The Modern Jazz Quartet European Concert : Volume One Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

The Modern Jazz Quartet European Concert : Volume One mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: European Concert : Volume One Country: Canada Released: 1962 Style: Cool Jazz MP3 version RAR size: 1155 mb FLAC version RAR size: 1412 mb WMA version RAR size: 1937 mb Rating: 4.1 Votes: 252 Other Formats: MP4 MP2 MOD DMF VQF WAV DTS Tracklist A1 Django 5:25 A2 Bluesology 4:27 A3 I Should Care 5:15 A4 La Ronde 2:57 B1 I Remember Clifford 5:02 B2 Festival Sketch 4:19 B3 Vendome 2:25 B4 Odds Against Tomorrow 6:46 Companies, etc. Manufactured By – Warner-Pioneer Corporation Credits Bass – Percy Heath Drums – Connie Kay Piano – John Lewis Vibraphone [Vibraharp] – Milt Jackson Notes Recorded in Scandinavia, April 1960. Other versions Category Artist Title (Format) Label Category Country Year European Concert : The Modern 1385 Volume One (LP, Album, Atlantic 1385 US 1962 Jazz Quartet Mono) The Modern European Concert : SD 1385 Atlantic SD 1385 US 1962 Jazz Quartet Volume One (LP, Album) European Concert Vol. 1 CSJ 158, The Modern CSJ 158, (LP, Album, Unofficial, 中聲, 中聲 Taiwan Unknown CSJ-158 Jazz Quartet CSJ-158 Ora) European Concert Vol. 1 The Modern SMJ-7340 (LP, Album, Unofficial, Atlantic SMJ-7340 Japan Unknown Jazz Quartet Red) European Concert - The Modern 1-603 Volume 1 (LP, Album, Atlantic 1-603 Italy Unknown Jazz Quartet Mono) Related Music albums to European Concert : Volume One by The Modern Jazz Quartet The Modern Jazz Quartet - Night In Tunisia Modern Jazz Quartet - Longing For The Continent The Modern Jazz Quartet Plus - The Modern Jazz Quartet Plus Modern Jazz Quartet, The - The Comedy The Modern Jazz Quartet - M-J-Q The Modern Jazz Quartet - European Concert The Modern Jazz Quartet - The Modern Jazz Quartet & Orchestra The Modern Jazz Quartet - Music From "Odds Against Tomorrow" The Modern Jazz Quartet - The Last Concert The Modern Jazz Quartet - European Concert: Volume One The Modern Jazz Quartet - Before Venice The Modern Jazz Quartet - The Best Of.

Copy Link

Recommended publications

Manuscript Newsletter, Spring 2021 Edition
Manuscript The magazine of the Northeastern State University Department of Music Spring 2021 Contents 2 Welcome from the Chair Features 3 Guest Artists 5 NSU @ OkMEA 6 New Student Lounge & Opera Workshop 7 Green Country Jazz Festival 9 “Can’t stop the Music” (AKA NSU Music during a global pandemic) 11 Announcement of a new music degree 12 Student News 13 Alumni Feature 14 In Memorium 15 Faculty News 17 Endowments, Scholarships, & Donors Musicians: we are the most romantic of all artists. We believe in, and chase the illusive, intoxicating, unseen magic/beauty that exists in the universe. We are conduits for this magic/ beauty that has the ability to stir emotions that are fundamental to what it means to be human and alive. Here’s to us all....! - Dr. Ron Chioldi Welcome FROM THE CHAIR Spring 2021 marks the end of an academic year unlike any other. It was difficult. It was certainly stressful. So many modifications were made to our normal operating procedures due to the pandemic. Some of these modifications will inform how we operate in the future. Others, I hope we never have to implement ever again. Our faculty, staff, and students were resilient in the face of highly pressurized circum- stances. I want to thank them for their grace, adaptability, and understanding as things constantly changed. Early on in the pandemic, the performing arts were singled out as being particularly risky for infection. We took measures to ensure the safety of our faculty, staff, and students as best we could under state, local, and university protocols.
