Yusef Lateef Jazz 'Round the World Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Yusef Lateef Jazz 'Round The World mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Jazz 'Round The World Country: Germany Style: Post Bop, Modal MP3 version RAR size: 1566 mb FLAC version RAR size: 1925 mb WMA version RAR size: 1506 mb Rating: 4.3 Votes: 377 Other Formats: APE MP2 XM VQF VOX DMF AC3 Tracklist A1 Abana 2:20 A2 India 4:09 A3 You, So Tender And Wistful 2:29 A4 Yusef's French Brother 4:10 A5 The Volga Rhythm Song 2:03 B1 Trouble In Mind 3:12 B2 The Good Old Roast Beef Of England 2:31 B3 Raisins And Almonds 3:05 B4 Utopia 2:47 B5 Ringo Oiwake 4:18 Credits Bass – Ernie Barrows* Drums – Lex Humphries Engineer – Rudy Van Gelder Photography By – Charles Stewart* Piano – Hugh Lawson Producer – Bob Thiele Tenor Saxophone, Bassoon, Oboe, Flute, Shenai – Yusef Lateef Trumpet – Richard Williams Notes Recorded 19 and 20 December, 1963. Other versions Category Artist Title (Format) Label Category Country Year AS-56 Yusef Lateef Jazz 'Round The World (LP) Impulse! AS-56 US 1964 Jazz 'Round The World (LP, AS-56 Yusef Lateef Impulse! AS-56 US 1972 Album, RE) Jazz 'Round The World (LP, A-56 Yusef Lateef Impulse! A-56 US 1964 Album, Mono, Promo) Jazz 'Round The World (LP, A-56 Yusef Lateef Impulse! A-56 Germany 1964 Album, Mono) Jazz 'Round The World (LP, IMP 56 Yusef Lateef Impulse! IMP 56 France Unknown Album) Related Music albums to Jazz 'Round The World by Yusef Lateef Yusef Lateef - Yusef Lateef Yusef Lateef - La Flauta de Oro Yusef Lateef With Art Farmer - Autophysiopsychic Rahsaan Roland Kirk / Yusef Lateef - Separate But Equal Yusef Lateef - The Dreamer Yusef Lateef - Ballads & Dreams Yusef Lateef - Jazz For The Thinker Yusef Lateef - Yusef Lateef's Detroit Latitude 42° 30' Longitude 83° Yusef Lateef - Yusef Lateef Quintet Featuring Terry Pollard Yusef Lateef - Lateef At Cranbrook Yusef Lateef - 1984 Yusef Lateef - Live At Pep's.

Copy Link

Recommended publications

Downbeat.Com December 2014 U.K. £3.50
£3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes 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] Advertising Sales Associate Pete Fenech 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, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard 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: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman,
[Show full text]
Savoy and Regent Label Discography
Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli.
[Show full text]
The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
Graduate Theses, Dissertations, and Problem Reports 2019 The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett Curtis Goods West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Goods, Emmett Curtis, "The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964)" (2019). Graduate Theses, Dissertations, and Problem Reports. 7464. https://researchrepository.wvu.edu/etd/7464 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H.
