The Daily Egyptian, September 30, 1983

Total Page:16

File Type:pdf, Size:1020Kb

The Daily Egyptian, September 30, 1983 Southern Illinois University Carbondale OpenSIUC September 1983 Daily Egyptian 1983 9-30-1983 The aiD ly Egyptian, September 30, 1983 Daily Egyptian Staff Follow this and additional works at: https://opensiuc.lib.siu.edu/de_September1983 Volume 69, Issue 30 Recommended Citation , . "The aiD ly Egyptian, September 30, 1983." (Sep 1983). This Article is brought to you for free and open access by the Daily Egyptian 1983 at OpenSIUC. It has been accepted for inclusion in September 1983 by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. 'Daily Prisoners m.ay work 'Egyptian at 'Touch of Nature' By John &hrag Touch of Nature. not in Winchester's district, two Southern Illinois University Staff Write<- Buzbee, 0-58th District. said existing work camps are. He Lane assured him that before said a facility in Dixon Springs Friday. Septt'mber 30. 1983. Vol. 69. No. 30 The Illinois Department of any decisions were made houses between 50 and 80 Corrections is considering the residents would br allowed to prisoners and employs 40 possibility of housing minimum­ voice their opinions. people. Another camp near security prisoners at SIU-C's John Guyon. vice·president Cave-In-Rock houses 511 in­ Touch of Nature facilities. for academic affairs. said that mates, he said, and f)mploys WSIU-FM to continue State Re". Robert Winchester DOC represenlativ"s have about 33 people. Beth facilities said that earlier this week talked with University officials are being expanded to ac· Michael Lane. DOC director. about using a portion of the commodate ISO prisoners each, airin,g NPR programs mentioned the idea of Touch of Nature grounds for a he said, and ...,'·i need additional establishing a work camp at work camp. But he said it is his employee.;. By Dave Saelens Fisher said bt'cause of Touch of Nature. Winchester. understanding that the DOC "We have a serious prison Staff Writer listeners' "good faith eifort at who serves on a state prison officials wanted to visit the overcrowding probk ~ in raising the $15.975," the station task force. said Lane indicate" facilities before discussing the Illinois and these work camps Although WSIU-FM did not asked the Friends of WSIU to that such a facility would hous" matter further. reach the goal it set for its fund­ pledge the remaining $5,930. only "ultra-minimum security University officials, who See PRISONERS, Page 3 raising event earlier this Station officials got their risk" prisoners, similar to those reportedly met with DOC month. station officials an­ answer Thursday morning participating in the work­ representatives. could not be nounced Thursday that a pledge when a spokesman for the release prograan at the House of reached for comment Thur­ from the Friends of WSIU will organization notified the station Glass in Carbondale. sday. allow them to continue that the Friends would make up Neither Lane nor his Winchester. R-llsth district, broadcasting National Public the riifference between the spokesman. Nic Howell, could said the DOC is looking for Radio programs. amount of money raised and the be reached by the Daily several places to establish work Station Manager Jane Fisher goal of $21,905. Egyptian for comment Thur­ camps for low-security said that pledges from the two­ Hans Rudnick, acting :'Jay. prisoners. He said that it is his week fund-raising campaign, an chairman of the Friends of However. state Sen. Y.enneth understanding that the facility art sale and donaticl1s received WSIU. said they have made Buzbee said he talked to Lane at Touch of Nature. if after the campaign totaled similar donations to the on Thursday and was told that established, would house about $15.975. but the station needed to television station in the past, the DOC was in the "very 50 inmates. He saiC\ such a camp Gus says after a guy did a raise a total of $21.905 - $11.905 but this is the first lim£' they've preliminary stages" of in­ would emploj about 36 stretch at Touch of Nature yon for NPR dues 3nd $10.000 for all vestigating the possibility of supt'l"Visory personnel. probably couldn" get him to other station programming. See WSIU, Page 2 establishing a work camp at Although Touch of Nature is It'a,·e. GPSC votes Halloween safety, to call for halt of brush work new traffic detour Bv .John Stewart Starf Writer under discussion .