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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. -
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. -
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. -
New Jazz Label Discography
New Jazz Label Discography 10 Inch 100 Series: NJ 101 - Lennie Tristano and Lee Konitz - Lennie Tristano and Lee Konitz [1950] This album was reissued as Prestige 101. Side One Lee Konitz Marshmallow/Sound-Lee/Fishin’ Around/Tautology//Side Two Lennie Tristano Subconscious-Lee/Judy/Retrospection/Progression 10 Inch 1100 Series: NJLP 1101 - Jimmy Raney Quartet - Jimmy Raney Quartet [1954] Reissued as Prestige 201. Double Image/On the Square/Minor/Some Other Spring NJLP 1102 - Zoot Sims Quintet - Zoot Sims Quintet [1954] Reissued as Prestige 202. Howdy Podner/Toot, No. 2/Indian Summer/What's New? NJLP 1103 - Jimmy Raney Quintet - Jimmy Raney Quintet [1954] Reissued as Prestige 203. Stella by Starlight/Jo- Anne/Back and Blow/Five NJLP 1104 - Phil Woods Quintet - Phil Woods Quintet [1954] Reissued as Prestige 204. Pot Pie/Open Door/Robin's Bobbin'/Mad About the Girl NJLP 1105 - Jon Eardley Quartet - Jon Eardley Quartet [1955] Reissued as Prestige 205. Lute Leader/Indian Spring/Black/Cross NJLP 1106 - Teddy Charles Quartet - Teddy Charles Quartet [1955] Reissued as Prestige 206. Violetta/Relaxo Abstracto/Speak Low/Jay Walkin'/The Night We Called It a Day/I Can't Get Started 12 Inch 8200 Series: NJLP 8201 - Mal 3/Sounds - Mal Waldron [1/58] Tensions/Ollie's Caravan/The Cattin' Toddler/Portrait of a Young Mother/For Every Man There's a Woman NJLP 8202 - Roots – Prestige All Stars [1959] Roots/Sometimes I Feel Like a Motherless Child/Down by the Riverside NJLP 8203 - Farmer's Market - Art Farmer [1959] Reminiscing/By Myself/Wailing with Hank/With -
Dave Pike Quartet Pike's Peak Mp3, Flac, Wma
Dave Pike Quartet Pike's Peak mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Pike's Peak Country: US Released: 1962 Style: Cool Jazz MP3 version RAR size: 1967 mb FLAC version RAR size: 1914 mb WMA version RAR size: 1381 mb Rating: 4.4 Votes: 193 Other Formats: AU ASF FLAC MMF VOX APE XM Tracklist Hide Credits Why Not A1 Written-By – D.Pike* In A Sentimental Mood A2 Written-By – D.Ellington*, I. Mills*, M. Kurtz* Vierd Blues A3 Written-By – M. Davis* Besame Mucho B1 Written-By – C.Velasquez* Wild Is The Wind B2 Written-By – D. Tiomkin*, N. Washington* Companies, etc. Record Company – CBS Credits Bass – Herbie Lewis Drums – Walter Perkins Liner Notes – Ira Gitler Photography By [Cover Photo] – Pete Turner Piano – Bill Evans Producer – Mike Berniker Vibraphone – Dave Pike Notes Printed in USA Frontcover has two Category for Stereo BA 17025 and Mono LA 16025 Spine and rear cover only the Stereo Category 17025 Barcode and Other Identifiers Matrix / Runout (Runout Side 1 stamped): XSB-56972-1D Matrix / Runout (Runout Side 2 stamped): Ѻ XSB-56973-1G Other versions Category Artist Title (Format) Label Category Country Year Dave Pike Pike's Peak (LP, LA 16025 Epic LA 16025 US 1962 Quartet Album, Mono) Dave Pike Pike's Peak (LP, BA 17025 Epic BA 17025 Unknown Quartet Album, RE) Pike's Peak (LP, Portrait 465055 1 Dave Pike 465055 1 Netherlands 1988 Album, RE) Masters Dave Pike Pike's Peak (CD, 88985308562 Legacy 88985308562 France 2016 Quartet Album, RE) Pike's Peak (CD, Portrait RK 44392 Dave Pike RK 44392 US 1989 Album, RE) Masters Related Music albums to Pike's Peak by Dave Pike Quartet Dave Pike Set - Four Reasons Scafell Pike - The Best Of Scafell Pike - Living Easy The Libertines - Smith Is A Liar Dave Pike - Bossa Nova Carnival The Dave Pike Set - Riff For Rent The Dave Pike Set - Album Bill Evans - Piano Player. -
