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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. -
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. -
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. -
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). -
MUSIC | THEATRE | DANCE 2016 –17 PERFORMANCE SEASON 2 MUSIC | THEATRE | DANCE Oakland.Edu/Mtd
MUSIC | THEATRE | DANCE 2016 –17 PERFORMANCE SEASON 2 MUSIC | THEATRE | DANCE oakland.edu/mtd WELCOME Dear Friends of the Arts, It is my pleasure to invite you to our 2016-17 performance season. With our wide range of offerings featuring students, faculty and renowned guest artists, we have something to please everyone. We hope you will be intrigued and perhaps even try something new. Through our partnership with the Chamber Music Society of Detroit, the Juilliard String Quartet will once again grace our concert stage. This time they will perform with Oakland faculty pianist Tian Tian. Guitarist Celino Romero will also return as part of this series, along with Metropolitan Opera soprano Heidi Grant Murphy, pianist Christopher O’Riley and the Imani Winds. Jazz violinist Regina Carter, the Oakland University artist-in-residence, will return to our stage to perform two different concerts. We also welcome contemporary saxophonist Ben Wendel and his group, and Michael Dease who will perform with our student jazz band. Both are Grammy-nominated artists. This season marks the 20th anniversary of the David Daniels Young Artists Concert, which gives each OU Concerto Competition winner a chance to perform with the Oakland Symphony Orchestra. The Oakland Chorale is preparing for a European tour next summer. At this year’s Chorus and Chorale concerts you can hear the music they will perform while on tour. Resident dance company Take Root returns to share their innovative artistry, along with Eisenhower Dance and a range of concerts that showcase student choreography and dance. OU opera students will present Mozart’s The Magic Flute, and the theatre program will present A Chorus Line and Neil Simon’s Rumors, as part of their Mainstage season. -
Main Artist (Group) Album Title Other Artists Date Cannonball Adderley
Julian Andrews Collection (LPs) at the Pendlebury Library of Music, Cambridge list compiled by Rachel Ambrose Evans, August 2010 Main Artist (Group) Album Title Other Artists Date Cannonball Adderley Coast to Coast Adderley Quintet 1959/62 and Sextet (Nat Adderley, Bobby Timmons, Sam Jones, Louis Hayes, Yusef Lateef, Joe Zawinul) Cannonball Adderley The Cannonball Wes Montgomery, 1960 Adderley Victor Feldman, Collection: Ray Brown, Louis Volume 4 Hayes Nat Adderley Work Songs Wes Montgomery, 1978 Cannonball Adderley, Yusef Lateef Larry Adler Extracts from the film 'Genevieve' Monty Alexander Monty Strikes Ernest Ranglin, 1974 Again. (Live in Eberhard Weber, Germany) Kenny Clare Monty Alexander, Ray Brown, Herb Triple Treat 1982 Ellis The Monty Alexander Quintet Ivory and Steel Monty Alexander, 1980 Othello Molineux, Robert Thomas Jr., Frank Gant, Gerald Wiggins Monty Alexander Ivory and Steel (2) Othello Molineux, 1988 Len Sharpe, Marshall Wood, Bernard Montgomery, Robert Thomas Jr., Marvin Smith Henry Allen Henry “Red” 1929 Allen and his New York Orchestra. Volume 1 (1929) Henry Allen The College Steve Kuhn, 1967 Concert of Pee Charlie Haden, Wee Russell and Marty Morell, Henry Red Allen Whitney Balliett Mose Allison Local Color Mose Allison Trio 1957 (Addison Farmer, Nick Stabulas) Mose Allison The Prestige Various 1957-9 Collection: Greatest Hits Mose Allison Mose Allison Addison Farmer, 1963 Sings Frank Isola, Ronnie Free, Nick Stabulas Mose Allison Middle Class Joe Farrell, Phil 1982 White Boy Upchurch, Putter Smith, John Dentz, Ron Powell Mose Allison Lessons in Living Jack Bruce, Billy 1982 Cobham, Lou Donaldson, Eric Gale Mose Allison Ever Since the Denis Irwin, Tom 1987 World Ended Whaley Laurindo Almeida Laurindo Almeida Bud Shank, Harry quartet featuring Babasin, Roy Bud Shank Harte Bert Ambrose Ambrose and his Various 1983 Orchestra: Swing is in the air Albert Ammons, Pete Johnson Boogie Woogie 1939 Classics Albert Ammons, Pete Johnson, Jimmy Boogie Woogie James F. -
Ornette Coleman and Harmolodics by Matt Lavelle
