DOCSLIB.ORG

Powertracks Pro Audio 12

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Powertracks Pro Audio 12 PG Music Inc. 29 Cadillac Avenue, Victoria, BC V8Z 1T3 CANADA E-mail: [email protected] • Internet web site http://www.pgmusic.com Phone(250)475-2874 •1-800-268-6272 •1-888-PGMUSIC Fax(250) 475-2937 • Toll-free fax(877) 475-1444 30 DAY DOWNLOAD Dear PG Music Customer… Order & download our products from NOW ! ® MONEY BACK www.pgmusic.com ➠ Band-in-a-Box 2009 for Windows is here with over GUARANTEE ON immediately using e-delivery! 40 new features, amazing RealTracks and more! ALL PRODUCTS! BAND-IN-A-BOX 2009 FOR WINDOWS ® IS HERE! NOTE: Macintosh® version is currently available at Version 12 for OS X Band-in-a-Box 2009 is here, with over 40 HOT new features! and-in-a-Box is so easy to use! Just type in the chords for any song using standard chord symbols B(like C, Fm7, or C13b9), choose the style you’d like, and Band-in-a-Box does the rest, automatically generating a complete professional-quality arrangement of piano, bass, drums, guitar, and strings or horns in a wide variety of popular styles. Live audio tracks can be created using RealDrums and RealTracks. And that’s not all… Band-in-a-Box is a powerful and creative music composition tool for exploring and developing musical ideas with near-instantaneous feedback and Band-in-a-Box 2009 makes that easier, faster and better! With the previous release of Band-in-a-Box, we added RealDrums and three RealTracks including Real Pedal Steel, Real Acoustic Guitar, and Tenor Sax soloing (RealSax). Now there are almost 200 RealTracks. These tracks are live recordings of top studio musicians that can be assigned to play on any Band-in-a-Box track (guitar, bass, etc.) to replace the MIDI instrument. We've also made RealStyles—these are styles that are “All Real” and contain no MIDI instruments. With RealTracks you hear an authentic audio accompaniment to your song that automatically follows the chord progressions you entered. Other great new features: The time it takes to generate the RealTracks is now 3x’s faster; The RealDrums and RealTracks are much smaller and no longer require WAV, plus much more. (See pages 2 & 3 for details.) NEW! Introducing RealBand 2009… Your All-in-One Audio Workstation and Accompaniment Program Getting a great sequencer is only the first step to getting a killer recording. You also need a roster of smokin' session players to fill out your sound. Now you can get all that in a single program—RealBand! Unlike other sequencers, RealBand combines the legendary power of Band-in-a-Box and PowerTracks Pro Audio, plus PG Music’s revolutionary new RealTracks and RealDrums, all in a single program. This enables users to create their own performance, combining their own tracks with generate MIDI and audio accompaniments based on input chord progressions. Packed with powerful features, RealBand makes it easy to produce your own song arrangements as if you were in the recording studio with top session musicians. (See page 3 for details.) Band-in-a-Box and RealBand Packages Band-in-a-Box Pro MegaPAK Band-in-a-Box & RealBand UltraPAK Band-in-a-Box & RealBand EverythingPAK Band-in-a-Box & Includes Band-in-a-Box 2009, Styles Sets 0–3, Soloist Includes Band-in-a-Box 2009, RealBand 2009, RealDrums Includes Band-in-a-Box 2009, RealBand 2009, RealDrums RealBand Set 1, Melodist Set 1, RealDrums Set 1 & RealTracks Set 1. Sets 1–6, RealTracks Sets 1–6, Styles Sets 0–77, Soloist Sets Sets 1–20, RealTracks Sets 1–39, Styles Sets 0–77, Soloist Includes Band-in-a-Box 