The ART of BASS Traditions Are a Good Place to Start
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Official List of Houston County Qualified Voters State of Alabama Houston County
OFFICIAL LIST OF HOUSTON COUNTY QUALIFIED VOTERS STATE OF ALABAMA HOUSTON COUNTY As directed by the Code of Alabama, I, PATRICK H. DAVENPORT, Judge of Probate, hereby certify that the within constitutes a full and correct list of all qualified electors, as the same appears from the returns of the Board of Registrars, on file in this office, and who will be entitled to vote in any election held in said county. Notice is hereby given to any voter duly registered whose name has been inadvertently, or through mistake, omitted from the list of qualified voters herein published, and who is legally entitled to vote, shall have ten days from the date of thispublication to have his or her name entered upon the list of qualified voters, upon producing proof to the Board of Registrars of said County that his or her name should be added to said list. This list does not include names of persons who registered after Jan 16, 2020. A supplement list will be published on or before Feb 25, 2020. PATRICK H. DAVENPORT Judge of Probate ANDREW BELLE ANNETTE BURKS DELISA THOMAS CUNNINGHAM KYLE JACOB EDWARDS MICHAEL WAYNE GOODWIN SHARRON ANNELLE COMM CENTER BLACK MORRIS K BURNEY HANSEL CURETON JAMES T EDWARDS MICHELLE MAIRE GOOLSBY KIMBERLY SHANEDRA ABBOTT CLARISSE ANN BLACK NATASHA LYNETTE BURNSED ROBERT AUSTIN III CURLIN STACY DENISE EIKER REBECCA GORDON MAE EVELYN ABBOTT EARL LEIGHTON III BLACK SARAH FRANCIS BURROUGHS APRIL ANTRONN CURRY ANTHONY DWAYNE ELLARD GRANADA IRENE GORLAND KIMBERLY DARLINE ADAMS CHANEY ALEDIA BLACKBURN MICHAEL EDWARD BURROUGHS KHAALIS -
You're Invited to Play Your Part!
ONLINE JAZZ PARTY & FUNDRAISER SPONSOR PACKAGES You’re Invited to Play your Part! The Nashville Jazz Workshop (NJW) is a nonprofit organization dedicated to enriching people’s lives through jazz education and performance. For 20 years the NJW has delivered world class performances and music education to Nashville audiences and jazz fans around the country and the world. 2020 has been a challenging year for cultural institutions everywhere as they seek to fulfill their missions and remain financially viable. Fortunately, the internet has enabled the NJW to continue serving audiences and students – over 20,000 people have subscribed to the NJW’s YouTube channel to view live and archived performances and hundreds have enrolled in virtual classes since social distancing restrictions began in March. Jazzmania is the NJW’s annual jazz party and fundraiser. As a live event it has been “the jazz party of the year” and one of the city’s most engaging and fun charity events. As with other charity events, the event is moving online this year as a virtual event. On October 24, 2020 the Workshop will host Jazzmania as an online jazz party and evening of world class jazz performances. We will share our love of jazz, celebrate the Workshop’s 20th anniversary and ask our devoted fans to open their hearts and wallets to support the Workshop. The streaming event will also be targeted to a global audience, to build awareness of the NJW and engagement with jazz fans around the world. Proceeds from the event will support the NJW’s Music Education, Performance Series and Community Outreach. -
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 -
SMV: Stanley Clarke/Marcus Miller/Victor Wooten
SMV - Stanley Clarke - Marcus Miller - Victor Wooten In an era where sports fantasy leagues are all the rage comes a real-life historic teaming that serious music fans and bass players have long dreamed of. SMV unites music titans Stanley Clarke, Marcus Miller and Victor Wooten. This unique alliance of three generations of bass gods has been on chat room and fan gathering wish lists for over 15 years, kept alive by periodic statements from all three that schedules permitting they would give it a go. Finally, in October 2007, with Clarke set to receive a Lifetime Achievement Award from Bass Player magazine, at its annual Bass Player Live! event in New York City, Miller and Wooten made the time to attend and induct their mentor. The ensuing VSOP jam not only blew the minds of the 900 in attendance, it cemented for the trio their inherent musical chemistry and thus the viability of pursuing the project in earnest. As a result, in January 2008, SMV entered the studio to record a CD and put together a summer/fall tour. The three recall their first performance and the sessions for their disc. Says Clarke, “The second we started ‘School Days’ at the Bass Player event I knew it was historical for us and the audience. Marcus and Victor are so intuitive, and we each found our range. Marcus was slamming down the groove and Victor started playing these harmonics chords, and I was like, man, this is so bad-ass! When you have that amount of knowledge, respect and love it always creates clarity in the music.” Wooten admits, “To work with Stanley and Marcus has been a dream come true for me. -