Dizzy Gillespie and the Big Band: GILLESPIANA (Verve V6-8394)
JAMU 20150422-2 –Dizzy Gillespie-Lalo Schifrin suites (ukázky) Dizzy Gillespie and His Orchestra: A PORTRAIT OF DUKE ELLINGTON (Verve V6-8386) A1 In A Mellow Tone 3:44 A2 Things Ain't What They Used To Be 4:50 A3 Serenade To Sweden 4:23 A4 Chelsea Bridge 2:34 A5 Upper Manhatten Medical Group 3:05 A6 Do Nothin' Till You Hear From Me 2:38 B1 Caravan 5:18 B2 Sophisticated Lady 3:19 B3 Johnny Come Lately 3:35 B4 Perdido 4:47 B5 Come Sunday 2:56 Trumpet – Dizzy Gillespie Trombone – Bennie Green French Horn – Joe Singer, Ray Alonge, Richard Berg Tuba – Jay McAllister Flute – Robert DiDomenica Woodwind – Ernest Bright, John Murtaugh, Paul Richie, Stan Webb Vibraphone – George Devens Piano, Celeste – Hank Jones Bass – George Duvivier Drums – Charlie Persip Arranged By – Clare Fisher Recorded on 27-28 April, 1960 in NYC. Dizzy Gillespie and the Big Band: GILLESPIANA (Verve V6-8394) A1 Prelude 5:52 A2 Blues 11:16 A3 Panamericana 4:39 B1 Africana 7:31 B2 Toccata 12:01 Trumpet – Clark Terry, Dizzy Gillespie, Ernie Royal, Joe Wilder, John Frosk Trombone – Britt Woodman, Frank Rehak, Paul Faulise, Urbie Green Horns – Al Richman, Gunther Schuller, James Buffington, Julius Watkins, Morris Secon, William Lister Tuba – Don Butterfield Saxophone – Leo Wright Piano, Written-By, Arranged By – Lalo Schifrin Bass – Art Davis Drums – Chuck Lampkin Bongos – Jack Del Rio Congas – Candido Timbales, Timpani – Willie Rodriguez Recorded November 14-15, 1960 in New York Dizzy Gillespie and the Big Band: CARNEGIE HALL CONCERT (Verve V6-8423) A1 Manteca 6:22 A2 This Is -
Blues and Variations for Monk for Unaccompanied French Horn
DAVID AMRAM Blues and Variations for Monk for unaccompanied French Horn EIGENTUM DES VERLEGERS · ALLE RECHTE VORBEHALTEN ALL RIGHTS RESERVED C.F. PETERS CORPORATION A Member of the Edition Peters GrouP LONDON · FRANKFURT/M. · LEIPZIG · NEW YORK Duration: circa 6 minutes COMPOSER′S NOTES The first three notes of Blues and Variations for Monk (the 3rd, dominant 7th and raised 11th for an F dominant-7th chord) are a motif based on the way Thelonious Monk played the piano in his unique style. When I visited his house and he visited my little place for the first of many times, beginning in 1955, he encouraged me, as he also did with my fellow jazz French hornist Julius Watkins, to pursue using the French horn as an improvising instrument in jazz ensembles, as well as pursuing my dreams of being a composer of contemporary symphonic music. And all of the times spent with Monk over the years during our memorable musical get-togethers included playing the 12-bar blues. That’s why decades later I wrote this piece to honor our friendship. All of the 12-bar blues variations in Blues and Variations for Monk are based on the timeless structure of the classic 12- bar blues. Each variation can be phrased in four-measure sections. And each of these 12-bar choruses should be played exactly in tempo! This will enable the audience to hear and feel the “jazz” elements, and give the the soloist the ability, within the exact structure, to concentrate on getting a great sound and elegant phrasing. -
An Historical Survey of the Development of the Vibraphone As an Alterna Tive Accompanying Instrument in Jazz