[Show full text]
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.
[Show full text]
Norway's Jazz Identity by © 2019 Ashley Hirt MA
Mountain Sound: Norway’s Jazz Identity By © 2019 Ashley Hirt M.A., University of Idaho, 2011 B.A., Pittsburg State University, 2009 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Musicology. __________________________ Chair: Dr. Roberta Freund Schwartz __________________________ Dr. Bryan Haaheim __________________________ Dr. Paul Laird __________________________ Dr. Sherrie Tucker __________________________ Dr. Ketty Wong-Cruz The dissertation committee for Ashley Hirt certifies that this is the approved version of the following dissertation: _____________________________ Chair: Date approved: ii Abstract Jazz musicians in Norway have cultivated a distinctive sound, driven by timbral markers and visual album aesthetics that are associated with the cold mountain valleys and fjords of their home country. This jazz dialect was developed in the decade following the Nazi occupation of Norway, when Norwegians utilized jazz as a subtle tool of resistance to Nazi cultural policies. This dialect was further enriched through the Scandinavian residencies of African American free jazz pioneers Don Cherry, Ornette Coleman, and George Russell, who tutored Norwegian saxophonist Jan Garbarek. Garbarek is credited with codifying the “Nordic sound” in the 1960s and ‘70s through his improvisations on numerous albums released on the ECM label. Throughout this document I will define, describe, and contextualize this sound concept. Today, the Nordic sound is embraced by Norwegian musicians and cultural institutions alike, and has come to form a significant component of modern Norwegian artistic identity. This document explores these dynamics and how they all contribute to a Norwegian jazz scene that continues to grow and flourish, expressing this jazz identity in a world marked by increasing globalization.
[Show full text]
Don't Miss the Tribute to the Modern Jazz Quartet Performance!
Sketches 3 Don’t miss the Tribute to the Modern Jazz Quartet Performance! Jazz aficionados with a sense of history will already have their tickets to this premier performance of a tribute to the now-deceased members of the celebrated Modern Jazz Quartet. Larry Vuckovich and Noel Jewkes, both eminent musicians in their own rights, have assembled an outstanding group, picked not only for their musical abilities, but also because all of them have had, in different ways, connections to the music of the Modern Jazz Quartet. Herb Gibson has studied the vibraphone with the vibes genius Milt Jackson, who was such an important part of the music of the Modern Jazz Quartet. Herb carries with him and continues this lineage of jazz music. Akira Tana, on drums, has accompanied the Heath Brothers – Albert “Tootie” Heath and Jimmy Heath – who are still performing with the artistic quality of their now-deceased brother, Percy Heath, who was a member of the MJQ. In this world premier performance in the Coleman Auditorium, Larry Vuckovich, piano, and Noel Jewkes, reeds, (co-leaders) Tommy Kesecker, vibes, Josh Workman, guitar, Eric Golub, violin, and Buca Necak, bass, along with Gibson and Tana, will perform the rich and gorgeous compositions listeners associated with the Modern Jazz Quartet for the decades when they reigned supreme. Among the compositions planned for the evening are: Django, Bag's Groove, Skating In Central Park, selections from Porgy & Bess, Concerto De Aranjuez, and Thinking Of You MJQ by Vince Guaraldi, plus original compositions by Noel Jewkes which are strikingly rich in texture and nuance.
