DOCSLIB.ORG

KC PITCH PAGE 3 Letters

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
KC PITCH PAGE 3 Letters ALL THE NEWS THAT'S FIT TO PITCH FREE FREE CZ\gnsas Citt's Music ani 'Lnttrtainmtnt ~srartr ISSUE 20 AUGUST 1982 AKITOSHI-TABACkIN'S FREE BIG BAND JAZZ HITS THE PLAZA By John Geier monlC. He immediately Lew Tabackin, she leads an or­ sitions and arrangements of Aki­ his to Norman chestra which many critics con­ yoshi. Featured soloists have The Toshiko Akiyoshi-Lew Taback­ who shortly there- sider to be the most exciting included trumpeters Steven Huff­ after. and original in existence. As stetter and Bobby Shew, reedmen in Big Band will give a free composer and arranger, Akiyoshi Gary Foster and Dick Spencer, stirred much makes the orchestra her instru­ trombonists Jimmy Knepper and concert at Brush Creek on the among jazz lovers in ment, as did Ellington before Bill Reichenbach, and of course was soon to do the her. Akiyoshi enjoys experi­ the leaders themselves. The Country Club Plaza, Sunday, AInerica. Her piano art­ menting and giving her work an the :voters in the was described by Leonard oriental flavor. the band draws September at PM. It as "firey, powerfullv very reactions ,from 5, 7: 00 audiences and critics al ike. will be the band's first appear­ RECOMMENDED RECORDINGS BY TOSHI­ KO AKIYOSHI: ance in Kansas City since its triumphant performance at the 1978 Women I s Jazz Festi val. City Parks "Music in wi 11 bring money play exercises. free charge. cal impact. I'm very careful not to go into a contemporar'( music direction, where the sound gets complicated. That can and SUMMER has been, done by serious musi­ Tabackin is a virtuoso of the cians t, contemporary musicians, in and it' s nothing new. There are tenor saxophone and flute. His could sound the unlimited possibil.ities, and experiences include having JAM '82 pianist Bud Powell. He found it's ea.sy to go in that, direc­ ,played with Maynard Ferguson, Cab Calloway, Urbie Green, and the description stunningly ac­ ticin~, But, I like staying in The hard edged, youthful rock cura te. Before long he would be wl'lat I think jazz is ,SUpposed the Thad Jones-Mel Lewis Orches­ and pop sounds of REO Speedwagon joining her for piano duets at to ,be." tra. Tabackin played with the will be charging the air at the Harlem Club. Hawes fondly NBC Orchestra led by Doc Sever­ Summerjam '82. It will commence remembered those duets for the articula ted and exceptionally insen for a number of years, at 3 PM on Sunday, August 15 at rest of his life. fluent." Nat Hentoff wrote, first in New York and later in Arrowhec:td Stadium. Special "Her attack is hard and slash­ Los Angeles, before leaving it guests include Ted Nugent, Rain­ Hampton Hawes first met Toshiko ingly swinging. Her work surges in 1976. bow, John Cougar and, the most Akiyoshi in 1952, while he was and sometimes bursts with recent addition to the bill, in the service and stationed in emotion. " While Bud Powell 707. Japan. A year later another stands out as her main influence, Akiyoshi and Tabackin formed American pianist, Oscar Peter­ Toshiko's other favorites in­ their big band in 1972. Since For tickets, stop by Caper's son, heard her while touring clude Oscar Peterson and John its beginning the band' s empha­ Corner or Kief' s in Lawrence, Japan with Jazz At The Philhar- Lewis. Today, with her husband sis has been the original compo- call Dial-A-Tick at 753-6617. SU.... ER".' JOURNEY KENNY LOGGINS STYX BLONDIE PAT BENETAR HUMAN LEAGUE REO FOREIGNER KANSAS STEVI E WONDER WILLI E NELSON ELTON JOHN TOTO EDDIE MONEY SURVIVOR STEVIE NICKS JOHN COUGAR QUEEN STEVE MILLER J. GEILS BAND OLIVIA NEWTON JOHN QUARTERFLASH C.S.N. THE POLICE HALL & OATES ROD STEWART GO-GO'S JOAN JETT PAUL McCARTNEY BILLY JOEL AIR SUPPLY KENNY ROGERS FLEETWOOD MAC .38 SPECIAL ROLLI NG STONES JU I CE NEWTON ASIA RICK SPRINGFIELD LOVERBOY GENESIS STEELY DAN VAN HALEN DOOBIE BROS. This Is Your Rock n Roll Summer ON KC PITCH PAGE 3 Letters If I do everything, Iwould get a tear or LetterS?6!i something in me. Anonymous, Kansas Ci ty, MO THE PITCH encourages readers to KC ~~CIT~M~Q send us letters. Mail to: Dear Sirs; 816-5bl-2744 KC PITCH 4128 Broadway PUBLISHER .......... Hal Brody I would appreciate seeing my attempt at KCMO 64111 poetry in your paper. EDITOR ........•..•. Rev. Dwight Frizzell ASSISTING ....•...