AN HISTORICAL SURVEY OF THE DEVELOPMENT OF THE VIBRAPHONE AS AN ALTERNA TIVE ACCOMPANYING INSTRUMENT IN JAZZ. BY FRANK A MALLOWS (MLLFRA002) A MINOR DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE A WARD OF THE DEGREE OF MASTER OF MUSIC. SOUTH AFRICAN COLLEGE OF MUSIC UNIVERSITY OF CAPE TOWN SOUTH AFRICA 2004 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town 11 DECLARATION This work has not been previously submitted in whole, or in part, forthe award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. SIGNATURE DATE (Frank Arthur Mallows) III ABSTRACT AN HISTORICAL SURVEY OF THE DEVELOPMENT OF THE VIBRAPHONE AS AN ALTERNATIVE ACCOMPANYING INSTRUMENT IN JAZZ. by Frank Arthur Mallows 7 Muswell Hill Road Mowbray Cape Town A minor dissertation submitted in partial fulfilment of the requirements for the award of the degree of Master of Music. South African College of Music University of Cape Town South Africa 2004 The vibraphone, a melodic percussion instrument in which metal bars are struck with mallets to produce the sound and with a chromatic range of usually three octaves, was developed in the United States of America in the early 1900s. -
Little Karin Benny Golson
JAZZ AT LINCOLN CENTER’S ESSENTIALLY ELLINGTON LIBRARY Wynton Marsalis, Managing and Artistic Director, Jazz at Lincoln Center Little Karin Benny Golson Arranged by Quincy Jones As performed by Quincy Jones and His Orchestra Transcribed and Edited by Christopher Crenshaw for Jazz at Lincoln Center Full Score This transcription was made especially for Jazz at Lincoln Center’s 2018–19 Twenty-Fourth Annual Essentially Ellington High School Jazz Band Program. Jazz at Lincoln Center and Jazz Lines Publishing gratefully acknowledge the cooperation and support provided in the publication of this year's Essentially Ellington music series: Founding leadership support for Essentially Ellington is provided by The Jack and Susan Rudin Educational and Scholarship Fund. Major support is provided by Jessica and Natan Bibliowicz, Alfred and Gail Engelberg, Casey Lipscomb, Dr. J. Douglas White and the King-White Family Foundation, Cheryl and Louis Raspino, Augustine Foundation, Ella Fitzgerald Charitable Foundation, and Charles Evans Hughes Memorial Foundation. NOTES ON PLAYING ELLINGTON 4. In Ellington’s music, each player should express the individuality More than one on a part makes it sound more like a concert band of his own line. He must find a musical balance of supporting and and less like a jazz band. At least 95% of modern-day large ensemble jazz playing comes out following the section leader and bringing out the character of the of three traditions: Count Basie’s band, Duke Ellington’s band, and the 11. This is acoustic music. Keep amplification to an absolute minimum; underpart. Each player should be encouraged to express his or in the best halls, almost no amplification should be necessary. -
Dizzy Gillespie - Buddy Rich
MUNI 20070503 Dizzy Gillespie - Buddy Rich 1. Ow! (Dizzy Gillespie) 3:02 Dizzy Gillespie and His Orchestra : Dizzy Gillespie, Dave Burns, Elmon Wright, Matthew McKay, Ray Orr-tp; Taswell Baird, William Shepherd-tb; John Brown, Howard Johnson-as; James Moody, Joe Gazles-ts; Cecil Payne-bs; Milt Jackson-vib; John Lewis-p; John Collins-g; Ray Brown-b; Joe Harris-dr. New York, August 22, 1947. Victor 20-2480/D7-VB-1542-1. [RCA 07863 66528 2] 2. Manteca (Dizzy Gillespie-Walter “Gil” Fuller-Chano Pozo) 3:08 Dizzy Gillespie and His Orchestra : Dizzy Gillespie, Dave Burns, Elmon Wright, Lamar Wright, Jr., Benny Bailey-tp; William Shepherd, Ted Kelly-tb; John Brown, Howard Johnson-as; Joe Gayles, „Big Nick“ Nicholas-ts; Cecil Payne-bs; John Lewis-p; Al McKibbon-b; Kenny Clarke-dr; Chano Pozo-conga, bongos, voc. New York, December 30, 1947. Victor 20-3023/D7-VB-3080-1. [RCA 07863 66528 2] 3. Cubana Bop (George Russell-Dizzy Gillespie) 3:20 Dizzy Gillespie and His Orchestra : same personnel. New York, December 22, 1947. Victor 20-3145/D7-VB-2935-1. [RCA 07863 66528 2] 4. Gillespiana – 1. Prelude (Boris “Lalo” Schifrin) 5:56 Dizzy Gillespie and His Orchestra : John Frosk, Dizzy Gillespie, Ernie Royal, Clark Terry, Joe Wilder-tp; Urbie Green, Frank Rehak, Britt Woodman-tb; Paul Faulise-btb; Jammes BufFington, Al Richman, Gunther Schuller, Julius Watkins-h; Don ButterField-tu; Leo Wright-Fl, as; Lalo SchiFrin-p; Art Davis-b; Jack Del Rio-bongos; Candido Camero-conga; Willie Rodriguez-timb; Chuck Lampkin-dr. New York, November 14-15, 1960. -
