A Oscar Peterson Christmas Transcription
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Biography Philippe Petrucciani
He starts studying the guitar with his father Tony, guitarist also. He works Jazz with his two brothers Louis (doublebass) and Michel (piano) under the advice of their father and listening to musicians like Wes Montgomery, Bill Evans, Tal Farlow, Barney Kessel etc ... During a first trip to the USA for his training, he plays a duet with his brother Michael in Philadelphia and this experience, renewed a few years later at the Olympia, give him the opportunity to meet John Abercrombie which gives some courts. After this encounter, he forms his first band in 1980 to interpret his compositions and surrounds himself with musicians such as Marc Mazzillo, Bernard Santacruz, Jean Sébastien Simonoviez, Daniel Solia, Frédéric Monino, André Franco, Michel Bachevalier, Alain Couffignal, Jean Pierre Barreda, Francesco Castellani and Nathalie Blanc. In 1991, Philippe participates in duet at the Canne's Midem with his brother Louis and he records his first CD "The First" with François Quillet, Dominique Di Piazza and Victor Jones. In 1997, he performes at the Montelimar Jazz Festival for a special concert with his two brothers Louis and Michel, and his father Tony, accompanied by drummer Mahnu Roche. In August 1998, he tours in Israel and Italy with his brothers Louis and Michel. Later, he will plays also with André Villegier, Michel Zenino, Tommy Halferty, Jean Pierre Llabador, Michel Barrot, Joe Diorio, Philippe Festou, Andy Mckee, Aldo Mela, Mario Stantchev, Jérôme Regard, Yannick Chambre, Marc Verne, Bernard Margarit, Roger Nikittof, Martine Kamoun, Philippe Roche, José Caparros, Jef Gilson, Benoit Paillard, Gérard Guerin, Philippe Levan, Eddy Gaulein‐Stef, Fredéric Mennillo, Marcus Miller, Archie Shepp and Alain Jean Marie. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
CELEBRATING OSCAR PETERSON Posted on February 16, 2021
BLACK HISTORY MONTH | CELEBRATING OSCAR PETERSON Posted on February 16, 2021 Category: News Oscar Emmanuel Peterson (1925–2007) | Agent of Change | Remembered as a virtuoso jazz pianist and composer of Hymn to Freedom, an international anthem to civil rights. The son of immigrants from the West Indies, Oscar Peterson was born in Montréal, Québec and grew up in Little Burgundy, a predominantly Black neighbourhood of the city where he was immersed in the culture of jazz. He was five years old when he began taking music lessons from his father. He also studied classical piano with his sister, Daisy Peterson Sweeney, who went on to teach other renowned jazz artists. Peterson later attended the Conservatoire de musique du Québec è Montrèal and studied classical piano with Paul de Marky, but with a deep interest in jazz, he also played boogie-woogie and ragtime. At only 14 years old, Peterson won the national Canadian Broadcasting Corporation music competition, after which he dropped out of high school and joined a band with jazz trumpeter and classmate Maynard Ferguson. While still a teenager, Peterson played professionally at hotels and at a weekly radio show. He also joined the Jonny Holmes Orchestra as its only Black musician. From 1945 to 1949, Peterson recorded 32 songs with RCA Victor. Beginning in the 1950s, he released several albums each year while appearing on over 200 albums by other artists including Billie Holiday, Louis Armstrong, Count Basie, Ella Fitzgerald, and Dizzy Gillespie. In 1949, jazz impresario Norman Ganz was on his way to the airport in Montréal, when hearing Peterson playing live on radio, asked the cab driver to take him to the club where the concert was being aired. -
100 Titres Sur Le JAZZ — JUILLET 2007 SOMMAIRE