•. Rosie Scrivo The constant change of constance Donna Trussell The mod of antique Bob McConnell Dear KC PITCH: The meaning lost in a storm of Brian McTavish synthetic culture TYPIST ............. Violet Jackson I have been receiving your paper since The want of theology ADVERTISING .•.....• Bob McConnell PITCH No.1. It has been an unfailing The need of logic Marc Olson source of both amusement and informed But tradition wins out Brian McTavish criticism. The breadth of your coverage How blind is extraordinary I INSPIRATION: Duke Ellington, LMB, Seattle, Thank you, Ken Snell and car repairs. I am particularly interested in your "jazz" reviews and reports of KC jazz Dear Ken, EDITOR'S DEDICATION: To the outstanding events. You may want to tha t such work of Jay Mandeville and Rosie Scrivo are regularly here in In who made vital contributions to the growth do a Tuesday evening jazz show transitional of the PITCH. for the station in Northwestern the warning Pennsylvania--WQLN-FM) . PITCH are sent with love, Dear PITCH, sister, Bobby Goodman. like to get on your Where is Musso Comic? Jules, Kansas City, MO Thanks. Rob Hoff, Erie, PA Dear Jules, De ar Rob, Musso Comix, time the Your enthusiasm is appreciated and we hope our coverage of the Toshiko Tabackin band by John Geier, in Lawrence, Kansas, another Edi tor's Note: records reviewed affiliate. in the KC PITCH for $8.98 unless otherwise mentioned. ances at the Bijou Theatre. Publisher t s Note: The KC PITCH is not responsible for the opinions and . If I were as flat as this sheet of paper reporting of its writers, who contr~­ and belong to a boy, I would probably be Typist t s Note: Rozie and I are going bute on a free-lance basis. made into a paper airplane. Then I would off to see the world and we would like probably be flyin around outside and hit to thanc all the lovely peeple we have a tree or a fence, if I flew inside I come in contactwith here in the would hit a wall. wunderful world of THE KC PITCH. Contents ® 1982 Brody Records Available On A&M Records & Tapes PAYOLAS willie phoenix OINGO BOINGO S QUE E Z E Nothing To Fear SlWt1.s Jronl II I'ilnU",*," !Io9 .. ~ ......t~ f ..... 111 n "",h"l'n~~I' o • eJIJ· ~-t,. PAGE 4 K PI"f" gui 1 ty I'm no longer One person wanted to start a reviews se. I did lodge. (laughter) and to the Cher and sucks worse than I could ASK LEROI have ever imagined. Also, much to your pleasure I'm sure, I promise never to write about a Cher record again. Since 1'm writing this column for the first time, I obviously don't have a lot of distinct questions to answer, so I thought I'd answer a question than many people have asked: Why do some bands sound so much better live than they do on a record, i.e. the Nighthawks? In my humble opinion there are two reasons. One is a lack of studio experience and the other is that many bands function at a higher level when the crowd is recepti ve and the band can feed off of their energy. Other than Attention everyone! Take Plant called Pictures at Eleven that, it's probably something to notice! I'm no longer writing (Swan Son 8512). It has all the do with bio-rhythms or the stars You don't think that'd limit you my short reviews. The powers power and grit of early Led Zep or something. any? that be at the KC PITCH feel records and just enough new Well, if it would we wouldn't that you readers might prefer to twists to make it fresh for the Next issue I hope to have more sign it. ask me questions about what's eighties. It's a very pleasant questions to answer. Of course, happening in the ever changing surprise. that depends on you, the reader Truth now, are you guys mak·ing world of music. So in my less to send in those questions. any money? than infinite knowledge I will Releases to look for in August Till then ..• We make some money but we pile try and answer any reasonable are: *Bad Company's Rough Dia­ Remember, music is a sound it back into the organization. questions that any of you ask. monds *Rock and Roll Women by business. All you have to do is write to: Cheetah, which is said to be like an all girl ACtDC *A sound­ I thought so, beeause you guys LeRoi track called Zapped which fea­ are a Zways eoming up with new C/O KC PITCH tures two cuts by Topeka's Plain equipment. When you have an 4128 Broadway Jane *Steve Winwood' sTalking opening do you pay them, K. C" Mo 64111 Back to the Night *T-Bon:e­ or does ha Z Z pay them? Burnette's Trap Door *An album We usually split it with the In this column I will focus on by Vanity 6, an all female group club depending on the arrange­ some of the crucial music that backed by the very fruitful ment.