\ resolution calling for a complete halt at the clearing By Patrit:k Williams Avenue. work being done in Thompson Starr Writer The city will license the beer W~ods was passed by the booths and charge a fee to o:over Gradua te and Pr.Jfessional Although final plans aren't the cost of the toilets. Student Council on Wednesday. complete, traffic coming north When increasing city in­ ThE' resolution asks for the halt on Route 51 through Carbondale volvment in Halloween W3S first until a complete environmental during City Fair Days. alias proposed in September of 1982. impact study is done. Halloween, may have to take a concerns were raised about the The GPSC also discussed Vice slightly longer tho n usual city's vulnerabilty to law suits President John Guyon's detour. resulting from accidents by responses to the recom· Pohce and the Halloween revelers. mendations made by the Core Committee are still At the City Council meeting Committee on Academic making arrangements with the held on the 28th of that month. Prioriti<!s. and passed a Illinois \.Jepartment of Tran­ Jerry Cook. then president of resolution encouraging public sportation to possibly reroute the Undergraduate Student speakers to utilize the Free traffic east over Pleasant Hill Organization. prop'lsed that Forum :3rea. Road to Wall Street. north to chemical toilets be used to The GSPC'<; Thompson Woods !\l .. in Street and back to Illinois alleviate thl' problem of alley!> resolution included a "call for Avenue. according to Car­ and building walls being used as complete study" r.s Council bondale Police Pr£'ss Officer urinals. The council returned II rEpresent;.ltivl·~ !');pressed their Art Wright. cool response. Said Assistar.! dismay wit!"! the haste. timing. During preVi'lUS Halloweens. CIty Manager Scott Ratter: and pm.sible harm of the brush traffic was d£',oured down "If someone is injured, the clearing wor k being done. Grand Avenue to Wall. This city and possibly the l:niversity Several representatives said Staff Photo by Doug JanHin year Grand will be closed off might be sued." they thought the clearing work between Illinois Avenue and Ratter cited the possibility of was illegal. as the l'niversit\" lJlou'i,,' his hor" Wall Street and lined with six thl' toilets being picked up and accepted the woods with the Jazz gn'at Dizzy Gillespie plays for an audience of more than 100 beer booths. 12 porta hie toilets passed all'ong the crowd. condition that it would be left in Wl'dnt'sday night in Shryock Auditorium in a concert sponsored by and booths selling food and In the year following Ratter's its natural state. SPC Consorts. See review on Page 6. sundry items in an attempt to The GPSC spent nearly an disperse the erowd from Illinois SI'I' fULLOWEEN, Page 2 hour discussing two resolutions concerning speakers at the north end of the Student Center. A resolution supporting the l'ndergraduate Student Congress: troops can 8ta y Organization's resolution to remove s~akers from the north WASHINGTON (AP) - Congress Senate vote calling it "a strong signal to the Beirut was defeated 56-42. said its rejection end of the Student Center to the authorized President Reagan on Thur:;day world: America stands united; we speak "would cause many of us to wonder what Free Forum area was defeated, to keep 1,600 Marines in Lebanon for '1;"1 to with one voice. and we fulfill our respon- the mission really is." 22-16. IS months longer. turning aside warnings sibilities as a trustee of :reedom, pe3ce and Baker. urging approval of the IS-month In discussion, Chri:,. Dennis, a that the United States may be headed ftlr self-determination." extenSion, said he had "grave doubts" ~inema and Photography an undeclared war like the one in Vietnam. In both houses, opponents argued that an about the wisdom of sending the Marines to graduate student said that while The Senate a~roved ttor! proposal 54~, IS·month authorization could lead ~o Lebanon, but added, "They are committed, only "raving lunatics" speak by with two Democrats joinillg 52 Republicans deepening U.S. involvement akin to that In they are under fire, and it would be a tragic the Student Center. speaking in approving the authorization sought by Vietnam in the 1!:16Os and early 1!l70s. mistake if the Congress were to withdraw ought to bP. encouraged. Dennis the GOP admmistration. The Senate turned down amendmenis to them." said that as a whole SIU-C shorten the time period to six months, to The House, which had approved the Minority Leader Robert C. Byrd, D- students are apathetic and measure 270-161 Wednesday, had to vote on impose tlte timetable of 60 to 90 days ajJGlitical, and th..'!t an at­ spelled out in the War Powers Act and to W. Va., said the administration h.as failed to it again because of minor amendments nroviue a clear definition of the purpose oi mosphere of free speech ought adopted by the Senate. The House acted by restrict the Marines to the Beirut area. to be preserved. Senate Majority Leader Howard H. having th'! Marines in Beirut. He said he Countering Dennis.