100 TITRES SUR LE JAZZ À plusieurs époques la France, par sa curiosité et son ouverture à l’Autre, en l’occurrence les hommes et les musiques de l’Afro-Amérique, a pu être considérée, hors des États-Unis, comme une « fille aînée » du juillet 2007 / jazz. Après une phase de sensibilisation à des « musiques nègres » °10 constituant une préhistoire du jazz (minstrels, Cake-walk pour Debussy, débarquement d’orchestres militaires américains en 1918, puis tour- Hors série n nées et bientôt immigration de musiciens afro-américains…), de jeunes pionniers, suivis et encouragés par une certaine avant-garde intellectuelle et artistique (Jean Cocteau, Jean Wiener…), entrepren- / Vient de paraître / nent, dans les années 1920, avec plus de passion que d’originalité, d’imiter et adapter le « message » d’outre-Atlantique. Si les traces phonographiques de leur enthousiasme, parfois talentueux, sont qua- CULTURESFRANCE siment inexistantes, on ne saurait oublier les désormais légendaires Léon Vauchant, tromboniste et arrangeur, dont les promesses musica- les allaient finalement se diluer dans les studios américains, et les chefs d’orchestre Ray Ventura, (qui, dès 1924, réunissait une formation de « Collégiens ») et Gregor (Krikor Kelekian), à qui l’on doit d’avoir Philippe Carles Journaliste professionnel depuis 1965, rédacteur en chef de Jazz Magazine (puis directeur de la rédaction à partir de 2006) et producteur radio (pour France Musique) depuis 1971, Philippe Carles, né le 2 mars 1941 à Alger (où il a commencé en 1958 des études de médecine, interrompues à Paris en 1964), est co-auteur avec Jean-Louis Comolli de Free Jazz/Black Power (Champ Libre, 1971, rééd. -
Iiro Rantala Iiro Rantala Lost Heroes Lost Heroes Liner Notes by Iiro Rantala
Iiro rantala lost heroes German Release Date: February 25, 2011 ACT 9504-2 01 pekka pohjola 7:36 02 waltz for bill (for bill evans) 6:04 03 can’t get up (for jaco pastorius) 3:08 04 tears for esbjörn (for esbjörn svensson) 5:28 05 thinking of misty (for erroll garner) 6:28 06 jean and aino 7:22 07 donna lee (for art tatum) 3:36 08 one more waltz for michel petrucciani 4:08 09 bluesette (for oscar peterson) 4:04 10 intermezzo (for luciano pavarotti) 5:50 total time: 54:23 iiro rantala / piano all compositions by iiro rantala, except 7 by charlie parker and 9 by toots thielemans produced by siggi loch Liner Notes by Iiro Rantala: Pekka Pohjola My high school teacher introduced me to Pekka Pohjola's music. His great melodies and harmonies moved me deeply. Some elements of his music sound a little like Jean Sibelius but most of it is pure Pekka Pohjola. He would have some humoristic phrases here and there but at the same the music is deep and serious. Waltz for Bill I think Bill Evans is the most sophisticated jazz pianist ever. His time and taste are almost from a different world. The moment you think he´s a cool impressionist, you´ll hear him playing his ass of in Bill Evans trio at the Montreux Jazz Festival recording with Eddie Gomez and Jack de Johnette. Very wild stuff. I wrote this tune a couple weeks after I had lost a great friend in Finland. He was a true jazz, food and Evans lover. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings. -
JUAN ANTONIO GIL SEXTETO Special Guest
Conciertos del mes de Noviembre Viernes 9 de noviembre a las 20.30 hs. Teatre Xesc Forteza (20€) NOCHE DE LATIN JAZZ DE CUBA Y MALLORCA con JUAN ANTONIO GIL SEXTETO Special Guest Con Alain Pérez en bajo eléctrico Juan Antonio Gil, Guitarra y Voz - Humberto Gonzales, Guitarra eléctrica y Coros - Julio Miguel Hernández, Bateria - Ivan St-Ives, Trompeta y percusión - - Rodrigo Vásquez en Set de percusión. JUAN ANTONIO GIL. El espectador que asiste a un concierto de este cantautor-guitarrista-humorista-urbano-cubano (el orden de los factores no altera el Producto) sale de la sala con la sensación de haber disfrutado de algo más que un simple concierto, pues se trata de todo un espectáculo para