Load more

Recommended publications
  • RHYTHM & BLUES...63 Order Terms
    5 COUNTRY .......................6 BEAT, 60s/70s ..................71 AMERICANA/ROOTS/ALT. .............22 SURF .............................83 OUTLAWS/SINGER-SONGWRITER .......23 REVIVAL/NEO ROCKABILLY ............85 WESTERN..........................27 PSYCHOBILLY ......................89 WESTERN SWING....................30 BRITISH R&R ........................90 TRUCKS & TRAINS ...................30 SKIFFLE ...........................94 C&W SOUNDTRACKS.................31 AUSTRALIAN R&R ....................95 C&W SPECIAL COLLECTIONS...........31 INSTRUMENTAL R&R/BEAT .............96 COUNTRY AUSTRALIA/NEW ZEALAND....31 COUNTRY DEUTSCHLAND/EUROPE......32 POP.............................103 COUNTRY CHRISTMAS................33 POP INSTRUMENTAL .................136 BLUEGRASS ........................33 LATIN ............................148 NEWGRASS ........................35 JAZZ .............................150 INSTRUMENTAL .....................36 SOUNDTRACKS .....................157 OLDTIME ..........................37 EISENBAHNROMANTIK ...............161 HAWAII ...........................38 CAJUN/ZYDECO ....................39 DEUTSCHE OLDIES ..............162 TEX-MEX ..........................39 KLEINKUNST / KABARETT ..............167 FOLK .............................39 Deutschland - Special Interest ..........167 WORLD ...........................41 BOOKS .........................168 ROCK & ROLL ...................43 BOOKS ...........................168 REGIONAL R&R .....................56 DISCOGRAPHIES ....................174 LABEL R&R
    [Show full text]
  • Guide to Ella Fitzgerald Papers
    Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996.................................................................
    [Show full text]
  • 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.
    [Show full text]
  • TOSHIKO AKIYOSHI NEA Jazz Master (2007)
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOSHIKO AKIYOSHI NEA Jazz Master (2007) Interviewee: Toshiko Akiyoshi 穐吉敏子 (December 12, 1929 - ) Interviewer: Dr. Anthony Brown with recording engineer Ken Kimery Dates: June 29, 2008 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript 97 pp. Brown: Today is June 29th, 2008, and this is the oral history interview conducted with Toshiko Akiyoshi in her house on 38 W. 94th Street in Manhattan, New York. Good afternoon, Toshiko-san! Akiyoshi: Good afternoon! Brown: At long last, I‟m so honored to be able to conduct this oral history interview with you. It‟s been about ten years since we last saw each other—we had a chance to talk at the Monterey Jazz Festival—but this interview we want you to tell your life history, so we want to start at the very beginning, starting [with] as much information as you can tell us about your family. First, if you can give us your birth name, your complete birth name. Akiyoshi: To-shi-ko. Brown: Akiyoshi. Akiyoshi: Just the way you pronounced. Brown: Oh, okay [laughs]. So, Toshiko Akiyoshi. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Akiyoshi: Yes. Brown: And does “Toshiko” mean anything special in Japanese? Akiyoshi: Well, I think,…all names, as you know, Japanese names depends on the kanji [Chinese ideographs]. Different kanji means different [things], pronounce it the same way. And mine is “Toshiko,” [which means] something like “sensitive,” “susceptible,” something to do with a dark sort of nature.
