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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………………………………………………………………………………. -
Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
The New Dream Theater Dream New The
ISSUE 27 ISSUE FREE CD INSIDE AUDIO PREVIEWS LessoNS praCTICE W/ THE pros TOSS JOHN DONALD BRIAN V PANOS WEATHERS BARRETT DOWNEY MAY / JUNE 2011 MAY MIKE MANGINI MIKE MANGINI THE NEW DREAM THEATER JOE MORELLO REMEMBERED 70000 TONS OF METAL May - June 2011 | NO. 027 $6.99 US | $7.99 CAN MASTER JEREMY COLSON CLASS NEW Z3 CHINAS & ZILDJIAN SWISH KNOCKER 040 JohnOn WeathersReflection On ReflectionInterview - Mover Think progressive rock from the ‘70s and immediately Genesis, Yes, ELP, King Crimson and Jethro Tull come to mind. All of them equally progressive in their own way, and in some ways, share a common thread between them. But, ask any diehard prog-rock fan and I guarantee another name comes up each and every time: Gentle Giant. Although never quite attaining the same level of sales or status of celebrity as the aforementioned, Gentle Giant most certainly made a statement, left a mark and carved their names into the history books of English prog. A mixture of rock, funk, jazz, classical, and even a bit of punk, Gentle Giant was as progressive as they come—and then some. Holding down the fort for the better part of eight years was John Weathers. Although not their original drummer, it was Weathers that helped propel Gentle Giant to international fame with an interesting mix of bombastic backbeat, an ear for tuned percussion and the ability to play any time signature and style thrown his way. On my interview list from the beginning, John wasn’t an easy man to fi nd. A few Internet searches every so often didn’t turn up much until I happened to stumble across ‘Two Weeks In Pain - Under The Knife’ [http:// www.gorgg.org/UnderKnife1.htm], a twenty-fi ve-episode online diary of John’s experience in the hospital and under the care of the N.H.S. -
Ray Shulmanand Gentle Giant's
RAY SHULMAN AND GENTLE GIANT'S FUNNY, PROGRESSIVE WAYS — ~ by Andy Goldenberg CC hallenging!” If I had to choose one wordto describe the music of Gentle Giant to. the uninitiated, challenging would be most apt. Arising out of the ashes of Simon Dupree And The Big Sound, a hard-working R&B unit playing the pub circuit in and out of London in the mid-60s who scoreda UK Top Ten hit in 1967 with “Kites” (B-side w/ “Like The Sun Like The Fire”), Gentle Giant releasedits self-titled debut album in 1970, consisting of a mixture of blues, rock, and soul while infusing a touch of the progressive elements that would so set apart Gentle Giant from its fellow and (unfortunately) frequently moresuccessful British counter- parts: King Crimson, ELP Yes and Genesis. The Giant would release 11 studio albums and onelive album from 1970-1980. To-state that Gentle Giant's music was progressiveis a tremendous understatement. The band’s music was an amalgamationof rock, classical and choir, as well as iree-form meestructured sha eaea slaaoo hard rock style of 1973's Octopus (short for “Octo-Opus” or “eight musical works”) Gentle Giant's music conveys a search, be it - the search for childhood, evidenced on 1972's Three Friends, or a search for truth in the political process, as on 1974's The Power And The Glory. GG’s music emotes an almost - medieval/minstrel-like feeling with the multi- tracked vocal BONERS being the band’s 7 trademark. Gentle Giant's live shows were legendary, _ - often featuring various members switching instruments. -
JOHN COVACH the Hippie Aesthetic: Cultural Positioning And
JOHN COVACH The Hippie Aesthetic: Cultural Positioning and Musical Ambition in Early Progressive Rock This study takes its part of departure from two problems that regularly recur in historical accounts of rock music. The first problem consists of a strong tendency among many writers to neglect much mainstream rock from the Seventies, often to focus on the rise of punk and its transformation into new wave in the second half of the decade, or perhaps also to chronicle the emergence of disco and the strong reactions to it. Bands such as Led Zeppelin, the Allman Brothers, Elton John, the Eagles and many others are frequently mentioned only in passing, while highly successful progressive rock bands such as Jethro Tull, Emerson, Lake & Palmer, and Yes are neglected almost entirely.1 The second problem is that rock music from the 1966-69 period-- frequently referred to as "psychedelic" music--is often kept separate from the mainstream Seventies rock that follows. There is even a tendency on the part of some writers to view early Seventies as a period of decline for rock, resulting in a celebration of psychedelia without much consideration of its clear musical affect on the rock that followed.2 These two tendencies result in unbalanced historical accounts of rock that not only leave out much of the music many listeners today associate with "classic rock," but also miss some of the important larger themes in the development of the style as a whole.3 One historical thread that can be traced almost all the way back to rock's earliest days in the mid-Fifties is the theme of musical ambition--the idea that pop can aspire to be "better" or more sophisticated kind of music by employing techniques and approaches often borrowed from other styles (like classical and jazz) to make pop more interesting and original. -