2009, RealBand 2009, ✔ First-time Purchase… $129 1–11 & 16–20 & Melodist Sets 1–8. Sets 1–11 & 16–20, Melodist Sets 1–8 & The Band-in-a- RealDrums Sets 1–20, RealTracks Sets 1–39, Styles Sets ✔ ✔ Upgrade from 2008… $49 First-time Purchase… $269 Box Video Tutorial PAK. Available on an 80GB plug-n-play 0–77, Soloist Sets 1–13 & 16–20, Melodist Sets 1–8, all of ✔ ✔ Upgrade from 2007 or earlier, Upgrade from 2008… $149 USB Hard Drive or Discs. the 101 Riffs and Phrases Series, all of the Fakebooks, all ✔ or Crossgrade… $59 Upgrade from 2007 or earlier, ✔ First-time Purchase… $449 of the Master Solos Series, 50 Country Guitar Solos, 200 or Crossgrade… $159 ✔ Upgrade from Band-in-a-Box 2008… $279 Folk songs, CopyMe, Duets, and The Band-in-a-Box Video RealBand Pro ✔ Upgrade from Band-in-a-Box 2007 or earlier, Tutorial PAK. Available on an 80GB plug-n-play USB Hard SuperPAK Band-in-a-Box & RealBand or Crossgrade… $299 Drive or Discs. Includes RealBand 2009, 150 Styles, Soloist Set 1, ✔ Melodist Set 1, RealDrums Set 1 & RealTracks Set 1. Includes Band-in-a-Box 2009, RealBand 2009, RealDrums First-time Purchase… $499 Sets 1–20, RealTracks Sets 1–12, Styles Sets 0–77, Soloist UltraPAK Hard Drive “Audiophile” ✔ Upgrade from 2008… $379 ✔ First-time Purchase… $129 ✔ Sets 1–11 & 16–20, Melodist Sets 1–8 & The Band-in-a- Edition Upgrade from 2007 or earlier, Box Video Tutorial PAK. or Crossgrade… $399 Pro Band-in-a-Box & RealBand ✔ First-time Purchase… $369 Band-in-a-Box and RealBand Includes Band-in-a-Box 2009, RealBand 2009, Styles Sets ✔ Upgrade from Band-in-a-Box 2008… $249 Includes all the content of the CD version, plus the WAV 0–3, Soloist Set 1, Melodist Set 1, RealDrums Set 1 & ✔ Upgrade from Band-in-a-Box 2007 or earlier, files for the RealDrums and RealTracks pre-installed on a RealTracks Set 1. or Crossgrade… $269 500GB portable hard drive. ✔ First-time Purchase… $159 ✔ First-time Purchase… $549 ✔ Upgrade from 2008… $69 ✔ Upgrade from 2008… $429 ✔ Upgrade from 2007 or earlier, ✔ Upgrade from 2007 or earlier, or or Crossgrade… $79 Crossgrade… $449 ✔ Upgrade from 2008.5 “Audiophile”...$199 Exciting New Add-Ons and More from PG Music Inc. NEW! RealTracks Sets for Band-in-a-Box... only $29 US each! NEW! Band-in-a-Box UltraPAK Hard Drive “Audiophile” Edition… only $549! RealTracks replace the MIDI track for that instrument, and can be controlled just like the MIDI Looking for the highest quality lossless audio? The UltraPAK Hard Drive “Audiophile” Edition includes instrument (volume changes, muting, etc.). These are not “samples,” but are full recordings, lasting all the content of the disc version, plus the WAV files for RealDrums Sets 1–20 and RealTracks Sets from 1 to 8 bars at a time, playing along in perfect sync with the other Band-in-a-Box and RealBand 1–39 on a 500GB portable USB Hard Drive. Upgrades start as low as $199! tracks (see page 4 for details). PG MUSIC OMNIPAK HARD DRIVE FOR WINDOWS®… only $599 (see p. 14 for details) NEW! Songs & Lesson PAK… only $99! Included on this FREE hard drive is a blockbuster collection of our popular music software titles— Get the most out of your Band-in-a-Box installation by adding the Songs & Lessons PAK! This great the EverythingPAK Band-in-a-Box and RealBand, PowerTracks Pro Audio PowerPAK PLUS, PGMusic February 2009 package will add all of the Essential Riffs and Phrases Series, All of our MIDI Fakebooks, Master the entire Pianist Series, the entire Multimedia Performance Series, and much more—complete Swingin’ Jazz Piano Solos and Comping, the complete Master Solos Series, CopyMe, Duets, 50 