Billie Holiday Et Les Autres
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Duke Ellington Kyle Etges Signature Recordings Cottontail
Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke Ellington, states that Cottontail “opened a window on the future, predicting elements to come in jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more grandiose pieces with more extended forms. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end. -
Discography of the Mainstream Label
Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet -
Colette Magny, Feu Chanteuse Atypique Engagée
DOSSIER DE PRESENTATION " Quatre jeunes musiciens (chant, saxophone, flûte, guitare) pour un moment exceptionnel, je pèse mes mots, de recherche et de qualité musicale, d'engagement scénique, de générosité, d'émotion pleine et sincère de part et d'autre de la rampe. " Musik n° 8 OKAM!IK OKAM!IK plonge dans l'univers de Colette Magny, feu chanteuse atypique engagée. "Il faut manier le paroxysmique avec prudence" nous écrivait un directeur de scène nationale. Exit la prudence nous n'avons plus le temps. Nous maçonnons une histoire d'immédiateté avec une personne disparue. Nous sommes sur le vif, le vif du nerf musical des grandes émotions cruelles. Jouant de nos timbres, lyrismes et autres gargarismes personnels, endurcis par l'expérience de l'improvisation dite libre, nous fourrageons, ciselons la poésie de Colette et celle des auteurs qu'elle a mise en musique. Ses mots – souvent écrits au cœur des luttes – par lesquels frémissent l'indignation, la douleur de vivre et l'espoir, n'ont pas pris une ride. Ainsi nous les portons fiévreusement, architectes sonores épousant l'engagement total de la dame. Un lieu fondateur : Verfeil-sur-Seye. La création (2005) d’Okam!ik/Magny ne pouvait se vivre ailleurs qu’à Verfeil, petit village du Tarn-et-Garonne, au festival Des Croches et la lune. C’est Colette Magny qui, à la demande des jeunes du village, avait aidé à monter le festival, dans les années 1990. COLETTE MAGNY (1926-1997) Elle a aimanté, vécu une multitude d'expérimentations musicales, au service du mot, toujours. Ses engagements, ses passions et coups de gueule ne suivent aucune mode, aucune convention. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
Gloomy Sunday
GLOOMY SUNDAY Written by Kevin Machate WGA Registry #2115398 (c)Kevin Machate 2021 [email protected] FADE IN: INT. SMALL APARTMENT LIVING ROOM - NIGHT SUPER: PARIS FRANCE, DECEMBER 1932 REZSŐ SERESS, 33, sits at an upright piano. He is clean shaven with dark, slicked back hair. A cigarette burns in an ashtray on the piano bench. His white dress shirt is half unbuttoned and the sleeves are partially rolled up. There is a photo of Rezső and Erzsébet, his estranged lover, facing him on the front of the piano. He plays a few chords of a haunting tune and uses a pencil to make record of the musical notes on the paper in front of him. On the wall behind him is a mirror. In the mirror’s image, an entity, much like a lingering shadow, fades in an out of focus. It seems to take the shape of a human outline, while at the same time is indistinguishable. Rezső stops writing and glances behind him. He sees nothing out of the ordinary. His coat is on the rack next to the mirror and his tie lies on the floor. He pauses, takes a puff of the cigarette, and exhales. He gently touches the image of woman’s face before going back to his work. SUPER: AUSTIN TEXAS, 2021 INT - LIVING ROOM - AFTERNOON JONAH HORVATH, 32, average height, thin, with short wiry brown hair, sits on a chair and looks through a box of songbooks and sheet music at an estate sale. There is a small group of people wandering around looking at various items in boxes and on shelves. -
Charles Mcpherson Leader Entry by Michael Fitzgerald
Charles McPherson Leader Entry by Michael Fitzgerald Generated on Sun, Oct 02, 2011 Date: November 20, 1964 Location: Van Gelder Studio, Englewood Cliffs, NJ Label: Prestige Charles McPherson (ldr), Charles McPherson (as), Carmell Jones (t), Barry Harris (p), Nelson Boyd (b), Albert 'Tootie' Heath (d) a. a-01 Hot House - 7:43 (Tadd Dameron) Prestige LP 12": PR 7359 — Bebop Revisited! b. a-02 Nostalgia - 5:24 (Theodore 'Fats' Navarro) Prestige LP 12": PR 7359 — Bebop Revisited! c. a-03 Passport [tune Y] - 6:55 (Charlie Parker) Prestige LP 12": PR 7359 — Bebop Revisited! d. b-01 Wail - 6:04 (Bud Powell) Prestige LP 12": PR 7359 — Bebop Revisited! e. b-02 Embraceable You - 7:39 (George