Joe Williamswas Born on the Outskirts of Georgia in a Lown Called Cordele
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography………………………………………………………………………………. -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
Finding Aid to the Historymakers ® Video Oral History with Johnny Pate
Finding Aid to The HistoryMakers ® Video Oral History with Johnny Pate Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Pate, Johnny Title: The HistoryMakers® Video Oral History Interview with Johnny Pate, Dates: September 30, 2004 Bulk Dates: 2004 Physical 5 Betacame SP videocasettes (2:29:11). Description: Abstract: Jazz bassist and music arranger Johnny Pate (1923 - ) formed the Johnny Pate Trio and Combo, and was house bassist for Chicago’s The Blue Note. Johnny Pate’s bass solo on “Satin Doll” is featured on the album "Duke Ellington Live at The Blue Note," and he has collaborated with Curtis Mayfield, produced the Impressions’s hits “Amen,” “We’re A Winner” and “Keep On Pushin’.” and arranged for B.B. King, Gene Chandler and Jerry Butler. Pate was interviewed by The HistoryMakers® on September 30, 2004, in Las Vegas, Nevada. This collection is comprised of the original video footage of the interview. Identification: A2004_188 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Jazz bassist, rhythm and blues arranger John W. Pate, Sr., “Johnny Pate,” was born December 5, 1923 in blue collar Chicago Heights, Illinois. Pate took an interest in the family’s upright piano and learned from the church organist who boarded with them. He attended Lincoln Elementary School, Washington Junior High and graduated from Bloom Township High School in 1942. Drafted into the United graduated from Bloom Township High School in 1942. Drafted into the United States Army, Pate joined the 218th AGF Army Band where he took up the tuba and played the upright bass in the jazz orchestra. -
Finding Aid to the Historymakers ® Video Oral History with Sonny Rollins
Finding Aid to The HistoryMakers ® Video Oral History with Sonny Rollins Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Rollins, Sonny Title: The HistoryMakers® Video Oral History Interview with Sonny Rollins, Dates: December 3, 2016 Bulk Dates: 2016 Physical 8 uncompressed MOV digital video files (3:30:19). Description: Abstract: Jazz composer and saxophonist Sonny Rollins (1930 - ) composed the jazz standards “Oleo,” “Airegin,” and “Doxy,” and released over sixty albums in his name, including Saxophone Colossus (1956) and Freedom Suite (1958). Rollins was interviewed by The HistoryMakers® on December 3, 2016, in Woodstock, New York. This collection is comprised of the original video footage of the interview. Identification: A2016_113 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Jazz composer and saxophonist Sonny Rollins was born on September 7, 1930 in New York City. His parents, immigrants from the U.S. Virgin Islands, raised him in Manhattan’s central Harlem and Sugar Hill neighborhoods. Rollins received his first alto saxophone at seven years old; and was heavily influenced by saxophonist Charlie Parker by the time he enrolled at Edward W. Stitt Junior High School. Rollins switched to tenor saxophone, and was mentored by pianist Thelonious Monk. Upon graduating from high school, Rollins made his first recordings with Babs Gonzales, J.J. Johnson, Bud Powell, and Fats Navarro. He went on to record with such jazz legends as Miles Davis, the Modern Jazz Quartet, Charlie Parker and Thelonious Monk. In 1954, Rollins’ compositions “Oleo,” “Airegin,” and “Doxy” were featured on Miles Davis’ Bags' Groove. -
June-July 1980
VOL. 4 NO. 3 FEATURES: CARL PALMER As a youngster, Carl Palmer exhibited tremendous drumming ability to audiences in his native England. Years later, he ex- hibited his ability to audiences world wide as one third of the legendary Emerson, Lake and Palmer. With the breakup of E.L.P., Palmer has expanded in new directions with the forma- tion of his own band, P.M. 12 BILL GOODWIN Bill Goodwin has played with a variety of musicians over the years, including Art Pepper, George Shearing, Mose Allison and currently with Phil Woods. Goodwin discusses the styles and demands of the various musicians he worked with. And though Goodwin is a renowned sideman, he is determined to branch out with some solo projects of his own. 22 DEREK PELLICCI Derek Pellicci of the successful Little River Band, speaks candidly about his responsibilities with the band versus his other love, session work. Pellicci is happiest creating under studio session pressure. The drummer also discusses the impor- tance of sound in regards to the drums and the care that must go into achieving the right sound. 28 THE GREAT JAZZ DRUMMERS: SHOP HOPPIN' AT DRUMS PART I 16 UNLIMITED 30 MD'S SECOND ANNUAL READERS POLL RESULTS 24 COLUMNS: EDITOR'S OVERVIEW 2 DRIVER'S SEAT Controlling the Band READER'S PLATFORM 5 by Mel Lewis 42 ASK A PRO 6 SHOP TALK Different Cymbals for Different Drummers IT'S QUESTIONABLE 8 by Bob Saydlowski, Jr 46 ROCK PERSPECTIVES SLIGHTLY OFFBEAT Odd Rock, Part 2 Pioneering Progressive Percussion by David Garibaldi 32 by Cheech Iero 50 JAZZ DRUMMER'S WORKSHOP DRUM -