Novelty with every software add-on, bonus, and accessory. Piano Riffs, 50 Country Guitar Solos, and 200 Folk Songs! HARDWARE FROM PG MUSIC NEW! Plug-n-Play Band-in-a-Box & RealBand… upgrade for as little as $279! Check out 12 & 13 for great prices on your favorite Third Party Software and Hardware bundled with PG Now when you purchase the Band-in-a-Box and RealBand UltraPAK or EverythingPAK, you can choose to Music products. receive your purchase as discs or an 80GB Plug-n-Play USB Hard Drive! Purchase and download online at www.pgmusic.com or phone 800-268-6272 1 BAND-IN-A-BOX ® 2009 Note: Current Macintosh® version is for OS X (older version 11 is also included for use on Mac OS 9) Band-in-a-Box 2009 has over 40 cool new features! What is Band-in-a-Box? and-in-a-Box is an intelligent automatic accompaniment program for your multimedia Bcomputer. You can hear and play along to many song ideas and go from “nothing” to “something” in a very short period of time with Band-in-a-Box as your “on demand” backup band. Band-in-a-Box is a powerful and creative music composition tool for exploring and developing musical ideas with near-instantaneous feedback. Over the years many features have been added to Band-in-a-Box— Notation and Lyrics, Piano Roll, 16-channel MIDI Multitracks, Harmonization, the StyleMaker and StylePicker, a live performance Conductor window, Medley Maker, and 24 substyle Multistyles. The Soloist and the Melodist are popular “intelligent” features that generate professional solos or even create whole new songs from scratch. RealDrums adds the human element of a live drummer while RealTracks add even more live session musicians, bringing the entire Band-in-a-Box arrangement to life. The Audio Chord Wizard has the amazing ability to analyze, extract, and show the chords from audio recordings on screen and then write them to the Band-in-a-Box chord sheet. The inclusion of digital audio features makes Band-in-a-Box the perfect tool for creating, playing, and recording your music with MIDI, vocals, and acoustic instruments.
Load more

Recommended publications
  • Ing the Fj Needs of the Music & Record Ti Ó+ Industry
    . I '.k i 1 Dedicated To £15.o nlr:C, .3n0r14 Serving The fJ Needs Of The Music & Record ti Ó+ Industry ra - Vol. 21, No. 1004 September 3, 1966 In the opinion of the editors, this week the following records are the WHO SINGLE PICKS OF THE WEEK LU M MY UNCLE 6 USED TO LOVE IN THE ME BUT SHE DIED y 43192 WORLD JUST LIME A WOMAN Trendsetting Bob Dylan goes Absolutely nonsense song with Gentle love song, "A Time for after a more soothing musical gritty delivery by Miller. Should Love," by Oscar winners Paul background than usual on this catch ears across the country Francis Webster and Johnny ditty, with perceptive lyrics, as Roger, with his TV series Mandel should score for Tony about a precocious teeny bopper about to bow, recalls his odd whose taste and style remains (Columbia 4-43792). uncle (Smash 2055). impeccable (Columbia 4-43768). SLEEPERS OF THE WEEK PHILIPS Am. 7. EVIL ON YOUR MIND , SAID I WASN'T GONNAN TELL 0 00000 TERESA BREARE S AM t - DAVE A1 Duo does "Said I Wasn't Gonna The Uniques have been coming The nifty country song "Evil on Tell Nobody" like it should be up with sounds that have been Your Mind" provides Teresa done. Sam and Dave will appeal just right for the market. "Run Brewer with what could be her to large crowds with tfie bouncy and Hide" could be their biggest biggest hit in quite a while. r/ber (Stax 198). to date. Keep an eye on it Her perky, altogether winning (Paula 245).
