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Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference. -
View Centro's Film List
About the Centro Film Collection The Centro Library and Archives houses one of the most extensive collections of films documenting the Puerto Rican experience. The collection includes documentaries, public service news programs; Hollywood produced feature films, as well as cinema films produced by the film industry in Puerto Rico. Presently we house over 500 titles, both in DVD and VHS format. Films from the collection may be borrowed, and are available for teaching, study, as well as for entertainment purposes with due consideration for copyright and intellectual property laws. Film Lending Policy Our policy requires that films be picked-up at our facility, we do not mail out. Films maybe borrowed by college professors, as well as public school teachers for classroom presentations during the school year. We also lend to student clubs and community-based organizations. For individuals conducting personal research, or for students who need to view films for class assignments, we ask that they call and make an appointment for viewing the film(s) at our facilities. Overview of collections: 366 documentary/special programs 67 feature films 11 Banco Popular programs on Puerto Rican Music 2 films (rough-cut copies) Roz Payne Archives 95 copies of WNBC Visiones programs 20 titles of WNET Realidades programs Total # of titles=559 (As of 9/2019) 1 Procedures for Borrowing Films 1. Reserve films one week in advance. 2. A maximum of 2 FILMS may be borrowed at a time. 3. Pick-up film(s) at the Centro Library and Archives with proper ID, and sign contract which specifies obligations and responsibilities while the film(s) is in your possession. -
The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 -
Jay Graydon Discography (Valid July 10, 2008)
Jay Graydon Discography (valid July 10, 2008) Jay Graydon Discography - A (After The Love Has Gone) Adeline 2008 RCI Music Pro ??? Songwriter SHE'S SINGIN' HIS SONG (I Can Wait Forever) Producer 1984 258 720 Air Supply GHOSTBUSTERS (Original Movie Soundtrack) Arista Songwriter 1990 8246 Engineer (I Can Wait Forever) Producer 2005 Collectables 8436 Air Supply GHOSTBUSTERS (Original Movie Soundtrack - Reissue) Songwriter 2006 Arista/Legacy 75985 Engineer (I Can Wait Forever) Producer Air Supply DEFINITIVE COLLECTION 1999 ARISTA 14611 Songwriter (I Can Wait Forever) Producer Air Supply ULTIMATE COLLECTION: MILLENNIUM [IMPORT] 2002 Korea? ??? Songwriter (I Can Wait Forever) BMG Entertainment 97903 Producer Air Supply FOREVER LOVE 2003 BMG Entertainment, Argentina 74321979032 Songwriter (I Can Wait Forever) FOREVER LOVE - 36 GREATEST Producer Air Supply HITS 1980 - 2001 2003 BMG Victor BVCM-37408 Import (2 CDs) Songwriter (I Can Wait Forever) Producer Air Supply PLATINUM & GOLD COLLECTION 2004 BMG Heritage 59262 Songwriter (I Can Wait Forever) Producer Air Supply LOVE SONGS 2005 Arista 66934 Songwriter (I Can Wait Forever) Producer Air Supply 2006 Sony Bmg Music, UK 82876756722 COLLECTIONS Songwriter Air Supply (I Can Wait Forever) 2006 Arista 75985 Producer GHOSTBUSTERS - (bonus track) remastered UPC: 828767598529 Songwriter (I Can Wait Forever) Producer Air Supply 2007 ??? ??? GRANDI SUCCESSI (2 CD) Songwriter (I Can Wait Forever) ULTIMATE COLLECTION Producer Air Supply 2007 Sony/Bmg Import ??? [IMPORT] [EXPLICIT LYRICS] [ENHANCED] Songwriter (I Can Wait Forever) Producer Air Supply ??? ??? ??? BELOVED Songwriter (I Can Wait Forever) Producer Air Supply CF TOP 20 VOL.3 ??? ??? ??? Songwriter (Compilation by various artists) (I Can Wait Forever) Producer Air Supply COLLECTIONS TO EVELYN VOL. -
CLASSIC JAZZ This Page Intentionally Left Blank CLASSIC JAZZ