    [Show full text]
  • Jazzletter P-Q Ocrober 1986 P 5Jno;..1O
    Jazzletter P-Q ocrober 1986 P 5jNo;..1o . u-1'!-an J.R. Davis,.Bill Davis, Rusty Dedrick, Buddy DeFranco, Blair The Readers . Deiermann, Rene de Knight,‘ Ron Della Chiesa (WGBH), As of August 25, I986, the JazzIetrer’s readers were: Louise Dennys, Joe Derise, Vince Dellosa, Roger DeShon, Michael Abene, John Abbott, Mariano F. Accardi, Harlan John Dever, Harvey Diamond, Samuel H. Dibert’, Richard Adamcik, Keith Albano, Howard Alden, Eleanore Aldrich, DiCarlo, Gene DiNovi, Victor DiNovi, Chuck Domanico, Jeff Alexander, Steve Allen, Vernon Alley, Alternate and Arthur Domaschenz, Mr. and Mrs. Steve Donahue, William E. Independent Study Program, Bill Angel, Alfred Appel J r, Ted Donoghue, Bob Dorough, Ed Dougherty, Hermie Dressel, Len Arenson, Bruce R. Armstrong, Jim Armstrong, Tex Arnold, Dresslar, Kenny Drew, Ray Drummond, R.H. Duffield, Lloyd Kenny Ascher, George Avakian, Heman B. Averill, L. Dulbecco, Larry Dunlap, Marilyn Dunlap, Brian Duran, Jean Bach, Bob Bain, Charles Baker (Kent State University Eddie Duran, Mike Dutton (KCBX), ' School of Music), Bill Ballentine, Whitney Balliett, Julius Wendell Echols, Harry (Sweets) Edison,Jim_Eigo, Rachel Banas, Jim Barker, Robert H. Barnes, Charlie Barnet, Shira Elkind-Tourre, Jack Elliott, Herb Ellis, Jim Ellison, Jack r Barnett, Jeff Barr, E.M. Barto Jr, Randolph Bean, Jack Ellsworth (WLIM), Matt Elmore (KCBX FM), Gene Elzy Beckerman, Bruce B. Bee, Lori Bell, Malcolm Bell Jr, Carroll J . (WJR), Ralph Enriquez, Dewey Emey, Ricardo Estaban, Ray Bellis MD, Mr and Mrs Mike Benedict, Myron Bennett, Dick Eubanks (Capital University Conservatory of Music), Gil Bentley, Stephen C. Berens MD, Alan Bergman, James L. Evans, Prof Tom Everett (Harvard University), Berkowitz, Sheldon L.
    [Show full text]
  • Samantha Fish Homemade Jamz Jarekus Singleton
    Buddy GDamnUYRight... JONNYLANG Q&A SAMANTHA FISH HOMEMADE JAMZ JAREKUS SINGLETON JOHNNY WINTER MICHAEL BLOOMFIELD Reissues Reviewed NUMBER THREE www.bluesmusicmagazine.com US $5.99 Canada $7.99 UK £4.60 Australia A$15.95 COVER PHOTOGRAPHY © JOSH CHEUSE courtesy of RCA RECORDS NUMBER THREE 4 BUDDY GUY Best In Town by Robert Feuer 3 RIFFS & GROOVES From The Editor-In-Chief 8 TOM HAMBRIDGE Producing Buddy Guy 20 DELTA JOURNEYS “Catching Up” by Art Tipaldi 22 AROUND THE WORLD 10 SAMANTHA FISH “Blues Inspiration, Now And Tomorrow” Kansas City Bomber 24 Q&A with Jonny Lang by Vincent Abbate 26 BLUES ALIVE! 13 THE HOMEMADE JAMZ Lonnie Brooks 80th Birthday Bash BLUES BAND Harpin’ For Kid Ramos Benefit It’s A Family Affair 28 REVIEWS by Michael Cala New Releases Box Sets 17 JAREKUS SINGLETON Film Files Trading Hoops For The Blues 62 DOWN THE ROAD by Art Tipaldi 63 SAMPLER 3 64 IN THE NEWS TONY KUTTER © PHOTOGRAPHY PHOTOGRAPHY PHONE TOLL-FREE 866-702-7778 E-MAIL [email protected] WEB bluesmusicmagazine.com PUBLISHER: MojoWax Media, Inc. PRESIDENT: Jack Sullivan “As the sun goes down and the shadows fall, EDITOR-IN-CHIEF: Art Tipaldi on theWestside of Chicago, the blues has come to call.” CUSTOMER SERVICE: Kyle Morris GRAPHIC DESIGN: Andrew Miller Though the temperatures in Memphis during January’s 30th International Blues Challenge were in the 20s with wind chills cutting to below zero, the music on Beale CONTRIBUTING EDITORS David Barrett / Michael Cote / ?omas J. Cullen III Street was hotter then ever. Over 250 bands, solo/duo, and youth acts participated Bill Dahl / Hal Horowitz / Tom Hyslop in this exciting weeklong showcase of the blues in 20 Beale Street clubs.