Kimmel Center Cultural Campus Presents Grammy
Tweet It! 15-time Grammy Award-winning @belafleckbanjo comes to the @KimmelCenter for a groundbreaking quartet performance with @TheFlecktones on 12/3. More info @ Kimmelcenter.org Press Contact: Lauren Woodard Jessica Christopher 215-790-5835 267-765-3738 [email protected] [email protected] KIMMEL CENTER CULTURAL CAMPUS PRESENTS GRAMMY® AWARD-WINNING GROUNDBREAKING QUARTET BÉLA FLECK & THE FLECKTONES FOR THEIR 30TH ANNIVERSARY NORTH AMERICAN TOUR DECEMBER 3, 2019 “…Virtuoso musicianship and mastery of improvisation.” – WXPN “The Flecktones [are as] spry as ever, each at the absolute highest level of craftsmanship on his instrument… the band led the audience through peaks and valleys with astounding proficiency” – GLIDE MAGAZINE “The band is still inscrutable, bordering on mystical.” – CITY NEWSPAPER FOR IMMEDIATE RELEASE (Philadelphia, PA, November 6, 2019) – The Kimmel Center Cultural Campus is proud to present the reunited Béla Fleck & The Flecktones. The original lineup of the quartet, led by 16-time Grammy® Award-winning banjoist/composer Béla Fleck, will grace the Verizon Hall stage on Tuesday, December 3, 2019 at 7:00 p.m. For the performance, Fleck will be joined by Howard Levy on piano and harmonica, percussionist/Drumitarist Roy “Future Man” Wooten, and bassist Victor Wooten. “The revolutionary musicians that comprise Béla Fleck & The Flecktones fuse all manner of genres to create some of the most forward-thinking music of their long, storied careers,” said Anne Ewers, President and CEO of the Kimmel Center for the Performing Arts. “Their sound is wholly unique, drawing inspiration from classical and jazz to blues and even Eastern European folk dance. This virtuosic music can be made only with these four individuals. -
Sadler's Wells Theatre, London, England (FM)[MP3-320];124 514 KB
10,000 Maniacs;1988-07-31;Sadler's Wells Theatre, London, England (FM)[MP3-320];124 514 KB 10,000 Maniacs;Eden's Children, The Greek Theatre, Los Angeles, California, USA (SBD)[MP3-224];150 577 KB 10.000 Maniacs;1993-02-17;Berkeley Community Theater, Berkeley, CA (SBD)[FLAC];550 167 KB 10cc;1983-09-30;Ahoy Rotterdam, The Netherlands [FLAC];398 014 KB 10cc;2015-01-24;Billboard Live Tokyo, Tokyo, Japan [MP3-320];173 461 KB 10cc;2015-02-17;Cardiff, Wales (AUD)[FLAC];666 150 KB 16 Horsepower;1998-10-17;Congresgebow, The Hague, Netherlands (AUD)[FLAC];371 885 KB 16 Horsepower;2000-03-23;Eindhoven, Netherlands (Songhunter)[FLAC];514 685 KB 16 Horsepower;2000-07-31;Exzellenzhaus, Sommerbühne, Germany (AUD)[FLAC];477 506 KB 16 Horsepower;2000-08-02;Centralstation, Darmstadt, Germany (SBD)[FLAC];435 646 KB 1975, The;2013-09-08;iTunes Festival, London, England (SBD)[MP3-320];96 369 KB 1975, The;2014-04-13;Coachella Valley Music & Arts Festival (SBD)[MP3-320];104 245 KB 1984;(Brian May)[MP3-320];80 253 KB 2 Live Crew;1990-11-17;The Vertigo, Los Angeles, CA (AUD)[MP3-192];79 191 KB 21ST CENTURY SCHIZOID BAND;21st Century Schizoid Band;2002-10-01;Queen Elizabeth Hall, London, England [FLAC];619 21ST CENTURY SCHIZOID BAND;21st Century Schizoid Band;2004-04-29;The Key Club, Hollywood, CA [MP3-192];174 650 KB 2wo;1998-05-23;Float Right Park, Sommerset, WI;Live Piggyride (SBD)(DVD Audio Rip)[MP3-320];80 795 KB 3 Days Grace;2010-05-22;Crew Stadium , Rock On The Range, Columbus, Ohio, USA [MP3-192];87 645 KB 311;1996-05-26;Millenium Center, Winston-Salem, -
The ART of BASS Traditions Are a Good Place to Start