[Show full text]
Modern Jazz Quartet
THE MUSEUM OF MODERN ART No 95 II WEST 53 STREET. NEW YORK 19. N. Y. For Release TILEPHONI: CltCLI S4900 After Friday, August 5> I960 MODERN JAZZ QUARTET TO GIVE CONCERT AT MUSEUM jazz in the Garden continues at the Museum of Modern Art with The Modern Jazz Quartet, Thursday, August 11, at 8:30 p.m. The ensemble of virtuoso soloists consists of John Lewis, piano, Percy Heath, bass, Milt Jackson, vibraharp, and Connie Kay, drums, This is the ninth in a series of ten Thursday evening promen ade concerts co-sponsored and produced by Metronome magazine. Known as the most highly developed and integrated of the small contemporary groups, The Modem Jazz Quartet was formed in 1951 by four veterans of the Dizzy Gillespie band. Traditional jazz concepts structured on the fugue and classical forms, polished instrumentation, and freedom for individual innovation within the discipline of the group, leads to what John Leewis calls " a collective impro visation which swings." The Quartet has given concerts at Town Hall and Carnegie Hall, at many American universities, at the Newport, French Lick and Monterey festivals. It has joined the Symphony of the Air, the Cleveland Symphony and the Buffalo Philharmonic in concert performances. During the past four years it toured Austria, Belgium, France, Germany and Italy, opening in England at Royal Festival Hall. Not restricted to the concert stage, the Quartet has played night club dates in San Francisco, Chicago, New York and Paris. Much of its repertoire, available on Atlantic Recor-ds, consists of works composed either by John Lewis or Milt Jackson.
[Show full text]
Innovation Through Generations of Jazz Vibraphonists: Jackson
INNOVATION THROUGH GENERATIONS OF JAZZ VIBRAPHONISTS: JACKSON, HUTCHERSON, BURTON AND LOCKES’ IMPROVISATIONS ON “BAGS’ GROOVE” 爵士鐵琴的世代變革：傑克森、赫卻森、柏頓和拉克在「袋之律動」上之即興 YU CHIH CHERRY CHEN 陳玉至 1 BIOGRAPHIES Milt Jackson Milt Jackson (1923-1999, MI) is recognized as the bebop innovator of the vibraphone. Following in the steps of two of the previous masters of the vibraphone Lionel Hampton and Red Norvo, Jackson succeeded in transferring the bebop idiom to his instrument, becoming one of the greatest vibraphonists in the bop style. Jackson used two mallets, almost treating the vibraphone as a single-line instrument. His playing is marked by his adept skills, but also laced with blues phrases that refer to his musical upbringing in the church.1 He is universally recognized as a definitive interpreter of the blues. As a member of the Modern Jazz Quartet (MJQ), he was required to read and memorize the arrangements written by John Lewis. These arrangements incorporated many classical materials with jazz, which is known as third stream. Playing these arrangements inspired Jackson to find a voice beyond the bebop idiom.2 Some of his significant works are “Bags and Trane”, “Sunflower” and “The Prophet Speaks.” Bobby Hutcherson Studying piano briefly with his mother at an early age provided Bobby Hutcherson (1941-2016, LA) with a foundation in harmony. In his teens he heard Milt Jackson playing the vibraphone on a 1Dick Sisto, The Jazz Vibraphone Book (U.S.A: Meredith Music Publication, 2005), 27-36. 2Ted Gioia, The history of Jazz (2nd ed. New York: Oxford University Press. 2011), 258-259.
[Show full text]
Respectability and the Modern Jazz Quartet; Some Cultural Aspects of Its Image and Legacy As Seen Through the Press
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2011 Respectability and The Modern Jazz Quartet; Some Cultural Aspects of Its Image and Legacy As Seen Through the Press Carla Marie Rupp CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/74 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Respectability and The Modern Jazz Quartet: Some Cultural Aspects of Its Image and Legacy As Seen Through the Press By Carla Marie Rupp Submitted in Partial Fulfillment of the Requirements for the M.A. Degree The City College of New York Thesis Adviser, Prof. Barbara R. Hanning The Department of Music Fall Term 2010 2 CONTENTS ACKNOWLEDGMENTS 3 1. INTRODUCTION 5 2. RESPECTABILITY THROUGH DRESS 22 3. PERFECTION IN PRESENTATION 29 4. CHANGING THE VENUE FROM NIGHT CLUB TO CONCERT HALL 34 5. PROFESSIONALISM OF THE MJQ 43 6. PERSONAL CONCLUDING REMARKS 48 BIBLIOGRAPHY 54 3 Acknowledgements I would like to give a big thanks of gratitude and applause to the incredible Professor Barbara R. Hanning for being my thesis advisor! Her dedication, personal editing, attention to detail and accuracy, kindness and help were invaluable in completing this project on the MJQ. As Chair of the Music Department, she advised me on my BFA requirements in music at City College. And now--some years later with Professor Hanning's encouragement, wisdom and editing--I am thrilled to complete my M.A.
