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Booker Little
1 The TRUMPET of BOOKER LITTLE Solographer: Jan Evensmo Last update: Feb. 11, 2020 2 Born: Memphis, April 2, 1938 Died: NYC. Oct. 5, 1961 Introduction: You may not believe this, but the vintage Oslo Jazz Circle, firmly founded on the swinging thirties, was very interested in the modern trends represented by Eric Dolphy and through him, was introduced to the magnificent trumpet playing by the young Booker Little. Even those sceptical in the beginning gave in and agreed that here was something very special. History: Born into a musical family and played clarinet for a few months before taking up the trumpet at the age of 12; he took part in jam sessions with Phineas Newborn while still in his teens. Graduated from Manassas High School. While attending the Chicago Conservatory (1956-58) he played with Johnny Griffin and Walter Perkins’s group MJT+3; he then played with Max Roach (June 1958 to February 1959), worked as a freelancer in New York with, among others, Mal Waldron, and from February 1960 worked again with Roach. With Eric Dolphy he took part in the recording of John Coltrane’s album “Africa Brass” (1961) and led a quintet at the Five Spot in New York in July 1961. Booker Little’s playing was characterized by an open, gentle tone, a breathy attack on individual notes, a nd a subtle vibrato. His soli had the brisk tempi, wide range, and clean lines of hard bop, but he also enlarged his musical vocabulary by making sophisticated use of dissonance, which, especially in his collaborations with Dolphy, brought his playing close to free jazz. -
Victory and Sorrow: the Music & Life of Booker Little
ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P. -
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. -
Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect. -
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. -
Music 18145 Songs, 119.5 Days, 75.69 GB
Music 18145 songs, 119.5 days, 75.69 GB Name Time Album Artist Interlude 0:13 Second Semester (The Essentials Part ... A-Trak Back & Forth (Mr. Lee's Club Mix) 4:31 MTV Party To Go Vol. 6 Aaliyah It's Gonna Be Alright 5:34 Boomerang Aaron Hall Feat. Charlie Wilson Please Come Home For Christmas 2:52 Aaron Neville's Soulful Christmas Aaron Neville O Holy Night 4:44 Aaron Neville's Soulful Christmas Aaron Neville The Christmas Song 4:20 Aaron Neville's Soulful Christmas Aaron Neville Let It Snow! Let It Snow! Let It Snow! 2:22 Aaron Neville's Soulful Christmas Aaron Neville White Christmas 4:48 Aaron Neville's Soulful Christmas Aaron Neville Such A Night 3:24 Aaron Neville's Soulful Christmas Aaron Neville O Little Town Of Bethlehem 3:56 Aaron Neville's Soulful Christmas Aaron Neville Silent Night 4:06 Aaron Neville's Soulful Christmas Aaron Neville Louisiana Christmas Day 3:40 Aaron Neville's Soulful Christmas Aaron Neville The Star Carol 2:13 Aaron Neville's Soulful Christmas Aaron Neville The Bells Of St. Mary's 2:44 Aaron Neville's Soulful Christmas Aaron Neville Tell It Like It Is 2:42 Billboard Top R&B 1967 Aaron Neville Tell It Like It Is 2:41 Classic Soul Ballads: Lovin' You (Disc 2) Aaron Neville Don't Take Away My Heaven 4:38 The Grand Tour Aaron Neville I Owe You One 5:33 The Grand Tour Aaron Neville Don't Fall Apart On Me Tonight 4:24 The Grand Tour Aaron Neville My Brother, My Brother 4:59 The Grand Tour Aaron Neville Betcha By Golly, Wow 3:56 The Grand Tour Aaron Neville Song Of Bernadette 4:04 The Grand Tour Aaron Neville You Never Can Tell 2:54 The Grand Tour Aaron Neville The Bells 3:22 The Grand Tour Aaron Neville These Foolish Things 4:23 The Grand Tour Aaron Neville The Roadie Song 4:41 The Grand Tour Aaron Neville Ain't No Way 5:01 The Grand Tour Aaron Neville The Grand Tour 3:22 The Grand Tour Aaron Neville The Lord's Prayer 1:58 The Grand Tour Aaron Neville Tell It Like It Is 2:43 Smooth Grooves: The 60s, Volume 3 L.. -
Downbeat.Com April 2011 U.K. £3.50
£3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, -
Jacob Marley's Christmas Carol