[Show full text]
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
[Show full text]
New Jazz Label Discography
New Jazz Label Discography 10 Inch 100 Series: NJ 101 - Lennie Tristano and Lee Konitz - Lennie Tristano and Lee Konitz [1950] This album was reissued as Prestige 101. Side One Lee Konitz Marshmallow/Sound-Lee/Fishin’ Around/Tautology//Side Two Lennie Tristano Subconscious-Lee/Judy/Retrospection/Progression 10 Inch 1100 Series: NJLP 1101 - Jimmy Raney Quartet - Jimmy Raney Quartet [1954] Reissued as Prestige 201. Double Image/On the Square/Minor/Some Other Spring NJLP 1102 - Zoot Sims Quintet - Zoot Sims Quintet [1954] Reissued as Prestige 202. Howdy Podner/Toot, No. 2/Indian Summer/What's New? NJLP 1103 - Jimmy Raney Quintet - Jimmy Raney Quintet [1954] Reissued as Prestige 203. Stella by Starlight/Jo- Anne/Back and Blow/Five NJLP 1104 - Phil Woods Quintet - Phil Woods Quintet [1954] Reissued as Prestige 204. Pot Pie/Open Door/Robin's Bobbin'/Mad About the Girl NJLP 1105 - Jon Eardley Quartet - Jon Eardley Quartet [1955] Reissued as Prestige 205. Lute Leader/Indian Spring/Black/Cross NJLP 1106 - Teddy Charles Quartet - Teddy Charles Quartet [1955] Reissued as Prestige 206. Violetta/Relaxo Abstracto/Speak Low/Jay Walkin'/The Night We Called It a Day/I Can't Get Started 12 Inch 8200 Series: NJLP 8201 - Mal 3/Sounds - Mal Waldron [1/58] Tensions/Ollie's Caravan/The Cattin' Toddler/Portrait of a Young Mother/For Every Man There's a Woman NJLP 8202 - Roots – Prestige All Stars [1959] Roots/Sometimes I Feel Like a Motherless Child/Down by the Riverside NJLP 8203 - Farmer's Market - Art Farmer [1959] Reminiscing/By Myself/Wailing with Hank/With
[Show full text]
February 2006
FREE January 2011 www.sandiegotroubadour.com Vol. 10, No. 4 what’s inside Welcome Mat ………3 Mission Contributors The Macaroni Club Brian Baynes Full Circle.. …………4 ’60 at 50 Recordially, Lou Curtiss Front Porch... ………6 Jazz Night at El Take It Easy Folding Mr. Lincoln Parlor Showcase …8 Michael Rennie Ramblin’... …………10 Bluegrass Corner Zen of Recording Hosing Down Radio Daze Stages Highway’s Song. …12 Robby Krieger Of Note. ……………13 The Heavy Guilt Christopher Dale Duo LaRé Skid Roper River City ‘Round About ....... …14 January Music Calendar The Local Seen ……15 Photo Page see it at Monica’s at the Park thru January, 1735 Adams Ave., University Heights JANUARY 2011 SAN DIEGO TROUBADOUR welcome mat RSAN ODUIEGBO ADOUR Come Together Alternative country, Americana, roots, folk, Tblues, gospel, jazz, and bluegrass music news by Will Edwards about what I’m supposed to be doing MISSION CONTRIBUTORS photos: Bryan Heil with my music.” After years of develop - ing, producing, and promoting his own To promote, encourage, and provide an FOUNDERS alternative voice for the great local music that Ellen and Lyle Duplessie hen there’s a will there is a music, Aaron switched gears. “My thing is generally overlooked by the mass media; Liz Abbott way... In a town brimming is to help people,” he says. namely the genres of alternative country, Kent Johnson with creative artists of every As is the case with many an artist, Americana, roots, folk, blues, gospel, jazz, and W PUBLISHERS description, Aaron and Kate Bowen saw a Aaron found his hometown to have its bluegrass.
[Show full text]
Grant Green: an Analysis of the Blue Note Guitaristâ•Žs Musical
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2018 Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary Teague Stefan Bechtel Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Bechtel, Teague Stefan, "Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary" (2018). Dissertations. 479. https://digscholarship.unco.edu/dissertations/479 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2018 TEAGUE STEFAN BECHTEL ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School GRANT GREEN: AN ANALYSIS OF THE BLUE NOTE GUITARIST’S MUSICAL VOCABULARY A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Teague Stefan Bechtel College of Performing and Visual Arts School of Music Jazz Studies May 2018 This Dissertation by: Teague Stefan Bechtel Entitled: Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary has been approved as meeting the requirements 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 Steven G. Kovalcheck, M.M., Research Advisor H. David Caffey, M.M., Co-Research Advisor Socrates Garcia, D.A., Committee Member Mary Schuttler, Ph.D., Faculty Representative Date of Dissertation Defense________________________________________________ Accepted by the Graduate School _________________________________________________ Linda L.
