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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. -
The Fingerprints of the “5” Royales Nearly 65 Years After Forming in Winston-Salem, the “5” Royales’ Impact on Popular Music Is Evident Today
The Fingerprints of the “5” Royales Nearly 65 years after forming in Winston-Salem, the “5” Royales’ impact on popular music is evident today. Start tracing the influences of some of today’s biggest acts, then trace the influence of those acts and, in many cases, the trail winds back to the “5” Royales. — Lisa O’Donnell CLARENCE PAUL SONGS VOCALS LOWMAN “PETE” PAULING An original member of the Royal Sons, the group that became the The Royales made a seamless transition from gospel to R&B, recording The Royales explored new terrain in the 1950s, merging the raw emotion of In the mid-1950s, Pauling took over the band’s guitar duties, adding a new, “5” Royales, Clarence Paul was the younger brother of Lowman Pauling. songs that included elements of doo-wop and pop. The band’s songs, gospel with the smooth R&B harmonies that were popular then. That new explosive dimension to the Royales’ sound. With his guitar slung down to He became an executive in the early days of Motown, serving as a mentor most of which were written by Lowman Pauling, have been recorded by a sound was embraced most prominently within the black community. Some his knees, Pauling electrified crowds with his showmanship and a crackling and friend to some of the top acts in music history. diverse array of artists. Here’s the path a few of their songs took: of those early listeners grew up to put their spin on the Royales’ sound. guitar style that hinted at the instrument’s role in the coming decades. -
Comhairle Cathrach Chorcaí Tuarascáil Bhliantúil 2017
Comhairle Cathrach Chorcaí Tuarascáil Bhliantúil 2017 Annual Report 2017 1 Comhairle Cathrach Chorcaí Tuarascáil Bhliantúil 2017 Vision Statement: Cork City Council is a dynamic, responsive and inclusive organisation leading a prosperous and sustainable city. 2 Comhairle Cathrach Chorcaí Tuarascáil Bhliantúil 2017 CONTENTS: Foreword by Lord Mayor & Chief Executive Members of Cork City Council Senior Management Team Meetings/Committees/Conferences City Architect’s Department Corporate and External Affairs Environment and Recreation Housing and Community ICT and Business Services Human Resource Management & Organisation Reform Strategic Planning and Economic Development Roads and Transportation Financial Statements Recruitment Information Review of the 2017 Annual Service Delivery Plan 3 Comhairle Cathrach Chorcaí Tuarascáil Bhliantúil 2017 Lord Mayor’s & Chief Executive’s Foreword In the words of Cork poet Thomas McCarthy, “a city rising is a beautiful thing”. Cork City is a City Rising. Retail units are opening for business in the €50m Capitol retail and office complex. Work has started on the €90 million Navigation House office development on Albert Quay and over the summer, Cork City Council agreed the sale of 7-9 Parnell Place and 1-2 Deane Street to Tetrarch Capital who propose to build a budget boutique hotel and designer hostel with ground floor restaurants and bars. Earlier this year, Boole House was handed over to UCC and also over the summer, the Presentation Sisters opened Nano Nagle Place on Douglas Street. This is all progress. Our strategy at Cork City Council has been to deliver for the Cork region through a revitalised, vibrant city centre – to our mind, the city centre is the ‘healthy heart’ of Cork. -
Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music. -
Tony Bennett and Lady Gaga Prove That the Classics Are
