Jazz Live/Jazz Classics

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Schweizer Radio DRS 2, Postfach CH-4002 Basel Jazz Live/Jazz Classics 14.12.2012 22.35 – 24.00 BS 1-20242-0611 1-20242-0612 Redaktion: Jodok Hess Ches Smith and These Arches 23.08.2012 am Jazz Festival Willisau CD EA SRF Black and White 09:03 Ches Smith Ches Smith and These Arches Julius [bass drum mic distorted] 10:52 Ches Smith Ches Smith and These Arches Dead Battery 08:21 Ches Smith Ches Smith and These Arches Speak Up if You Hate This 05:15 Ches Smith Ches Smith and These Arches Punks vs. Jocks 03:42 Ches Smith Ches Smith and These Arches Learned from Jamie Stewart 09:45 Ches Smith Ches Smith and These Arches This Might Be a Fade Out 09:43 Ches Smith Ches Smith and These Arches Ches Smith (dr), Tim Berne (as), Tony Malaby (ts), Mary Halvorson (g), Andrea Parkins (acc) Paul Motian "Paul Motian And The Electric Bebop Band" CD (1993) JMT Shaw-Nuff 06:09 Ray Brown / Gil Fuller / Dizzy Paul Motian and the Electric Gillespie / Charlie Parker Bebop Band I Waited for You 02:29 Gil Fuller / Walter Fuller / Dizzy Paul Motian and the Electric Gillespie / Sidney Russell Bebop Band Dance of the Infidels 04:14 Bud Powell Paul Motian and the Electric Bebop Band Darn that Dream 03:53 Eddie DeLange / Jimmy Van Paul Motian and the Electric Heusen Bebop Band Hot House 02:43 Tadd Dameron Paul Motian and the Electric Bebop Band Dizzy Atmosphere 04:51 Dizzy Gillespie Paul Motian and the Electric Bebop Band Scrapple from the Apple 03:27 Charlie Parker Paul Motian and the Electric Bebop Band Paul Motian (dr), Joshua Redman (ts), Brad Shepik (g), Kurt Rosenwinkel (g), Stomu Takeishi (b) .

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Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (Guest Post)*
“Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (guest post)* Chano Pozo and Dizzy Gillespie The jazz standard “Manteca” was the product of a collaboration between Charles Birks “Dizzy” Gillespie and Cuban musician, composer and dancer Luciano (Chano) Pozo González. “Manteca” signified one of the beginning steps on the road from Afro-Cuban rhythms to Latin jazz. In the years leading up to 1940, Cuban rhythms and melodies migrated to the United States, while, simultaneously, the sounds of American jazz traveled across the Caribbean. Musicians and audiences acquainted themselves with each other’s musical idioms as they played and danced to rhumba, conga and big-band swing. Anthropologist, dancer and choreographer Katherine Dunham was instrumental in bringing several Cuban drummers who performed in authentic style with her dance troupe in New York in the mid-1940s. All this laid the groundwork for the fusion of jazz and Afro-Cuban music that was to occur in New York City in the 1940s, which brought in a completely new musical form to enthusiastic audiences of all kinds. This coming fusion was “in the air.” A brash young group of artists looking to push jazz in fresh directions began to experiment with a radical new approach. Often playing at speeds beyond the skills of most performers, the new sound, “bebop,” became the proving ground for young New York jazz musicians. One of them, “Dizzy” Gillespie, was destined to become a major force in the development of Afro-Cuban or Latin jazz. Gillespie was interested in the complex rhythms played by Cuban orchestras in New York, in particular the hot dance mixture of jazz with Afro-Cuban sounds presented in the early 1940s by Mario Bauzá and Machito’s Afrocubans Orchestra which included singer Graciela’s balmy ballads.