Proclamation-6.Pdf
2 Proclamation, the Occasional Gentle Giant Magazine Proclamation, the Occasional Gentle Giant Magazine 3 Quite a few of you have been asking about bootleg PROCLAMATION audience tapes, so I MEMORIES OF Trondheim, Norway, January 1997 Welcome back, my friends, to a new issue of Proclamation. thought it might be best to give you some idea of what you might find out OLD DAYS: Proclamation 6 was meant to feature text, I still felt that the issue needed there in the mill. My good David Armas' impressive work finding more than David's article and also that as many Gentle Giant concerts that had we needed to clean up everything about friend Bolle Gregmar, a been taped as possible. At the time he the facts. In the end the issue was laid transplanted Swede who began the detective work there was aside because of other commitments of THE AUDIOTAPES little known about any tapes and the various sorts. It was never intended to now makes his home here collector network was very small. No be that way, but it was hard to continue by David Armas and Bolle Gregmar the work. Then David suddenly died, in LA, remembers the companies had as yet shown any mislabeled with the wrong dates and variables of the songs contents thereof. without seeing his work finished. interest in releasing tapes from this half- group's transformation venues, had multiple shows put on the Time is indicated by minutes/seconds forgotten band from the 70s. same tape, repeat shows labeled as other and not all run times are accurate. -
Progressive Rock, “Close to the Edge, // and the Boundaries of Style
1 Progressive Rock, “Close to the Edge, // and the Boundaries of style JOHNCOVACH 1 “Progressive rock,” “classical rock,” “art rock,” “symphonic rock”- these labels have been used over the last twenty-five years by various authors to designate a style of popular music developed in the late 1960s and early 1970s, primarily by British rock musicians.’ During this time groups such as King Crimson, the Moody Blues, Procol Harum, the Nice (and later Emerson, Lake, and Palmer), Gentle Giant, Genesis, Yes, Jethro Tull, Van der Graaf Generator, and Deep Purple attempted to blend late-’60s and early-’70s rock and pop with elements drawn from the Western art-music tradi- tion.2 This attempt to develop a kind of “concert-hall rock‘‘-which was neverthe- less still often performed in stadiums and arenas-was the result of a tendency on the part of some rockers and their fans to view rock as“listening music” (as opposed to dance music), an aesthetic trend that Wilfrid Mellers3 attributes to the influence of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band of 1967.4 The early progressive rockers were not the first to employ musical elements gen- erally associated with the “classical” or art-music tradition in their arrangements. The mid- 1960s British-invasion groups, in an apparent attempt to surpass one another in eclecticism, began to use instruments and stylistic elements drawn from both the British music-hall and European art-music traditions. Music-hall elements are present, for instance, in Peter and Gordon’s “Lady Godiva” (1966) and Herman’s -
Gentle Giant Acquiring the Taste Mp3, Flac, Wma
Gentle Giant Acquiring The Taste mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Acquiring The Taste Country: Italy Style: Prog Rock MP3 version RAR size: 1402 mb FLAC version RAR size: 1471 mb WMA version RAR size: 1979 mb Rating: 4.1 Votes: 200 Other Formats: MMF TTA VOC RA AA VQF WAV Tracklist Hide Credits Pantagruel's Nativity Alto Saxophone, Vocals – Derek ShulmanBass, Vocals – Ray ShulmanDrums, Tambourine – A1 Martin Smith Guitar, Twelve-String Guitar – Gary GreenOrgan, Mellotron, Vibraphone, 6:49 Synthesizer [Moog], Lead Vocals – Kerry MinnearTenor Saxophone, Trumpet, Vocals – Phil Shulman* Edge Of Twilight Bass, Violin, Guitar [Spanish], Vocals – Ray ShulmanClarinet, Vocals – Phil Shulman*Drums, Gong, Drums [Side Drum In Percussion Section] – Martin Smith Electric A2 3:48 Piano, Organ, Harpsichord, Cello, Timpani, Xylophone, Synthesizer [Moog], Lead Vocals – Kerry MinnearPerformer [Didn't Play On This One] – Gary GreenVocals – Derek ShulmanWritten-By, Arranged By [Percussion] – Kerry Minnear The House, The Street, The Room Bass, Violin, Guitar [Spanish], Vocals – Ray ShulmanClarinet, Piano, Trumpet, Vocals – Phil A3 Shulman*Drums – Martin Smith Guitar, Bass – Gary GreenLead Vocals, Clavichord – Derek 6:04 ShulmanOrgan, Piano, Celesta, Clavichord, Xylophone, Synthesizer [Moog], Vocals – Kerry MinnearRecorder – Tony ViscontiTrumpet, Organ – Paul Cosh Acquiring The Taste A4 1:36 Arranged By – Kerry MinnearSynthesizer [Moog] – Kerry Minnear Wreck Drums – Martin Smith Guitar – Gary GreenLead Vocals – Derek Shulman, Phil -
