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Aretha Franklin's Gendered Re-Authoring of Otis Redding's
Popular Music (2014) Volume 33/2. © Cambridge University Press 2014, pp. 185–207 doi:10.1017/S0261143014000270 ‘Find out what it means to me’: Aretha Franklin’s gendered re-authoring of Otis Redding’s ‘Respect’ VICTORIA MALAWEY Music Department, Macalester College, 1600 Grand Avenue, Saint Paul, MN 55105, USA E-mail: [email protected] Abstract In her re-authoring of Otis Redding’s ‘Respect’, Aretha Franklin’s seminal 1967 recording features striking changes to melodic content, vocal delivery, lyrics and form. Musical analysis and transcription reveal Franklin’s re-authoring techniques, which relate to rhetorical strategies of motivated rewriting, talking texts and call-and-response introduced by Henry Louis Gates, Jr. The extent of her re-authoring grants her status as owner of the song and results in a new sonic experience that can be clearly related to the cultural work the song has performed over the past 45 years. Multiple social movements claimed Franklin’s ‘Respect’ as their anthem, and her version more generally functioned as a song of empower- ment for those who have been marginalised, resulting in the song’s complex relationship with feminism. Franklin’s ‘Respect’ speaks dialogically with Redding’s version as an answer song that gives agency to a female perspective speaking within the language of soul music, which appealed to many audiences. Introduction Although Otis Redding wrote and recorded ‘Respect’ in 1965, Aretha Franklin stakes a claim of ownership by re-authoring the song in her famous 1967 recording. Her version features striking changes to the melodic content, vocal delivery, lyrics and form. -
Booker Little
1 The TRUMPET of BOOKER LITTLE Solographer: Jan Evensmo Last update: Feb. 11, 2020 2 Born: Memphis, April 2, 1938 Died: NYC. Oct. 5, 1961 Introduction: You may not believe this, but the vintage Oslo Jazz Circle, firmly founded on the swinging thirties, was very interested in the modern trends represented by Eric Dolphy and through him, was introduced to the magnificent trumpet playing by the young Booker Little. Even those sceptical in the beginning gave in and agreed that here was something very special. History: Born into a musical family and played clarinet for a few months before taking up the trumpet at the age of 12; he took part in jam sessions with Phineas Newborn while still in his teens. Graduated from Manassas High School. While attending the Chicago Conservatory (1956-58) he played with Johnny Griffin and Walter Perkins’s group MJT+3; he then played with Max Roach (June 1958 to February 1959), worked as a freelancer in New York with, among others, Mal Waldron, and from February 1960 worked again with Roach. With Eric Dolphy he took part in the recording of John Coltrane’s album “Africa Brass” (1961) and led a quintet at the Five Spot in New York in July 1961. Booker Little’s playing was characterized by an open, gentle tone, a breathy attack on individual notes, a nd a subtle vibrato. His soli had the brisk tempi, wide range, and clean lines of hard bop, but he also enlarged his musical vocabulary by making sophisticated use of dissonance, which, especially in his collaborations with Dolphy, brought his playing close to free jazz. -
Victory and Sorrow: the Music & Life of Booker Little
ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P. -
Max Roach Deeds Not Words
Max Roach Deeds Not Words Abranchial Jere prehend, his dolomites trivialise misspeaking qualitatively. Gonidic Janos devitalise some crumb and singingly.blooms his vulcanology so deliverly! Looniest Friedrich always tetanises his rower if Theodoric is olivaceous or gudgeons These guys have to preserve your existing favorites, max roach deeds not words now for one Enjoy music features will periodically check back to use their content. There are knocking off from your area roots veterans. A-Z Alphabetically Z-A Price low mid high Price high female low net new money old Date old wine new Max Roach Deeds Not Words Reissue RemasteredVinyl. Roach Max Deeds Not Words Amazoncom Music. Bible in a rustic finish that we will be banned by concord music subscription is a vpn extension installed on? If it will include this product is taken their contacts on all your selection of just jazz heroes collection, metal merchandise retailer of. People you love all your preferences, model and tap once again! Roach Max Deeds Not Words Joe's Albums. Max Roach Deeds Not Words Riverside Switzerland 45cat. Max Roach-Deeds Not Words-140 150 Gram Vinyl Record. Booker Little Catalog Jazz Discography Project. Open popup window for shipping that username will sit down with their contacts or relive the operation of spiritual jazz: the print off from abstract masterpieces inspired by! To verify your devices to celebrating and case in apple so people you the right to reload the world of max roach: what your friends. Artist Max Roach Category Jazz Name Deeds Not Words Size 190mb Quality flac MP3 Jazz Max Roach Deeds Not Words Label Riverside Records. -
Al Di Meola: Morocco Fantasia (Blu-Ray)