CLASSIC JAZZ This page intentionally left blank CLASSIC JAZZ A Personal View of the Music and the Musicians FLOYD LEVIN Foreword by BENNY CARTER UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London Title page illustration: The author and his wife, Lucille—Emperor and Empress of the 1985 Jazz Jubilee, Sacramento, California. Unless otherwise credited, all illustrations are by the author or are from his collection. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2000 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Levin, Floyd. Classic jazz : a personal view of the music and the musicians / Floyd Levin. p. cm. Includes index. isbn 0-520-21360-2 (cloth : alk. paper) 1. Jazz—History and criticism. 2. Jazz musi- cians—United States. I. Title. ml3508.l48 2000 781.65—dc21 00-022554 Manufactured in the United States of America 08 07 06 05 04 03 02 01 00 10987654321 The paper used in this publication meets the mini- mum requirements of ansi/niso z39.48-1992 (r 1997) (Permanence of Paper). To Lucille, my loving wife and perceptive editor, who shared these wonderful experiences with me. Her sincere praises buoyed my efforts, and her unerring criticisms deftly improved my narration. This page intentionally left blank CONTENTS FOREWORD BY BENNY CARTER xv PREFACE xvii ACKNOWLEDGMENTS xxiii INTRODUCTION 1 1 KID ORY AND THE REVIVAL ERA 9 Kid Ory / 11 Kid Ory’s Legendary 1921 Nordskog/Sunshine Recordings / 14 Papa Mutt Carey -
Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. -
Milton Cardona
Milton Cardona Milton Cardona, a Puerto Rican percussionist who was a mainstay of New York salsa, a studio musician on hundreds of albums and a Santeria priest who introduced sacred traditional rhythms to secular audiences, died on Sept. 19 in the Bronx. He was 69. The cause was heart failure, said his wife, Bruni. In Latin bands and at recording sessions led by David Byrne, Paul Simon, Herbie Hancock and many others, Mr. Cardona primarily played conga drums — generally not as a flashy soloist but as the kinetic foundation and spark of a percussion section. He was an authoritative advocate for some of Latin music’s deepest traditions; he was also a vital, innovative participant in many ambitious fusions. Mr. Cardona worked with the trombonist and bandleader Willie Colón on and off through four decades and was a member of the singer Hector Lavoe’s band from 1974 to 1987. He also recorded two albums as a leader and led the Santeria group Eya Aranla. Mr. Cardona was a santero, a priest of Santeria, the Afro- Caribbean religion rooted in the Yoruba culture of West Africa. Santeria invokes a pantheon of African deities with rhythms and songs that have filtered into the popular music of Latin America and the world. Mr. Cardona studied the Yoruba language to understand the traditional prayers he was singing. “I always said, ‘Why should I learn the prayer if I don’t know what it means?’ ” he explained in an interview with Drum magazine. The rhythms of Santeria are traditionally played on batá drums, a family of three hand drums. -
ALBUMS BARRY WHITE, "WHAT AM I GONNA DO with BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50S YOU" (Prod
DEDICATED TO THE NEEDS OF THE MUSIC RECORD INCUSTRY SLEEPERS ALBUMS BARRY WHITE, "WHAT AM I GONNA DO WITH BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50s YOU" (prod. by Barry White/Soul TO ME" (prod.by Baker,Harris, and'60schestnutsrevved up with Unitd. & Barry WhiteProd.)(Sa- Young/WMOT Prod. & BobbyEli) '70s savvy!Fast paced pleasers sat- Vette/January, BMI). In advance of (WMOT/Friday'sChild,BMI).The urate the Lennon/Spector produced set, his eagerly awaited fourth album, "Sideshow"men choosean up - which beats with fun fromstartto the White Knight of sensual soul tempo mood from their "Magic of finish. The entire album's boss, with the deliversatasteinsupersingles theBlue" album forarighteous niftiest nuggets being the Chuck Berry - fashion.He'sdoingmoregreat change of pace. Every ounce of their authored "You Can't Catch Me," Lee thingsinthe wake of currenthit bounce is weighted to provide them Dorsey's "Ya Ya" hit and "Be-Bop-A- string. 