    [Show full text]
  • The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930
    ABSTRACT HUMANITIES DECUIR, MICHAEL B.A. SOUTHERN UNIVERSITY AT NEW ORLEANS, 1987 M.A. THE UNIVERSITY OF CALIFORNIA, BERKELEY, 1989 THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 Committee Chair: Timothy Askew, Ph.D. Dissertation dated August 2018 This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du i Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of blacks in America as the sole theme. ii THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY MICHAEL DECUIR DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA AUGUST 2018 © 2018 MICHAEL DECUIR All Rights Reserved ACKNOWLEDGEMENTS My greatest debt of gratitude goes to my first music teacher, my mother Laura.
    [Show full text]
  • GCSE, AS and a Level Music Difficulty Levels Booklet
    GCSE, AS and A level Music Difficulty Levels Booklet Pearson Edexcel Level 1/Level 2 GCSE (9 - 1) in Music (1MU0) Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) First teaching from September 2016 First certification from 2017 (AS) 2018 (GCSE and A level) Issue 1 Contents Introduction 1 Difficulty Levels 3 Piano 3 Violin 48 Cello 71 Flute 90 Oboe 125 Cla rinet 146 Saxophone 179 Trumpet 217 Voic e 240 Voic e (popula r) 301 Guitar (c lassic al) 313 Guitar (popula r) 330 Elec tronic keyboa rd 338 Drum kit 344 Bass Guitar 354 Percussion 358 Introduction This guide relates to the Pearson Edexcel Level 1/Level 2 GCSE (9-1) in Music (1MU0), Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) and Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) qualifications for first teaching from 2016. This guide must be read and used in conjunction with the relevant specifications. The music listed in this guide is designed to help students, teachers, moderators and examiners accurately judge the difficulty level of music submitted for the Performing components of the Pearson Edexcel GCSE, AS and A level Music qualifications. Examples of solo pieces are provided for the most commonly presented instruments across the full range of levels. Using these difficult y levels For GCSE, teachers will need to use the book to determine the difficulty level(s) of piece(s) performed and apply these when marking performances. For AS and A Level, this book can be used as a guide to assist in choosing pieces to perform, as performances are externally marked.
    [Show full text]
  • Diplomová Práce
    JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Diplomová práce Brno 2017 Andrej Farkaš JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra Jazzové interpretace Hra na klavír Oscar Peterson „The Trio“ Diplomová práce Autor práce: Andrej Farkaš Vedoucí práce: MgA. Jan Dalecký Oponent práce: MgA. Jan Přibil Brno 2017 Bibliografický záznam FARKAŠ, Andrej. Oscar Peterson „The Trio“. Brno: Janáčkova akademie múzických umení v Brne, Hudobná fakulta, Katedra jazzové interpretace, 2017. 25 s. Vedoucí diplomovej práce odb.as. MgA. Jan Dalecký. Touto cestou vyslovujem poďakovanie pánovi MgA. Janovi Daleckému za pomoc, odborné vedenie, cenné rady a pripomienky pri vypracovaní mojej bakalárskej diplomovej práce. V Brne dňa 14.5.2017 Anotácia V tejto bakalárskej práci som sa zameral na osobitý štýl Oscara Petersona, jeho riešenie spôsobu fungovania a komunikácie sólového klavíra zo sólovú gitarou. Priblížiť sa k spôsobu, systému, ktorý Oscar Peterson využíval pri svojej hre s Joe Passom. Uviesť príklady, rámcovo sa priblížiť k vyriešeniu problému hrania dvoch harmonických nástrojov súčasne. Kľúčové slová: umelecké cesty, vedenie hlasov, sprievod, dva harmonické nástroje, súzvuk Annotation In this thesis I focused on the distinctive style of Oscar Peterson, his solutions are working and communication of solo piano and solo guitar. Getting closer to the ways of that Oscar Peterson used in their play with Joe Pass. Give an example closer to solving the problem of playing two harmonic Instruments at the same time. Key words: artistic tours, voice management, comping, two harmonic instruments, echoes OBSAH: 1. Úvod 2. Život Oscara Petersona 2.1 Norman Granz 3. Cesta k vzniku Oscar Peterson – „The Trio“ 3.1 „The Trio“ 4.