Gershwin, Ira Gershwin) Prestige LP 12": PR 7359 — Bebop Revisited! f. b-03 Si Si - 5:50 (Charlie Parker) Prestige LP 12": PR 7359 — Bebop Revisited! g. If I Loved You - 6:17 (Richard Rodgers, Oscar Hammerstein II) All titles on: Original Jazz Classics CD: OJCCD 710-2 — Bebop Revisited! (1992) Carmell Jones (t) on a-d, f-g. Passport listed as "Variations On A Blues By Bird". This is the rarer of the two Parker compositions titled "Passport". Date: August 6, 1965 Location: Van Gelder Studio, Englewood Cliffs, NJ Label: Prestige Charles McPherson (ldr), Charles McPherson (as), Clifford Jordan (ts), Barry Harris (p), George Tucker (b), Alan Dawson (d) a. a-01 Eronel - 7:03 (Thelonious Monk, Sadik Hakim, Sahib Shihab) b. a-02 In A Sentimental Mood - 7:57 (Duke Ellington, Manny Kurtz, Irving Mills) c. a-03 Chasin' The Bird - 7:08 (Charlie Parker) d. -
Exposition Trine Søndergaard
Trine Søndergaard Still MuMa - Le Havre 13 octobre 2018 Musée d’art moderne André Malraux 27 janvier 2019 muma-lehavre.fr Sommaire Préface .................................................................... 3 L’exposition « Still » ............................................... 4 Biographie de Trine Søndergaard ...................... 8 A propos du peintre Vilhelm Hammershøi ........ 9 Lumières nordiques .............................................. 10 La genèse d’un projet ........................................... 11 Le MuMa et Lumières nordiques ....................... 12 La photographie au MuMa ................................. 13 Autour de l’exposition ........................................... 14 Les visuels disponibles pour la presse ............... 17 Les informations pratiques .................................. 18 Contacts presse ..................................................... 19 2 | TRINE SØNDERGAARD | Still Préface Il y a des évènements havrais qui font parler d’eux. Comme en 2014, avec la très re- marquée exposition du « Siècle d’or de la peinture danoise », où le MuMa avait mis à l’honneur l’art pictural danois. A nouveau, du 13 octobre 2018 au 27 janvier 2019, l’art danois renoue avec Le Havre. Le Musée d’art moderne André Malraux nous présente une trentaine de pièces de Trine Søndergaard et un tableau du peintre Vilhelm Hammershøi. Avec ces deux séries de photographies, Interior et Guldnakke c’est une nouvelle invitation au voyage qui nous est offerte par le MuMa. Un voyage architectural, presqu’inquiétant par -
Le Folk (12/04/2013)
Dossier d’accompagnement de la conférence / concert du vendredi 12 avril 2013 programmée en partenariat avec le Centre Culturel de Cesson-Sévigné dans le cadre du Programme d’éducation artistique et culturelle de l’ATM. Conférence-concert “LE FOLK” Conférence de Jérôme Rousseaux Concert de Haight-Ashbury Dans son sens le plus large, la musique folk désigne l’ensemble des musiques d’un pays ou d’une région du monde en particulier, souvent de tradition orale (on parle alors de musiques "folkloriques"). S’il est lui aussi rattaché à cette dimension “traditionnelle” à travers ses pionniers, le folk auquel nous nous intéresserons lors de cette conférence qualifie plus précisément une famille musicale d’origine anglo-saxonne (la "folk music") qui a bouleversé l’échiquier des musiques actuelles à partir des années soixante, notamment à travers la personnalité charismatique de Bob Dylan. Nous parlerons ici de la parenté que la musique folk entretient avec le blues, la Afin de compléter la lecture de ce musique country, les musiques traditionnelles et les musiques populaires en dossier, n'hésitez pas à consulter général. les dossiers d’accompagnement Puis, après avoir montré qu’il s’agit d’une esthétique qui passe sans doute plus des précédentes conférences- que les autres par une suite de mouvements revivalistes, et qui porte souvent concerts ainsi que les “Bases de en elle une certaine forme de sincérité et une notion d’engagement, nous données” consacrées aux éditions constaterons que le folk, récemment associé à des approches comme le lo-fi ou 2005, 2006, 2007, 2008, 2009, en tant que composante de l’"americana", est aujourd’hui une musique à la fois 2010, 2011 et 2012 des Trans, multiforme et universelle. -
Modeling Musical Influence Through Data