20th Century 2177. top pop and soul action. Atco 71::14. Lula." Apple SK -3419 (Capitol) (5.98). DIANA ROSS, "SORRY DOESN'T AILWAYS MAKE TAMIKO JONES, "TOUCH ME BABY (REACHING RETURN TO FOREVER FEATURING CHICK 1116111113FOICER IT RIGHT" (prod. by Michael Masser) OUT FOR YOUR LOVE)" (prod. by COREA, "NO MYSTERY." No whodunnits (Jobete,ASCAP;StoneDiamond, TamikoJones) (Bushka, ASCAP). here!This fabulous four man troupe BMI). Lyrical changes on the "Love Super song from JohnnyBristol's further establishes their barrier -break- Story" philosophy,country -tinged debut album helps the Jones gal ingcapabilitiesby transcending the with Masser-Holdridge arrange- to prove her solo power in an un- limitations of categorical classification ments, give Diana her first product deniably hit fashion. -
Biography and Film of His Life
Phil Upchurch 1 A prolific guitarist whose distinctively funky, blues-steeped jazz style has graced well over a thousand recordings across the popular music spectrum, the legendary Phil Upchurch has also recorded 27 albums of his own leadership, as well as movie soundtracks. Jazz enthusiasts love and respect Phil Upchurch for his singular approach to composition. In developing his sound, Phil demonstrates no allegiance to any of his contemporaries and is indisputably one of the best in his field. He goes from classical to jazz to contemporary funk as easy as walking from one room to another. He is also an amazing electric bassist. In honor of Upchurch’s instrumental mastery, D’Angelico Guitars is soon to release a Second Edition of his signature Phil Upchurch Guitar. Adding to his media profile is Phil’s newfound second career as a fresh face for television advertising. Phil's most recent on-camera commercials have been Secured Horizon, "AARP," Tropicana and Verizon Wireless. He also has had, Cameo filmappearances in, “His Eyes Are Watching God” and White Men Can’t Jump” to name a few. Phil Upchurch has been a prominent figure in the blues, soul, R&B and jazz circles for more than 50 years. In addition to his work with the legendary Jimmy Smith, Upchurch has performed and recorded, in the United States and internationally, with some of the music industry’s biggest names. His talents have teamed him with musical legends such as Quincy Jones, Bob Dylan, Julio Iglesias, Ray Charles, Ramsey Lewis, Carmen McRae, George Benson, Donny Hathaway, Chaka Khan, Michael Jackson, Carmen McRae, Marlena Shaw, Eddie Harris, Brother Jack McDuff, Joe Williams, Stan Getz, Cannonball Adderley, Herbie Hancock, Grover Washington, Jr. -
Redalyc.SALSA with COCONUT: CHALLENGES FOR
Ambiente & Sociedade ISSN: 1414-753X [email protected] Associação Nacional de Pós-Graduação e Pesquisa em Ambiente e Sociedade Brasil GARRIDO-PÉREZ, EDGARDO I. SALSA WITH COCONUT: CHALLENGES FOR CONSERVATION BIOLOGY, FOOD EMPHASIS, AND ETHNO-ECOLOGY OF AFRO-CARIBBEAN DANCE MUSIC Ambiente & Sociedade, vol. XVIII, núm. 4, octubre-diciembre, 2015, pp. 173-194 Associação Nacional de Pós-Graduação e Pesquisa em Ambiente e Sociedade Campinas, Brasil Disponible en: http://www.redalyc.org/articulo.oa?id=31743850011 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto SALSA WITH COCONUT *: CHALLENGES FOR CONSERVATION BIOLOGY, FOOD EMPHASIS, AND ETHNO-ECOLOGY OF AFRO-CARIBBEAN DANCE MUSIC EDGARDO I. GARRIDO-PÉREZ1 Introduction Even before the 1980s, the efforts for the conservation of wildlife and the introduc- tion of environmental topics started to get into the mass media (BOYKOFF and BOYKOFF, 2007), school and pre-school education (PERALES and GARCÍA GRANADA, 1999, and the political and business arenas (MEFFE and VIEDERMAN, 1995) in order to reach both the great majority of people and the decision makers. Encouraging results have been obtained, such as the addition of three million hectares of land for conserving forests in Latin America; yet high rates of deforestation remain as a challenge there (FAO, 2012). Problems of the agricultural sector interrupted the links between nature on the one hand and the millions of people previously related to it on the other hand (e.g. -
