Stardigio Program

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スターデジオチャンネル:４３１ジャズアーティスト特集放送日：２０１８/１２/１７～２０１８/１２/２３｢番組案内（６時間サイクル）｣開始時間：4：00〜/10：00〜/16：00〜/22：00〜楽曲タイトル演奏者名 ■リー・モーガン・ストーリー後編(3)～コーンブレッド RECADO BOSSA NOVA HANK MOBLEY YES I CAN, NO YOU CAN'T LEE MORGAN YOU GO TO MY HEAD LEE MORGAN CORNBREAD LEE MORGAN CEORA LEE MORGAN INFINITY LEE MORGAN A SHADE OF JADE JOE HENDERSON ■チック・コリア・ピアノ・トリオ特集(3)～スーパー・トリオ Humpty Dumpty (LIVE) Chick Corea, Steve Gadd, Christian McBride Windows (LIVE) Chick Corea, Steve Gadd, Christian McBride Summer Night [Live] Chick Corea, Christian McBride, Jeff Ballard Solar [Live] Chick Corea, Eddie Gomez, Jack DeJohnette With a Song in My Heart [Live] Chick Corea, Eddie Gomez, Airto Moreira Waltz for Debby [Live] Chick Corea, Eddie Gomez, Airto Moreira ■ファラオ・サンダース特集(3)～ジャーニー・トゥ・ザ・ワン Pharomba Pharoah Sanders You've Got To Have Freedom Pharoah Sanders Think About The One Pharoah Sanders ORIGIN Pharoah Sanders Shukuru Pharoah Sanders HEART IS A MELODY OF TIME (Hiroko's Song) Pharoah Sanders THE LIGHT AT THE EDGE OF THE WORLD Pharoah Sanders Speak Low Pharoah Sanders Africa Pharoah Sanders ■リー・モーガン・ストーリー前編(2)～キャンディ［再］ YOU'RE MINE YOU LEE MORGAN BLUE TRAIN JOHN COLTRANE LAZY BIRD JOHN COLTRANE LOVER MAN LEE MORGAN CANDY LEE MORGAN C.T.A. LEE MORGAN AU PRIVAVE JIMMY SMITH ■フィニアス・ニューボーンJr.特集(2)～ワールド・オブ・ピアノ［再］ Ain't Misbehavin' [浮気はやめた] Phineas Newborn Jr. Trio (Phineas Newborn Jr., John Simmons, Roy Haynes) The Midnight Sun Never Sets 同上 Undecided 同上 CHERYL Phineas Newborn Jr. MANTECA Phineas Newborn Jr. OLEO Phineas Newborn Jr. JUICY LUCY Phineas Newborn Jr. FOR CARL Phineas Newborn Jr. CELIA Phineas Newborn, Jr. THIS HERE Phineas Newborn, Jr. PRELUDE TO A KISS Phineas Newborn, Jr. WAY OUT WEST Phineas Newborn, Jr. FOUR Phineas Newborn, Jr. ■新世代の歌姫たち～ヘイリー・ロレン(2) ［再］ Taking a Chance on Love HALIE LOREN My One and Only Love HALIE LOREN Fly Me to the Moon HALIE LOREN Smile HALIE LOREN What a Wonderful World [この素晴らしい世界] HALIE LOREN L-O-V-E HALIE LOREN For Sentimental Reasons HALIE LOREN On The Sunny Side Of The Street [明るい表通りで] HALIE LOREN My Funny Valentine HALIE LOREN Moon River HALIE LOREN our love is here to stay HALIE LOREN i've got you under my skin HALIE LOREN stormy weather HALIE LOREN hit that jive, jack HALIE LOREN peace HALIE LOREN *FAX BOXサービスは2019年3月31日（日）を以て終了いたします。長らくのご利用誠にありがとうございました。 *著作権法上、番組の録音は個人的に楽しむ場合を除き禁じられています。 *FAXサービスは（月）午前中入替えの為、午後以降のご利用をお願い致します。ご了承下さい。.

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Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works.