The Tenors David Benoit with Jane Monheit Canadian Brass 3rd Annual Jazz Faculty Christmas Concert “Jacob Marley’s Christmas Carol” welcome to North Central College hristmas time is here. Carols in the I am always thanking our sponsors and our Friends air.” For those of you who read my of the Arts, as I should. You give so much to us “C monthly missive in the programs, and we cannot thank you enough. I also want to you may recall that I like to pull out a holiday thank the fine arts staff: Sam, Jon, Andrew (our lyric when writing the December letter. For some newest addition), Jen, Jessica, Nickole and, of reason, this lyric seemed more than appropriate. course, Tami. I could not do what I do without The return appearance by David Benoit and his you. You make North Central College look great “Christmas Tribute to Charlie Brown” marks an every time you help an audience member, book encore appearance by one of my personal favorite a hotel (in Naperville only!), guide the student Christmas concerts. workers through a load-out in the wee hours of the morning (hopefully, without much snow) and look I would wager that those from my generation can out for each other. I want to thank the businesses in still remember that December evening when the Naperville that welcome our audiences with open Charlie Brown Christmas special came on TV for arms before and after the performances. Together the first time. I even remember the commercials we make an incredible team. for Coke that were interspersed. -
NMC Newsletter Fall 2019
Strengthening the importance of music in our life and culture since 1940 N E W S L E T T E R Fall 2019 National Music Council’s into funk by adding influences from several of his late-’60s progressive rock 2019 American Eagle Award music heroes: Jimi Hendrix, Frank Honor George Clinton, Zappa, and Sly Stone. The Parliament/ Vince Guaraldi, and Country Funkadelic sound ruled urban music in the following years, capturing over 40 Music Hall oF Fame and R&B hit singles, including three number Museum ones, and resulting in three platinum albums for Clinton. The National Music Council honored iconic funk visionary George Clinton, beloved “Peanuts” composer and jazz piano giant Vince Guaraldi, and the Country Music Hall of Fame and Museum at the organization’s 36th annual American Eagle Awards on Thursday, July 18th at the Summer NAMM Show in Nashville. The honors are presented each year in recognition of long-term contributions to American musical culture, the ideal of music education for all children, and the need John Rich presents George Clinton’s American to protect creators’ rights both locally Eagle Award with NMC Director David Sanders and internationally. Presenters and performers for the 2019 event included Through his inspiration, dedication and renowned pianist George Winston, determination, George Clinton elevated country singer/songwriter sensation funk to an art form, culminating in its full John Rich, and Grammy award winning recognition as a distinct and songwriter Liz Rose. distinguished musical genre throughout the world. The Honorees: Recording under the banners of both The musical works of Vince Guaraldi Parliament and Funkadelic, George (1928-1976), created as both a Clinton revolutionized R&B forever composer and recording artist, are during the ’70s, morphing soul music among the most beloved in the world. -
Yamaha – Pianosoft Solo 29
YAMAHA – PIANOSOFT SOLO 29 SOLO COLLECTIONS ARTIST SERIES JOHN ARPIN – SARA DAVIS “A TIME FOR LOVE” BUECHNER – MY PHILIP AABERG – 1. A Time for Love 2. My Foolish FAVORITE ENCORES “MONTANA HALF LIGHT” Heart 3. As Time Goes By 4.The 1. Jesu, Joy Of Man’s Desiring 1. Going to the Sun 2. Montana Half Light 3. Slow Dance More I See You 5. Georgia On 2. “Bach Goes to Town” 4.Theme for Naomi 5. Marias River Breakdown 6.The Big My Mind 6. Embraceable You 3. Chanson 4. Golliwog’s Cake Open 7. Madame Sosthene from Belizaire the Cajun 8. 7. Sophisticated Lady 8. I Got It Walk 5. Contradance Diva 9. Before Barbed Wire 10. Upright 11. The Gift Bad and That Ain’t Good 9. 6. La Fille Aux Cheveux De Lin 12. Out of the Frame 13. Swoop Make Believe 10.An Affair to Remember (Our Love Affair) 7. A Giddy Girl 8. La Danse Des Demoiselles 00501169 .................................................................................$34.95 11. Somewhere Along the Way 12. All the Things You Are 9. Serenade Op. 29 10. Melodie Op. 8 No. 3 11. Let’s Call 13.Watch What Happens 14. Unchained Melody the Whole Thing Off A STEVE ALLEN 00501194 .................................................................................$34.95 00501230 .................................................................................$34.95 INTERLUDE 1. The Song Is You 2. These DAVID BENOIT – “SEATTLE MORNING” SARA DAVIS Foolish Things (Remind Me of 1. Waiting for Spring 2. Kei’s Song 3. Strange Meadowlard BUECHNER PLAYS You) 3. Lover Man (Oh Where 4. Linus and Lucy 5. Waltz for Debbie 6. Blue Rondo a la BRAHMS Can You Be) 4. -