    [Show full text]
  • Jazz Woodwind Syllabus
    Jazz Woodwind Syllabus Flute, Clarinet & Saxophone Grade exams 2017–2022 Important information Changes from the previous syllabus Repertoire lists for all instruments have been updated. Own composition requirements have been revised. Aural test parameters have been revised, and new specimen tests publications are available. Improvisation test requirements have changed, and new preparation materials are available on our website. Impression information Candidates should refer to trinitycollege.com/woodwind to ensure that they are using the latest impression of the syllabus. Digital assessment: Digital Grades and Diplomas To provide even more choice and flexibility in how Trinity’s regulated qualifications can be achieved, digital assessment is available for all our classical, jazz and Rock & Pop graded exams, as well as for ATCL and LTCL music performance diplomas. This enables candidates to record their exam at a place and time of their choice and then submit the video recording via our online platform to be assessed by our expert examiners. The exams have the same academic rigour as our face-to-face exams, and candidates gain full recognition for their achievements, with the same certificate and UCAS points awarded as for the face-to-face exams. Find out more at trinitycollege.com/dgd photo: Zute Lightfoot, clarinet courtesy of Yamaha Music London Jazz Woodwind Syllabus Flute, Clarinet & Saxophone Graded exams 2017–2022 Trinity College London trinitycollege.com Charity number England & Wales: 1014792 Charity number Scotland: SC049143 Patron: HRH The Duke of Kent KG Chief Executive: Sarah Kemp Copyright © 2016 Trinity College London Published by Trinity College London Online edition, March 2021 Contents Introduction .......................................................................................................................
    [Show full text]
  • Jazz Play-Along® Series Duction and Naughtiness from the Musical Theater Reper- 1A
    P/V/G Songbooks Pocket Music Dictionary Motown Anthology Hal Leonard Pocket As you know, Hal Leonard A must-have collection of Dictionary of Composers produces hundreds of new 68 Motown masterpieces, & Lyricists including: ABC • Ain’t No A COMPREHENSIVE AND CONVENIENT publications every month. Mountain High Enough • SOURCE FOR ALL MUSICIANS The Hal Leonard Herald is Ain’t Too Proud to Beg • Baby by Elaine Schmidt Love • Dancing in the Street This handy, pocket-sized book is the your source for finding out • Easy • For Once in My Life • most contemporary source on the about the latest, greatest, How Sweet It Is (To Be Loved market. Containing more than 1,900 by You) • I Can’t Help Myself capsule biographies, conveniently arranged by genre, this hottest new product available (Sugar Pie, Honey Bunch) • guide provides a who’s who of classical, country, film, and from Hal Leonard. Just My Imagination (Running Away with Me) • Let’s theater music, along with the Great American songbook, Get It On • My Girl • Shop Around • War • You Can’t hymns and patriotic songs, and pop/rock music. Hurry Love • many more! 00333027 ..................................................$7.99 But what about the other 00310367 P/V/G .......................................$19.95 perennial bestsellers Stock up now on this great collection! Easy Piano Motown is hotter than ever with the current run of and exceptional one-off the Tony Award-nominated and Berry Gordy-produced Jumbo Easy Piano Motown: The Musical on Broadway. Standards publications that you may A comprehensive collection of Watch for our new matching songbook coming soon: over 150 standards arranged have forgotten? Motown: The Musical 00121881 Piano/Vocal Selections ................$16.99 for the intermediate-level player.