The Music of Rhythm Willie Can Be at Once a Blues Harmonica Fan's Most Exciting and Most Frustrating Discovery
Copyright Scott Dirks, for Blues & Rhythm magazine The music of Rhythm Willie can be at once a blues harmonica fan's most exciting and most frustrating discovery. His recordings reveal a technically accomplished and musically innovative player, with few peers on the standard 10-hole Marine Band harmonica in his day. A strong case can be made for his position as the first truly urban blues harp player; at a time when the harmonica was still used in black music essentially for 'country' adornment, Rhythm Willie was utilizing it with the urbanity of a jazz trumpeter or clarinetist. Yet until recently almost nothing was known of him other than the sound of his harmonica in the grooves of a handful of rare 78s recorded in Chicago between 1939 and 1950. Overlooked by blues researchers and historians for over 40 years, mention of his name draws only blank expressions or resigned shrugs from most blues authorities. Listening for biographical clues in his music reveals virtually nothing about the artist--his only recordings as a leader were all instrumentals. Further compounding the mystery, most of Willie's appearances as an accompanist on the recordings of other blues artists are attributed to "unknown harmonica" or "possibly Lee McCoy" in published discographies (a situation which this article will examine and attempt to rectify.) In fact, given his extraordinary range and talent, referring to Rhythm Willie as simply a "blues" harmonica player might be slightly unfair, and in retrospect it's easy to imagine that Willie himself may have gone to some lengths to avoid being classified with the blues harp players he probably considered to be his musically less sophisticated country cousins. -
Page | 1 VON FREEMAN NEA JAZZ MASTER (2012) Interviewee: Von
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. VON FREEMAN NEA JAZZ MASTER (2012) Interviewee: Von Freeman (October 3, 1923 – August 11, 2012) Interviewer: Steve Coleman Date: May 23-24, 2000 Repository: Archives Center, National Museum of American History Description: Transcript, 110 pp. Coleman: Tuesday, May 23rd, 2000, 5:22 pm, Von Freeman oral history. My name: I’m Steve Coleman. I’ll keep this in the format that I have here. I’d like to start off with where you were born, when you were born. Freeman: Let’s see. It’s been a little problem with that age thing. Some say 1922. Some say 1923. Say 1923. Let’s make me a year younger. October the 3rd, 1923. Coleman: Why is there a problem with the age thing? Freeman: I don’t know. When I was unaware that they were writing, a lot of things said that I was born in ’22. I always thought I was born in ’23. So I asked my mother, and she said she couldn’t remember. Then at one time I had a birth certificate. It had ’22. So when I went to start traveling overseas, I put ’23 down. So it’s been wavering between ’22 and ’23. So I asked my brother Bruz. He says, “I was always two years older than you, two years your elder.” So that put me back to 1923. So I just let it stand there, for all the hysterians – historian that have written about me. -
The Avant-Garde in Jazz As Representative of Late 20Th Century American Art Music
THE AVANT-GARDE IN JAZZ AS REPRESENTATIVE OF LATE 20TH CENTURY AMERICAN ART MUSIC By LONGINEU PARSONS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2017 © 2017 Longineu Parsons To all of these great musicians who opened artistic doors for us to walk through, enjoy and spread peace to the planet. ACKNOWLEDGMENTS I would like to thank my professors at the University of Florida for their help and encouragement in this endeavor. An extra special thanks to my mentor through this process, Dr. Paul Richards, whose forward-thinking approach to music made this possible. Dr. James P. Sain introduced me to new ways to think about composition; Scott Wilson showed me other ways of understanding jazz pedagogy. I also thank my colleagues at Florida A&M University for their encouragement and support of this endeavor, especially Dr. Kawachi Clemons and Professor Lindsey Sarjeant. I am fortunate to be able to call you friends. I also acknowledge my friends, relatives and business partners who helped convince me that I wasn’t insane for going back to school at my age. Above all, I thank my wife Joanna for her unwavering support throughout this process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF EXAMPLES ...................................................................................................... 7 ABSTRACT -
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. -
Is Merc S Rusty Draper a Country-Style' Laine?