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Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
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A Centennial Celebration of Jazz
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BOP HARMONY by Contrast with the Earliest Jazz Musicians, Bop Musicians Did More Than Embellish a Song
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Gil Fuller and the Monterey Jazz Festival Orchestra
Gil Fuller Night Flight mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Night Flight Country: US Released: 1966 Style: Big Band MP3 version RAR size: 1759 mb FLAC version RAR size: 1890 mb WMA version RAR size: 1965 mb Rating: 4.2 Votes: 632 Other Formats: VOC APE ASF MOD AHX XM MMF Tracklist A1 Tin Tin Deo 2:52 A2 I'm In The Mood For Love 3:35 A3 Night Flight 2:58 A4 Our Man Flint 2:55 A5 Seesaw 2:40 A6 Batucada Surgiu 2:20 B1 17 Mile Drive 4:08 B2 A Patch Of Blue 2:40 B3 Latin Lady (From "Angel City Suite") 4:34 B4 Blues For A Debutante 2:32 B5 Sweets For My Sweet 2:30 B6 Wild Chestnuts 2:16 Credits Alto Saxophone, Flute – Gabe Baltazar, James Moody Alto Saxophone, Tenor Saxophone – Clifford Scott Art Direction – Woody Woodward Baritone Saxophone – Bill Hood Baritone Saxophone, Bass Clarinet – Bill Green* Bass – Chuck Berghofer Congas, Bongos – Francisco Aguabella Drums – Chuck Flores Engineer – Henry Lewy, Lanky Linstrot French Horn – Alan Robinson, Gale Robinson , Sam Cassano Leader – Gil Fuller Liner Notes – Tom Reed Organ – George Semper Photography By [Cover] – Ken Kim Photography By [Inside, Back] – Art Adams* Piano – Mike Wofford Producer – Richard Bock Tenor Saxophone, Clarinet – Ira Schulman Trombone – Bob Enevoldsen, Ernie Tack, Lou Blackburn Trumpet – Al Porcino, Conte Candoli, Jimmy Zito*, Melvin Moore Barcode and Other Identifiers Rights Society: ASCAP / BMI Matrix / Runout: PJ-10101-2-SIDE 1 1 A1 Matrix / Runout: PJ 10101 SIDE 2 / 1 A2 Other versions Category Artist Title (Format) Label Category Country Year
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Piano Bass (Upright And/Or Electric)
January 2017 VOLUME 84 / NUMBER 1 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes 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] 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, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: 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: Bob 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, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin Tolleson; Philadelphia: David Adler, Shaun Brady, Eric Fine; San Francisco: Mars Breslow, Forrest Bryant, Clayton Call, Yoshi Kato; Seattle: Paul de Barros; Tampa Bay: Philip Booth; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Belgium: Jos Knaepen; Canada: Greg Buium, James Hale, Diane Moon; Denmark: Jan Persson; France: Jean Szlamowicz; Germany: Detlev Schilke, Hyou Vielz; Great Britain: Brian Priestley; Japan: Kiyoshi Koyama; Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
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12-5-15 Jazz Ensemble
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LAJI/Bebop Brochure Final
Presents GROOVIN’ HIGH A Celebration of the BeBop Era MAY 24 - 27, 2001 Box 8038 The Crowne Plaza O. P. THE LOS ANGELES JAZZ INSTITUTETHE LOS ANGELES JAZZ Long Beach, CA 90808-0038 Redondo Beach & Marina Hotel GROOVIN’ HIGH The Los Angeles Jazz Institute is pleased to announce CONVENTION FACTS Groovin’ High-An All-Star Celebration of the Bebop Era taking place May 24-27, 2001 at The Crowne Plaza Hotel DATES in Redondo Beach, California. May 24-27, 2001 Groovin’ High promises to be one of the most outstanding jazz gatherings to ever take place in southern California. We are fortunate in being able to bring together most of the living giants PLACE of the bop era. The primary period that we are focusing on is The Crowne Plaza 1945-1950. This was one of the most important periods in the Redondo Beach & history of jazz due to the brilliant musical revolutions that exploded Marina Hotel during those five years. A number of concerts have been designed 300 North Harbor Drive featuring musicians who were part of the bebop revolution as well Redondo Beach, California as several repertory concerts performing important music from the 90277 era. There will also be film showings and panel discussions where the story of modern jazz will be told by the artists who created it. The special convention rate Full Registration is $300 if you order by April 15. is $134 per night. After that date, the full registration price will be $350. Hotel stay not included Full registrants will have reserved seating for all concerts.
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M L^ZZ K&Lxt B„ Rtrnt, \X~
gome posi-ôrar m l^ZZ k&lxt b„ rtrnt, \x~ When Jesus Christ began preaching his gospel to the world, the Bible informs us that the local sages couldn't believe "anything good" could have come out of a hick-town like Nazareth.1 According to Dr. George W. Pierce,2 the most avant-garde cacophony being produced will not be heard tonight in some Harlem loft. Nay friends, the most "far out" combo will be blowing improvised solos around the summer world in your local field or hedge! Put another way, did you ever pay any attention while the grasshopper, click beetle, cicada and katydid bantered back and forth? Not until I spent a night in the Paraguayan Chaco being sere naded by thousands of insects, did Pierce's argument take on the aura of credibility. L l\\z txmz of tln> Impprg 1945-50 Jazz buffs and historians would listen to such stories respectfully, then confidently reply that they could top such paradoxical tales. For example, they might relate how the initial step in the development of post-World War II jazz styles occurred in 1939, by accident, in an obscure Harlem chile house. The man upon whom this supernatural flash was bestowed was Charles Christopher Parker, Jr., better known to all his legions as "Yardbird" or "Bird." Parker had become bored with the hackneyed chords employed by most of his contemporaries, and was seeking some thing new. One night in December, while playing "Cherokee" with guitarist Biddy Fleet, Parker discovered that by running higher intervals of a chord as a melody line and backing these with appropriately related changes, he could play what he had been hearing.
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