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Tenor Saxophone Mouthpiece When
MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [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, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, -
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………………………………………………………………………………. -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
Jazz Publications and More
19397 Guts 261-280: 5/12/09 2:55 PM Page 261 JAZZ PUBLICATIONS AND MORE Section Page No. Jazz Instruction (All Instruments) .......................................262 Jazz Play-Along® Series ......................................................267 ABRSM Jazz Program .........................................................272 Artist Transcriptions® ..........................................................274 The Real Book .....................................................................276 Jazz Fake Books ..................................................................277 Jazz Bible Series..................................................................278 Paperback Songs ................................................................278 Other Fake Books ................................................................279 Carta Manuscript Paper.......................................................280 Gig Guides...........................................................................280 19397 Guts 261-280: 5/12/09 2:56 PM Page 262 262 JAZZ PUBLICATIONS ALL INSTRUMENTS BLUES CONCEPTS FOR JAZZ INSTRUCTION JAM – IMPROVISATION 40 PROGRESSIONS A Comprehensive Guide ADVANCED BLUES AND GROOVES for Performing and Teach- ETUDES IN ALL ing TWELVE KEYS SIT IN AND SOLO WITH A PROFESSIONAL BLUES by Richard De Rosa by Jordon Ruwe BAND! Houston Publishing Houston Publishing by Ed Friedland Using his vast musical experi - Includes 12 advanced blues Bring your local blues jam ence and the axiom “know - etudes four-measure excerpts session home! -
Wszystkie 2013
29/12/2013 [ Radio RAM ] === THE CACTUS CHANNEL / Who Is Walt Druce? [HopeStreet (LP)] EX-FRIENDLY f/ Rich Medina / Journey Man (Jonno & Tommo remix) [People Are Looking At You (12")] ANTHONY JOSEPH & THE SPASM BAND / Griot (live) [Heavenly Sweetness (LP)] THE CACTUS CHANNEL / Laika [HopeStreet (LP)] J-BOOGIE'S DUBTRONIC SCIENCE f/ Rich Medina / Same Ol Thang [Om (LP)] DJ MITSU THE BEATS f/ Rich Medina / Do Right [Planetgroove (LP)] DA LATA f/ Rich Medina / Monkeys And Anvils [Agogo (LP)] NATH & MARTIN BROTHERS / Livingstone [Voodoo Funk/Honest Jon's (LP)] NATH & MARTIN BROTHERS / Livingstone (highlife) [Voodoo Funk/Honest Jon's (LP)] CHARLES MINGUS / II B.S. (RZA's Mingus Bounce remix) [Verve (LP)] GANG STARR / I'm The Man [Chrysalis (LP)] DONNY HATHAWAY / Sugar Lee [Atlantic (LP)] THE FUTURE SOUND / Star Struck (Caterpillar Style) [EastWest (LP)] KWEST THA MADD LAD / I Ain't The Herb [No Sleep (LP)] IKE & TINA TURNER / Cussin', Crying And Carryin' On [Unio Square (LP)] KWEST THA MADD LAD / Disk And Dat [American/BMG (LP)] DAS EFX / Here We Go [Eastwest (LP)] DENIECE WILLIAMS / How'd I Know That Love Would Slip Away [Sony BMG (LP)] BIZ MARKIE / Games [Groove Attack (12")] THE MIKE SAMMES SINGERS & THE TED TAYLOR ORGANSOUND / He Who Would Valient Be [Trunk (LP)] SOUNDSCI / Remedy [Crate Escape (EP)] YOUNG-HOLT UNLIMITED / Wah Wah Man [Rhino (LP)] SHOWBIZ & A.G. / Hard To Kill [London/Payday (LP)] LORD FINESSE & DJ MIKE SMOOTH / Baby, You Nasty [Wild Pitch (LP)] THE FUTURE SOUND / Jungle-O [EastWest (LP)] IDRIS MUHAMMAD / Crab Apple [Strictly Breaks (LP)] KWEST THA MADD LAD / Blasé Blah (Off That Head) [American/BMG (LP)] RUN-D.M.C. -
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”. -
Reglas De Congo: Palo Monte Mayombe) a Book by Lydia Cabrera an English Translation from the Spanish
THE KONGO RULE: THE PALO MONTE MAYOMBE WISDOM SOCIETY (REGLAS DE CONGO: PALO MONTE MAYOMBE) A BOOK BY LYDIA CABRERA AN ENGLISH TRANSLATION FROM THE SPANISH Donato Fhunsu A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature (Comparative Literature). Chapel Hill 2016 Approved by: Inger S. B. Brodey Todd Ramón Ochoa Marsha S. Collins Tanya L. Shields Madeline G. Levine © 2016 Donato Fhunsu ALL RIGHTS RESERVED ii ABSTRACT Donato Fhunsu: The Kongo Rule: The Palo Monte Mayombe Wisdom Society (Reglas de Congo: Palo Monte Mayombe) A Book by Lydia Cabrera An English Translation from the Spanish (Under the direction of Inger S. B. Brodey and Todd Ramón Ochoa) This dissertation is a critical analysis and annotated translation, from Spanish into English, of the book Reglas de Congo: Palo Monte Mayombe, by the Cuban anthropologist, artist, and writer Lydia Cabrera (1899-1991). Cabrera’s text is a hybrid ethnographic book of religion, slave narratives (oral history), and folklore (songs, poetry) that she devoted to a group of Afro-Cubans known as “los Congos de Cuba,” descendants of the Africans who were brought to the Caribbean island of Cuba during the trans-Atlantic Ocean African slave trade from the former Kongo Kingdom, which occupied the present-day southwestern part of Congo-Kinshasa, Congo-Brazzaville, Cabinda, and northern Angola. The Kongo Kingdom had formal contact with Christianity through the Kingdom of Portugal as early as the 1490s. -
Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N. -
Monterey Jazz Notes.Indd
Cal Performances Presents About the Artists Saturday, January , , pm Th e Monterey Jazz Festival th Anniversary Monterey Jazz festivals, both in performance and Zellerbach Hall Band refl ects the long history of artistic excel- instruction. lence and sophisticated informality for which the Grammy-winning trumpeter Terence Festival has gained international fame. Blanchard was the MJF’s Artist-in-Residence, All-star bands at Monterey have been part and appeared at the MJF in and with Monterey Jazz Festival of the casual atmosphere of the Monterey Jazz his own groups. Terence is a strong supporter of Festival (MJF). Since , the Festival has as- jazz education and is the Artistic Director of the th Anniversary Tour sembled master musicians under the “Monterey Th elonious Monk Institute of Jazz Performance in All-Stars” moniker. At least all-star bands have New Orleans. graced Festival stages and have included Gil Evans, NEA Jazz Master Recipient James Moody has Gerry Mulligan, Elvin Jones, Dizzy Gillespie, appeared at the MJF six times since , where he Clark Terry, Ray Brown, Sonny Stitt, Max Roach, has performed with Quincy Jones, Dizzy Gillespie, Shelly Manne, Bobby Hutcherson, Hank Jones, the Preservation Bebop Jazz Band, the Terence Milt Jackson and many more. Blanchard Sextet and the MJF th Anniversary Th e MJF th Anniversary all-star band epito- Band, among others. In , he performed a mizes the spirit and history of the MJF’s artistic special free concert to celebrate the MJF’s th legacy. Chosen for their devotion to spreading jazz Anniversary. to the world, outstanding leadership abilities and Vocalist Nnenna Freelon is a six-time Grammy masterful performances, the th Anniversary nominee who the Los Angeles Times placed “in the Band celebrates the Festival’s golden moment as very top echelon” of jazz singers. -
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. -
Ed Love's Highly Recommended Cds for 2017
Ed Love's Highly Recommended CDs for 2017 Artist Title Label Azar Lawrence & Al McLean Frontiers Cellar Live Kenny Burrell Unlimted High Note Wallace Roney A Place In Time High Note Steve Slagle Alto Manhattan Panorama Terell StaFFord Forgive And Forget HHM Emmet Cohen Masters Legacy, Vol 1 Cellar Live Dizzy Gillespie Concert OF The Century Justin Time Ron Boustead Unlikely Valentine N/C Scott WhitField New Jazz Standards Volume Two Summit Ben Markley Clockwise OA2 Charlie Sepulveda Mr. EP High Note Greg Abate Road To Forever Whaling City Sound Jeremy Pelt Make Noise High Note Heads OF State Four In One Smoke Sessions Claire Daly 2648 West Grand Blvd. Glass Beach Sidney Jacobs First Man Baby Chubs Howard Johnson Testimony Tuscarora Ken Fowser Now Hear This Positone The Muh Trio Prague After Dark J Mood Mike Longo Only Time Will Tell CAP 1 Ed Love's Highly Recommended CDs for 2017 Artist Title Label Bill Evans On A Monday Evening Fantasy Chicago Orchestra Live From Space IDBLM 049400 The Jazz At Lincoln Center Orchestra The Music oF John Lewis Blue Engine Benny Green Happiness Sunnyside Bobby Watson Made In America Smoke Sessions Robert McCarther Stranger In Town N/C Angie Wells Love And MischieF AW Cory Weeds Dreamsville Cellar Live Steve Nelson Brothers Under The Sun High Note Eric Alexander Second Impression High Note Tom Harrell Something Gold, Something Blue High Note Mark Murphy Wild and Free High Note Steve Davis Think Ahead Smoke Sessions Jazzmeia Horn A Social Call Prestige Giacomo Gates What Time Is It? Savant Ray Mantilla High -
Finding Aid to the Historymakers ® Video Oral History with Sonny Rollins
Finding Aid to The HistoryMakers ® Video Oral History with Sonny Rollins Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Rollins, Sonny Title: The HistoryMakers® Video Oral History Interview with Sonny Rollins, Dates: December 3, 2016 Bulk Dates: 2016 Physical 8 uncompressed MOV digital video files (3:30:19). Description: Abstract: Jazz composer and saxophonist Sonny Rollins (1930 - ) composed the jazz standards “Oleo,” “Airegin,” and “Doxy,” and released over sixty albums in his name, including Saxophone Colossus (1956) and Freedom Suite (1958). Rollins was interviewed by The HistoryMakers® on December 3, 2016, in Woodstock, New York. This collection is comprised of the original video footage of the interview. Identification: A2016_113 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Jazz composer and saxophonist Sonny Rollins was born on September 7, 1930 in New York City. His parents, immigrants from the U.S. Virgin Islands, raised him in Manhattan’s central Harlem and Sugar Hill neighborhoods. Rollins received his first alto saxophone at seven years old; and was heavily influenced by saxophonist Charlie Parker by the time he enrolled at Edward W. Stitt Junior High School. Rollins switched to tenor saxophone, and was mentored by pianist Thelonious Monk. Upon graduating from high school, Rollins made his first recordings with Babs Gonzales, J.J. Johnson, Bud Powell, and Fats Navarro. He went on to record with such jazz legends as Miles Davis, the Modern Jazz Quartet, Charlie Parker and Thelonious Monk. In 1954, Rollins’ compositions “Oleo,” “Airegin,” and “Doxy” were featured on Miles Davis’ Bags' Groove.