Sounds of the Season 6 Am December 24 - 8 Pm December 25, 2016 Jazz 88.3 Ksds
SOUNDS OF THE SEASON 6 AM DECEMBER 24 - 8 PM DECEMBER 25, 2016 JAZZ 88.3 KSDS Number Name Artist Album Time Hour #1 6 AM to 7 AM December 24 001 SOS 2105 KSDS Open 0:45 002 ‘Twas the Night Before Christmas Chuck Niles 3:46 003 Sleigh Ride Richie Cole Mistletoe Magic: Holiday Jazz Impressions 5:50 004 Jingle Bells Duke Ellington Jingle Bell Jazz 3:02 005 The Twelve Days of Christmas Stan Kenton Orchestra A Merry Christmas 4:08 006 Have Yourself a Merry Little Christmas Ella Fitzgerald Ellas Wishes You a Swinging Christmas 2:58 007 S.C. Is Coming to Town Martin Mann & Mannkind Christmastime 4:41 008 Silver Bells Oliver Jones Yuletide Swing 5:07 009 SOS 2105 KSDS BOH ID #1 0:36 010 The Christmas Song Carmen McRae Jingle Bell Jazz 3:58 011 Do You Hear What I Hear? Jimmy Ponder Guitar Christmas 4:54 012 Christmas Is Coming Vince Guaraldi A Charlie Brown Christmas 3:28 013 A Christmas Medley Mel Tormé Christmas Songs 4:17 014 Winter Wonderland Oscar Peterson An Oscar Peterson Christmas 4:11 015 God Rest Ye Merry, Gentlemen Kenny Burrell Have Yourself a Soulful Little Christmas 3:48 016 I’ve Got My Love to Keep Me Warm Julie London Ultra-Lounge Christmas Cocktails, Pt. 3 4:14 017 The Sound of Christmas The Ramsey Lewis Trio Sound of Christmas 2:21 Hour #2 7 AM to 8 AM December 24 018 SOS 2105 KSDS TOH ID #2 0:34 019 Baby, It’s Cold Outside Leon Redbone & Zoey Deschanel Elf Soundtrack 3:32 020 Santa Claus Came in the Spring Sackville All-Stars The Sackville All-Star Christmas Record 5:16 021 Jingle Bells Swing Jim Cullum Jazz Band Hot Jazz for a Cool Yule 2:22 022 Christmas Carnival David Hickman, Thomas Bacon, Sam Palafian A Cool Brassy Night at the North Pole 3:28 023 Manhattan in December Ann Hampton Calloway Wonderland - Under the Mistletoe 3:43 024 Christmas Waltz Scott Hamilton Chritsmas Love Song 5:17 025 Santa Claus Is Coming to Town Joshua Redman and Brad Mehldau Warner Bros. -
Lorraine Feather
LORRAINE FEATHER SELECTED CREDITS RULES DON’T APPLY (2016) ‘Rules Don’t Apply’ title song (Critics’ choice award nominated) co-written with Eddie Arkin THE PRINCESS DIARIES 2: ROAYAL ENGAGEMENT (2004) (Lyrics: “Your Crowning Glory”) THE JUNGLE BOOK 2(2003) (Original Songs) (Lorraine nominated for World Soundtrack Award) DICK TRACY (1990) (Performer: “Back In Business”) BIOGRAPHY Lorraine Feather was born in Manhattan. Her parents named her Billie Jane Lee Lorraine after godmother Billie Holiday, her mother Jane (formerly a big band singer), her mother’s ex-roommate Peggy Lee, and the song ‘Sweet Lorraine’. She is the daughter of the late jazz writer Leonard Feather. The Feathers moved to L.A. when Lorraine was 12; at 18, after two years as a theater arts major at L.A. City College, she returned to New York to pursue an acting career. Some touring, off-Broadway work and the Broadway show ‘Jesus Christ Superstar’ followed, interspersed with countless waitressing jobs up and down Manhattan’s West Side. Frequently out of work, and discouraged by more than one restaurateur from pursuing a career in the food service industry, Lorraine decided to try singing. She began working with various jazz and Top 40 bands in and around New York. She sang backup for Petula Clark and Grand Funk Railroad, and finally put her own act together, eventually moving back to L.A., where she sang at local jazz clubs. Soon after, she joined producer Richard Perry’s vocal trio Full Swing and recorded three albums with the group. Lorraine wrote lyrics for most of the songs on these releases, some for classic pieces like Duke Ellington’s “Rockin’ in Rhythm,” the Yellowjackets’ ‘Ballad of the Whale’ and Horace Henderson’s “Big John’s Special” (later heard in the movie ‘Swing Shift’).