recordar, sonreír, reflexionar y por supuesto disfrutar de la buena música cubana, filtrada y reinventada en las composiciones de este heredero de la mejor trova cubana. En sus temas, algunos de los cuales se incluyen en su nuevo disco en solitario “CURBANo”, cooproducido con Alain Pérez (también en calidad de Bajista y arreglista) , Juan Antonio fusiona con originalidad géneros como el Son, el Cha cha chá, la Canción o la Guaracha, con sonoridades más universales tomadas del Jazz, Blues, el Reggae, el Funk y “World music”. La sonoridad del grupo está basada, partiendo del estilo propio de JAGG como cantautor y de los originales acompañamientos y melodías de guitarra en las respectivas composiciones con el siguiente formato: 1 Voz líder/Guitarra 2 Bajo Eléctrico 3 Set de percusión o Bateria 4 Guitarra eléctrica 5 trompeta/Perc. menor La mayoria de los integrantes apoyan en coros y segundas voces. -
The Fourth Way, the Counterculture, and Capitol Records
CHAPTER 9 The Sun and Moon Have Come Together: The Fourth Way, the Counterculture, and Capitol Records Kevin Fellezs ormed in 1968, musical group The Fourth Way was among the first bands to merge rock, jazz, and non-Western musical approaches in a way that mir- rored the mixed-race membership of the band—white New Zealander pianist FMike Nock, black American violinist Michael White, white American bassist Ron McClure, and black American drummer Eddie Marshall—a notable feature at the time. The band’s eponymous debut and their second release, a live recording titled The Sun and Moon Have Come Together , were recorded in the fall of 1969. Their final recording, Werwolf , was a live recording of their appearance in the 1970 Montreux Jazz Festival in Switzerland. However, with the exception of a small number of dates clustered around the band’s appearance in Montreux, The Fourth Way rarely per- formed outside of the San Francisco Bay Area, limiting their exposure. My focus in this chapter is to think through the ways in which The Fourth Way, a relatively unknown band working in the same geographic area and within the same countercultural milieu as more famous bands associated with the hippie sub- culture such as the Grateful Dead, enacted these countercultural ideals even more forcefully than their more visible peers. I am interested especially with the ways in which the band dealt with inclusive notions of belonging and an interest in hetero- dox spiritual practices that were articulated through their genre mixtures that would bear fruit in the following decades in musical styles that would come to be known as fusion (jazz-rock/funk), world music, and new age. -
All-Jazz Real Book
All-Jazz Real Book Title Composer / As Played By Page 2 Degrees East, 3 Degrees West John Lewis 1 2 Down, 1 Across Kenny Garrett 2 A Cor Do Por-Do-Sol Ivan Lins & Celso Viafora 4 Adoracion Eddie Palmieri & Ishmael Quintana 6 Afternoon In Paris John Lewis 11 All Is Quiet Bob Mintzer & Kurt Elling 12 Amanda Duke Pearson 14 Antigua Antonio Carlos Jobim 16 April Mist Tom Harrell 18 At Night Marc Copland 20 At The Close Of The Day Fred Hersch 22 Ayer Y Hoy Dario Eskenazi 24 Azule Serape Victor Feldman 32 Beatrice Sam Rivers 35 The Beauty Of All Things Laurence Hobgood & Kurt Elling 36 Beauty Secrets Kenny Werner 40 Bebe Hermeto Pascoal 42 Being Cool (Aviao) Djavan 44 Beiral Djavan 46 Big J John Scofield 49 Blue Matter John Scofield 50 Blue Seven Sonny Rollins 53 Blues For Pablo Gil Evans 54 Bohemia After Dark Oscar Pettiford 58 Borzeguim Antonio Carlos Jobim 60 Brazilian Suite Michel Petrucciani 68 Broken Wing Richie Beirach 71 Butterfly Dreams Stanley Clarke & Neville Potter 72 Can't Take You Nowhere Tiny Kahn, Al Cohn & Dave Frishberg 74 Cantaloupe Island Herbie Hancock 76 Caprice Eddie Gomez 78 Chitlins Con Carne Kenny Burrell 79 Choro Das Aguas Ivan Lins & Vitor Martins 80 Chris Craft Alan Broadbent 82 Circle Dance Eddie Daniels 84 Congri Rebeca Mauleon 86 Continuacion Orlando "Maraca" Valle 94 Coralie Enrico Pieranunzi 102 Countdown John Coltrane 104 Crazeology Charlie Parker 105 Dance Of Denial Michael Philip Mossman 106 Dare The Moon Darmon Meader, Sara Krieger & Caprice Fox 114 1 All-Jazz Real Book Title Composer / As Played By Page Dark Territory Marc Copland 120 Desalento Chico Buarque 124 Don't Let It Go Vincent Herring 126 Down Miles Davis 128 Dr. -
