High Fidelity Magazine June 1956
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Download the Vocal of Frank Foster
1 The TENORSAX of FRANK BENJAMIN FOSTER Solographer: Jan Evensmo Last update: Oct. 7, 2020 2 Born: Cincinnati, Ohio, Sept. 23, 1928 Died: Chesapeake, Virginia, July 26, 2011 Introduction: Oslo Jazz Circle always loved the Count Basie orchestra, no matter what time, and of course we became familiar with Frank Foster’s fine tenorsax playing! Early history: Learned to play saxes and clarinet while in high school. Went to Wilberforce University and left for Detroit in 1949. Played with Wardell Gray until he joined the army in 1951. After his discharge he got a job in Count Basie's orchestra July 1953 after recommendation by Ernie Wilkins. Stayed until 1964. 3 FRANK FOSTER SOLOGRAPHY COUNT BASIE AND HIS ORCHESTRA LA. Aug. 13, 1953 Paul Campbell, Wendell Cully, Reunald Jones, Joe Newman (tp), Johnny Mandel (btp), Henry Coker, Benny Powell (tb), Marshal Royal (cl, as), Ernie Wilkins (as, ts), Frank Wess (fl, ts), Frank Foster (ts), Charlie Fowlkes (bar), Count Basie (p), Freddie Green (g), Eddie Jones (b), Gus Johnson (dm). Three titles were recorded for Clef, two issued, one has FF: 1257-5 Blues Go Away Solo with orch 24 bars. (SM) Frank Foster’s first recorded solo appears when he just has joined the Count Basie organization, of which he should be such an important member for years to come. It is relaxed and highly competent. Hollywood, Aug. 15, 1953 Same personnel. NBC-TV "Hoagy Carmichael Show", three titles, no solo info. Hoagy Carmichael (vo). Pasadena, Sept. 16, 1953 Same personnel. Concert at the Civic Auditorium. Billy Eckstine (vo). -
Centro Cultural De La Raza Archives CEMA 12
http://oac.cdlib.org/findaid/ark:/13030/kt3j49q99g No online items Centro Cultural de la Raza Archives CEMA 12 Finding aid prepared by Project director Sal Güereña, principle processor Michelle Wilder, assistant processors Susana Castillo and Alexander Hauschild June, 2006. Collection was processed with support from the University of California Institute for Mexico and the United States (UC MEXUS). Updated 2011 by Callie Bowdish and Clarence M. Chan UC Santa Barbara Library, Department of Special Collections University of California, Santa Barbara Santa Barbara, California, 93106-9010 Phone: (805) 893-3062 Email: [email protected]; URL: http://www.library.ucsb.edu/special-collections © 2006 Centro Cultural de la Raza CEMA 12 1 Archives CEMA 12 Title: Centro Cultural de la Raza Archives Identifier/Call Number: CEMA 12 Contributing Institution: UC Santa Barbara Library, Department of Special Collections Language of Material: English Physical Description: 83.0 linear feet Date (inclusive): 1970-1999 Abstract: Slides and other materials relating to the San Diego artists' collective, co-founded in 1970 by Chicano poet Alurista and artist Victor Ochoa. Known as a center of indigenismo (indigenism) during the Aztlán phase of Chicano art in the early 1970s. (CEMA 12). Physical location: All processed material is located in Del Norte and any uncataloged material (silk screens) is stored in map drawers in CEMA. General Physical Description note: (153 document boxes and 5 oversize boxes). creator: Centro Cultural de la Raza (San Diego, Calif.). Access Restrictions None. Publication Rights Copyright resides with donor. Copyright has not been assigned to the Department of Special Collections, UCSB. All Requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections. -
Debussy's Pelléas Et Mélisande
Debussy’s Pelléas et Mélisande - A discographical survey by Ralph Moore Pelléas et Mélisande is a strange, haunting work, typical of the Symbolist movement in that it hints at truths, desires and aspirations just out of reach, yet allied to a longing for transcendence is a tragic, self-destructive element whereby everybody suffers and comes to grief or, as in the case of the lovers, even dies - yet frequent references to fate and Arkel’s ascribing that doleful outcome to ineluctable destiny, rather than human weakness or failing, suggest that they are drawn, powerless, to destruction like moths to the flame. The central enigma of Mélisande’s origin and identity is never revealed; that riddle is reflected in the wispy, amorphous