Recommended publications
  • A Night in Tunisia (From Album “Legends Masterpieces)
    ANALISI DELLE FORME COMPOSITIVE di alcuni notissimi brani jazz di Avv. Valentina Grande 1) Sonny Rollins - St.Thomas (Original) (from album “The Prestige Years”) 2) Dizzy Gillespie feat. Charlie Parker - A Night In Tunisia (from album “Legends Masterpieces) 3) Miles Davis – Godchild (from album “Birth of the cool”) 1) Sonny Rollins - St.Thomas (Original) 1956 (from album “Saxophone Colossus”/“The Prestige Years”) St. Thomas è un brano strumentale scritto dal tenorsassofonista jazz Sonny Rollins, nel periodo dell’hard bop, nell’anno 1956, anno in cui ai musicisti del periodo fu data la possibilità di estendere la durata delle registrazioni oltre i fatidici tre minuti concessi dai supporti 78 giri, grazie all’innovazione giunta con l’introduzione del long playing in vinile a 33 giri. Nel leggendario studio di Rudy Van Gelder, niente altro che il salotto della sua abitazione ad Hackensack, New Jersey, il 22 giugno di quell’anno il produttore Bob Weinstock, creatore dell’etichetta discografica Prestige, organizzò una seduta di registrazione per il sassofonista Sonny Rollins e il suo quartetto. Il frutto del lavoro di quella giornata confluì nell’album “Saxophone Colossus”, opera che nei decenni a venire avrebbe cambiato la vita di molti sassofonisti più o meno in erba. L’eccezionale quartetto convocato per l’occasione era completato da Tommy Flanagan al pianoforte, Doug Watkins al contrabbasso e Max Roach alla batteria. Tra i brani registrati in quell’occasione, il più noto è sicuramente St. Thomas, passato alla storia come uno dei primi “calypso” registrati nell’ambito del jazz. La forma del brano, di sedici misure, è una sorta di AABC in miniatura, con sezioni di quattro misure.
    [Show full text]
  • Sunday.Sept.06.Overnight 261 Songs, 14.2 Hours, 1.62 GB
    Page 1 of 8 ...sunday.Sept.06.Overnight 261 songs, 14.2 hours, 1.62 GB Name Time Album Artist 1 Go Now! 3:15 The Magnificent Moodies The Moody Blues 2 Waiting To Derail 3:55 Strangers Almanac Whiskeytown 3 Copperhead Road 4:34 Shut Up And Die Like An Aviator Steve Earle And The Dukes 4 Crazy To Love You 3:06 Old Ideas Leonard Cohen 5 Willow Bend-Julie 0:23 6 Donations 3 w/id Julie 0:24 KSZN Broadcast Clips Julie 7 Wheels Of Love 2:44 Anthology Emmylou Harris 8 California Sunset 2:57 Old Ways Neil Young 9 Soul of Man 4:30 Ready for Confetti Robert Earl Keen 10 Speaking In Tongues 4:34 Slant 6 Mind Greg Brown 11 Soap Making-Julie 0:23 12 Volunteer 1 w/ID- Tony 1:20 KSZN Broadcast Clips 13 Quittin' Time 3:55 State Of The Heart Mary Chapin Carpenter 14 Thank You 2:51 Bonnie Raitt Bonnie Raitt 15 Bootleg 3:02 Bayou Country (Limited Edition) Creedence Clearwater Revival 16 Man In Need 3:36 Shoot Out the Lights Richard & Linda Thompson 17 Semicolon Project-Frenaudo 0:44 18 Let Him Fly 3:08 Fly Dixie Chicks 19 A River for Him 5:07 Bluebird Emmylou Harris 20 Desperadoes Waiting For A Train 4:19 Other Voices, Too (A Trip Back To… Nanci Griffith 21 uw niles radio long w legal id 0:32 KSZN Broadcast Clips 22 Cold, Cold Heart 5:09 Timeless: Hank Williams Tribute Lucinda Williams 23 Why Do You Have to Torture Me? 2:37 Swingin' West Big Sandy & His Fly-Rite Boys 24 Madmax 3:32 Acoustic Swing David Grisman 25 Grand Canyon Trust-Terry 0:38 26 Volunteer 2 Julie 0:48 KSZN Broadcast Clips Julie 27 Happiness 3:55 So Long So Wrong Alison Krauss & Union Station
    [Show full text]