VOLUME 8, NUMBER 2 TONY BENNETT AND LADY GAGA PROVE THAT THE CLASSICS ARE AGELESS Untitled-2 2 5/27/15 11:56 AM Steven Klein 418 Sheridan Road Highland Park, IL 60035 847-266-5000 www.ravinia.org Welz Kauffman President and CEO Nick Pullia Communications Director, Executive Editor Nick Panfil Publications Manager, Editor Alexandra Pikeas Graphic Designer IN THIS ISSUE TABLE OF CONTENTS DEPARTMENTS 18 This Boy Does Cabaret 13 Message from John Anderson Since 1991 Alan Cumming conquers the world stage and Welz Kauffman 3453 Commercial Ave., Northbrook, IL 60062 with a “sappy” song in his heart. www.performancemedia.us 24 No Keeping Up 59 Foodstuff Gail McGrath Publisher & President Sharon Jones puts her soul into energetic 60 Ravinia’s Steans Music Institute Sheldon Levin Publisher & Director of Finance singing. REACH*TEACH*PLAY Account Managers 30 Big Band Romance 62 Sheryl Fisher - Mike Hedge - Arnie Hoffman Tony Bennett and Lady Gaga prove that 65 Lawn Clippings Karen Mathis - Greg Pigott the classics are ageless. East Coast 67 Salute to Sponsors 38 Long Train Runnin’ Manzo Media Group 610-527-7047 The Doobie Brothers have earned their 82 Annual Fund Donors Southwest station as rock icons. Betsy Gugick & Associates 972-387-1347 88 Corporate Partners 44 It’s Not Black and White Sales & Marketing Consultant Bobby McFerrin sees his own history 89 Corporate Matching Gifts David L. Strouse, Ltd. 847-835-5197 with Porgy and Bess. 90 Special Gifts Cathy Kiepura Graphic Designer 54 Swan Songs (and Symphonies) Lory Richards Graphic Designer James Conlon recalls his Ravinia themes 91 Board of Trustees A.J. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Arrest Report - 2019
Arrest Report - 2019 Arrest:19TEW-41-A-AR Date:1/1/2019 Last Name: CORREA First Name:YANELA Age: 18 Address:156 CYPRESS ST City:MANCHESTER State: NH Offense COCAINE, TRAFFICKING IN, 36 GRAMS OR MORE, LESS THAN 100 GRAMS Arrest:19TEW-41-AR Date:1/1/2019 Last Name: MENDOZA First Name:ELVIN Age: 22 Address:9 BYRON AVE City:LAWRENCE State: MA Offense COCAINE, TRAFFICKING IN, 36 GRAMS OR MORE, LESS THAN 100 GRAMS WARRANT - 1818CR003461 - TRAFFICKING IN 100 GRMS HEROIN WARRANT-DOCKET#1818CR006396 - OP MV W/ REVOKED LICENSE Arrest:19TEW-294-AR Date:1/2/2019 Last Name: KING First Name:TAMMY Age: 37 Address:181 LOUDON RD City:CONCORD State: NH Offense ASSAULT W/DANGEROUS WEAPON/ TO WIT CLEANING BOTTLE VANDALIZE PROPERTY c266 §126A DISGUISE TO OBSTRUCT JUSTICE WARRANT -LARCENY OVER 1200.00 266/30/B WARRANT - LARCENY OVER 1200.00 - 266/30/A WARRANT - LARCENY OVER 1200.00 BY SINGLE SCHEME - 266/30/B WARRANT - SHOPLIFTING $250+ BY ASPORTATION - 266/30A/S THREAT TO COMMIT CRIME - ASSAULT & BATTERY Arrest:19TEW-337-AR Date:1/3/2019 Last Name: PUNTONI First Name:CORY Age: 27 Address:10 LOCKE ST City:HAVERHILL State: MA Offense WARRANT- DOCKET#1838CR002437-ORDINANCE VIOLATION Arrest:19TEW-470-AR Date:1/3/2019 Last Name: GUTHRIE First Name:CHRISTOPHER Age: 31 Address:108 CHAPEL ST City:LOWELL State: MA Offense Page 1 of 10 WARRANT DOCKET #1711CR001501 C275 S2 THREATENING TO COMMIT CRIME WARRANT DOCKET #1811CR004055 90-23 LICENSE SUSPENDED Arrest:19TEW-485-AR Date:1/3/2019 Last Name: DYESS First Name:CHRISTOPHER Age: 35 Address:133 SHAWSHEEN ST City:TEWKSBURY -
View the Full Song List
PARTY WITH THE PEOPLE 2020 Song List POPULAR SONGS & DANCE HITS ▪ Lizzo - Truth Hurts ▪ The Outfield - Your Love ▪ Tones And I - Dance Monkey ▪ Vanilla Ice - Ice Ice Baby ▪ Lil Nas X - Old Town Road ▪ Queen - We Will Rock You ▪ Walk The Moon - Shut Up And Dance ▪ Wilson Pickett - Midnight Hour ▪ Cardi B - Bodak Yellow, I Like It ▪ Eddie Floyd - Knock On Wood ▪ Chainsmokers - Closer ▪ Nelly - Hot In Here ▪ Shawn Mendes - Nothing Holding Me Back ▪ Lauryn Hill - That Thing ▪ Camila Cabello - Havana ▪ Spice Girls - Tell Me What You Want ▪ OMI - Cheerleader ▪ Guns & Roses - Paradise City ▪ Taylor Swift - Shake It Off ▪ Journey - Don’t Stop Believing, Anyway You Want It ▪ Daft Punk - Get Lucky ▪ Natalie Cole - This Will Be ▪ Pitbull - Fireball ▪ Barry White - My First My Last My Everything ▪ DJ Khaled - All I Do Is Win ▪ King Harvest - Dancing In The Moonlight ▪ Dr Dre, Queen Pen - No Diggity ▪ Isley Brothers - Shout ▪ House Of Pain - Jump Around ▪ 112 - Cupid ▪ Earth Wind & Fire - September, In The Stone, Boogie ▪ Tavares - Heaven Must Be Missing An Angel Wonderland ▪ Neil Diamond - Sweet Caroline ▪ DNCE - Cake By The Ocean ▪ Def Leppard - Pour Some Sugar On Me ▪ Liam Payne - Strip That Down ▪ O’Jay - Love Train ▪ The Romantics -Talking In Your Sleep ▪ Jackie Wilson - Higher And Higher ▪ Bryan Adams - Summer Of 69 ▪ Ashford & Simpson - Ain’t No Stopping Us Now ▪ Sir Mix-A-Lot – Baby Got Back ▪ Kenny Loggins - Footloose ▪ Faith Evans - Love Like This ▪ Cheryl Lynn - Got To Be Real ▪ Coldplay - Something Just Like This ▪ Emotions - Best Of My Love ▪ Calvin Harris - Feel So Close ▪ James Brown - I Feel Good, Sex Machine ▪ Lady Gaga - Poker Face, Just Dance ▪ Van Morrison - Brown Eyed Girl ▪ TLC - No Scrub ▪ Sly & The Family Stone - Dance To The Music, I Want ▪ Ginuwine - Pony To Take You Higher ▪ Montell Jordan - This Is How We Do It ▪ ABBA - Dancing Queen ▪ V.I.C. -
Morgenstern, Dan. “Introducing Leo Wright" [Artist Review] Metronome
that there is between them that special empathy that introducing breeds great jazz. "Dizzy is a giant," Leo says. "And LEO when you're working with the ,giants, you've got to improve. It is a challenge to play with a master. You've got to learn discipline, get down to business. WRIGHTI'm still in school. Dizzy can play one note and make you want to love everybody ... " byDan Morgenstern In a day when every young musician wants to be a leader, Leo Wright does not contemplate leaving 1961 has been an eventful year for Leo Wright, the Dizzy just yet . "When I feel I'm ready, I'll go out 27-year alto saxophonist from Wichita Falls, Texas. on my own, but being with Dizzy is it for me now. In August, he completed his second year with the It's an inspiration-and an honor." Dizzy Gillespie Quintet. In the spring, his lovely wife When Dizzy's group participated in a Jazz at the bore him twin girls. His first LP under his own name Philharmonic tour last year, Leo had the opportunity was issued. And not long thereafter, Leo's father, to work with, and observe in action, Coleman Hawk Mel Wright, who had played alto with the famous ins, Benny Carter and Don Byas. "It made me feel Texas band "Boots and His Buddies," passed away. humbl~ven scared ... there was so much maturity "My dad started me on the horn when I was very there." Leo's heroes are Bird and Dizzy, but as you young. -
Ko Ko”-- Charlie Parker, Miles Davis, Dizzy Gillespie, and Others (1945) Added to the National Registry: 2002 Essay by Ed Komara (Guest Post)*
“Ko Ko”-- Charlie Parker, Miles Davis, Dizzy Gillespie, and others (1945) Added to the National Registry: 2002 Essay by Ed Komara (guest post)* Charlie Parker Original label “Ko Ko” was Charlie Parker’s signature jazz piece, conceived during his apprenticeship with Kansas City bands and hatched in the after-hours clubs of New York City. But when “Ko Ko” was first released by Savoy Records in early 1946, it seemed more like a call for musical revolution than a result of evolution. “Ko Ko” was developed from a musical challenge that, from 1938 through 1945, confounded many jazzmen. The piece uses the chord structure of “Cherokee,” an elaborate, massive composition that was written by dance-band composer Ray Noble. “Cherokee” was the finale to a concept suite on Native American tribes, the other four movements being “Comanche War Dance,” “Iroquois,” “Sioux Sue,” and “Seminole.” If a standard blues is