the ART of BASS Traditions are a good place to start. We just choose not to stay there. Our years of experience and the desire for perfection drive our unending fine tuning and deve- lopment of our bass models. We constantly get feedback from our customers, who are professional bassists and bass enthusiasts all over the world, and we use that feedback as inspiration in our quest to build the perfect bass. We build instruments that are ergonomic because the playing experience needs to be comfortable. We build basses that resonate deeply, with clear voices and tremen- dous sustain because the player’s voice deserves to be heard. We build basses with low action and impeccable playability because the player needs to be able to execute their intentions without resistance. We’ve built more than 2000 custom instruments, and each of their happy owners can attest to our commitment to excellence. We know that highclass wood is the key to a great bass. We have a passion for coll- ecting and building with rare and fascinating woods. Marleaux Bass Guitars takes great care in the proper storage, drying and treatment of these woods to ensure their unique sonic characteristics. We then tailor each bass to the needs of the customer by using the exact piece of wood for every aspect of its construction. We make bassists’ dreams come true! In every phase of the construction of a bass, we allow time to achieve for the best results. We handle the woods carefully and treat them with the great sensibilities of an artisan and craftsman. -
Kinesthetics by Bill Milkowski, Jazztimes
SCOTT KINSEY: Kinesthetics by Bill Milkowski, JazzTimes Since 1991, keyboardist Scott Kinsey has been the secret weapon of Tribal Tech, one of the premier bands on the fusion scene. A remarkably distinctive soloist with a unique harmonic sensibility and a wholly inventive approach to synthesizers, Kinsey has an uncanny knack for making technology sound organic and orchestrating in the moment. As Tribal Tech ringleader explains, “Scott has been such a big influence on the direction that Tribal Tech has taken. Before we met him all we really had was a band that played tunes the way they were written out. But Kinsey was a major reason for us getting to that point of being able to throw the charts away and just jam right in the moment, because he could do it so well and pull it off every time. It wasn’t until I played with Scott that I realized how loose it can be and still sound totally together. Because he would be pulling out so much cool stuff to listen to that you didn’t need a note of written music. Kinsey’s such a great improvising musician but he also brings a real sense of form and harmony to it so that you can just jam freely and know that it’s always gonna sound cool.” Whether he’s improvising strictly in the moment with loops, concocting provocative tones and textures or carving out new sonic territory on his Nord Lead synthesizer, Kinsey’s presence invariably elevates the proceedings of every situation he finds himself in. -
BÉLA FLECK Were You Good Right Away? They Actually Gave Me My fi Rst Pro Tools Rig
JUNE 2011 ISSUE MMUSICMAG.COM JUNE 2011 ISSUE MMUSICMAG.COM MUSICIAN What drew you to the banjo? to transcribe things off Charlie Parker or TOOLS OF THE TRADE When I fi rst heard the banjo it was profound. Chick Corea records. I’d also take things I heard Earl Scruggs playing the Beverly from great guitar players like Pat Martino or Hillbillies theme [“The Ballad of Jed Pat Metheny. Nobody had really explored the Fleck’s primary instrument since 1981 Clampett”], but I wasn’t that interested banjo neck the way I was trying to do. There has been a 1938 Gibson TB-75 Flathead, in country or folk. At that time it was just were a couple of guys—Don Reno and Eddie which cost $75 when it was manufactured the sound of the banjo that jumped out at Adcock—who had done stuff with scales, but but is now worth $100,000. Its depth and me. I’ve talked to a lot of people who Earl it wasn’t a complete concept. I learned all warmth of sound are generated from the Scruggs had that impact on—the fi rst time the modes in all the keys from the bottom expanded tone ring, which allows for more they heard him play just shook them up. of the banjo neck to the top, and every skin surface to resonate. The Gibson has single jazz chord inversion. been fi tted with a taller and thicker bridge What other music did you like? to enhance the deeper tones. Fleck says he I was a kid in the ’60s, so the Beatles were How did the Flecktones form? creates a darker sound by “keeping things huge. -
2013 Alfred Music Publishing Co., Inc. All Rights Reserved Including Public Performance