  • “Dizzy” Gillespie Was One of the Most Important and Influential Jazz Trumpeters, After Louis Armstrong
    35 lesson9 Meet the Great Jazz Legends dizzygillespie Photo: © Carl Van Vechten, Library of Congress Vechten, Photo: © Carl Van IMPORTANT FACTS TO KNOW ABOUT JOHN “DIZZY” GILLESPIE Born: October 21, 1917, Cheraw, South Carolina Died: January 6, 1993, Englewood, New Jersey Period/Style of Jazz: Bebop, Afro-Cuban Jazz Instrument: Trumpet, bandleader and composer Major Compositions: A Night in Tunisia, Con Alma, Groovin’ High, Manteca Interesting Facts: Dizzy Gillespie invented the modern approach to jazz trumpet playing, which included extending the range of the instrument, improvising in a more linear fashion and playing with dramatic bursts with large interval leaps. He was among the first to use Afro-Cuban music in jazz. Included Listening: A Night in Tunisia Track 9 36 Meet the Great Jazz Legends ■ The Story of Dizzy Gillespie (1917–1993) ohn Birks “Dizzy” Gillespie was one of the most important and influential jazz trumpeters, after Louis Armstrong. Dizzy Gillespie, along with his colleagues Charlie Parker and Thelonious J Monk, are considered to be the “fathers” of the fast-and-furious style called bebop. Dizzy Gillespie was known for his soaring trumpet lines, his puffed cheeks and the tilted bell of his trumpet. He was loved by musicians and fans for his engaging personality and showmanship. Gillespie was inspired to play music by his father who was a bricklayer and part- time musician. Gillespie began playing the piano at the age of 4. He taught himself to play the trumpet by trial and error, with the help of a few friends at the age of 12. In 1935, Gillespie moved to Philadelphia with his mother, after the death of his father.
    [Show full text]
  • Lee Morgan and the Philadelphia Jazz Scene of the 1950S
    A Musical Education: Lee Morgan and the Philadelphia Jazz Scene of the 1950s Byjeffery S. McMillan The guys were just looking at him. They couldn't believe what was coming out of that horn! You know, ideas like . where would you get them? Michael LaVoe (1999) When Michael LaVoe observed Lee Morgan, a fellow freshman at Philadelphia's Mastbaum Vocational Technical High School, playing trumpet with members of the school's dance band in the first days of school in September 1953, he could not believe his ears. Morgan, who had just turned fifteen years old the previous July, had remarkable facility on his instrument and displayed a sophisticated understanding of music for someone so young. Other members of the ensemble, some of whom al- ready had three years of musical training and performing experience in the school's vocational music program, experienced similar feelings of dis- belief when they heard the newcomer's precocious ability. Lee Morgan had successfully auditioned into Mastbaum's music program, the strongest of its kind in Philadelphia from the 1930s through the 1960s, and demon- strated a rare ability that begged the title "prodigy." Almost exactly three years later, in November of 1956, Lee Morgan, now a member of die Dizzy Gillespie orchestra, elicited a similar response at the professional level after the band's New York opening at Birdland. Word spread, and as the Gillespie band embarked on its national tour, au- diences and critics nationwide took notice of the young soloist featured on what was often the leader's showcase number: "A Night in Tunisia." Nat Hentoff caught the band on their return to New York from the Midwest in 1957.