[Show full text]
The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H. Keith Jackson, DMA, Committee Chair Constinia Charbonnette, EDD David Taddie, Ph.D. Michael Vercelli, DMA Mitchell Arnold, DMA Music Morgantown, West Virginia 2019 Keywords: Hard Bop, Trombone, Jazz, Jazz Improvisation Copyright 2019 Emmett C. Goods The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964). Emmett C. Goods This dissertation examines the improvisational stylings of Curtis Fuller, Locksley “Slide” Hampton, Julian Priester and Grachan Moncur III from 1955 through 1964. In part one of this study, each musician is presented through their improvisational connections to J.J. Johnson, the leading trombonist of the Bebop era. His improvisational signatures are then traced through to the musical innovations of the Hard-Bop Trombone Era. Source material for this part of the study includes published books, dissertations, articles, online sources, discographies and personal interviews. Part two of this paper analyzes selected solos from each of the four subjects to identify the defining characteristics of the Hard-Bop Trombone Era. Evidence for these claims is bolstered by interviews conducted with the four men and their protégés. In a third and final part, a discography has been compiled for each artists during the defined era. Through historical analysis of these four artists’ music and recording of first-hand accounts from the artists themselves, this document attempts to properly contextualize the Hard-Bop Trombone Era as unique and important to the further development of the jazz trombone.
[Show full text]
La Política De La Forma Poética [The Politics of Poetic Form], Tr. Jorge
La política de la forma poética [The Politics of Poetic Form], tr. Jorge Miralles, Néstor Cabrera, Nora Leylen, and Beatriz Pérez, with intro by Cabrera (La Habana: Torre de Letras, 2006). PEPC Edition 2007 ©2006 by Charles Bernstein translation © 2006 by Néstor Cabrera This work may be reprinted or quoted for noncommercial and educational use. Please give credit by noting the full publication information & the web address: http://writing.upenn.edu/library/Bernstein-Charles_ed_Politica-forma-poetica.pdf La política de la forma poética Poesía y política pública Charles Bernstein, editor Traducción Néstor Cabrera Índice Prefacio a la edición en inglés Etnopoética y política/ La política de la etnopoesía Jerome Rothenberg Poesía como explicación, poesía como praxis Bruce Andrews Alarmas y digresiones Rosmarie Waldrop Política poética Nicole Brossard Sonido y sentimiento, sonido y símbolo Nathaniel Mackey Poesía privada, decepción pública Jerome McGann Cánones e instituciones: nueva esperanza para Ron Silliman los desaparecidos Encerrador Susan Howe Notas para una poética oposicionista Erica Hunt Lenguaje y política Jacson Mac Low Forum P. Inman, Hannah Weiner, James Sherry y Nick Piombino Comedia y la poética de la forma política Charles Bernstein Colaboradores P=R=Ó=L=O=G=O En el espectro de la poesía norteamericana de las últimas décadas la escuela de la Poesía del Lenguaje se ha establecido como una de las más significativas e influyentes. Tuvo sus inicios en los años setenta, y entre sus antecedentes están movimientos como el de Black Mountain y las escuelas de Nueva York. Surgió como respuesta a la poética norteamericana tradicional, y asume la experimentación con el objetivo de explorar áreas que amplíen la práctica y la comprensión de la literatura radical.
[Show full text]
Yusef Lateef Jazz Mood Mp3, Flac, Wma
Yusef Lateef Jazz Mood mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Jazz Mood Country: Japan Released: 1993 Style: Hard Bop MP3 version RAR size: 1336 mb FLAC version RAR size: 1407 mb WMA version RAR size: 1236 mb Rating: 4.8 Votes: 781 Other Formats: MP2 ADX AU WMA VQF VOC WAV Tracklist 1 Metaphor 8:04 2 Yusef's Mood 8:36 3 The Beginning 4:12 4 Morning 10:39 5 Blues In Space 7:09 Companies, etc. Phonographic Copyright (p) – Nippon Columbia Co., Ltd. Credits Bass, Percussion [Rabat] – Ernie Farrow Drums – Louis Hayes Percussion – Doug Watkins Piano – Hugh Lawson Tenor Saxophone, Flute, Woodwind [Argol], Scraper – Yusef Lateef Trombone, Tambourine, Finger Cymbals – Curtis Fuller Notes Apparently the Japanese release of this https://www.localhost/it/Yusef-Lateef-Jazz-Mood/release/3235851 Title is "Jazz Moods" (not "Jazz Mood") everywhere (back cover, spine, cd) except on cover Cover opens up in fourfold with LP back cover reproduction inside, covers as per US release and Denon info and Savoy Jazz list 0221-0240 on remaining two squares. Once again the CD is listed as "Jazz Moods" in the list Barcode and Other Identifiers Barcode: 081757023726 Label Code: LC 8723 Rights Society: JASRAC Matrix / Runout: SV-0237 1A1 C 39 Other versions Category Artist Title (Format) Label Category Country Year MG 12103 Yusef Lateef Jazz Mood (LP, Album) Savoy Records MG 12103 US 1957 Jazz Mood (5xFile, FLAC, none Yusef Lateef Savoy Records none US 2010 Album, RE) Jazz Mood (LP, Album, MG 12103 Yusef Lateef Savoy Records MG 12103 US Unknown
[Show full text]
West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston
West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston by Jason John Squinobal Batchelor of Music, Music Education, Berklee College of Music, 2003 Master of Arts, Ethnomusicology, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Ethnomusicology University of Pittsburgh 2009 ffh UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Jason John Squinobal It was defended on April 14, 2009 and approved by Dr. Nathan T. Davis, Professor, Music Department Dr. Akin Euba, Professor, Music Department Dr. Eric Moe, Professor, Music Department Dr. Joseph K. Adjaye, Professor, Africana Studies Dissertation Director: Dr. Nathan T. Davis, Professor, Music Department ii Copyright © by Jason John Squinobal 2009 iii West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston Jason John Squinobal, PhD University of Pittsburgh, 2009 Abstract This Dissertation is a historical study of the cultural, social and musical influences that have led to the use of West African music in the compositions and performance of Art Blakey, Yusef Lateef, and Randy Weston. Many jazz musicians have utilized West African music in their musical compositions. Blakey, Lateef and Weston were not the first musicians to do so, however they were chosen for this dissertation because their experiences, influences, and music clearly illustrate the importance that West African culture has played in the lives of African American jazz musicians. Born during the Harlem Renaissance each of these musicians was influenced by the political views and concepts that predominated African American culture at that time.
[Show full text]
The Impact of Technology on the Role and Function of the Bass in Jazz
The Impact of Technology on the Role and Function of the Bass in Jazz Peter Dowdall Thesis submitted for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide February 2012 TABLE OF CONTENTS Title Page ..................................................................................................................... i Table of Contents ........................................................................................................ ii List of Figures.............................................................................................................. iii Abstract........................................................................................................................ vii Declaration................................................................................................................... viii Acknowledgments........................................................................................................ ix Introduction. Project Summary, Literature Review, Theoretical Framework, Chapter Outline...................................................................................... 1 Chapter 1. The Bass and the Early Mechanical Roots of Jazz (1915-1930)............... 14 Chapter 2. The Bass, Technology and the Development of the Rhythm Section (1930-1945).................................................................... 45 Chapter 3. The Spoils of War and the Jazz Bass: Tape Recorders and Editing (1945-1960)..............................................................................................
[Show full text]