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IN CONCERT: Formidable Jazz Foursome
Welcome, ANGIE | Logout SANTA BARBARA Wednesday, February 19, 2014 62°Full forecast Home Local Nation/World Editorials Opinions-Letters Obituaries Real Estate Classifieds Special Publications Archives Scene Share Tweet 0 Home » Scene IN CONCERT: Formidable Jazz Foursome - KICKING OFF THE NEW 'JAZZ AT THE LOBERO' SERIES, THE SPRING QUARTET BRINGS TO TOWN AN ALL- STAR GROUP WITH JOE LOVANO, JACK DEJOHNETTE, ESPERANZA SPALDING, AND LEO GENOVESE By Josef Woodard, News-Press Correspondent February 14, 2014 8:04 AM IN CONCERT Related Stories The Spring Quartet ACT 1, SCENE 2, CLO's show business Dec 14, 2000 When: 8 p.m. Tuesday IN CONCERT: The House of Swing in the House - Jazz at Lincoln Center, led by trumpeter-jazz Where: Lobero Theater, 33 E. Canon Perdido St. spokesman Wynton Marsalis, returns to Santa Barbara on Sunday at The Granada Cost: $40-$105 Mar 8, 2013 Information: 963-0761, lobero.com Balancing home budget the Gray Davis way May 29, 2003 As a fitting, grand-opener concert in the new "Jazz at the Lobero" IN CONCERT : A different Nashville skyline - series in the newly renovated, and distinctly jazz-friendly theater Veteran musician David Olney headlines Saturday's (a condition duly noted by Down Beat magazine), a special, all-star Sings like Hell show at Lobero Theatre group gives its musical blessing Tuesday night. Enter the stellar Aug 22, 2008 aggregation calling itself the Spring Quartet, and featuring some of the most rightfully and highly respected musicians on their IN CONCERT: Soul on the Rough Side - A 'garage respective instruments — tenor saxophone mater Joe Lovano, soul' band out of Austin, Texas, Black Joe Lewis & the drummer Jack DeJohnette, Grammy-kissed young bassist-singer Honeybears is spearheaded by the high energy, James dynamo Esperanza Spalding and, from the player deserving wider Brown-inspired Lewis recognition corner, pianist Leo Genovese. -
Why Am I Doing This?
LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS ..................................................................................................................................... -
Paul Bley Footloose Mp3, Flac, Wma
Paul Bley Footloose mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Footloose Country: France Released: 1969 Style: Free Jazz MP3 version RAR size: 1851 mb FLAC version RAR size: 1832 mb WMA version RAR size: 1749 mb Rating: 4.5 Votes: 434 Other Formats: MP4 AHX MOD FLAC MMF MP1 WAV Tracklist Hide Credits When Will The Blues Leave A1 Written-By – Ornette Coleman A2 Floater A3 Turns A4 Around Again B1 Syndrome B2 Cousins B3 King Korn B4 Vashkar Companies, etc. Licensed From – Savoy Records Printed By – I.D.N. Recorded At – Medallion Studio Credits Bass – Steve Swallow Design – Pierre Bompar Drums – Pete LaRoca* Liner Notes – Philippe Carles Photography By – Giuseppe Pino Piano – Paul Bley Producer [Serie Dirigee Par] – Jean-Louis Ginibre Written-By – Carla Bley (tracks: A2, A4, B1, B3, B4), Paul Bley (tracks: A3, B2) Notes Tracks A1, A2 and A4 recorded at Medallion Studios, Newark, NJ, August 17, 1962. Tracks A3, B1 to B4 recorded at Medallion Studios, Newark, NJ, September 12, 1963. Made in France Barcode and Other Identifiers Matrix / Runout (Side A runout, hand-etched): BYG 529 114 A. Matrix / Runout (Side B runout, hand-etched): BYG 529 114 B Rights Society: BIEM Other versions Category Artist Title (Format) Label Category Country Year MG-12182 Paul Bley Footloose (LP, Album) Savoy Records MG-12182 US 1963 Footloose (CD, Album, CY-78987 Paul Bley Savoy Jazz CY-78987 Japan 1995 RE, RM, Pap) Footloose (CD, Album, COCB-50603 Paul Bley Savoy Jazz COCB-50603 Japan 2001 RE, RM, Pap) Footloose (LP, Album, COJY-9050 Paul Bley Savoy -
Preferred Swing Ratio in Jazz As a Function of Tempo