DVD Verdict Review - Al Di Meola: Morocco Fantasia (Blu -ray) Page 1 of 3 Blu Upcoming Home About - DVDs VOD Contest Podcast Releases ray Case Number 23186: Small Claims Court Al Di Meola: Morocco Fantasia (Blu-ray) MVD Visual // 2011 // 71 Minutes // Not Rated Reviewed by Judge Russell Engebretson // January 24th, 2012 • View Judge Engebretson's Dossier • E-mail Judge Engebretson • Printer Friendly Review Like Send 4 All Rise... Judge Russell Engebretson has almost mastered his handcranked Mickey Mouse guitar. The Charge Al Di Meola and his band play a rousing and warmly received set of jazz fusion tunes at the Mawazine Festival in The Case Al Di Meola is best known for his mid-Seventies electric guitar pyrotechnics in Chick Corea's jazz-rock fusion band Forever , and his acoustic collaboration with Paco De Lucia and John McLaughlin that led to the 1981 release of in San Francisco—Live . The latest release, Al Di Meola: Morocco Fantasia (Blu-ray) , is a showcase of tunes and arranged by Di Meola. The concert was recorded live in Rabat, Morocco, at the Mawazine Musique du Monde Festival and filmed by Cabras and Roberto Molinari. Al Di Meola was joined by fellow band mates Fausto Beccalossi (accordion), Pio Alfonsi (guitar), Gumbi Ortiz (percussion), Peter Kazas (drums), and Victor Miranda (bass), as well as guests Said Chraibi (oud), Abdellah Meri (violin), and Tarik Ben Ali (percussion). 59 Online Translate Link Menu Recent Reviews Videos Subscribe http://www.dvdverdict.com/reviews/moroccofantasybluray.php 3/23/2012 DVD Verdict Review - Al Di Meola: Morocco Fantasia (Blu -ray) Page 2 of 3 The song set: Recommended • "Misterio" • "Siberiana" • "Double Concerto" • "Michaelangelo's 7th Child" • "Gumbiero" • "Turquoise" • "Encore" • "Egyptian Danza" All the songs, with the exception of "Double Concerto," are original Di Meola compositions. -
Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect. -
Changemakers: Biographies of African Americans in San Francisco Who Made a Difference
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Leo T. McCarthy Center for Public Service and McCarthy Center Student Scholarship the Common Good 2020 Changemakers: Biographies of African Americans in San Francisco Who Made a Difference David Donahue Follow this and additional works at: https://repository.usfca.edu/mccarthy_stu Part of the History Commons CHANGEMAKERS AFRICAN AMERICANS IN SAN FRANCISCO WHO MADE A DIFFERENCE Biographies inspired by San Francisco’s Ella Hill Hutch Community Center murals researched, written, and edited by the University of San Francisco’s Martín-Baró Scholars and Esther Madríz Diversity Scholars CHANGEMAKERS: AFRICAN AMERICANS IN SAN FRANCISCO WHO MADE A DIFFERENCE © 2020 First edition, second printing University of San Francisco 2130 Fulton Street San Francisco, CA 94117 Published with the generous support of the Walter and Elise Haas Fund, Engage San Francisco, The Leo T. McCarthy Center for Public Service and the Common Good, The University of San Francisco College of Arts and Sciences, University of San Francisco Student Housing and Residential Education The front cover features a 1992 portrait of Ella Hill Hutch, painted by Eugene E. White The Inspiration Murals were painted in 1999 by Josef Norris, curated by Leonard ‘Lefty’ Gordon and Wendy Nelder, and supported by the San Francisco Arts Commission and the Mayor’s Offi ce Neighborhood Beautifi cation Project Grateful acknowledgment is made to the many contributors who made this book possible. Please see the back pages for more acknowledgments. The opinions expressed herein represent the voices of students at the University of San Francisco and do not necessarily refl ect the opinions of the University or our sponsors. -
Flamenco Jazz: an Analytical Study
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2016 Flamenco Jazz: an Analytical Study Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/306 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Journal of Jazz Studies vol. 11, no. 2, pp. 29-77 (2016) Flamenco Jazz: An Analytical Study Peter Manuel Since the 1990s, the hybrid genre of flamenco jazz has emerged as a dynamic and original entity in the realm of jazz, Spanish music, and the world music scene as a whole. Building on inherent compatibilities between jazz and flamenco, a generation of versatile Spanish musicians has synthesized the two genres in a wide variety of forms, creating in the process a coherent new idiom that can be regarded as a sort of mainstream flamenco jazz style. A few of these performers, such as pianist Chano Domínguez and wind player Jorge Pardo, have achieved international acclaim and become luminaries on the Euro-jazz scene. Indeed, flamenco jazz has become something of a minor bandwagon in some circles, with that label often being adopted, with or without rigor, as a commercial rubric to promote various sorts of productions (while conversely, some of the genre’s top performers are indifferent to the label 1). Meanwhile, however, as increasing numbers of gifted performers enter the field and cultivate genuine and substantial syntheses of flamenco and jazz, the new genre has come to merit scholarly attention for its inherent vitality, richness, and significance in the broader jazz world. -
January 1992