property of the music itself, just as the text, adapted from Maeterlinck’s play, is vague and allusive, rarely open or direct in its expression of the characters’ velleities. The opera was highly innovative and controversial, a gateway to a new style of modern music which discarded and re-invented operatic conventions in a manner which is still arresting and, for some, still unapproachable. It is a work full of light and shade, sunlit clearings in gloomy forest, foetid dungeons and sea-breezes skimming the battlements, sparkling fountains, sunsets and brooding storms - all vividly depicted in the score. Any francophone Francophile will delight in the nuances of the parlando text. There is no ensemble or choral element beyond the brief sailors’ “Hoé! Hisse hoé!” offstage and only once do voices briefly intertwine, at the climax of the lovers' final duet. -
ONYX4106.Pdf
DOMENICO SCARLATTI (1685–1757) Sonatas and transcriptions 1 Scarlatti: Sonata K135 in E 4.03 2 Scarlatti/Tausig: Sonata K12 in G minor 4.14 3 Scarlatti: Sonata K247 in C sharp minor 4.39 4 Scarlatti/Friedman: Gigue K523 in G 2.20 5 Scarlatti: Sonata K466 in F minor 7.25 6 Scarlatti/Tausig: Sonata K487 in C 2.41 7 Scarlatti: Sonata K87 in B minor 4.26 8 Gieseking: Chaconne on a theme by Scarlatti (Sonata K32) 6.43 9 Scarlatti: Sonata K96 in D 3.52 10 Scarlatti/Tausig: Pastorale (Sonata K9) in E minor 3.49 11 Scarlatti: Sonata K70 in B flat 1.42 12 Scarlatti/Friedman: Pastorale K446 in D 5.09 13 Scarlatti: Sonata K380 in E 5.57 14 Scarlatti/Tausig: Sonata K519 in F minor 2.54 15 Scarlatti: Sonata K32 in D minor 2.45 Total timing: 62.40 Joseph Moog piano Domenico Scarlatti’s legacy of 555 sonatas for harpsichord represent a vast treasure trove. His works fascinate through their originality, their seemingly endless richness of invention, their daring harmonics and their visionary use of the most remote tonalities. Today Scarlatti has once again established a firm place in the pianistic repertory. But the question preoccupying me was the influence his music had on the composers of the Romantic era. If we cast an eye over the countless recordings of transcriptions and arrangements of his contemporary Johann Sebastian Bach (1685–1750), it becomes even clearer that in Scarlatti’s case, we find hardly anything comparable. A fascinating process of investigation eventually led me to Carl Tausig (1841–1871), Ignaz Friedman (1882–1948) and Walter Gieseking (1895–1956). -
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”. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
Home Audio System Getting Started Disc/USB Playback Operating Instructions USB Transfer
Home Audio System Getting Started Disc/USB Playback Operating Instructions USB Transfer Tuner BLUETOOTH Network Gesture Control Sound Adjustment Other Operations Additional Information MHC-V90W MHC-V90W.UC2.4-728-217-11(1) For the customers in the USA CAUTION The use of optical instruments with Owner’s Record this product will increase eye hazard. The model and serial numbers are located on the rear of the unit. Record these numbers in the spaces provided below. Refer to them whenever you call upon your Sony dealer regarding this product. Model No. This appliance is classified as a CLASS 1 LASER product under IEC 60825- Serial No. 1:2007. This marking is located on the rear exterior. WARNING FOR UNITED STATES To reduce the risk of fire or CUSTOMERS. NOT APPLICABLE electric shock, do not expose this IN CANADA, INCLUDING IN THE apparatus to rain or moisture. PROVINCE OF QUEBEC. To reduce the risk of fire, do not cover the ventilation opening of POUR LES CONSOMMATEURS the appliance with newspapers, AUX ÉTATS-UNIS. NON tablecloths, curtains, etc. Do not expose the appliance to naked APPLICABLE AU CANADA, Y flame sources (for example, lighted COMPRIS LA PROVINCE DE candles). QUÉBEC. To reduce the risk of fire or electric shock, do not expose this appliance For the customers in the USA to dripping or splashing, and do not place objects filled with liquids, such as This symbol is intended to vases, on the appliance. alert the user to the presence of uninsulated As the main plug is used to disconnect “dangerous voltage” within the unit from the mains, connect the the product’s enclosure unit to an easily accessible AC outlet. -
STUDIO 680 Home Audio Loudspeaker System
STUDIO 680 Home Audio Loudspeaker System High definition imaging for high fidelity sound. Features For those searching for a home audio speaker system that goes above and beyond what Top-graded PolyPlas cones they’ve ever heard, seek no further: The new JBL Studio 6 speaker system is everything your High-quality sounding compression drivers inner audiophile could hope for. Enjoy the top-ranked sound of its PolyPlas cones; marvel at the New, appealing form factor concert-grade accuracy and power of its acoustics speaker drivers; and get electrified by its HD imaging waveguide, complete with high-frequency compression driver. It features a modern High-Definition Imaging Waveguide with new clean look that’s equally stylish and easy to set up. After JBL Studio 6, home listening will High-Frequency Compression Driver never sound – or feel – the same. STUDIO 680 Home Audio Loudspeaker System Features and Benefits What’s in the box: 1 x JBL Studio 680 Floor Standing Top-graded PolyPlas cones Loudspeaker For those who prefer their home stereo and home theater to sound precisely like it would 1 x Owner’s Manual sound at a live concert or movie theater. 1 x Warranty Card High-quality sounding compression drivers 4 x Carpet Spikes Compression drivers that add best-in-class clarity and detail to your sound experience. 4 x Feet Pads New, appealing form factor Technical Specifications: Our speaker system is pleasing to the eyes, making it a perfect match for your home décor. Dual 6.5”, 2.5-way compression driver High-Definition Imaging Waveguide with High-Frequency Compression Driver floor standing loudspeaker High-quality home audio helps deliver a live-concert sound directly to your home. -
High-Fidelity-1955-Nov.Pdf
November 60 cents SIBELIUS AT 90 by Gerald Abraham A SIBELIUS DISCOGRAPHY by Paul Affelder www.americanradiohistory.com FOR FINE SOUND ALL AROUND Bob Fine, of gt/JZe lwtCL ., has standardized on C. Robert Fine, President, and Al Mian, Chief Mixer, at master con- trol console of Fine Sound, Inc., 711 Fifth Ave., New York City. because "No other sound recording the finest magnetic recording tape media hare been found to meet our exact - you can buy - known the world over for its outstanding performance ing'requirements for consistent, uniform and fidelity of reproduction. Now avail- quality." able on 1/2-mil, 1 -mil and 11/2-mil polyester film base, as well as standard plastic base. In professional circles Bob Fine is a name to reckon auaaaa:.cs 'exceed the most with. His studio, one of the country's largest and exacting requirements for highest quality professional recordings. Available in sizes best equipped, cuts the masters for over half the and types for every disc recording applica- records released each year by independent record lion. manufacturers. Movies distributed throughout the magnetically coated world, filmed TV broadcasts, transcribed radio on standard motion picture film base, broadcasts, and advertising transcriptions are re- provides highest quality synchronized re- corded here at Fine Sound, Inc., on Audio products. cordings for motion picture and TV sound tracks. Every inch of tape used here is Audiotape. Every disc cut is an Audiodisc. And now, Fine Sound is To get the most out of your sound recordings, now standardizing on Audiofilm. That's proof of the and as long as you keep them, be sure to put them consistent, uniform quality of all Audio products: on Audiotape, Audiodiscs or Audiofilm. -
Following Hit Trail
August 4, 1962 50 Cents B1ILLE31:1A11:11111 IN/R..11910 WEEK Music -Phonograph Merchandising Radio -Tv Programming Coin Machine Operating Teen -Angle Albums MUSICBILLBOARD WEEK PAGE ONE RECORDS PAGE ONE RECORD Following Hit Trail SINGLES ALBUMS Blazed by Singles The slight pickup in LP sales which started in mid -July continued last week, sparked mainly by hit LP's with pop * NATIONAL BREAKOUTS * NATIONAL BREAKOUTS artists and a number of movie sound tracks. Though this was true in most markets there were a number of areas where LP SHE'S NOT YOU, ElvisPresley, RCA Victor MONO sales were still sluggish. Where LP business ranged from good 8041 to strong it was the fast sales pace of the hit items, especially ROSES ARE RED, Bobby Vinton, Epic LN 24020 the newer LP's, that created most of thetraffic.Hit LP's appear to be jumping to the top of charts at a much faster rate than they used to, and grabbing sales immediate?), upon STEREO release instead of after a month or two on the market. More and more the LP business, according to dealers,is following * REGIONAL BREAKOUTS No Breakouts This Week. the hit trend of the singles record market, perhaps because so These new records, not yet on BMW's Hot 100, have many of the new albums are teen -oriented. been reported getting strong sales action by dealers Meanwhile, singles business continued to flow its happy in major market(s)listedinparenthesis. way, with dealers and rackers reporting that this summer's 45 * NEW ACTION LP'S sales are the best in the last three summers. -
Voir Le Programme
... Ou comment un lieu magique, Oppède-le-Vieux, site patrimonial remarquable, nous invite au rêve et à l’utopie. La passion de Cyril Diederich, de ses amis musiciens et chanteurs lyriques s’est consacrée, lors des deux premières éditions du festival, en 2017 et en 2018, à suspendre le temps et faire de ces belles soirées d’été, une rencontre émotionnelle d’exception entre un public ébloui et la générosité des artistes. Ces moments d’enchantement éphémère, dans ce lieu privilégié, ont convaincu Cyril Diederich de perpétuer le rêve des « Concerts au coucher de soleil » en 2019, à Notre-Dame Dalidon, en gardant l’idée de proposer dans ces deux lieux (lieu sacré de la Collégiale et lieu profane du parvis), une programmation artistique originale et de qualité. Avec « CosÌ fan tutte », mise en espace par Nadine Duffaut, cette prochaine saison ouvrira le début d’un cycle de concerts consacré aux Opéras de Mozart, les 21 et 22 août 2019. Les soirées des 24 et 25 août dont la première partie sera consacré à la musique sacrée vocale et instrumentale, s’ouvriront en deuxième partie aux grands airs d’opéras dans leurs célèbres solos, duos ou trios, de Verdi à Massenet. Les solistes du Paris Symphonic Orchestre, tous membres des grands orchestres français nationaux, (Orchestre de l’Opéra de Paris, Orchestre Philharmonique de Radio France, Orchestre National de Radio France, Orchestre de la Garde Républicaine) accompagneront nos chanteurs lyriques fidèles depuis la création. Pour garder le sens du devoir de transmission, Cyril Diederich aura plaisir à inviter également de jeunes solistes de haut niveau, issus de la nouvelle génération et découverts à l’occasion des « Saisons de la Voix » (Gordes 2018) et du concours de voix nouvelles 2018. -
In This Issue
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC In This Issue ab baars Charles Gayle woody herman Coleman Hawkins kidd jordan joe lovano john and bucky pizzarelli lou marini Daniel smith 2012 Critic’s poll berlin jazz fest in photos Volume 39 Number 1 Jan Feb March 2013 SEATTLE’S NONPROFIT earshotCREATIVE JAZZ JAZZORGANIZATION Publications Memberships Education Artist Support One-of-a-kind concerts earshot.org | 206.547.6763 All Photos by Daniel Sheehan Cadence The Independent Journal of Creative Improvised Music ABBREVIATIONS USED January, February, March 2013 IN CADENCE Vol. 39 No. 1 (403) acc: accordion Cadence ISSN01626973 as: alto sax is published quarterly online bari s : baritone sax and annually in print by b: bass Cadence Media LLC, b cl: bass clarinet P.O. Box 13071, Portland, OR 97213 bs: bass sax PH 503-975-5176 bsn: bassoon cel: cello Email: [email protected] cl: clarinet cga: conga www.cadencejazzmagazine.com cnt: cornet d: drums Subscriptions: 1 year: el: electric First Class USA: $65 elec: electronics Outside USA : $70 Eng hn: English horn PDF Link and Annual Print Edition: $50, Outside USA $55 euph: euphonium Coordinating Editor: David Haney flgh: flugelhorn Transcriptions: Colin Haney, Paul Rogers, Rogers Word flt: flute Services Fr hn: French horn Art Director: Alex Haney g: guitar Promotion and Publicity: Zim Tarro hca: harmonica Advisory Committee: kybd: keyboards Jeanette Stewart ldr: leader Colin Haney ob: oboe Robert D. Rusch org: organ perc: percussion p: piano ALL FOREIGN PAYMENTS: Visa, Mastercard, Pay Pal, and pic: piccolo Discover accepted. rds: reeds POSTMASTER: Send address change to Cadence Magazine, P.O.