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SEED Ensemble & Guests: Celebrating the Music of Pharoah Sanders Live
SEED Ensemble & guests: celebrating the music of Pharoah Sanders Live from the Barbican Start time: 8pm Approximate running time: 60 minutes, no interval Please note all timings are approximate and subject to change. This performance is subject to government guidelines. Arwa Haider examines SEED Ensemble’s influences and musical style. When London band SEED Ensemble emerged around four years ago, they were hailed as proof of thrilling new revolutions in the UK music scene, and among its jazz musicians – crucially repping its creative fluidity, and linking generations of inspiration across music and other art forms with 21st century youth culture. The talented instrumentalists in SEED Ensemble simultaneously play their parts in a range of other contemporary acts, and are led by composer, arranger and alto saxophonist Cassie Kinoshi, also a key figure in the outfits Kokoroko and Nerija. The combination of these elements and visions yields a sound that is expansive, musically adventurous, and excitingly immediate. They earned a Mercury Prize nomination for their brilliant 2019 debut album Driftglass, released on the seminal Jazz re:freshed label, and taking its name from a novel by the Black American sci-fi novelist and queer theorist Samuel R Delaney. Its tracks are enriched with personal experience – in particular, pan-African and Caribbean roots – political references and pop cultural hooks, creating an exploration of the undeniable issues in modern British society, as well as a spirit-soaring celebration of Black British experience. SEED Ensemble offer a lucid heads-up, that jazz is essentially ‘a community genre for everyone’ (as Kinoshi remarked in a Jazzwise interview), and that this latest explosion is deep-rooted, including the disparity of Black voices, and the presence of strong female leaders and collaborators.
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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.
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The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS
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Dave Burrell, Pianist Composer Arranger Recordings As Leader from 1966 to Present Compiled by Monika Larsson
Dave Burrell, Pianist Composer Arranger Recordings as Leader From 1966 to present Compiled by Monika Larsson. All Rights Reserved (2017) Please Note: Duplication of this document is not permitted without authorization. HIGH Dave Burrell, leader, piano Norris Jones, bass Bobby Kapp, drums, side 1 and 2: b Sunny Murray, drums, side 2: a Pharoah Sanders, tambourine, side . Recording dates: February 6, 1968 and September 6, 1968, New York City, New York. Produced By: Alan Douglas. Douglas, USA #SD798, 1968-LP Side 1:West Side Story (L. Bernstein) 19:35 Side 2: a. East Side Colors (D. Burrell) 15:15 b. Margy Pargy (D. Burrell 2:58 HIGH TWO Dave Burrell, leader, arranger, piano Norris Jones, bass Sunny Murray, drums, side 1 Bobby Kapp, drums side 2. Recording Dates: February 6 and September 9, 1968, New York City, New York. Produced By: Alan Douglas. Additional production: Michael Cuscuna. Trio Freedom, Japan #PA6077 1969-LP. Side: 1: East Side Colors (D. Burrell) 15:15 Side: 2: Theme Stream Medley (D.Burrell) 15:23 a.Dave Blue b.Bittersweet Reminiscence c.Bobby and Si d.Margie Pargie (A.M. Rag) e.Oozi Oozi f.Inside Ouch Re-issues: High Two - Freedom, Japan TKCB-70327 CD Lions Abroad - Black Lion, UK Vol. 2: Piano Trios. # BLCD 7621-2 2-1996CD HIGH WON HIGH TWO Dave Burrell, leader, arranger, piano Sirone (Norris Jones) bass Bobby Kapp, drums, side 1, 2 and 4 Sunny Murray, drums, side 3 Pharoah Sanders, tambourine, side 1, 2, 4. Recording dates: February 6, 1968 and September 6, 1968, New York City, New York.
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Pharoah Sanders Tauhid Mp3, Flac, Wma
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Pharoah Sanders, Straight-Ahead and Avant-Garde
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Little Rock, Arkansas
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Pharoah Sanders Title: in the Beginning – 1963-1964 Label: Esp Disk 4069
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Values and Practices in Contemporary Improvised Music Author(S): David Borgo Source: Black Music Research Journal, Vol
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Download the Entire Issue (PDF)
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Sprimg 2013 “Live From The East”: Pharoah Sanders in Brooklyn By Jeffrey Taylor, Brooklyn College, CUNY Though for most jazz historians Brooklyn remains in the shadow of Manhattan, two previous articles in this journal have documented a robust tradition that can be traced back as far as performances by The Creole Band at Coney Island in 1915.1 Though often paralleling musical developments across the East River, Brooklyn jazz has also been shaped by the unique dynamic of the borough’s ethnic and racial makeup, as well as the very spe- cial qualities of its many, often insular, neighborhoods.2 The historically black neighborhood of Bedford-Stuyvesant in central Brooklyn, or “Bed-Stuy” as it is more commonly referred to, has long been a center of jazz, with its “Golden Age” of the 1940s and 1950s seeing performances by first-tier jazz musicians, includ- ing Miles Davis, Dizzy Gillespie, Thelonious Monk, and many oth- ers. Though the popular imagination may now see Bed-Stuy primar- ily as a backdrop for Spike Lee movies, it boasts a black presence that goes far back into the 19th century, with the establishment of communities of freedmen in places such as Weeksville—now part of neighboring Crown Heights. With the construction of the A train in the mid-1930s, which connected Bed-Stuy with Harlem, the neigh- borhood became a cultural mecca that rivaled Manhattan’s larger and more famous African American community.
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