Modeling Musical Influence Through Data The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:38811527 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Modeling Musical Influence Through Data Abstract Musical influence is a topic of interest and debate among critics, historians, and general listeners alike, yet to date there has been limited work done to tackle the subject in a quantitative way. In this thesis, we address the problem of modeling musical influence using a dataset of 143,625 audio files and a ground truth expert-curated network graph of artist-to-artist influence consisting of 16,704 artists scraped from AllMusic.com. We explore two audio content-based approaches to modeling influence: first, we take a topic modeling approach, specifically using the Document Influence Model (DIM) to infer artist-level influence on the evolution of musical topics. We find the artist influence measure derived from this model to correlate with the ground truth graph of artist influence. Second, we propose an approach for classifying artist-to-artist influence using siamese convolutional neural networks trained on mel-spectrogram representations of song audio. We find that this approach is promising, achieving an accuracy of 0.7 on a validation set, and we propose an algorithm using our trained siamese network model to rank influences. -
Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry Emily Rutter
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations 2014 Constructions of the Muse: Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry Emily Rutter Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Rutter, E. (2014). Constructions of the Muse: Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1136 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY A Dissertation Submitted to the McAnulty College of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Emily Ruth Rutter March 2014 Copyright by Emily Ruth Rutter 2014 ii CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY By Emily Ruth Rutter Approved March 12, 2014 ________________________________ ________________________________ Linda A. Kinnahan Kathy L. Glass Professor of English Associate Professor of English (Committee Chair) (Committee Member) ________________________________ ________________________________ Laura Engel Thomas P. Kinnahan Associate Professor of English Assistant Professor of English (Committee Member) (Committee Member) ________________________________ ________________________________ James Swindal Greg Barnhisel Dean, McAnulty College of Liberal Arts Chair, English Department Professor of Philosophy Associate Professor of English iii ABSTRACT CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY By Emily Ruth Rutter March 2014 Dissertation supervised by Professor Linda A. -
The Social and Cultural Implications of Hungarian Modern Classical
Sleeper, Maxine G., Fulbright Student Conference Papers: and Eastern Europe: Avoiding the Dependency Trap, A Regional Human Back to Basics: The Social Academic Years 2002/2003 and 2003/2004, “Anti-Discrimination Development Report, available at http://roma.undp.sk/reports. and integration of Roma in Hungary”, (2004) (Budapest, Hungarian php?parent_id=1&id=182&scroll=182 – American Commission for Educational Exchange) (1857) (Paris, Dentu and Cultural Implications of Vaillant, J.A., Histoire Vraie des Vrais Bohémiens Tax and Finance Control Administration (APEH), “Short summary on & Cie.) the taxation of individuals”, July 1, 2009, available at http://en.apeh. Hungarian Modern Classical hu/taxation/summary_individuals.html United Nations Development Program (UNDP), The Roma in Central Composers and Their Music Randall Scotting ............................................................................................... University of Colorado at Boulder Liszt Ferenc Academy/Independent Research Boulder, Colorado 1061 Budapest, Liszt Ferenc tér 8 www.colorado.edu www.lfze.hu [email protected] Adviser: Eva Marton ............................................................................................... Introduction “We don’t see things as they are, we see them as we are.” -Anais Nin Living in Hungary has allowed me an insight into better understanding Hungarian composers and their world. This, in turn, has given me a more complete comprehension of their music. My original goal was to better grasp what I perceived to be a sense of honesty in Hungarian classical music, an immediacy and direct purpose that classical music from some other areas of origin does not often display. I found that this honesty does indeed exist in the works of many varied Hungarian composers, and I began the interesting process of trying to determine why.