    [Show full text]
  • SWR 2 Musikstunde
    __________________________________________________________________________ SWR 2 Musikstunde: Standards – Zeitlose Jazzgeschichten: I: Dreams of Africa 5.Februar 2011 Autor: Thomas Loewner Redakteur: Martin Roth Moderation 1: Zur Musikstunde begrüßt Sie Thomas Loewner. Nach den „Instrumentalen Jazzgeschichten“ im vergangenen Jahr gibt’s ab heute jeden ersten Samstag im Monat eine Fortsetzung unserer Jazzreihe. Allerdings stehen nicht mehr die Instrumente des Jazz im Mittelpunkt, sondern Standards. Das sind Melodien, die zum Grundrepertoire eines jeden Jazzmusikers gehören. Bis heute gilt: wer sich für ein Jazzstudium an einer Musikhochschule einschreibt, ist gut beraten spätestens bis zum Ende der Ausbildung das Real Book zu beherrschen. Das Real Book, eine Sammlung von Transkriptionen der wichtigsten Standards, ist erstmals in den 1970er Jahren erschienen und bildet noch immer eine wichtige Basis, um bei Sessions nicht alt auszusehen. In der Regel verständigen sich die Musiker dort kurz auf einen Song, und dann geht man davon aus, dass alle die Melodie und Harmonien parat haben, um loszuspielen. Meine Kollegin Julia Neupert und ich werden Ihnen im Laufe des Jahres Jazz-Standards in all ihren Facetten vorstellen: bekannte Broadway-Melodien, Bossa Novas, die großen Standard-Komponisten wie etwa George Gershwin und Cole Porter oder Pop-Songs der letzten zwanzig Jahre, die das Standard-Repertoire Stück für Stück erweitert haben. Denn auch hier zeigt sich wieder: Jazz lebt und ist ständig in Bewegung. Das versuchen wir auch zu verdeutlichen, indem wir in den Sendungen immer wieder alte und neue Aufnahmen gegenüberstellen. Denn die Interpretationen ein und desselben Songs haben im Lauf der Zeit bisweilen ziemlich stark variiert. Der heutige Auftakt steht unter dem Motto „Dreams of Africa“.
    [Show full text]
  • Proquest Dissertations
    A comparison of embellishments in performances of bebop with those in the music of Chopin Item Type text; Thesis-Reproduction (electronic) Authors Mitchell, David William, 1960- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 23:23:11 Link to Item http://hdl.handle.net/10150/278257 INFORMATION TO USERS This manuscript has been reproduced from the miaofillm master. UMI films the text directly fi^om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be fi-om any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and contLDuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • SWR Big Band & Gäste
    07. März SWR Big Band & Gäste 01 Little brown jug 02:47 Joseph Eastburn Winner Bearbeiter: Bernd Rabe SWR Big Band Leitung: Dieter Reith 02 In the mood 02:00 Joe Garland (1907) Bearbeiter: Bernd Rabe Textdichter: Andy Razaf The King's Singers Erwin Lehn und sein Südfunk-Tanzorchester Leitung: Erwin Lehn 03 L + R Records A string of pearls 03:25 Jerry Gray Bearbeiter: Helmut Kirchgässner SDR Big Band Leitung: Paul Kuhn 04 Chattanooga choo choo 03:23 Aus: Sun Valley Serenade (Film) Harry Warren Bearbeiter: Bernd Rabe SWR Big Band Leitung: Dieter Reith 05 335 Records Mellow out 05:02 Larry Carlton Larry Carlton (1948-)(g) SWR Big Band Leitung: Rudolf Reindl John Beasley (Urheber: (ARR)) Seite 1 von 7 SWR Big Band & Gäste, 07. März 06 SKYWALK Roda baiana 03:16 RECORDS Ivan Lins Vitor Martins Ivan Lins (1945-) SWR Big Band Axel Kühn (fl) Ralf Schmid (p,Programming) Nilson Matta (bg) Portinho (dr,perc) 07 POLYPHON Petite fleur 02:43 Sidney Bechet Chris Barber and his Jazzband Leitung: Chris Barber 08 Ice cream 02:27 Howard Johnson Moll Erwin Lehn und sein Südfunk-Tanzorch Leitung: Erwin Lehn 09 She's in love with you 03:09 Nicky Chinn Mike Chapmann Bernd Rabe Erwin Lehn und sein Südfunk-Tanzorchester 10 Ganz Paris träumt von der Liebe 02:34 aus dem Musical: Can Can Cole Porter Bearbeiter: Helmut Kirchgässner Erwin Lehn und sein Südfunk-Orcheste Leitung: Erwin Lehn 11 Glühwürmchen 03:12 aus der Operette: Lysistrata Paul Lincke Bearbeiter: Bernd Rabe Erwin Lehn und sein Südfunk-Tanzorchester Leitung: Erwin Lehn Seite 2 von 7 SWR Big Band & Gäste, 07.