rii 18, I1 Chicago, April '8. 1952 NEWS DOWN BEAT 3 Is Merc s Rusty Draper Wax Happy | Look, Ma, Hands! New Hit, 'Hambone,' A Country-Style' Laine? V Hollywood—Mercuryrecently-bigued Rusty Draper, who Is A Dance That Isn't cnnld Im* the next Miles-senaation at thr country’s diac dis penseriez (if hr survives attention in this column, where By Jack Tracy corners, etc. many promising newcomer* end their careers), would like Chicago—Stepping smartly It first came to Red’s attention U« «Iraightcn the record anent his ■S’--------------------------------------------------------- along the same successful trail when he wa., watching a local ama fri«h* Local 47 Boosts trod by the Charleston, the teur hour TV show and saw a lit tle fellow going through the whole We c Aught Rusty during his Qrnlf» Fnr Cnqiinlq Hucklebuck. the Lindy Hop. routine. Think ng it would be a first wax workout when he came CUiUUl 5 el al, is the newest dance sensation. great gimmick if he could find a down here from San Francisco to Hollywood—local 47’s board of Hambon«“. way to use it, he called Danny cut his first four sides with a directors has okayed an increase Only there’s a twist. The terpsi- Kessler, Okeh’s a. and r. man who studio ork under Nelson Riddle. in the scale for casual engage chorean efforts are performed by was in town, and told him about it Should Do Well ments, effective April 1. New rate the hands, not the feet. Dug It We might as well admit that for sidemen will be $14 for two Personal Approach They took the youngster (Sam we heard and saw a young fellow hours or less up to midnight, in To do the hambone is to slap my McGrier is his name) to a re who has something that ought to stead of .<12 as formerly. -
Black Music Research Newsletter, Fall 1987
Columbia College Chicago Digital Commons @ Columbia College Chicago Center for Black Music Research: Black Music Research Newsletter Publications Fall 9-1-1987 Black Music Research Newsletter, Fall 1987 Samuel Floyd Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cbmrnews Part of the Arts and Humanities Commons, and the Education Commons Recommended Citation Floyd, Samuel, "Black Music Research Newsletter, Fall 1987" (1987). Center for Black Music Research: Black Music Research Newsletter. 25. https://digitalcommons.colum.edu/cbmrnews/25 This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Center for Black Music Research: Black Music Research Newsletter by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. BLACK MUSIC RESEARCH NEWSLETTER. C B \I R COLUMBIA COLLEGE CHICAGO Vol. 9, No. 2 ISSN Number 0271-3799 Fall 1987 Chicago's Jazz Trail: 1893-1950 by Dempsey/. Travis, Chicago, [llinois Chicago's 1893 World Columbian Ex The Haitian Pavilion was an in or mentally drained while working in position was the magnet that attracted cubator for jazz music; it was there that Sedalia or St. Louis, he would return hundreds of black itinerant musicians, Scott Joplin and others discovered that to Chicago to be rejuvenated by the entertainers, intellectuals, and hustlers many of their fellow black musicians beauty of Lake Michigan, the smell of to its doorsteps. They all came to had developed musical skills in isola the stockyards, and the sounds of the Abraham Lincoln's city by the lake in tion from each other in various sections honky tonks in the red-Llght district. -
Chicago Music Communities and the Everyday Significance of Playing Jazz
MUSIC PRACTICES AS SOCIAL RELATIONS: CHICAGO MUSIC COMMUNITIES AND THE EVERYDAY SIGNIFICANCE OF PLAYING JAZZ by John Frederic Behling A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2010 Doctoral Committee: Professor Mark Allan Clague, Chair Professor Paul A. Anderson Professor Kelly M. Askew Professor Charles Hiroshi Garrett Copyright John Frederic Behling 2010 Acknowledgements In this dissertation, I argue that the solos of jazz musicians spring from the practices of the communities in which they live. What holds true for expression and creativity in jazz is no less true of academic research and writing. This dissertation would not be possible without the support and encouragement of many communities and individuals. I thank all the musicians in Chicago who played music with me and welcomed me into their communities. I am especially grateful to Aki Antonia Smith, Edwina Smith, Scott Earl Holman, and Ed Breazeale for befriending me and introducing me to the musicians and communities about whom I write. I am also grateful for the support of my academic community. Kelly Askew introduced me to the anthropological side of ethnomusicology. Her writing showed me what compassionate and concrete ethnography should be like. Paul Anderson’s late night seminars helped me understand that musical practices have philosophical and psychological significance and that jazz criticism is part of a much larger and long- standing intellectual conversation. Charles Hiroshi Garrett, a late addition to my committee, embraced this project with enthusiasm. His generous encouragement and insightful comments are greatly appreciated.