[Show full text]
The Assimilation of American Jazz in Trance, 1917-1940
le hot the assimilation of american jazz in trance, 1917-1940 William h. kenney iii The assimilation of American jazz music in France, an instance of the cultural transmission of an emerging American musical art, began at the time of World War I. Within the subsequent history of jazz in France lies the tale of the progressive mastery of the two principles of improvisation and rhythmic swing and the modification of American sounds to suit the particular cultural terrain of France between the two World Wars. The process was eased by the obvious fact that France already contained, indeed originated in some cases, the basics of western music: instrumental definitions, chromatic and diatonic scales and the myriad chords from which they were constructed. Still, the principles of melodic and particu larly harmonic improvisation were little known in France as was the surprising phenomenon of rhythmic swing so that when early jazz arrived in that country French musicians knew most of the vocabulary of jazz without knowing how to make jazz statements. A small number of French musicians learned to "sing" with a swing and in the process created their own "école française de jazz." Ragtime and the musical precursors of jazz were carried from the U.S.A. to France by military bands sent by the American government in 1917. The most famous was the 369th Infantry Regiment's Hell Fighters Band, an all-Black outfit organized and led by James Reese Europe. Europe was a pioneer of ragtime in New York City where he had organized 0026-3079/84/2501-0005S01.50/0 5 concerts of Black music, headed the famous Clef Club, and accompanied Irene and Vernon Castle's introduction of the foxtrot in America.
[Show full text]
Jazz Style Periods
JAZZ STYLE PERIODS Early Jazz/New Orleans & Chicago Style Dixieland (1920-1930) CHARACTERISTICS: Use of collective improvisation (polyphony). Front line of trumpet (or cornet), clarinet, trombone. New Orleans style typically included banjo and tuba, later replaced by guitar and string bass in Chicago Style. Chicago Style also typically adds saxophone to the front line. Use of flat four in New Orleans Style, later replaced by lighter two beat feel in Chicago Style. Modern drum set emerges when New Orleans musicians begin to consolidate the drum section (bass, snare, cymbals) commonly found in early New Orleans brass bands. IMPORTANT MUSICIANS: Louis Armstrong (cornet/trumpet), Bix Beiderbecke (cornet), Jelly Roll Morton (piano/composer), Sidney Bechet (soprano sax, clarinet), Earl "Fatha" Hines (piano) Swing/Big Band Era (1930-1945) CHARACTERISTICS: Most popular period in jazz history. Large ensembles, less improvisation, more emphasis on written arrangements. Emphasis on showmanship (band uniforms, theme songs, logos on stands, choreography, singers). Development of sections (saxes, trumpets, trombones, rhythm) based on the early model of the front line in New Orleans/Chicago Style Dixieland. Smoother swing feel (steady 4/4 time with emphasis on beats 2 & 4, walking bass, ride cymbal). Features of standard big band arrangements could include: Tutti (all horns playing a melodic line in harmony), Soli (one section featured playing a melodic line in harmony), Shout Chorus (climatic tutti section at the end of the arrangement), Cross-section voicing (a harmonized melodic line voiced using instruments from different sections within the band), Riffs (repeated short melodic and/or rhythmic pattern). IMPORTANT MUSICIANS: Duke Ellington (piano/composer), Count Basie (piano/bandleader), Coleman Hawkins (tenor sax), Lester Young (tenor sax), Roy Eldridge (trumpet) Bop (1945-1950) CHARACTERISTICS: Small ensembles (trio, quartet, quintet).