Dissertation on the Music of Gentle Giant
I Gentle Giant The Missing Piece in Rock’s Academia Dominic Stone MUSS3140 200781299 Submitted in partial fulfilment of the requirements for the degree of BA Music School of Music, University of Leeds, March 2016. I Abstract Gentle Giant developed alongside bands such as Yes, Genesis, King Crimson, Jethro Tull and Emerson, Lake and Palmer, but never achieved the same level of commercial success. This is reflected in a lack of academic attention paid to them, despite being recognised as surpassing these other bands in musical complexity. The reasons for their lack of success are the both the challenging nature of their music, namely the abundance of eclecticism, virtuosity and complexity, and the poor management decisions and bad luck which plagued their career. This included tour cancellations, inadequate promotion and support, concert mismatches and their fifth album being withheld from release in America. They never cultivated a decent following in England, as the initial bad reaction from those who remembered them as the pop group Simon Dupree and the Big Sound resulted in the bands management prioritising European and American audiences. Two areas of the music are analysed – the first including concepts, themes, lyrics and imagery and the second being their eclecticism. The themes of social critique and literature are explored, as well as the concept album Three Friends, revealing a sophisticated interaction between music and lyrics to forward the concept. The study of their eclecticism reveals what may be considered a medieval style to instead be a fascination with general early music, which is mixed with classical, folk, jazz and blues and rock music. -
© 2016 by Peter Carney. All Rights Reserved
© 2016 by Peter Carney. All Rights Reserved. RADIOHEAD’S SUBTERRANEAN JAZZ STRUCTURALISM: THE MUSIC OF LOUIS ARMSTRONG, ALICE COLTRANE, MILES DAVIS, AND CHARLES MINGUS IN TEN COMPOSITIONS BY RADIOHEAD BY PETER CARNEY DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Jazz Performance in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Professor Charles McNeill, Chair, Director of Research Associate Professor Larry Gray Associate Professor Gayle Sherwood Magee Professor James Pugh ABSTRACT The objective of this dissertation is to define the undocumented jazz lineage of Radiohead’s musical evolution that has been overlooked in the current academic discourse. Drawing on ten examples from Radiohead albums OK Computer, Kid A, Amnesiac and The King of Limbs, I hope to show their jazz structural modeling in three episodes of experimentation, advanced interactions, and synthesis. Across these three phases in its evolution, Radiohead’s method remains constant in specific mirroring techniques of melody, harmony, form, texture, and lyrics. Inside the group’s structural process, Radiohead composed two-part counterpoint melodies to their jazz models, adopted harmony with modal jazz progressions, designed parallel macro structures, duplicated textures, and responded directly to the lyrics of their jazz models. A side-by-side comparison of Radiohead compositions and their jazz models point to a detailed design guided by Louis Armstrong, Miles Davis, Alice Coltrane, and Charles Mingus. Above this transition through modeling, critics and journalists responded positively, as their reputation changed from being a “Nirvana-lite” grunge band to “Re-Inventors of rock,” as described by Time Magazine in 2000. -
CD Review: Gentle Giant ~ Live in Santa Monica 1975
CD Review: Gentle Giant ~ Live In Santa Monica 1975 http://www.vintagerock.com/classiceye/gg_santamonica.aspx Home About Us Forum Listening Room Giveaways Links Contact Us Live In Santa Monica 1975 Gentle Giant We listeners and lovers of classic rock are a faithful breed, often derided by ‘other’ music fans for our love of ‘the old stuff’. If you happen to be into progressive classic rock, you find yourself surrounded by even smaller group of supporters. Then, in the ‘prog rock’ field if you happen to live for the music of bands like Nektar, Starcastle and Gentle Giant over the biggies like Pink Floyd or Yes, you find yourself in an even smaller circle. Being a Gentle Giant fan you are truly in a minority, a fan of a true ‘cult’ band, a lover of a luminary collective of great musical mavens who never ‘broke’ big like their more popular contemporaries Genesis or even ELP. Lucky for you there is the live CD from Gentle Giant, Live In Santa Monica 1975. Released by Glasshouse Records, Live In Santa Monica 1975 features the band at just about midway in their career (the last two songs “For Nobody #1” and “For Nobody #2” were recorded in Dallas in 1977). As the liner note booklet attests, GG often enjoyed more popularity “on the continent” and in America where they supported acts like Jethro Tull and Black Sabbath, than they ever did in their home turf of England. This CD does illustrate they were an acquired ‘taste,’ but there is no denying the band’s prodigious talents.