Ornette Coleman and Harmolodics by Matt Lavelle A Thesis 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 and Research Written and approved under the direction of Dr. Henry Martin ________________________ Newark, New Jersey May 2019 © 2019 Matt Lavelle ALL RIGHTS RESERVED ABSTRACT Ornette Coleman stands as one of the most significant innovators in jazz history. The purpose of my thesis is to show where his innovations came from, how his music functions, and how it impacted other innovators around him. I also delved into the more controversial aspects of his music. At the core of his process was a very personal philosophical and musical theory he invented which he called Harmolodics. Harmolodics was derived from the music of Charlie Parker and Coleman’s need to challenge conventional Western music theory in pursuit of providing direct links between music, nature, and humanity. To build a foundation I research Coleman’s development prior to his famous debut at the Five Spot, focusing on evidence of a direct connection to Charlie Parker. I examine his use of instruments he played other than his primary use of the alto saxophone. His relationships with the piano, guitar, and the musicians that played them are then examined. I then research his use of the bass and drums, and the musicians that played them, so vital to his music. I follow with documentation of the string quartets, woodwind ensembles, and symphonic work, much of which was never recorded. -
The Modern Jazz Quartet European Concert : Volume One Mp3, Flac, Wma
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. -
The Eighth Season Maps and Legends CHAMBER MUSIC FESTIVAL and INSTITUTE July 23–August 14, 2010 David Finckel and Wu Han, Artistic Directors
The Eighth Season Maps and Legends CHAMBER MUSIC FESTIVAL AND INSTITUTE July 23–August 14, 2010 David Finckel and Wu Han, Artistic Directors CHAMBER MUSIC FESTIVAL AND INSTITUTE 50 Valparaiso Avenue • Atherton, California 94027 • 650-330-2030 www.musicatmenlo.org Date Free Events Ticketed Events Tuesday, 11:45 a.m. Master class: Ralph Kirshbaum, cellist PAGE 67 8:00 p.m. Carte Blanche Concert III: The Beethoven Sonatas PAGE 48 August 3 Martin Family Hall for Piano and Cello David Finckel, cello; Wu Han, piano The Center for Performing Arts at Menlo-Atherton Wednesday, 11:45 a.m. Café Conversation: Poetry Reading Workshop PAGE 66 8:00 p.m. Concert Program IV: Aftermath: 1945 PAGE 23 August 4 with Violinist Jorja Fleezanis and Stent Family Hall Artistic Administrator Patrick Castillo Martin Family Hall 6:00 p.m. Prelude Performance PAGE 59 Martin Family Hall Thursday, 11:45 a.m. Master class: Miró Quartet PAGE 67 8:00 p.m. Concert Program IV: Aftermath: 1945 PAGE 23 August 5 Martin Family Hall The Center for Performing Arts at Menlo-Atherton 6:00 p.m. Koret Young Performers Concert PAGE 64 The Center for Performing Arts at Menlo-Atherton Friday, 11:45 a.m. Master class: Bruce Adolphe, composer PAGE 67 7:30 p.m. Encounter III: Under the Influence: PAGE 10 August 6 and Encounter leader Cultural Collage in Paris during the Martin Family Hall Early Twentieth Century, with Bruce Adolphe 5:30 p.m. Prelude Performance PAGE 59 Martin Family Hall Stent Family Hall Saturday, 2:00 p.m. Koret Young Performers Concert PAGE 64 8:00 p.m. -
Milt Jackson from Wikipedia, the Free Encyclopedia
Milt Jackson From Wikipedia, the free encyclopedia Milton "Bags" Jackson (January 1, 1923 – October 9, 1999) was an American jazz vibraphonist, usually Milt Jackson thought of as a bebop player, although he performed in several jazz idioms. He is especially remembered for his cool swinging solos as a member of the Modern Jazz Quartet and his penchant for collaborating with several hard bop and postbop players. A very expressive player, Jackson differentiated himself from other vibraphonists in his attention to variations on harmonics and rhythm. He was particularly fond of the Milt Jackson, Village Jazz Lounge with the Bubba twelvebar blues at slow tempos. He preferred to set the Kolb Trio, late 1970s. vibraphone's oscillator to a low 3.3 revolutions per Background information second (as opposed to Lionel Hampton's speed of 10 Birth name Milton Jackson revolutions per second) for a more subtle vibrato. On occasion, Jackson sang and played piano professionally. Born January 1, 1923 Detroit, Michigan Died October 9, 1999 (aged 76) Contents Manhattan, New York Genres Hard