[Show full text]
Rubber Souls: Rock and Roll and the Racial Imagination
Rubber Souls: Rock and Roll and the Racial Imagination The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Hamilton, John C. 2013. Rubber Souls: Rock and Roll and the Racial Imagination. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11125122 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Rubber Souls: Rock and Roll and the Racial Imagination A dissertation presented by Jack Hamilton to The Committee on Higher Degrees in American Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of American Studies Harvard University Cambridge, Massachusetts April 2013 © 2013 Jack Hamilton All rights reserved. Professor Werner Sollors Jack Hamilton Professor Carol J. Oja Rubber Souls: Rock and Roll and the Racial Imagination Abstract This dissertation explores the interplay of popular music and racial thought in the 1960s, and asks how, when, and why rock and roll music “became white.” By Jimi Hendrix’s death in 1970 the idea of a black man playing electric lead guitar was considered literally remarkable in ways it had not been for Chuck Berry only ten years earlier: employing an interdisciplinary combination of archival research, musical analysis, and critical race theory, this project explains how this happened, and in doing so tells two stories simultaneously.
[Show full text]
MILES DAVIS: the ROAD to MODAL JAZZ Leonardo Camacho Bernal
MILES DAVIS: THE ROAD TO MODAL JAZZ Leonardo Camacho Bernal Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: John Murphy, Major Professor Cristina Sánchez-Conejero, Minor Professor Mark McKnight, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Camacho Bernal, Leonardo, Miles Davis: The Road to Modal Jazz. Master of Arts (Music), May 2007, 86 pp., 19 musical examples, references, 124 titles. The fact that Davis changed his mind radically several times throughout his life appeals to the curiosity. This thesis considers what could be one of the most important and definitive changes: the change from hard bop to modal jazz. This shift, although gradual, is best represented by and culminates in Kind of Blue, the first Davis album based on modal style, marking a clear break from hard bop. This thesis explores the motivations and reasons behind the change, and attempt to explain why it came about. The purpose of the study is to discover the reasons for the change itself as well as the reasons for the direction of the change: Why change and why modal music? Copyright 2006 by Leonardo Camacho Bernal ii TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES............................................................................................... v Chapters 1. INTRODUCTION ...............................................................................................
[Show full text]
Black Labor and the Deep South in Hurston's the Great Day And
Black Labor and the Deep South in Hurston’s The Great Day and Ellington’s Black, Brown, and Beige Brendan Kibbee In the decades following World War I, as a black intellectual and artistic public sphere in New York City was rapidly expanding, several musical representations of a Deep South heritage were staged by artists concerned with performing black history and culture in new ways. Often—as in popular reviews like Dixie to Broadway (1924), and concerts like the John Hammond-produced “spirituals to swing” series (1938)—these representa- tions followed a progression, locating an originary cultural moment in the rural South that was shown to “evolve” into the more sophisticated styles of the cosmopolitan North. In other representations, like James P. Johnson’s Yamekraw (1928), the sound of the South was stylized and stood alone as a reminder of a key reference point for African American life. The Deep South was subject to differing, sometimes competing representations by African American composers and performers—and occasionally concert and record producers—as they created new forms and contexts for their art. Zora Neale Hurston’s musical revue The Great Day (1932) and Duke Ellington’s Black, Brown, and Beige (1943) were among the works present- ing the Deep South as the ultimate source of black culture, and these two works share another important similarity: both of them locate the laboring body as a vessel through which culture is performed and transmitted. While Hurston’s novels and folkloric writings have long received a great deal of attention, her thoughts on staged performance are coming into clearer view in light of recent scholarship (Kraut 2008; Diamond 2015; Penier 2015).
[Show full text]