Redalyc.Salsa Music As Expressive Liberation
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Berrios-Miranda, Marisol Salsa Music as Expressive Liberation Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 158-173 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716211 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Berrios(v7).qxd 3/1/05 7:33 AM Page 158 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Salsa) Salsa Music as Expressive Liberation1 MARISOL BERRIOS-MIRANDA ABSTRACT In the span of a singe decade, the 1970s, young people in urban centers all over Latin America came to embrace salsa music as their preferred musical style and expression. Salsa’s unprecedented international popularity resulted from the confluence of several distinct social conditions and historical events: the Puerto Rican dilemma of colonial status, the civil rights and black pride movements in the U.S., the Cuban revolution’s promise of upliftment for the lower classes, urban migration, and the need for a Latino alter- native to the hegemony of Anglo rock. In this paper I will argue that salsa’s popularity needs to be understood in terms of a musical sound and a social style that responded effectively to these circumstances, captured beautifully in the film Our Latin Thing. I propose, furthermore, that the colonial dilemma of Puerto Ricans in the island and in New York motivated their creative contributions to salsa, which they experienced as a form expressive liberation and decolonization. -
George Benson Shape of Things to Come Mp3, Flac, Wma
George Benson Shape Of Things To Come mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Shape Of Things To Come Country: Greece Style: Soul-Jazz, Fusion MP3 version RAR size: 1113 mb FLAC version RAR size: 1504 mb WMA version RAR size: 1610 mb Rating: 4.4 Votes: 866 Other Formats: WAV ASF AC3 ADX VQF XM MP2 Tracklist Hide Credits Footin' It A1 Flute – Stan WebbPiano – Herbie Hancock A2 Face It Boy, It's Over Shape Of Things To Come A3 Bass – Richard Davis Piano – Hank Jones Chattanooga Choo Choo A4 Flute – Stan WebbPiano – Herbie Hancock Don't Let Me Lose This Dream B1 Bass – Richard Davis B2 Shape Of Things That Are And Were B3 Last Train To Clarksville Companies, etc. Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Arranged By – Don Sebesky Artwork – Sam Antupit Bass – Ron Carter (tracks: A2, B2, B3) Cello – George Ricci (tracks: A1, A3, A4) Congas – Johnny Pacheco Drums – Leo Morris Engineer – Rudy Van Gelder Flute – George Marge (tracks: A1, A3, A4), Romeo Penque (tracks: A1, A3, A4) Guitar – George Benson Liner Notes – Ira Gitler Organ – Charles Covington Photography By – Pete Turner Producer – Creed Taylor Saxophone, Harmonica – Buddy Lucas (tracks: A1, A2, A4 to B3) Trombone, Horns [Bariton] – Wayne Andre (tracks: A1, A2, A4 to B3) Trombone, Tuba – Alan Raph (tracks: A1, A2, A4 to B3) Trumpet – Burt Collins (tracks: A2, B1 to B3) Trumpet, Flugelhorn – Joe Shepley (tracks: A1, A2, A4 to B3) Trumpet, Flugelhorn, Piccolo Flute – Marvin Stamm (tracks: A1, A2, A4 to B3) Vibraphone – Jack Jennings (tracks: A1, A3, A4) Viola – David Mankovitz (tracks: A1, A3, A4) Violin – Bernard Eichen (tracks: A1, A3, A4), Charles Libove (tracks: A1, A3, A4) Notes Recorded at Van Gelder Studios.