    [Show full text]
  • The Cooker (Blue Note)
    Lee Morgan The Cooker (Blue Note) The Cooker Lee Morgan, trumpet; Pepper Adams, baritone sax; Bobby Timmons, piano; Paul Chambers, bass; Philly Joe Jones, drums. 1. A Night In Tunisia (Dizzy Gillespie) 9:22 Produced by ALFRED LION 2. Heavy Dipper (Lee Morgan) 7:05 Cover Photo by FRANCIS WOLFF 3. Just One Of Those Things (Cole Porter) 7:15 Cover Design by REID MILES 4. Lover Man (Ramirez-Davis-Sherman) 6:49 Recording by RUDY VAN GELDER 5. New-Ma (Lee Morgan) 8:13 Recorded on September 29, 1957 Lee Morgan, not yet twenty years old at this writing, is here represented for the fifth time as the leader of a Blue Note recording session. His fantastically rapid growth (technically and musically) as witness previous efforts, along with this one, places him beyond the "upcoming" or "potential" status into the ranks of those whose potential has been realized. Lee stands, right now, as one of the top trumpet players in modern jazz. As the title states, Lee is a "Cooker." He plays hot. His style, relating to the Gillespie- Navarro-Brown school, is strong and vital. There is enthusiasm in his music. A kind of "happy to be playing" feeling that is immediately communicated to the listener. Lee's later three Blue Note offerings have been set within the sparkling context of tunes written, mostly, by the provocative Benny Golson. Herein he reverts back to the format of his first recording, playing in a less "strict" atmosphere and just plain wailing throughout. "A Night In Tunisia" (Dizzy's tune which has been lee's showcase vehicle since he joined the Gillespie organization) leads off the set.
    [Show full text]
  • Primary Sources: an Examination of Ira Gitler's
    PRIMARY SOURCES: AN EXAMINATION OF IRA GITLER’S SWING TO BOP AND ORAL HISTORY’S ROLE IN THE STORY OF BEBOP By CHRISTOPHER DENNISON A thesis submitted to the Graduate School-Newark Rutgers University, The State University of New Jersey In partial fulfillment of the requirements of Master of Arts M.A. Program in Jazz History and Research Written under the direction of Dr. Lewis Porter And approved by ___________________________ _____________________________ Newark, New Jersey May, 2015 ABSTRACT OF THE THESIS Primary Sources: An Examination of Ira Gitler’s Swing to Bop and Oral History’s Role in the Story of Bebop By CHRISTOPHER DENNISON Thesis director: Dr. Lewis Porter This study is a close reading of the influential Swing to Bop: An Oral History of the Transition of Jazz in the 1940s by Ira Gitler. The first section addresses the large role oral history plays in the dominant bebop narrative, the reasons the history of bebop has been constructed this way, and the issues that arise from allowing oral history to play such a large role in writing bebop’s history. The following chapters address specific instances from Gitler’s oral history and from the relevant recordings from this transitionary period of jazz, with musical transcription and analysis that elucidate the often vague words of the significant musicians. The aim of this study is to illustratethe smoothness of the transition from swing to bebop and to encourage a sense of skepticism in jazz historians’ consumption of oral history. ii Acknowledgments The biggest thanks go to Dr. Lewis Porter and Dr.
    [Show full text]
  • Karaoke Catalog Updated On: 09/04/2018 Sing Online on Entire Catalog
    Karaoke catalog Updated on: 09/04/2018 Sing online on www.karafun.com Entire catalog TOP 50 Tennessee Whiskey - Chris Stapleton My Way - Frank Sinatra Wannabe - Spice Girls Perfect - Ed Sheeran Take Me Home, Country Roads - John Denver Broken Halos - Chris Stapleton Sweet Caroline - Neil Diamond All Of Me - John Legend Sweet Child O'Mine - Guns N' Roses Don't Stop Believing - Journey Jackson - Johnny Cash Thinking Out Loud - Ed Sheeran Uptown Funk - Bruno Mars Wagon Wheel - Darius Rucker Neon Moon - Brooks & Dunn Friends In Low Places - Garth Brooks Fly Me To The Moon - Frank Sinatra Always On My Mind - Willie Nelson Girl Crush - Little Big Town Zombie - The Cranberries Ice Ice Baby - Vanilla Ice Folsom Prison Blues - Johnny Cash Piano Man - Billy Joel (Sittin' On) The Dock Of The Bay - Otis Redding Bohemian Rhapsody - Queen Turn The Page - Bob Seger Total Eclipse Of The Heart - Bonnie Tyler Ring Of Fire - Johnny Cash Me And Bobby McGee - Janis Joplin Man! I Feel Like A Woman! - Shania Twain Summer Nights - Grease House Of The Rising Sun - The Animals Strawberry Wine - Deana Carter Can't Help Falling In Love - Elvis Presley At Last - Etta James I Will Survive - Gloria Gaynor My Girl - The Temptations Killing Me Softly - The Fugees Jolene - Dolly Parton Before He Cheats - Carrie Underwood Amarillo By Morning - George Strait Love Shack - The B-52's Crazy - Patsy Cline I Want It That Way - Backstreet Boys In Case You Didn't Know - Brett Young Let It Go - Idina Menzel These Boots Are Made For Walkin' - Nancy Sinatra Livin' On A Prayer - Bon
    [Show full text]
  • Dizzy Gillespie and the Big Band: GILLESPIANA (Verve V6-8394)
    JAMU 20150422-2 –Dizzy Gillespie-Lalo Schifrin suites (ukázky) Dizzy Gillespie and His Orchestra: A PORTRAIT OF DUKE ELLINGTON (Verve V6-8386) A1 In A Mellow Tone 3:44 A2 Things Ain't What They Used To Be 4:50 A3 Serenade To Sweden 4:23 A4 Chelsea Bridge 2:34 A5 Upper Manhatten Medical Group 3:05 A6 Do Nothin' Till You Hear From Me 2:38 B1 Caravan 5:18 B2 Sophisticated Lady 3:19 B3 Johnny Come Lately 3:35 B4 Perdido 4:47 B5 Come Sunday 2:56 Trumpet – Dizzy Gillespie Trombone – Bennie Green French Horn – Joe Singer, Ray Alonge, Richard Berg Tuba – Jay McAllister Flute – Robert DiDomenica Woodwind – Ernest Bright, John Murtaugh, Paul Richie, Stan Webb Vibraphone – George Devens Piano, Celeste – Hank Jones Bass – George Duvivier Drums – Charlie Persip Arranged By – Clare Fisher Recorded on 27-28 April, 1960 in NYC. Dizzy Gillespie and the Big Band: GILLESPIANA (Verve V6-8394) A1 Prelude 5:52 A2 Blues 11:16 A3 Panamericana 4:39 B1 Africana 7:31 B2 Toccata 12:01 Trumpet – Clark Terry, Dizzy Gillespie, Ernie Royal, Joe Wilder, John Frosk Trombone – Britt Woodman, Frank Rehak, Paul Faulise, Urbie Green Horns – Al Richman, Gunther Schuller, James Buffington, Julius Watkins, Morris Secon, William Lister Tuba – Don Butterfield Saxophone – Leo Wright Piano, Written-By, Arranged By – Lalo Schifrin Bass – Art Davis Drums – Chuck Lampkin Bongos – Jack Del Rio Congas – Candido Timbales, Timpani – Willie Rodriguez Recorded November 14-15, 1960 in New York Dizzy Gillespie and the Big Band: CARNEGIE HALL CONCERT (Verve V6-8423) A1 Manteca 6:22 A2 This Is
    [Show full text]
  • Imaginings of Africa in the Music of Miles Davis by Ryan
    IMAGININGS OF AFRICA IN THE MUSIC OF MILES DAVIS BY RYAN S MCNULTY THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Music in Music with a concentration in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Advisor: Associate Professor Gabriel Solis Abstract Throughout jazz’s history, many American jazz musicians have alluded to Africa using both musical and extramusical qualities. In musicological literature that has sought out ties between American jazz and Africa, such as Ingrid Monson’s Freedom Sounds (2007) and Robyn Kelly’s Africa Speaks, America Answers (2012), the primary interest has thus far been in such connections that occurred in the 1950s and early 1960s with the backdrop of the Civil Rights movement and the liberation of several African countries. Among the most frequently discussed musicians in this regard are Art Blakey, Max Roach, and Randy Weston. In this thesis, I investigate the African influence reflected in the music of Miles Davis, a musician scantly recognized in this area of jazz scholarship. Using Norman Weinstein’s concept of “imaginings,” I identify myriad ways in which Davis imagined Africa in terms of specific musical qualities as well as in his choice of musicians, instruments utilized, song and album titles, stage appearance, and album artwork. Additionally (and often alongside explicit references to Africa), Davis signified African-ness through musical qualities and instruments from throughout the African diaspora and Spain, a country whose historical ties to North Africa allowed Davis to imagine the European country as Africa.
    [Show full text]