© 2013 Alfred Music Publishing Co., Inc. All Rights Reserved including Public Performance. Any duplication, adaptation or arrangement of the compositions contained in this book requires the written consent of the Publisher. No part of this book may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law. ABOUT THE AUTHORS Caleb Chapman As the president of Caleb Chapman Music, Caleb directs over 170 young musicians in ten elite ensembles. This includes the acclaimed Crescent Super Band, which has frequently been hailed as one of the best professional bands in the world to be comprised entirely of young musicians. In 2011 Caleb was named the “John LaPorta International Jazz Educator of the Year,” one of the highest honors in music education. He has also received awards as “Best K-12 Educator” and “Best Music Educator” for the state of Utah. Caleb’s bands have been honored with 17 DownBeat Awards and featured at many of the world’s most prestigious jazz festivals and venues. His program has twice received the Best of State Statue Award, marking the program as the top organization in Arts and Entertainment by surpassing every other professional music, arts, and film group in Utah for the honor. Since 2001, they have performed with over 200 guest artists, including Randy Brecker, Joe Lovano, Christian McBride, Esperanza Spalding, Peter Erskine, Toshiko Akiyoshi, Gordon Goodwin, Bob Berg, Wayne Bergeron, Dave Weckl, Nicholas Payton, Lenny Pickett, Ernie Watts, and Bob Mintzer, to name a few. Additionally, his bands have received heavy airplay on the Sirius XM “Real Jazz” Channel. -
Please CLICK HERE to DOWNLOAD Or PRINT
Producing-Writing Chicago LP Song: Knockin' S&S Records (2007) Record Label: Sony UK (2007) Featuring: Common Co-written by Bill Dickens Kanye West Bryon Stingley Syleena Johnson Song: “You're The One” (Co-writer) Aretha Franklin Platinum Album: A Rose is Still a Rose James Brown Song: “N Case You 4 Got”, Writer Tribute Album (2008) Arista Records (1999 Gold) Performed and co-produced by: Song was “B” side to Bootsy Collins and Bill Dickens “A Rose is Still a Rose” (Gold 1999) On the Out of Sight Also released as separate single Album contained Producer credits Bootsy Collins and guest performances by: Boots Bass Heroes Project (2008) Lauren Hill, Puff Daddy, Featuring: Jermaine Dupree, Dallas Austin, Flea of The Red Hot Chili Peppers Narada Michael Walden, P-Nut of 311 Darryl Simmons, David Foster Les Claypool of Prymus Stanley Clarke Tristan & Michael Grigsby Marcus Miller Album: Project Storm (1999) Victor Wooten Co-Producer Co-wrote and performed on a track Album included guest appearances by: with Bootsy Collins Vernon Reed (from Living Color) Rod Morgenstein (From Dixie Dreggs) Bryan Lubeck Tim Stevens Album: Vineyard Groove (2008) True Gemini Records #3270 Producer Soul Children of Chicago Victor Wooten (Walt Whitman) (Grammy Award Winner) Album: Soul Circus (2007) Album: Generation X Celebration Record Label: Vanguard Song: “Lift Him Up” Vocals and Bass Co-Producer/Co-Writer Tribute Song Song: “Stop the Tears” Co-Arranger CGI Records (1999) Song: “I Waited for You” Record Label: Dope Wax Records (2007) Brian Culbertson Co-written -
Innerviews Book
INNERVIEWS: MUSIC WITHOUT BORDERS EXTRAORDINARY CONVERSATIONS WITH EXTRAORDINARY MUSICIANS Anil Prasad ABSTRACT LOGIX BOOKS CARY, NORTH CAROLIna Abstract Logix Books A division of Abstract Logix.com, Inc. 103 Sarabande Drive Cary, North Carolina 27513 USA 919.342.5700 [email protected] www.abstractlogix.com Copyright © 2010 by Anil Prasad ISBN 978-0-578-01518-7 Library of Congress Control Number: Pending Printed in India First Printing, 2010 All rights reserved. No part of this book may be reproduced in any form by any means without the written permission of the author. Short excerpts may be used without permission for the purpose of a book review. For Grace, Devin and Mimi CONTENTS Acknowledgements vii Foreword by Victor Wooten viii Introduction x Jon Anderson: Harmonic engagement 1 Björk: Channeling thunderstorms 27 Bill Bruford: Storytelling in real time 37 Martin Carthy: Traditional values 51 Stanley Clarke: Back to basics 65 Chuck D: Against the grain 77 Ani DiFranco: Dynamic contrasts 87 v Béla Fleck: Nomadic instincts 99 Michael Hedges: Finding flow 113 Jonas Hellborg: Iconoclastic expressions 125 Leo Kottke: Choice reflections 139 Bill Laswell: Endless infinity 151 John McLaughlin & Zakir Hussain: Remembering Shakti 169 Noa: Universal insights 185 David Sylvian: Leaping into the unknown 201 Tangerine Dream: Sculpting sound 215 David Torn: Mercurial mastery 229 Ralph Towner: Unfolding stories 243 McCoy Tyner: Communicating sensitivity 259 Eberhard Weber: Foreground music 271 Chris Whitley: Melancholic resonance 285 Victor Wooten: Persistence and equality 297 Joe Zawinul: Man of the people 311 Photo Credits 326 Artist Websites 327 About the Author 329 vi ACKNOWLEDGEMENTS Many people have contributed to Innerviews, both the website and the book, across the years.