bop, AfroCuban jazz, modal 1 Biography jazz, mainstream jazz, postbop 2 Discography 2.1 With the Modern Jazz Quartet Occupation(s) Musician, soloist, composer, 2.2 As sideman bandleader 3 References Instruments Vibraphone, piano 4 External links Labels Impulse!, Atlantic, Prestige, Apple Associated acts John Coltrane, Ray Charles, Miles Biography Davis, Dizzy Gillespie, The Modern Jazz Quartet, Thelonious Jackson was born on January 1, 1923 in Detroit, Monk, Wes Montgomery Michigan, the son of Manley Jackson and Lillie Beaty Jackson. Like many, he was surrounded by music from an early age, particularly that of religious meetings: "Everyone wants to know where I got that funky style. -
Jazz Experimentalism in Germany, 1950-1975
European Echoes: Jazz Experimentalism in Germany, 1950-1975 Harald Kisiedu Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Harald Kisiedu All rights reserved ABSTRACT “European Echoes: Jazz Experimentalism in Germany, 1950-1975” Harald Kisiedu “European Echoes: Jazz Experimentalism in Germany, 1950-1975” is a historical and interpretive study of jazz and improvised music in West and East Germany. “European Echoes” illuminates an important period in German jazz whose beginnings are commonly associated with the notion of Die Emanzipation (“The Emancipation”). Standard narratives of this period have portrayed Die Emanzipation as a process in which mid-1960s European jazz musicians came into their own by severing ties of influence to their African American musical forebears. I complicate this framing by arguing that engagement with black musical methods, concepts, and practices remained significant to the early years of German jazz experimentalism. Through a combination of oral histories, press reception, sound recordings, and archival research, I elucidate how local transpositions and adaptations of black musical methods, concepts, and practices in post-war Germany helped to create a prime site for contesting definitions of cultural, national, and ethnic identities across Europe. Using a case study approach, I focus on the lives and works of five of the foremost German jazz experimentalists: multi-reedist Peter Brötzmann, trumpeter and composer Manfred Schoof, pianist and composer Alexander von Schlippenbach, multi-reedist Ernst-Ludwig Petrowsky, and pianist Ulrich Gumpert. Furthermore, I discuss new music composer Bernd Alois Zimmermann’s sustained engagement with African American musical forms in addition to the significance of both Schoof’s and Schlippenbach’s studies and various collaborations with him. -
“The Jazz Problem”: How U.S. Composers Grappled with the Sounds of Blackness, 1917—1925 Stephanie Doktor Cumming, Georgia
“The Jazz Problem”: How U.S. Composers Grappled with the Sounds of Blackness, 1917—1925 Stephanie Doktor Cumming, Georgia Bachelor of Arts, Vocal Performance, University of North Georgia, 2003 Master of Arts, Musicology, University of Georgia, 2008 Master’s Certificate, Women’s Studies, University of Georgia, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Music University of Virginia December, 2016 iv © Copyright by Stephanie DeLane Doktor All Rights Reserved December 2016 v For Hillary Clinton and Terry Allen, who both lost the race but the fight still rages on vi ABSTRACT My dissertation tracks the development of jazz-based classical music from 1917, when jazz began to circulate as a term, to 1925, when U.S. modernism was in full swing and jazz had become synonymous with America. I examine the music of four composers who used black popular music regularly: Edmund Jenkins, John Powell, William Grant Still, and Georgia Antheil. For each composer, whose collections I consulted, I analyze at least one of their jazz-based compositions, consider its reception, and put it in dialogue with writings about U.S. concert music after World War I. Taken together, these compositions contributed to what I call the Symphonic Jazz Era, and this music was integral to the formation of American modernism. I examine how these four composers grappled with the sounds of blackness during this time period, and I use “the Jazz Problem” as an analytic to do so. This phrase began to circulate in periodicals around 1923, and it captured anxieties about both the rise of mass entertainment and its rootedness in black cultural sounds in the Jim Crow era.