notated in 12-measures, and a pop song like George Gershwin’s “I Got Rhythm” is in 32 measures, Noble’s “Cherokee” is in 64 measures. In 1939, Charlie Barnet popularized “Cherokee” through a hit version for RCA Victor. Meanwhile, jazz musicians noticed the piece, and they tried clumsily to improvise solos to its chord progression. Count Basie, for one, with his Kansas City band, recorded “Cherokee” in February 1939. At the time, Basie had some of the best soloists in jazz like Lester Young, Ed Lewis, and Dicky Wells. But on this record, these four musicians improvised only during the A sections, leaving the very difficult “bridge” sections (measures 33-48 of the piece) to be played by the whole band. -
The Connectors of Two Worlds: Chano Pozo, Dizzy Gillespie, and the Continuity of Myth Through Afro-Cuban Jazz
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2005 The connectors of two worlds: Chano Pozo, Dizzy Gillespie, and the continuity of myth through Afro-Cuban jazz Dwight Paul Sweeney Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Music Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Sweeney, Dwight Paul, "The connectors of two worlds: Chano Pozo, Dizzy Gillespie, and the continuity of myth through Afro-Cuban jazz" (2005). Theses Digitization Project. 2823. https://scholarworks.lib.csusb.edu/etd-project/2823 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. THE CONNECTORS OF TWO WORLDS: CHANO POZO, DIZZY GILLESPIE, AND THE CONTINUITY OF MYTH THROUGH AFRO-CUBAN JAZZ A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in Interdisciplinary Studies by Dwight Paul Sweeney, Jr. March 2005 ■3 THE CONNECTORS OF TWO WORLDS: CHANO POZO, DIZZY GILLESPIE, ZYND THE CONTINUITY OF MYTH THROUGH AFRO-CUBAN JAZZ A Thesis Presented to the Faculty of California State University, San Bernardino by Dwight Paul Sweeney, Jr. March 2005 Approved by: 3-2- Chair, History Date Russell Barber, Anthropology ABSTRACT The histories of Cuba and the United States ran a parallel course until the late nineteenth century, and musical cultural exchanges are a legacy of this interaction. -
Mike Mcgrath-Bryan M.A
MIKE MCGRATH-BRYAN M.A. Journalism with New Media, CIT Selected Features Journalism & Content Work 1 TABLE OF CONTENTS: GENDER REBELS: FIGHTING FOR RIGHTS AND VISIBILITY (Evening Echo, August 31st 2018) 3 MOVEMBER: “IT’S AN AWFUL SHOCK TO THE SYSTEM” (Evening Echo, November 13th 2017) 7 REBEL READS: TURNING THE PAGE (Totally Cork, September 2018) 10 FRANCISCAN WELL: FEM-ALE PRESSURE (Evening Echo, July 26th 2018) 12 CORK VINTAGE MAP: OF A CERTAIN VINTAGE (Totally Cork, December 6th 2016) 14 THE RUBBERBANDITS: HORSE SENSE (Evening Echo, December 12, 2016) 16 LANKUM: ON THE CUSP OF THE UNKNOWN (Village Magazine, November 2017) 19 CAOIMHÍN O’RAGHALLAIGH: “IT’S ABOUT FINDING THE RIGHT SPACE” (RTÉ Culture, September 6th 2018) 25 THE JAZZ AT 40: PAST, PRESENT AND FUTURE (Evening Echo: Jazz Festival Special, October 17th 2017) 28 CORK MIDSUMMER FESTIVAL: THE COLLABORATIVE MODEL (Totally Cork, May 2018) 31 DRUID THEATRE: “VERY AWARE OF ITSELF” (Evening Echo, February 12th 2018) 33 CORK CITY BALLET: EN POINTE (Evening Echo, September 3rd, 2018) 35 2 GENDER REBELS: FIGHTING FOR RIGHTS AND VISIBILITY (Evening Echo, August 31st 2018) Gender Rebels are a group dedicated to working on the rights of transgender, intersex and non-binary people in Cork City, negotiating obstacles both infrastructural and everyday, and providing an outlet for social events and peer support. Mike McGrath-Bryan speaks with chairperson Jack Fitzgerald. With Pride month in the rear view mirror for another year, and celebrations around the country winding down, it’s easy to bask in the colour, pomp and circumstance that the weekend’s proceedings confer on the city.