    [Show full text]
  • JTM1711 Insidecombo 170920.Indd
    On May 31, drummer Louis Hayes celebrated his 80th birthday and a new album at Dizzy’s Club Coca-Cola in New York, surrounded by friends, collaborators and acolytes, including drummers Michael Carvin, Nasheet Waits and Eric McPherson, and trumpeters Jimmy Owens and Jeremy Pelt, the latter of whom sat in. Another presence loomed large: pianist-composer Horace Silver, the subject of Hayes’ recent Blue Note debut, Serenade for Horace, a heartfelt tribute to the man who gave Hayes his start in 1956 with “Señor Blues.” It was the beginning of a three-year col- laboration that helped codify both hard bop and the Rudy Van Gelder sound over five albums. Hayes left Silver in 1959 to join the Cannonball Adderley Quintet, but the two re- mained close until the hard-bop progenitor’s passing in 2014. Stints followed with Oscar Peterson, the Louis Hayes-Woody Shaw Quintet, Stan Getz, McCoy Tyner and the Can- nonball Legacy Band, which Hayes leads. Throughout his career he’s solidified a place as one of jazz’s most soulfully swinging drummers, and become a cornerstone of the legacy of Detroit-born percussionists that includes Elvin Jones, Roy Brooks, Frank Gant and Oliver Jackson, and extends forward to Gerald Cleaver. At Dizzy’s, Hayes used his hyper-responsive left hand to goose the soloists in his sextet while keeping the fugitive spirit alive with his right on the ride cymbal. His approach seemed to declare the ensemble’s m.o., which balanced rhythmic ferocity and harmonic adventurousness with a reverence for the Silver sprezzatura.
    [Show full text]
  • Jazz Woodwind Syllabus Flute, Clarinet & Saxophone
    Jazz Woodwind Syllabus Flute, Clarinet & Saxophone Grade exams 2015–2016 Trinity College London www.trinitycollege.com Charity number 1014792 Patron HRH The Duke of Kent KG Chief Executive Sarah Kemp Copyright © 2014 Trinity College London Published by Trinity College London Online edition, 6 September 2016 Back to contents Important information Changes from the previous syllabus There are changes to the repertoire at all grades. Two group A pieces and one group B piece must be chosen. All jazz grade candidates are now required to perform one or two pieces containing improvisation Revisions have been made to scales and arpeggios at Grades 5–8. At Grades 1–5 new exercises are available, and at Grades 6–8 the choice of studies has been extended. Exercises and studies may be performed as an alternative to scales and arpeggios. Supporting tests are unchanged. Please note that from 2015, candidates are required to provide the examiner with photocopies of all pieces being performed (excluding Trinity publications), in addition to bringing original copies or authorised downloads into the exam. Overlap arrangements This syllabus is valid from 1 January 2015. The 2013–2014 syllabus will remain valid until 31 December 2015, giving a one-year overlap. During this time, candidates may present pieces and technical work from either syllabus, but not a mixture of both. Impression information Please note that this is the first impression (June 2014). Candidates should refer to www.trinitycollege.com/music to ensure that they are using the latest impression of the syllabus. Contents Introduction ........................................................................................................................ 3 Why take a Trinity grade exam? ........................................................................