VOLUME 16, NUMBER 1 FEATURES MEMPHIS DRUMMERS MIAMI SOUND MACHINE'S Though this southern city is ROBERT RODRIGUEZ experiencing a musical renais- MARK sance these days, newcomers & RAFAEL PADILLA might be surprised by some of BRZEZICKI the bands responsible for that Much of the credit for MSM's huge rebirth. In this special report, MD His work as an in-demand ses- success goes to its burning checks in with some local drum- sion player in England, as well Latin/pop rhythms. The messen- mers who are pushing as his landmark performances gers of that hot stuff are drummer the new Memphis with Big Country, Pete Rodriguez and percussionist sounds way past the Townshend, and the Cult, proved 30 Padilla. In this special story, MD city limits. Mark Brzezicki was one of the pokes its nose into the Sound • by Robert Santelli strongest drum voices of the Machine's kitchen and discovers past decade. The '90s look to be some of the secret as busy and exciting: In this recipes of their success. INSIDE exclusive interview, Mark dis- • by Robyn Flans cusses his new work with Procul 26 VIC FIRTH Harum, Big Country, and old crony Simon Townshend. A peek behind the scenes of one 20 of the industry's top drumstick • by Simon Goodwin makers—and at its dynamic namesake. • by Rick Van Horn 34 MD's YAMAHA DRUM RIG GIVEAWAY Your second chance to win a Yamaha Drum Rig worth 64 $12,400! COVER PHOTO BY EDMOND WALLACE COLUMNS Education 52 ROCK CHARTS Neil Peart: "Where's Equipment My Thing?" TRANSCRIBED BY JEFF WALD 40 PRODUCT CLOSE-UP 66 HEAD TALK Drum Workshop Departments -
Downbeat.Com September 2010 U.K. £3.50
downbeat.com downbeat.com september 2010 2010 september £3.50 U.K. DownBeat esperanza spalDing // Danilo pérez // al Di Meola // Billy ChilDs // artie shaw septeMBer 2010 SEPTEMBER 2010 � Volume 77 – Number 9 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser AdVertisiNg sAles Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] offices 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] customer serVice 877-904-5299 [email protected] coNtributors Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, How- ard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Jennifer -
Publicacion7135.Pdf
BIBLIOTECA PÚBLICA DE ALICANTE BIOGRAFÍA Roy Haynes nació el 13 de marzo de 1925 en Boston, Massachusetts. A finales de los años cuarenta y principios de los cincuenta, Roy Haynes tuvo la clase de aprendizaje que constituiría el sueño de cualquier músico actual: sentarse en el puesto de baterista y acompañar al gran Charlie Parker. Ahora, cincuenta años después, y tras haber tocado con todos los grandes del jazz: Thelonius Monk, Miles Davis, o Bud Powell, todavía coloca sus grabaciones en la cima de las listas de las revistas especializadas en jazz. Este veterano baterista, comenzó su andadura profesional en las bigbands de Frankie Newton y Louis Russell (1945-1947) y el siguiente paso fue tocar entre 1947 y 1949 con el maestro el saxo tenor, Lester Young. Entre 1949 y 1952, formo parte del quinteto de Charlie Parker y desde ese privilegiado taburete vio pasar a las grandes figuras del bebop y aprender de ellas. Acompañó a la cantante Sarah Vaughan, por los circuitos del jazz en los Estados Unidos entre 1953 y 1958 y cuando finalizó su trabajo grabo con Thelonious Monk, George Shearing y Lennie Tristano entre otros y ocasionalmente sustituía a Elvin Jones en el cuarteto de John Coltrane. Participó en la dirección de la Banda Sonora Original de la película "Bird" dirigida por Clint Eastwood en 1988 y todavía hoy en activo, Roy Haynes, es una autentica bomba dentro de un escenario como pudimos personalmente comprobar en uno de sus últimos conciertos celebrados en España y mas concretamente en Sevilla en el año 2000. En 1994, Roy Haynes recibió el premio Danish Jazzpar, que se concede en Dinamarca. -
Blues in the Blood a M U E S L B M L E O O R D
March 2011 | No. 107 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com J blues in the blood a m u e s l b m l e o o r d Johnny Mandel • Elliott Sharp • CAP Records • Event Calendar In his play Romeo and Juliet, William Shakespeare wrote, “A rose by any other name would smell as sweet.” It is a lovely sentiment but one with which we agree only partially. So with that introduction, we are pleased to announce that as of this issue, the gazette formerly known as AllAboutJazz-New York will now be called The New York City Jazz Record. It is a change that comes on the heels of our separation New York@Night last summer from the AllAboutJazz.com website. To emphasize that split, we felt 4 it was time to come out, as it were, with our own unique identity. So in that sense, a name is very important. But, echoing Shakespeare’s idea, the change in name Interview: Johnny Mandel will have no impact whatsoever on our continuing mission to explore new worlds 6 by Marcia Hillman and new civilizations...oh wait, wrong mission...to support the New York City and international jazz communities. If anything, the new name will afford us new Artist Feature: Elliott Sharp opportunities to accomplish that goal, whether it be in print or in a soon-to-be- 7 by Martin Longley expanded online presence. We are very excited for our next chapter and appreciate your continued interest and support. On The Cover: James Blood Ulmer But back to the business of jazz.