    [Show full text]
  • Smoking Referendum Slated for Tuesday
    College of William & Mary Law School William & Mary Law School Scholarship Repository Student Newspaper (Amicus, Advocate...) Archives and Law School History 1992 Amicus Curiae (Vol. 2, Issue 8) Repository Citation "Amicus Curiae (Vol. 2, Issue 8)" (1992). Student Newspaper (Amicus, Advocate...). 80. https://scholarship.law.wm.edu/newspapers/80 Copyright c 1992 by the authors. This article is brought to you by the William & Mary Law School Scholarship Repository. https://scholarship.law.wm.edu/newspapers /{e!Qrin-of·tanking system proposed, page 4 AMBUCNSARSTLAWSCHOOL A Publication of The Advocate VOLUME II, ISSUE EIGlIT MONDAY, JANUARY 20,1992 TWENTY PAGES Smoking referendum slated for Tuesday By SUZANNE FITZGERALD versing the lobby, the current and ANDREW HERZIG policy is set by the undergradu­ The long-awaited, highly ate administration. It provides publicized smoking referendum that the lobby be the law school will be held on Tuesday, January smoking zone. Dopp feels that 21 from 10 a.m. until 5 p.m. in the existing arrangement violates the law school lobby. The loca­ the Virginia Clean Air Act tion was selected to give voters a (VCAA). She argues that the final opportunity to assess the air statute requires a reasonable non­ qUality before casting their bal­ smoking area and so the lobby, lots. While this referendum will as the sole means of access to all be non-binding, half of the stu­ areas of the building, ought to be dent body must participate in the smoke-free. voting before the administration The undergraduate adminis­ will reevaluate the policy. Stu­ tration, as well as the smoking dents must present their identifi­ contingency, contend that the cation cards to receive a ballot.
    [Show full text]
  • In the Studio: the Role of Recording Techniques in Rock Music (2006)
    21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con­ sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio.
    [Show full text]
  • Coping with Babylon: the Proper Rastology (2005): Mutabaruka
    Coping with Babylon: The Proper Rastology (2005): Mutabaruka, Half P... http://www.popmatters.com/pm/film/reviews/50538/coping-with-babylo... CALL FOR PAPERS: PopMatters seeks feature essays about any aspect of popular culture, present or past. Coping with Babylon: The Proper Rastology Director: Oliver Hill Cast: Mutabaruka, Half Pint, Luciano, Freddie McGregor, Barry Chevannes (2005) Rated: Unrated US DVD release date: 7 October 2007 (MVD) by Matthew Kantor Burning All Illusion Tonight Rastafari is known to the world through reggae music. Many interviewees in Oliver Hill’s Coping with Babylon: the Proper Rastology, who live Rastafari in their daily lives, cite Bob Marley, Peter Tosh, and Dennis Brown in particular as ambassadors of Jamaica’s great folk religion, never seeking to diminish these musicians’ roles in spreading the word. Rastafarian imagery has infiltrated popular culture not just through reggae and other kindred music, but also in the form of clothing, fashion, and general iconography. Despite the well-established co-option of the religion’s trappings and the tremendous popularity of many reggae, dub, and dancehall artists, Coping with Babylon: the Proper Rastology takes a sober, relatively non-musical path in broadcasting the views and roles of Rastafari in the early twenty-first century. Musicians including Luciano and Freddie McGregor are interviewed but so are leaders of various Rastafarian sects in addition to everyday followers of the faith in both Jamaica and New York. The film serves to remind viewers that Rastafarianism is a religion that deeply affects its practitioners and that music is only one aspect of it. And, like most religions, different sects vary in some of their more significant approaches and practices.