    [Show full text]
  • Title Format Released & His Orchestra South Pacific 12" 1958 Abdo
    Title Format Released & His Orchestra South Pacific 12" 1958 Abdo, George & The Flames of Araby Orchestra Joy of Belly Dancing 12" 1975 Abdo, Geroge & The Flames of Araby Orchestra Art of Belly Dancing 12" 1973 Abney, Don, Jimmy Raney, Oscar Pettiford Music Minus One: A Rhythm Background Record For Any Musician Or Vocalist 12" 19NA Abrams, Muhal Richard Duet 12" 1981 Adderley, Cannonball The Cannonball Adderley Collection - Vol. 7: Cannonball in Europe 12" 1986 Somethin' Else 12" 1984 Domination 12" 1964 Cannonball Adderley Quintet In Chicago 12" 1959 African Waltz 12" 1961 Cannonball Takes Charge 12" 1959 Adderley, Cannonball Quintet Mercy, Mercy, Mercy! Live at 'The Club' 12" 19NA Ade, King Sunny Synchro System 12" 1983 Adelade Robbins Trio, Barbara Carroll Trio Lookin' for a Boy 12" 1958 Akiyosh, Toshiko-Lew Tabackin Big Band Road Time 12" 2 LPs 1976 Akiyoshi, Toshiko Lew Tabackin Big Band Tales of a Courtesan (Oirantan) 12" 1976 Albam, Manny Jazz Heritage: Jazz Greats of Our Time, Vol. 2 12" 1958 Alexander, Monty Alexander The Great 12" 1965 Facets 12" 1980 Monty Strikes Again: Monty Alexander Live In Germany 12" 1976 Duke Ellington Songbook 12" 1984 Spunky 12" 1965 Alexander, Monty & Ernest Ranglin Just Friends 12" 1981 Alexandria, Lorez The Band Swings Lorez Sings 12" 1988 Alexandria the Great 12" 1964 Lorez Sings Pres: A Tribute to Lester Young 12" 1987 For Swingers Only 12" 1963 Page 1 of 67 Title Format Released Alexandria, Lorez This Is Lorez 12" 1958 More Of The Great Lorez Alexandria 12" 1964 Allen, "Red" With Jack Teagarden And Kid Ory At Newport 12" 1982 Allen, Henry "Red" Giants Of Jazz 3 LP Box Set 1981 Ride, Red, Ride in Hi-Fi 12" 1957 Ridin' With Red 10" 1955 Allison, Mose V-8 Ford Blues 12" 1961 Back Country Suite 12" 1957 Western Man 12" 1971 Young Man Mose 12" 1958 Almeida, Laurindo with Bud Shank Brazilliance, Vol.
    [Show full text]
  • Sketches of Kg
    August 2013 | No. 136 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com KENNY GARRETT SKETCHES OF KG CRAIG • ANDY • SAM • JAZZHAUS • EVENT HARRIS MILNE ULANO RECORDS CALENDAR AUGUST 2013 EARL KLUGH ABBY DOBSON PAQUITO D’RIVERA & HIS LUKE CELENZA JULY 30 - AUG 4 AUG 5 PANAMERICANA ENSEMBLE AUG 12 AUG 6-11 ERIC JOHNSON & MIKE STERN LIBERATION PROPHECY ROY HARGROVE BIG BAND LAKECIA BENJAMIN ROY AYERS ECLECTIC GUITARS AUG 19 WITH SPECIAL GUEST AUG 26 AUG 27-SEP 1 AUG 13-18 ROBERTA GAMBARINI AUG 20-25 LATE NIGHT GROOVE SERIES SUNDAY BRUNCH SERIES SPIRITCHILD & MENTAL NOTES AUG 2 SPECIAL BRAZILIAN THEME - AUGUST ONLY EVA CORTES AUG 3 FEATURING FEIJOADA, BRAZILIAN FISH STEW, COURTNEY BRYAN AUG 9 AND BATIDAS! RACHEL ECKROTH AUG 10 DARREN LYONS AUG 16 HIROMI SUDA SEXTET AUG 4 SAM KINNINGER AUG 17 VIC JURIS BRAZILIAN BAND W/ KATE BAKER AUG 11 NICK SAMPLE AUG 23 AMANDA RUZZA AUG 18 AKIM FUNK BUDDHA AUG 24 NANNY ASSIS AUG 25 TBA AUG 30 AL MACDOWELL’S “JUST ORNETTE” AUG 31 TELECHARGE.COM TERMS, CONDITIONS AND RESTRICTIONS APPLY “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK FEATURED ARTISTS / 7pm, 9pm & 10:30 ONE NIGHT ONLY / 7pm, 9pm & 10:30 RESIDENCIES / 7pm, 9pm & 10:30 Sundays Aug 4, 18 Friday & Saturday Aug 2 & 3 Thursday Aug 1 SaRon Crenshaw Band MARK GROSS QUINTET Vivian Sessoms Sundays Aug 11, 25 “BLACKSIDE”-CD RELEASE EVENT Wednesday Aug 7 Allan Harris EJ Strickland Quintet Mondays Aug 5, 19 Friday & Saturday Aug 9 & 10 Captain Black Big Band A TRIBUTE TO MULGREW MILLER Tuesday Aug 13 Mondays Aug 12, 26 Aaron Comess Jason Marshall Big Band THE STEVE NELSON QUARTET Tuesdays Aug 6, 20, 27 Friday & Saturday Aug 16 & 17 Wednesday Aug 14 Mike LeDonne Groover Quartet Annette St.