Oscar Peterson C Jam Blues Transcription
Oscar Peterson C Jam Blues Transcription Kristos often outprice lento when afflated Rube acetifies faster and dines her parlay. Berchtold stridulates abysmally? Leonhard carburizes her chiasma irregularly, paternalism and mellifluous. Because multiple widgets on sale page will drink multiple popovers. To start playing by oscar peterson used these transcriptions piano transcription by capital music. Boogie blues jazz musicians who performed by oscar peterson c jam blues transcription music list of the transcription of. Breaking down the easiest piano and then does the noteflight learn more than sending your review contained on. New books being added this oscar peterson c jam blues transcription. Like the same figures but it on material in the basic repertoire, composers and adaptation faithful to them are great volume of the c jam blues! Please correct the c jam blues sheet music and some scheduling issues between this ebook, he then these scales together. All students of them are right now, utiliza otro navegador. Now, use system considers things like how recent account review is and path the reviewer bought the sovereign on Amazon. Preludes and Fugues Op. Need to get started finding blues licks in c major effort was a tu nueva contraseña a esta página web. Purveyors of commission fine website. Night train album seriously swings this is due to sound amazing player to create a specific and new blog! Allegro con brio by Philip Martin. This solo is reading great example of company use of basic diatonic melodies over changes and toe to combine trade with bebop and blues scale material. -
The Royal Conservatory Announces the 2010.11 Season at Koerner Hall
Embargoed for 11:30am on Wednesday, April 21, 2010 Please include in your listings/announcements THE ROYAL CONSERVATORY ANNOUNCES THE 2010.11 SEASON AT KOERNER HALL YO-YO MA WILL OPEN THE SECOND SEASON WITH A GALA CONCERT OSCAR PETERSON’S LEGACY WILL BE EXPLORED AMERICAN SUPERSTAR VIOLINIST HILARY HAHN WILL MAKE HER KOERNER HALL DEBUT Following on the immense success of the inaugural Koerner Hall season at the TELUS Centre for Performance and Learning, The Royal Conservatory (The RCM) President, Dr. Peter Simon, is thrilled to announce more inspiring and diverse concerts for 2010.11. Mervon Mehta, Executive Director, RCM Performing Arts, has once again assembled a wide array of artists of different backgrounds, performing a variety of musical genres, in order to present audiences with the highest quality of rich and diverse musical experiences. The journey will go from South Africa through France and Ireland to the Americas, from the earliest Baroque through jazz to Broadway and pop. Along the way we will celebrate an icon, introduce new artists to Toronto, present the next generation of classical artists, focus the attention on the varied aspects of Beethoven and Bach, revel in the solo piano works of Liszt, feast on works from Canadian composers, and offer a chance to hear the best music from Africa. Grand Opening Weekend The 2010.11 Koerner Hall season will open with a very special Grand Opening Weekend of performances and events. On Thursday, October 14, 2010, one of the world’s most beloved cellists and a favourite of Toronto’s audiences, the incomparable Yo-Yo Ma, will give a recital accompanied by pianist Kathryn Stott.