    [Show full text]
  • Marano-Buch 01.Indb
    Nancy Marano Musicianship for the Jazz Vocalist Nancy Marano Musicianship for the Jazz Vocalist All songs and exercises written by Nancy Marano unless indicated. © 2013 advance music, Mainz International copyright secured Layout: Harald Wingerter, musiklektorat.de Cover art by Schultz + Schultz Mediengestaltung, Wien, Austria Cover photograph taken by Charles Guo (© Nancy Marano) Photograph (p. 184) taken by Lu Feng (© Nancy Marano) Order No. 14108 ISBN 978-3-9548100-4-8 ISMN 979-0-2063-0016-5 UPC 805095141085 This book is dedicated to my grandchildren Noah Alexander and Ella Grace Fasulo Dear Noah and Ella, My wish for you is encompassed in the lyric of the beautiful and poignant song “Heart’s Desire” by Dave Frishberg and Alan Broadbent. If you pursue your heart’s “special dream” with passion and commitment, you will realize one day that it has become a metaphor for your life, as it has mine, and the very essence of who you are. All my love, Grandma TABLE OF CONTENTS Many Thanks ..................................................9 Nancy Marano ................................................ 11 Preface ...................................................... 12 Why This Book? ............................................... 14 “How Do I?”................................................... 15 1 BEGINNING YOUR STUDY PROGRAM . .17 Your Course of Study in Five Sections .............................. 17 Goals and Methods............................................. 20 Street Singing ................................................. 23 Introducing
    [Show full text]
  • 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.
    [Show full text]
  • Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights Schedule 2
    PHONOGRAPHIC PERFORMANCE COMPANY OF AUSTRALIA LIMITED CONTROL OF MUSIC ON HOLD AND PUBLIC PERFORMANCE RIGHTS SCHEDULE 2 001 (SoundExchange) (SME US Latin) Make Money Records (The 10049735 Canada Inc. (The Orchard) 100% (BMG Rights Management (Australia) Orchard) 10049735 Canada Inc. (The Orchard) (SME US Latin) Music VIP Entertainment Inc. Pty Ltd) 10065544 Canada Inc. (The Orchard) 441 (SoundExchange) 2. (The Orchard) (SME US Latin) NRE Inc. (The Orchard) 100m Records (PPL) 777 (PPL) (SME US Latin) Ozner Entertainment Inc (The 100M Records (PPL) 786 (PPL) Orchard) 100mg Music (PPL) 1991 (Defensive Music Ltd) (SME US Latin) Regio Mex Music LLC (The 101 Production Music (101 Music Pty Ltd) 1991 (Lime Blue Music Limited) Orchard) 101 Records (PPL) !Handzup! Network (The Orchard) (SME US Latin) RVMK Records LLC (The Orchard) 104 Records (PPL) !K7 Records (!K7 Music GmbH) (SME US Latin) Up To Date Entertainment (The 10410Records (PPL) !K7 Records (PPL) Orchard) 106 Records (PPL) "12"" Monkeys" (Rights' Up SPRL) (SME US Latin) Vicktory Music Group (The 107 Records (PPL) $Profit Dolla$ Records,LLC. (PPL) Orchard) (SME US Latin) VP Records - New Masters 107 Records (SoundExchange) $treet Monopoly (SoundExchange) (The Orchard) 108 Pics llc. (SoundExchange) (Angel) 2 Publishing Company LCC (SME US Latin) VP Records Corp. (The 1080 Collective (1080 Collective) (SoundExchange) Orchard) (APC) (Apparel Music Classics) (PPL) (SZR) Music (The Orchard) 10am Records (PPL) (APD) (Apparel Music Digital) (PPL) (SZR) Music (PPL) 10Birds (SoundExchange) (APF) (Apparel Music Flash) (PPL) (The) Vinyl Stone (SoundExchange) 10E Records (PPL) (APL) (Apparel Music Ltd) (PPL) **** artistes (PPL) 10Man Productions (PPL) (ASCI) (SoundExchange) *Cutz (SoundExchange) 10T Records (SoundExchange) (Essential) Blay Vision (The Orchard) .DotBleep (SoundExchange) 10th Legion Records (The Orchard) (EV3) Evolution 3 Ent.
    [Show full text]