    [Show full text]
  • At the Jazz Band Ball
    ROTH FAMILY FOUNDATION Music in America Imprint Michael P. Roth and Sukey Garcetti have endowed this imprint to honor the memory of their parents, Julia and Harry Roth, whose deep love of music they wish to share with others. The publisher gratefully acknowledges the generous support of the Music in America Endowment Fund of the University of California Press Foundation, which was established by a major gift from Sukey and Gil Garcetti, Michael P. Roth, and the Roth Family Foundation. At the Jazz Band Ball NEA Jazz Masters, 2004, left to right from back row: George Russell, Dave Brubeck; second row: David Baker, Percy Heath, Billy Taylor; third row: Nat Hentoff, Jim Hall, James Moody; fourth row: Jackie McLean, Chico Hamilton, Gerald Wilson, Jimmy Heath; fifth row: Ron Carter, Anita O’Day; sixth row: Randy Weston, Horace Silver; standing next to or in front of balustrade: Benny Golson, Hank Jones, Frank Foster (seated), Cecil Taylor, Roy Haynes, Clark Terry (seated), Louie Bellson, NEA Chairman Dana Gioia. Photograph by Tom Pich. At the Jazz Band Ball Sixty Years on the Jazz Scene Nat Hentoff Foreword by Lewis Porter UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd.
    [Show full text]
  • 1 ARTS 615 Instructor: Noah Baerman Jazz in the Sixties Nbaerman
    ARTS 615 Instructor: Noah Baerman Jazz in the Sixties [email protected] Wesleyan University Graduate Liberal Studies Program Summer, 2020 Overview The 1960s were a turbulent but stimulating time for the world of jazz. The R&B based soul jazz movement was at its peak and often at odds with the still developing avant-garde aesthetic. Certain other influences, such as those of Brazilian and African music were becoming widespread in jazz for the first time. Older forms of jazz like bebop, big band music and traditional jazz (or “Dixieland”) were struggling to remain viable and relevant. Rock music’s surge in popularity was threatening the commercial solvency of jazz while acting as a musical and cultural force to which all jazz musicians had to react in some manner. Meanwhile much of this decade’s jazz is inexorably linked to the political and social upheaval of the era, particularly those aspects relating to African-Americans’ sense of identity and struggles for equality. In this course, we will broadly explore the various movements that made up the jazz of this decade. We will delve more deeply into the music of some of the most important figures in jazz during this time, such as Art Blakey, John Coltrane, Miles Davis, Ornette Coleman, Charles Mingus, Stan Getz, Rahsaan Roland Kirk, Jimmy Smith, Yusef Lateef, and Sun Ra. We will study musicians who typified a particular movement, those who assimilated several into a personal style, and those who moved freely among factions. All the while, we will be contextualizing the music within the social and political climate of the decade and the broader artistic and commercial landscape of music at the time.
    [Show full text]