TMH-QPSR 4/1997 Preferred swing ratio in jazz as a function of tempo Anders Friberg and Andreas Sundström Abstract In jazz music it is common to perform consecutive eighth notes with an alternating duration pattern of long-short. The exact duration ratio (the swing ratio) of the long-short pattern has been largely unknown. The first experiment describes measurements of the swing ratio in the ride cymbal from well-known jazz recordings. The second experiment was a production task where subjects adjusted the swing ratio of a computer generated performance to a preferred value. Both these experiments show that the swing ratio varies approximately linearly with tempo. The swing ratio can be as high as 3.5:1 at comparatively slow tempi around 120 bpm. When the tempo is fast the swing ratio reaches 1:1, that is, the eighth notes are performed evenly. The duration of the short note in the long-short pattern is approximately constant (≅ 100 ms) for medium to fast tempi. Introduction swing ratio. An analysis of asynchronizations indicated that the drums were in average ahead One of the most important ingredients in jazz of the other instruments, the piano was second, music is the rhythm. Jazz music is supposed to and the bass third. “swing”. One essential part of this is the Collier & Collier (1996) reported on some rhythmic pattern sometimes called “swing preliminary analyses of the swing ratio in eighth note pattern”. It is performed by length- different tempi. They asked three drummers to ening the odd eighth-notes (eighth notes on the perform the pattern 3:2:1 in 9 to 11 different beat) and by shortening the even eighth notes tempi and in two conditions: swing feel and (eighth notes between the beat), thus producing strict triple time. -
Keith Jarrett Association to Jazz? This Has Happened in You Just Stay out of the Bass Player’S Way
DECEMBER 2011 ISSUE MMUSICMAG.COM DECEMBER 2011 ISSUE MMUSICMAG.COM MUSICIAN What do you recall of the Rio show? I’m doing—although I don’t know anybody ESSENTIAL JARRETT When I walked onstage for the Rio concert who does—is beginning. On Rio there are I was at ease. There was something warm 15 difficult moments that wouldn’t exist if I and glowing about the hall. It was a little played constantly. It’s an affirmation of my The Köln Concert funky, and there was something inviting state of mind being so open that I can start (1975) about it. But I wasn’t aware of my radical over 15 times and create a structure that This is the one that put feelings about it until I listened back to it. more or less seems unimprovised. Jarrett on the map as I couldn’t stop listening to it, and that had a solo piano master. never happened to me before. What guides you? Recorded in Germany In Buddhism, an empty mind is the real in January 1975, it went on to become What makes a show stand out? music. It’s that first choice of sound that one of the best-selling jazz albums—and In my case it has nothing at all to do with brings you back into the world again. When I best-selling piano album—in history, with musical thought. It’s just, am I in the right began that format, the audiences didn’t know more than 3 million copies sold worldwide. place? Did I have the right meal? I somehow what the hell to do: “Do I applaud? Is he realized that there was a connection with OK?” When I came onstage for the second Nude Ants the audience that grew as the Rio concert set in Rio, I had no idea I was going to play (1979) continued. -
12-17-20 Rockabilly Auction Ad
John Tefteller’s World’s Rarest Records Address: P. O. Box 1727, Grants Pass, OR 97528-0200 USA Phone: (541) 476–1326 or (800) 955–1326 • FAX: (541) 476–3523 E-mail: [email protected] • Website: www.tefteller.com Auction closes Thursday, December 17, 2020 at 7:00 p.m. PT See #33 See #44 Original 1950’s Rockabilly / Country Boppers / Teen Rockers 45’s Auction 1. The Anderson Sisters — “The Wolf 17. Boyd Bennett — “The Brain/Coffee 31. Gene Brown — “Big Door/Playing 43. Johnny Burnette — “Me And The Hop/Empty Arms And A Broken Break” MERCURY 71813 M- WHITE With My Heart” 4 STAR 1717 MINT Bear/Gumbo” FREEDOM 44011 M- Heart” FORTUNE 202 (SEE INSERT LABEL PROMO MB $20 FIrst label, true first pressing before it WHITE LABEL PROMO with date of 4/2/59 BELOW) 18. Rod Bernard — “Pardon, Mr. Gordon/ went nationwide on Dot MB $30 written neatly on the label MB $20 2. Angie & The Citations — “I Wanna This Should Go On Forever” ARGO 32. Gene Brown — “Big Door/Playing 44. Mel Calvin And The Kokonuts — Dance/Salt & Pepper” ANGELA NO # 5327 M- MB $20 With My Heart Again” DOT 15709 “My Mummy/I Love You” BERTRAM VG Wol and slight storage warp with NO 19. Bob And The Rockbillies — “Your M- MB $20 INTERNATIONAL 215 M- MB $50 effect on play. Super obscure one from Kind Of Love/Baby Why Did You Have 33. Tom Brown And The Tom Toms — (See picture at top of page) Tamaqua, Pennsylvania MB $20 To Go” BLUE-CHIP 011 M- TWO- “Kentucky Waltz/Tomahawk” JARO 45. -
POST EXAMINER FINAL Full Thesis Compile No 2A W Table of Contents
What happens next? Imaginative presence in Gary Peacock and Lee Konitz: Divergent fields, audiation, and the unexpected A thesis submitted for the degree of Master of Philosophy of the Australian National University June, 2016 Benjamin I R Robertson © Copyright by Benjamin I R Robertson, 2016 All Rights Reserved STATEMENT OF ORIGINALITY This is to certify that the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. BEN ROBERTSON i ACKNOWLEDGEMENTS Thanks are due in no small part to my main supervisor, Doctor Kate Bowan, for her invaluable input and guidance in writing this thesis, as well as Professor Paul Pickering, Doctors David Irving, Alexander Hunter and John Mackey for their supervisory counsel. I would like to also acknowledge the early input of Mike Price, who got me started in this process and encouraged me to pursue the themes in the title. Thanks are due to the ANU Melbourne reading group, and its sage advisor, Professor Paul Pickering, who all offered valuable feedback to me on my writing. I would like to thank Miroslav Bukowsky for encouraging me to examine my own improvising processes, and Mark Williamson for reading early drafts and offering helpful counter-arguments. I would also like to thank Danny Fischer for helpful comments on early chapters and Chris Sommervelle for keeping the themes of aural development in focus, via robust discussion and debate. -
Autumn Leaves" in the 1960S
Outside Forces: "Autumn Leaves" in the 1960s By Keith Waters Is there a problem of form in the jazz tradition? Does the reliance upon repeated 32-bar frameworks create an unavoidable formal, harmonic, and metric redundancy? How do jazz improvisers transcend or evade this cyclic regularity? These are crucial questions. Jazz players have extended privilege to the 32-bar AABA and ABAC song form (along with 12-bar blues structures) since at least the 1930s, when the 32-bar song form replaced the 16-bar sectional forms of ragtime and early jazz. Yet repeated cycles of thirty-two bars result in a hypermetric consistency on several levels: single measures group into four-measure units, which then combine into eight measure sections; the four eight-measure sections comprise the 32-bar form, which becomes repeated, normally for the duration of the composition.! In the Western European tradition (with the occasional exception of the theme and variations genre and dance forms) form is typically not generated by regularly repeating structures, structures that are consistently built from measure groups of 4, 8, 16, and 32 bars. Yet this formal model, with its foursquare regularity and its repeated harmonic and metric organization, has been one of the primary vehicles for jazz improvisers and composers. Historically, jazz players have kept the structure, merely renovating it peri odically through stylistic change. Thus, while stylistic development and evolution has rapidly taken place in the area of instrumental technique, harmony, and rhythm, the domain ofform has remained relatively static.2 The manner in which improvisers overcome the limitations of a peri odic structure varies, and players have developed a variety of strategies to mask this regularity. -
Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings. -
Rock & Roll Rock & Roll L L O R & K C
108 ROCK & ROLL ROCK & ROLL ART ADAMS PAUL ANKA ROCK CRAZY BABY CD CL 4477 € 15.50 ITALIANO CD CNR 13050 € 15.50 · contains his single releases plus alternates & rehearsals and a PAUL ANKA / FEELINGS CD COL 2849 € 20.50 TV interview from 1959 - 30 tracks with 16 page booklet ! VOL.2, SINGS HIS BIG 10 CD D2 77558 € 11.90 BILLY ADAMS GERMAN-AMERICAN LINE OF LEGACY CD BA 0200 € 19.50 HITS CD RCA 84444 € 17.90 ESSENTIA L RCA ROCK & ROLL · Fantastic rough new recordings from the Sun Studio - diese Platte ist ein Muss für jeden bekennenden Rocker - Danke Billy, RECORDINGS 62-68 CD TAR 1057 € 18.90 wo warst du ? 17 Killer - no Filler (21.03.2000 SK) Love Me Warm And Tender- I’d Like To Know- A Steel Guitar And A ROCKIN’ THRU THE YEARS Glass Of Wine- I Never Knew Your Name- Every Night (With out 1955-2002 CD CMR 581 € 12.90 You)- Eso Beso (That Kiss)- Love (Makes The World Go ‘Round)- CHARLIE ADAMS Remem ber Diana- At Night- Hello Jim- It Does n’t Matter Anymore- The Longest Day- Hurry Up And Tell Me- Did You Have A Happy CATTIN’ AROUND BCD 16312 € 15.34 Birth day- From Rocking Horse To Rocking Chair- My Baby’s Comin’ ADDRISI BROS Home- In My Imagi nation- Ogni Volta (Every Time)- Every Day A CHER RY STONE CD DEL 71254 € 17.90 Heart Is Broken- As If There Were No Tomor row- I Can’t Help Loving HASIL ADKINS You- When We Get There OUT TO HUNCH...PLUS (50S · brand new US compilation in superb Sound ! RECORD INGS) CD CED 201 € 18.50 ANN MARGRET POUL TRY IN MOTION - THE VERY BEST OF CD BMG 69389 € 14.50 CHICKEN COLLECTION 55-99 CD CED 281 € 18.50 -
Keith Jarrett/Gary Peacock/Jack Dejohnette My Foolish Heart Live at Montreux
ECM Keith Jarrett/Gary Peacock/Jack DeJohnette My Foolish Heart Live At Montreux Keith Jarrett: piano; Gary Peacock: double-bass; Jack DeJohnette: drums ECM 2021/22 2-CD 6025 173 7326 (6) Release: October 2007 “This is a concert recording I was holding onto until the right moment presented itself. It shows the trio at its most buoyant, swinging, melodic and dynamic. (...) If jazz is about swinging, energy, and personal ecstasy for the player and the listener, I can think of no other single concert by the trio that expresses these qualities so completely and comprehensively. “ – Keith Jarrett in the liner notes. “My Foolish Heart” documents the music made by Keith Jarrett, Gary Peacock and Jack DeJohnette at Montreux’s Stravinsky Auditorium in July 2001. It is an unusually encyclopedic performance, even by the trio’s criteria, and one that fairly romps through the history of jazz in celebratory spirit. There are tunes from some of the music’s masters – “Four” by Miles Davis, “Straight, No Chaser” by Thelonious Monk, “Oleo” by Sonny Rollins, “Five Brothers” by Gerry Mulligan. There is a characteristic scattering of standard tunes, too, including “What’s New”, “The Song Is You”, “Guess I’ll Hang My Tears Out To Dry”, “Only The Lonely” and “On Green Dolphin Street”, in each instance the musicians prise open fresh perspectives on familiar, and timeless, material. Unique to this concert is the inclusion of three pieces in stride and ragtime styles, played with verve enough to conjure up the ghost of Fats Waller on “Ain’t Misbehavin’”, and “Honeysuckle Rose” (both Waller tunes) and on “You Took Advantage Of Me”, a Rodgers and Hart piece from the 1928 musical “Present Arms”: in total more than twenty minutes in the ragtime zone before the trio exits by way of Monk’s “Straight, No Chaser”, a further expression of the balance between joy, creativity and idiosyncratic humor that is specific to jazz. -
Hot Rod Legends Chuck Berry, Jerry Arnold, Ray Charles Und Viele Andere
neuerscheinungen wallets ROCK N’ ROLL Hot Rod Legends Chuck Berry, Jerry Arnold, Ray Charles und viele andere Label: Documents Genre: Rock ’N’ Roll Format: 10 CD Wallet Veröffentlichung: 14.10.2016 Katalognr.: 600343 Label Code: 12281 Preiscode: 10M9 4 0 5 3 7 9 6 0 0 3 4 3 0 Vertriebsgebiet: ww 200 Titel in einer 10 CD-Box mit rockiger Musik der 1950er Jahre rund ums Auto. Viele dieser Aufnahmen sind echte Raritäten, für die als Vinylplatten heute schwindelerregende Preise gefordert werden. Erstmalig ist hier dieses Musik-Thema auf 10 CDs in einer Box bildete sich eine feste Szene um diese Musik herum – ähnlich wie zusammengefasst. beim Surf und beim unvergänglichen Rockabilly wurde die Szene Neben den vielen relativ unbekannten Musikern sind natürlich zu einem echten Lebensgefühl. Viele Titel drehen sich oft und aber auch einige Rock & Roll Ikonen zu hören: Gene Vincent, Carl gern um die „hippen“ Automarken: Cadillac, Ford, Thunderbird, Perkins, Duane Eddy, The Beach Boys und Chuck Berry sind nur Lincoln, Oldsmobile und um Drag-Cars – aber in einigen Fällen einige von ihnen. ist auch von Motorrädern die Rede. Einige Titel findet man Ebenso wie die Surf-Music hat auch die Hot Rod-Szene ihren auch in der Surf-Szene wieder (Beach Boys „4 0 9“) und das Ursprung in Kalifornien. ist nicht verwunderlich, denn beide Themen pflegten eine enge In diesen Car-Songs dreht sich alles um Autos, knatternde Verwandtschaft - sowohl in der Musik als auch im Lebensgefühl. Motoren, heiße Mädchen und zu allererst um heiße Musik. Wie In den frühen 1950er Jahren gaben sich Gruppen auch gern mal man hier hören kann war das Auto bereits in den 1940 Jahren zu Autonamen: The Chevrolets, The Thunderbirds, The El Dorados einem Musik-Thema geworden – überwiegend im C&W-Bereich.