Brass Country: UK Released: 1982 Style: Free Jazz, Hard Bop, Modal MP3 version RAR size: 1242 mb FLAC version RAR size: 1295 mb WMA version RAR size: 1779 mb Rating: 4.5 Votes: 922 Other Formats: MP1 AUD ASF AC3 AIFF MMF XM Tracklist 1 Africa 16:25 2 Greensleeves 9:56 3 Blues Minor 7:22 Companies, etc. Record Company – Universal Classics & Jazz Marketed By – Universal Music LLC Distributed By – Universal Music LLC Phonographic Copyright (p) – Verve Label Group Copyright (c) – Verve Label Group Credits Alto Saxophone, Flute, Bass Clarinet, Arranged By – Eric Dolphy Bass – Art Davis, Paul Chambers , Reggie Workman Composed By – John Coltrane (tracks: 1, 3) Design [Cover] – Robert Flynn Drums – Elvin Jones Euphonium [Unspecified] – Charles Greenlee, Julian Priester Liner Notes – Dom Cerulli Liner Notes [1986] – 悠 雅彦* Photography By – Ted Russell Piano – McCoy Tyner Tenor Saxophone, Soprano Saxophone – John Coltrane Trumpet – Booker Little, Freddie Hubbard Notes Recorded May 5 and June 7 (1, 3), 1961. Track 2 is Public Domain (P.D.) Reissue of UCCI-9119 from 2005. Booklet and traycard carry the 9119 cat no. Disc, matrix and obi carry the new cat no. The traycard lists the following musicians: John Coltrane, Booker Little, Freddie Hubbard, Julian Priester, Charles Greenlee, Eric Dolphy, McCoy Tyner, Paul Chambers, Reggie Workman, Elvin Jones. The original liner notes namecheck Art Davis ("Art") as bassist with Reggie Workman on Africa (the quote is from Coltrane). Davis' name is absent from the above list. Wikipedia credits Art Davis and Paul Chambers with bass on Africa. -
Oedipus – Akhenaten
MUSIC THEATRE PROJECT OEDIPUS – AKHENATEN CONCEPT AND REALIZATION KA – Cornelia Müller Pharaoh Akhenaten, Pharaoh Nefertiti with children Aten is depicted in form of the solar disk, whose rays are giving life (ca. 1350 BC) MUSIC THEATRE PROJECT OEDIPUS – AKHENATEN The Russian doctor, psychoanalyst, philosopher, archaeologist and astronomer Dr. Immanuel Velikovsky wondered what the character of the Sphinx had to do with a Greek story. After thorough research in Egyptian archaeology, he came to the conclusion that Pharaoh Akhenaten is the historic basis for the tragedy King Oedipus of Greek mythology. King Oedipus and Pharaoh Akhenaten are two theatre pieces based on this historical analogy, and they tell similar stories in different ways. For Oedipus it is the classical triangular relationship -- father/mother/son; for Akhenaten it is mother/son/wife. Each of these triads will be represented by a single actor (Oedipus) or actress (Akhenaten), who will incorporate all the monologues of the different roles using different techniques such as acrobatics, costumes and masks. Both pieces are staged inside a twin-spiraled labyrinth of mirrors, preferably in a forest or, if performed in an urban setting, with an installation made of bamboo. One path goes from the outside to the center and another leads outside again. The manifold reflections create a surreal world. The person in the mirror is fiction and reality, ageless and at the same time very present in the real world. Both pieces will be performed in German, with Italian or English subtitles. King Oedipus tells the story of a violent father meeting his own death in a way that he had envisaged for his son. -
Finding Aid to the Historymakers ® Video Oral History with Jimmy Heath
Finding Aid to The HistoryMakers ® Video Oral History with Jimmy Heath Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Heath, Jimmy Title: The HistoryMakers® Video Oral History Interview with Jimmy Heath, Dates: January 17, 2017 Bulk Dates: 2017 Physical 5 uncompressed MOV digital video files (2:28:45). Description: Abstract: Musician and jazz composer Jimmy Heath (1926 - ) was known for his jazz and bebop contributions, notably his pieces “C.T.A.” and “Gingerbread Boy,” and as a member of the Heath Brothers. He was the first jazz musician to receive an honorary doctorate in music from the Juilliard School in New York. Heath was interviewed by The HistoryMakers® on January 17, 2017, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2017_002 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Musician and jazz composer Jimmy Heath was born on October 25, 1926 in Philadelphia, Pennsylvania to Arlethia and Percy Heath Sr. He attended Walter George Smith School in South Philadelphia and graduated from Williston Industrial School in Wilmington North Carolina in 1943. As a teenager, Heath took music lessons and played the alto saxophone in the high school marching band. He also played in a jazz band called the Melody Barons school marching band. He also played in a jazz band called the Melody Barons and toured with the Calvin Todd Band in 1945, before joining a dance band in Omaha, Nebraska led by Nat Towles.