Suggested Listening - Jazz Artists 1
SUGGESTED LISTENING - JAZZ ARTISTS 1. TRUMPET - Nat Adderley, Louis Armstrong, Chet Baker, Terrance Blanchard, Lester, Bowie, Randy Brecker, Clifford Brown, Don Cherry, Buck Clayton, Johnny Coles, Miles Davis, Kevin Dean, Kenny Dorham, Dave Douglas, Harry Edison, Roy Eldridge, Art Farmer, Dizzy Gillespie, Bobby Hackett, Tim Hagans, Roy Hargrove, Phillip Harper,Tom Harrell, Eddie Henderson, Terumaso Hino, Freddie Hubbard, Ingrid Jensen, Thad Jones, Booker Little, Joe Magnarelli, John McNeil, Wynton Marsalis, John Marshall, Blue Mitchell, Lee Morgan, Fats Navarro, Nicholas Payton, Barry Ries, Wallace Roney, Jim Rotondi, Carl Saunders, Woody Shaw, Bobby Shew, John Swana, Clark Terry, Scott Wendholt, Kenny Wheeler 2. SOPRANO SAX - Sidney Bechet, Jane Ira Bloom, John Coltrane, Joe Farrell, Steve Grossman, Christine Jensen, David Liebman, Steve Lacy, Chris Potter, Wayne Shorter 3. ALTO SAX - Cannonball Adderley, Craig Bailey, Gary Bartz, Arthur Blythe, Richie Cole, Ornette Coleman, Steve Coleman, Paul Desmond, Eric Dolphy, Lou Donaldson, Paquito D’Rivera, Kenny Garrett, Herb Geller, Bunky Green, Jimmy Greene, Antonio Hart, John Jenkins, Christine Jensen, Eric Kloss, Lee Konitz, Charlie Mariano, Jackie McLean, Roscoe Mitchell, Frank Morgan, Lanny Morgan, Lennie Niehaus, Greg Osby, Charlie Parker, Art Pepper, Bud Shank, Steve Slagel, Jim Snidero, James Spaulding, Sonny Stitt, Bobby Watson, Steve Wilson, Phil Woods, John Zorn 4. TENOR SAX - George Adams, Eric Alexander, Gene Ammons, Bob Berg, Jerry Bergonzi, Don Braden, Michael Brecker, Gary Campbell, -
2017-18 Georgia All-State Jazz Ensemble SUGGESTED LISTENING—JAZZ ARTISTS
2017-18 Georgia All-State Jazz Ensemble SUGGESTED LISTENING—JAZZ ARTISTS This is a list that that I’ve selected from Jamey Aebersold’s Jazz Aides 2000 list so it would fit on one page and not be so overwhelming. It is NOT THE definitive list, but you can’t go wrong focusing on any of these to imitate so you can innovate. …. Jim Warrick, Guest Director FLUTE Dave Valentine, Hubert Laws, James Moody, Herbie Mann, Frank Wess, Jeremy Steig, Roland Kirk, Yusef Lateef, David Liebman, Eric Dolphy CLARINET Benny Goodman, Artie Shaw, Buddy DeFranco, Woody Herman, Pee Wee Russell, Jimmy Guiffre, Eric Dolphy (bass clarinet), Eddie Daniels, Paquito D'Rivera, Phil Woods, Art Pepper, John Carter ALTO SAX Charlie Parker, Sonny Stitt, Lou Donaldson, Phil Woods, Cannonball Adderley, Charlie Mariano, Lee Konitz, Paul Desmond, Ornette Coleman, Roscoe Mitchell, Eric Dolphy, Herb Geller, Art Pepper, Lennie Niehaus, Bud Shank, Lanny Morgan, Richie Cole, Eric Kloss, Bunky Green, Bobby Watson, Kenny Garrett, Greg Osby, Frank Morgan, John Jenkins, Jim Snidero, Paquito D'Rivera TENOR SAX Lester Young, Walt Weiskopf, Coleman Hawkins, Stan Getz, John Coltrane, Sonny Rollins, Gene Ammons, Joe Henderson, Wayne Shorter, George Coleman, Dave Liebman, Pharoah Sanders, Ben Webster, Benny Golson, Dexter Gordon, Wayne Marsh, Zoot Sims, Hank Mobley, Sonny Stitt, Bob Berg, Joe Farrell, Mike Brecker, Bud Freeman, Von Freeman, Chico Freeman, Rick Margitza, Branford Marsalis, Larry Schneider, Bill Evans, Joe Lovano, James Moody, Joshua Redman, Illinois Jacquet, Eddie “Lockjaw”