Mark Fisher PS 375 7/28/2010 Document Discussion #1
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Swinging Along the Border: Charles Mingus' Album 'Tijuana Moods' Finds New Resonance
♫ Donate LOADING... On the Air Music News Listen & Connect Calendars & Events Support About Search Swinging Along the Border: Charles Mingus' Album 'Tijuana Moods' Finds New Resonance By DAVID R. ADLER • JAN 18, 2018 ! Twitter " Facebook # Google+ $ Email “All the music in this album was written during a very blue period in my life,” the bassist Charles Mingus observed in the liner notes to Tijuana Moods. Recorded a little over 60 years ago, on July 18 and August 6, 1957, it’s an album that remains unique not only in the Mingus discography but also in jazz as a whole. Less an expression of Mexican musical influence than a personal evocation of a place, the album belongs to a vibrant category of border art. At a moment of heated political debate around immigration, it strikes a deep and vital chord. And in the coming week, thanks to some resourceful programming on the west coast, Tijuana Moods is returning home. Mingus Dynasty, one of three legacy bands run by the bassist’s widow, Sue Mingus, will perform the album for the first time in Tijuana, Mexico on Sunday, in a free concert at the CECUT Cultural Center. Organizers of the concert will also present a panel discussion on Saturday at the San Diego Public Library. And the band is performing the album on a regional tour with stops in Tucson (Friday), Phoenix (Saturday), La Jolla, California (Monday) and Portland, Oregon. (Tuesday). The current Mingus Dynasty features tenor saxophonist Wayne Escoffery, alto saxophonist Brandon Wright, trumpeter Alex Sipiagin, trombonist Ku-umba Frank Lacy, pianist Theo Hill, bassist Boris Kozlov and drummer Adam Cruz. -
Jazz Music and Social Protest
Vol. 5(1), pp. 1-5, March, 2015 DOI: 10.5897/JMD2014.0030 Article Number: 5AEAC5251488 ISSN 2360-8579 Journal of Music and Dance Copyright © 2015 Author(s) retain the copyright of this article http://www.academicjournals.org/JMD Full Length Research Paper Playing out loud: Jazz music and social protest Ricardo Nuno Futre Pinheiro Universidade Lusíada de Lisboa, Portugal. Received 4 September, 2014; Accepted 9 March, 2015 This article addresses the historical relationship between jazz music and political commentary. Departing from the analysis of historical recordings and bibliography, this work will examine the circumstances in which jazz musicians assumed attitudes of political and social protest through music. These attitudes resulted in the establishment of a close bond between some jazz musicians and the Civil Rights Movement in the 1950s and 1960s; the conceptual framing of the free jazz movement that emerged in the late 1950s and early 60s; the use on non-western musical influences by musicians such as John Coltrane; the rejection of the “entertainer” stereotype in the bebop era in the 1940s; and the ideas behind representing through music the African-American experience in the period of the Harlem Renaissance, in the 1920’s. Key words: Politics, jazz, protest, freedom, activism. INTRODUCTION Music incorporates multiple meanings 1 shaped by the supremacy that prevailed in the United States and the principles that regulate musical concepts, processes and colonial world3. products. Over the years, jazz music has carried numerous “messages” containing many attitudes and principles, playing a crucial role as an instrument of Civil rights and political messages dissemination of political viewpoints. -
Black Studies in the Digital Crawlspace
InVisible Culture • Issue 31: Black Studies Now and the Counter- Currents of Hazel Carby Black Studies in the Digital Crawlspace Darren Mueller1 1University of Rochester Published on: Nov 15, 2020 DOI: 10.47761/494a02f6.63ec3895 License: Creative Commons Attribution 4.0 International License (CC-BY 4.0) InVisible Culture • Issue 31: Black Studies Now and the Counter-Currents of Hazel Carby Black Studies in the Digital Crawlspace I won’t be quiet so you can be comfortable, Washington DC, August 2020, Copyright Erica Jae. Let our rejoicing rise High as the listening skies, Let it resound loud as the rolling sea. —James Weldon Johnson, “Lift Every Voice and Sing”1 Listen to pianist Jaki Byard. About seven minutes into Charles Mingus’s lengthy 1964 performance of “Fables of Faubus,” Byard’s solo emerges out of the slowly decelerating ensemble. He jumps from the dramatic to the playful to the playfully dramatic through quotation, interweaving a number of quick ascending scales between melodic fragments of “Yankee Doodle Dandy.” Dannie Richmond’s snare drum echoes Byard’s revolutionary invocation (7:30). Rather than the expected resolution to “Yankee Doodle,” Byard instead seamlessly transitions into “Lift Every Voice and Sing.” Despite his hymn-like recitation, he dwells in restlessness. A few virtuosic flourishes travel into the highest range of his instrument (7:55) as if echoing the first stanza of James Weldon Johnson’s poem: “Let our rejoicing rise / High as the listening skies.” Eventually, Byard transitions back into a halting, even stuttering version of 2 InVisible Culture • Issue 31: Black Studies Now and the Counter-Currents of Hazel Carby Black Studies in the Digital Crawlspace “Yankee Doodle.” Again, he ends in misdirection, through a quotation of Frédéric Chopin’s funeral march (8:09).2 By this time, the ensemble has once more joined together.3 My listening is likewise a quotation. -
Jazz at the Crossroads)
MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs. -
Department of English and American Studies English Language and Literature Reflection of Jazz Music in American Racial Past
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Mária Takáčová Reflection of Jazz Music in American Racial Past and Present Bachelor’s Diploma Thesis Supervisor: Jeffrey Alan Vanderziel, B.A. 2016 Acknowledgement: I would like to thank my supervisor, Jeffrey Alan Vanderziel, B.A., for his kind guidance and valuable advice. I would also like to thank my family and friends for their endless support. I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature Table of Contents 1. Introduction .............................................................................................................. - 5 - 2. Historical Legacy ..................................................................................................... - 8 - Cry for Freedom ....................................................................................................... - 8 - Roar for Freedom ................................................................................................... - 12 - Max Roach: Freedom day .................................................................................. - 13 - Nina Simone: Mississippi Goddam ................................................................... - 14 - John Coltrane: Alabama ..................................................................................... - 18 - Charles Mingus: Fables of Faubus .................................................................... -
Charles Mingus Mingus Mp3, Flac, Wma
Charles Mingus Mingus mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Mingus Country: US Released: 1972 Style: Hard Bop MP3 version RAR size: 1812 mb FLAC version RAR size: 1486 mb WMA version RAR size: 1350 mb Rating: 4.1 Votes: 371 Other Formats: XM ADX MP4 MMF AHX DTS MIDI Tracklist Hide Credits MDM A1 19:52 Composed By – Mingus* Stormy Weather B1 13:25 Written-By – Arlen*, Koehler* Lock 'Em Up B2 6:35 Composed By – Mingus* Companies, etc. Recorded At – Nola Recording Studios Phonographic Copyright (p) – Phonoco Copyright (c) – Phonoco Credits Alto Saxophone – Charlie McPherson* (tracks: A, B2), Eric Dolphy Bass Clarinet – Eric Dolphy (tracks: A) Design, Photography – Frank Gauna Double Bass – Charles Mingus Drums – Dannie Richmond Engineer – Bob D'Orleans Liner Notes, Supervised By – Nat Hentoff Piano – Nico Bunick* (tracks: A), Paul Bley (tracks: B2) Tenor Saxophone – Booker Ervin (tracks: A, B2) Trombone – Britt Woodman (tracks: A), Jimmy Knepper (tracks: A) Trumpet – Lonnie Hillyer (tracks: A1, B2), Ted Curson Notes All tracks were recorded at Nola Penthouse Sound Studios, New York, on October 20, 1960 (tracks A, B1) and on November 11, 1960 (track B2). This reissue © ℗ Phonoco 1985. Other versions Category Artist Title (Format) Label Category Country Year Charles Candid, 9021, CS 9021 Mingus (LP, Album) 9021, CS 9021 US 1960 Mingus Candid Charles Mingus (LP, RE, DOL920H DOL DOL920H Europe 2017 Mingus 180) Charles JAZ-5002 Mingus (LP, RE) Jazz Man JAZ-5002 US 1980 Mingus Charles Mingus (CD, KICJ 8372 Candid KICJ 8372 -
Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2005 Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Studies Commons, History Commons, and the Music Commons Recommended Citation anderson, Benjamin Park, "Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement" (2005). Dissertations, Theses, and Masters Projects. Paper 1539626478. https://dx.doi.org/doi:10.21220/s2-9ab3-4z88 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. BLUE NOTES AND BROWN SKIN Five African-American Jazzmen and the Music they Produced in Regard to the American Civil Rights Movement. A Thesis Presented to The Faculty of the American Studies Program The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts By Benjamin Park Anderson 2005 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts imin Park Anderson Approved by the Committee, May 2005 Dr. Arthur Knight, Chair Ids McGovern . Lewis Porter, Rutgers University, outside reader ii TABLE OF CONTENTS Page Acknowledgements iv List of Illustrations V List of Musical Examples vi Abstract vii Introduction 2 Chapter I. -
130 Charles Mingus and the Paradoxical Aspects of Race As Reflected in His Life and Music by Ernest Aaron Horton Bachelor Of
Charles Mingus and the Paradoxical Aspects of Race as Reflected in His Life and Music by Ernest Aaron Horton Bachelor of Music, University of North Texas, 1998 Master of Arts, University of Pittsburgh, 2005 Submitted to the Graduate Faculty of School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 130 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Ernest Aaron Horton It was defended on March 19, 2007 and approved by Akin Euba, PhD, Andrew W. Mellon Professor of Music Laurence Glasco, PhD, Associate Professor of History Mathew Rosenblum, PhD, Professor of Music Dissertation Advisor: Nathan Davis, PhD, Professor of Music ii Copyright © by Ernest Aaron Horton 2007 iii Charles Mingus and the Paradoxical Aspects of Race as Reflected in His Life and Music Ernest Aaron Horton, MA University of Pittsburgh, 2007 Charles Mingus was a jazz icon who helped to redefine the barriers that were inherent for those whose artistic expression was labeled jazz. He was a master bassist in an expressive style that was forced to fight and claw its way to respectability; he crafted challenging and emotional performances in venues where the ring of the cash register competed with his music during performances; and he developed musical techniques that had an immediate impact on American music, though he was never invited to fill any academic post. These contradictions are all brought together in light of his status as a jazz icon. The term “jazz” represents a paradox because it is the word used to represent a musical style developed in the United States and closely, but not exclusively, tied to the African-American experience. -
The Birth of New Jazz How Progressive Musical Ideas Influenced Jazz Beyond Its Sonic Elements
The Birth of New Jazz How Progressive Musical Ideas Influenced Jazz Beyond its Sonic Elements By Julian Yang INTRODUCTION The authenticity of many art forms has been contested in history. African-Americans, in particular, have had their roots lost in the expansion to wider audiences, seen during the height of Jim Crow and segregation. Rock n’ Roll, which started as a genre rooted in black musicians, became commercialized by white artists and audiences, stripping its beginnings of African- American musicians. The exploitation of artists reflected a greater theme of segregation and racism, as Rock n’ Roll captivated a young and rebellious generation of white Americans. As a result, the era of Rock n’ Roll is mostly represented by the works of Elvis Presley instead of Chuck Berry. Similar to Rock n’ Roll, a melting-pot of genres emerged from African American musicians: jazz. Noted by its swing and syncopation, complex harmonies, and improvisation,1 jazz adapted to maintain its black roots, even when threatened with marginalization within and outside of the community. As jazz developed through the decades of the twentieth century, the 1 Alan, Stanbridge. “Jazz” In Bloomsbury Encyclopedia of Popular Music of the World. Vol. VIII. New York: The Continuum International, 2012. SCAFFOLD: A SHOWCASE OF VANDERBILT FIRST-YEAR WRITING|Vol. 3|Spring 2021 Scaffold is a digital collection of first-year writing curated by the Vanderbilt Writing Studio. To highlight the developing writing processes and learning experiences central to the growth of new college writers, the collection pairs each piece with a recorded reflection from its author. -
October 1988
Cover Photo by Lynn Goldsmith FEATURES 18 JON FARRISS As the drummer for the popular Australian group INXS, Jon Farriss is more concerned with groove than flash, and he is a master at using electronics to enhance his sound. by Teri Saccone CHARLIE 24 MORGAN Well-known in the London studios for many years, Charlie Morgan became visible to the public as a result of his recording and live work with Elton John. He discusses the demands of the studio and recalls memorable sessions. by Simon Goodwin Photo by Jaeger Smith Kotos ALBERT 28 BOUCHARD His drumming with Blue Oyster Cult helped define the heavy metal style, but these days, Albert Bouchard is as likely to be writing or producing as he is to be playing drums. Here, he traces his career and offers numerous tips about hard rock drumming. by Deborah Frost 32 INSIDE UFIP Since 1929, a small group of craftsmen have been producing cymbals in a small town in Italy. We visit the factory for a look at the U.F.I.P. manufacturing process and to learn the history of Italian cymbal making. by Jon Mclnnes Photo by Michael P. McLaughlin COLUMNS VOLUME 12, NUMBER 10 EDUCATION TEACHERS' JAZZ DRUMMERS' EQUIPMENT FORUM WORKSHOP Books And Lessons: Samba Variations ELECTRONIC NEWS "Do I Really Need by Peter Erskine REVIEW Them?" 74 The Alesis HR-16 UPDATE by Daniel J. Lauby Drum Machine 8 38 ROCK CHARTS by lim Fiore Alan White: "Rhythm 56 INDUSTRY of Love" HAPPENINGS THE JOBBING 104 DRUMMER by James Morton PRODUCT Making People Dance 80 CLOSE-UP by Simon Goodwin Piccolo Snare Drums 40 ELECTRONIC by Bob Saydlowski, Jr. -
Jazz Is a Four Letter Word
JAZZ IS A FOUR LETTER WORD: HEGEMONY AND RESISTANCE IN BLACK AMERICAN MUSIC by RHIANNON DEWEY B.A., University of North Carolina Wilmington, 2017 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 of Music, Jazz Performance and Pedagogy Thompson Jazz Studies Program College of Music 2020 iii Dewey, Rhiannon (M.M., Jazz Performance and Pedagogy, Thompson Jazz Studies Program) