Introducing Letizia Gambi
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Seeing (For) Miles: Jazz, Race, and Objects of Performance
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College -
Biography Philippe Petrucciani
He starts studying the guitar with his father Tony, guitarist also. He works Jazz with his two brothers Louis (doublebass) and Michel (piano) under the advice of their father and listening to musicians like Wes Montgomery, Bill Evans, Tal Farlow, Barney Kessel etc ... During a first trip to the USA for his training, he plays a duet with his brother Michael in Philadelphia and this experience, renewed a few years later at the Olympia, give him the opportunity to meet John Abercrombie which gives some courts. After this encounter, he forms his first band in 1980 to interpret his compositions and surrounds himself with musicians such as Marc Mazzillo, Bernard Santacruz, Jean Sébastien Simonoviez, Daniel Solia, Frédéric Monino, André Franco, Michel Bachevalier, Alain Couffignal, Jean Pierre Barreda, Francesco Castellani and Nathalie Blanc. In 1991, Philippe participates in duet at the Canne's Midem with his brother Louis and he records his first CD "The First" with François Quillet, Dominique Di Piazza and Victor Jones. In 1997, he performes at the Montelimar Jazz Festival for a special concert with his two brothers Louis and Michel, and his father Tony, accompanied by drummer Mahnu Roche. In August 1998, he tours in Israel and Italy with his brothers Louis and Michel. Later, he will plays also with André Villegier, Michel Zenino, Tommy Halferty, Jean Pierre Llabador, Michel Barrot, Joe Diorio, Philippe Festou, Andy Mckee, Aldo Mela, Mario Stantchev, Jérôme Regard, Yannick Chambre, Marc Verne, Bernard Margarit, Roger Nikittof, Martine Kamoun, Philippe Roche, José Caparros, Jef Gilson, Benoit Paillard, Gérard Guerin, Philippe Levan, Eddy Gaulein‐Stef, Fredéric Mennillo, Marcus Miller, Archie Shepp and Alain Jean Marie. -
THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography………………………………………………………………………………. -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
C O N N E C T
Charles Tolliver C O N N E C T CONNECT was released by Gearbox Records on July 31, 2020. It is Tolliver’s first studio album in 13 years. The line-up features top musicians from the New York jazz scene who have collectively played with the likes of Herbie Hancock, Nancy Wilson, and Chick Corea. Forming as the Charles Tolliver All Stars, the band includes Jesse Davis on alto saxophone, Keith Brown on piano, Buster Williams on double bass, and Lenny White on drums. The album also bridges together New York and London by featuring leading British saxophonist Binker Golding on two tracks. It was recorded and mixed by Tony Platt of RAK Studios. “…the record takes a historical view—but its aim is not to evoke specific dates or even a linear chronology. It’s more like an exhibition of varying flavors that have developed under the aegis of jazz. “My thought was to have a package where each song had a different rhythm,” Tolliver says. “They have different harmonic and melodic scopes, too. But the rhythm, well, it’s everything. The drum is central to this music. You cannot call this music ‘jazz,’ that nomenclature, without the drum. Take it out, and it’s just not the same.” >>Read full feature interview with Bandcamp CONNECT on Bandcamp CONNECT on Apple Music Live performance of ‘Suspicion’ “…a fine consolidation of the vocabulary the trumpeter has devised over five decades, which is a deeply touching take on hard bop and modal jazz…At the age of 78, Tolliver has deserved elder statesman status, and this is the kind of cultured work, with intellect and emotion in symbiosis, that befits an artist who has contributed a great deal to modern music during a lengthy, eventful career.” - Kevin Le Gendre, Jazzwise, ★★★★ “A great unexpected gift… He still has so much fire in his playing and he’s got such a mind for composition… It really coheres as a band. -
A Month to Celebrate Jazz, Turned Tragic
MUSIC FEATURES A Month To Celebrate Jazz, Turned Tragic April was a cruel month, but the jazz community is searching for signs of light April 30, 2020 · 7:02 AM ET NATE CHINEN Henry Grimes performs in New York in 2003. Grimes died on April 15 at the age of 84, of complications from coronavirus. Jack Vartoogian/Getty Images Amidst The Coronavirus Pandemic, A Month To Celebrate Jazz Turns Tragic : NPR In an alternate timeline, I know precisely how I would have spent the evening of April 17. The dynamic South African pianist Nduduzo Makhathini had been booked for an album-release engagement at Dizzy's Club, the in-house nightclub at Jazz at Lincoln Center. I was looking forward to hearing his band in that room — not only because Makhathini's stateside appearances are few and far between, but also because the urgent, questing spirit of his music is something best experienced in person and in close quarters, as a form of communion. Here is how I spent the evening of April 17: At that point, one month into home quarantine, I had grown accustomed to the live stream as a plucky substitute for conventional performance. I was about to cue up one of those streams when I saw reports of the death of Giuseppi Logan, a multi-reedist who made his mark in free jazz. I'd just started writing Logan's obituary when my phone rang: A friend and fellow critic wanted to know whether I was working on an obit for the revered avant-garde bassist Henry Grimes. -
CHICK COREA INTERVIEW by Eric Myers
CHICK COREA INTERVIEW by Eric Myers _____________________________________________________________ [This article appeared in the Sydney Morning Herald on February 24, 1982] espite all the talk about jazz becoming increasingly popular over the last ten years or so, the music has produced few superstars with a D genuine mass following. One of those few, however, is the American composer and pianist Chick Corea, who will perform two concerts with his quintet tonight at the Regent Theatre. US pianist/composer Chick Corea, one of the few jazz superstars with a genuine mass following: freedom to write his own tab… PHOTO CREDIT ALAN PURCELL SYDNEY MORNING HERALD 1 Corea served his apprenticeship during the 1960s with various bands, including the essential finishing-school for great modern jazz musicians, the Miles Davis group, which he joined in 1968. With ideas of incorporating rock rhythms into jazz, Corea formed his electronic ensemble, Return To Forever, in 1972, playing the kind of high-decibel jazz rock fusion music which had tremendous appeal to young people throughout the world. One version of Chick Corea’s group Return To Forever, L-R, Lenny White (drums), Corea (keyboards), Al Di Meola (guitar), Stanley Clarke (bass)… By 1976, when the group disbanded, Chick Corea had become one of the biggest drawcards in jazz. Some people see overwhelming popular acceptance as inimical to the spirit of jazz. Has Chick Corea's huge commercial success (including five Grammy awards) hindered his development as an artist? "So far as recognition by the public is concerned, it has certainly provided me with a channel through which I can communicate with humanity, which is actually one of my goals in life," he says. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JON HENDRICKS NEA Jazz Master (1993) Interviewee: Jon Hendricks (September 16, 1921 - ) and, on August 18, his wife Judith Interviewer: James Zimmerman with recording engineer Ken Kimery Date: August 17-18, 1995 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 95 pp. Zimmerman: Today is August 17th. We’re in Washington, D.C., at the National Portrait Galley. Today we’re interviewing Mr. Jon Hendricks, composer, lyricist, playwright, singer: the poet laureate of jazz. Jon. Hendricks: Yes. Zimmerman: Would you give us your full name, the birth place, and share with us your familial history. Hendricks: My name is John – J-o-h-n – Carl Hendricks. I was born September 16th, 1921, in Newark, Ohio, the ninth child and the seventh son of Reverend and Mrs. Willie Hendricks. My father was a minister in the African Methodist Episcopal Church, the AME Church. Zimmerman: Who were your brothers and sisters? Hendricks: My brothers and sisters chronologically: Norman Stanley was the oldest. We call him Stanley. William Brooks, WB, was next. My sister, the oldest girl, Florence Hendricks – Florence Missouri Hendricks – whom we called Zuttie, for reasons I never For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 really found out – was next. Then Charles Lancel Hendricks, who is surviving, came next. Stuart Devon Hendricks was next. Then my second sister, Vivian Christina Hendricks, was next. Then Edward Alan Hendricks came next. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
June 2020 Volume 87 / Number 6
JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
100 Titres Sur Le JAZZ — JUILLET 2007 SOMMAIRE
100 TITRES SUR LE JAZZ À plusieurs époques la France, par sa curiosité et son ouverture à l’Autre, en l’occurrence les hommes et les musiques de l’Afro-Amérique, a pu être considérée, hors des États-Unis, comme une « fille aînée » du juillet 2007 / jazz. Après une phase de sensibilisation à des « musiques nègres » °10 constituant une préhistoire du jazz (minstrels, Cake-walk pour Debussy, débarquement d’orchestres militaires américains en 1918, puis tour- Hors série n nées et bientôt immigration de musiciens afro-américains…), de jeunes pionniers, suivis et encouragés par une certaine avant-garde intellectuelle et artistique (Jean Cocteau, Jean Wiener…), entrepren- / Vient de paraître / nent, dans les années 1920, avec plus de passion que d’originalité, d’imiter et adapter le « message » d’outre-Atlantique. Si les traces phonographiques de leur enthousiasme, parfois talentueux, sont qua- CULTURESFRANCE siment inexistantes, on ne saurait oublier les désormais légendaires Léon Vauchant, tromboniste et arrangeur, dont les promesses musica- les allaient finalement se diluer dans les studios américains, et les chefs d’orchestre Ray Ventura, (qui, dès 1924, réunissait une formation de « Collégiens ») et Gregor (Krikor Kelekian), à qui l’on doit d’avoir Philippe Carles Journaliste professionnel depuis 1965, rédacteur en chef de Jazz Magazine (puis directeur de la rédaction à partir de 2006) et producteur radio (pour France Musique) depuis 1971, Philippe Carles, né le 2 mars 1941 à Alger (où il a commencé en 1958 des études de médecine, interrompues à Paris en 1964), est co-auteur avec Jean-Louis Comolli de Free Jazz/Black Power (Champ Libre, 1971, rééd. -
National Endowment for the Arts Announces 2022 NEA Jazz Masters
July 20, 2021 Contacts: Liz Auclair (NEA), [email protected], 202-682-5744 Marshall Lamm (SFJAZZ), [email protected], 510-928-1410 National Endowment for the Arts Announces 2022 NEA Jazz Masters Recipients to be Honored on March 31, 2022, at SFJAZZ Center in San Francisco Washington, DC—For 40 years, the National Endowment for the Arts has honored individuals for their lifetime contributions to jazz, an art form that continues to expand and find new audiences through the contributions of individuals such as the 2022 NEA Jazz Masters honorees—Stanley Clarke, Billy Hart, Cassandra Wilson, and Donald Harrison Jr., recipient of the 2022 A.B. Spellman NEA Jazz Masters Fellowship for Jazz Advocacy. In addition to receiving a $25,000 award, the recipients will be honored in a concert on Thursday, March 31, 2022, held in collaboration with and produced by SFJAZZ. The 2022 tribute concert will take place at the SFJAZZ Center in San Francisco, California, with free tickets available for the public to reserve in February 2022. The concert will also be live streamed. More details will be available in early 2022. This will be the third year the NEA and SFJAZZ have collaborated on the tribute concert, which in 2020 and 2021 took place virtually due to the COVID-19 pandemic. “The National Endowment for the Arts is proud to celebrate the 40th anniversary of honoring exceptional individuals in jazz with the NEA Jazz Masters class of 2022,” said Ann Eilers, acting chairman for the National Endowment of the Arts. “Jazz continues to play a significant role in American culture thanks to the dedication and artistry of individuals such as these and we look forward to working with SFJAZZ on a concert that will share their music and stories with a wide audience next spring.” Stanley Clarke (Topanga, CA)—Bassist, composer, arranger, producer Clarke’s bass-playing, showing exceptional skill on both acoustic and electric bass, has made him one of the most influential players in modern jazz history.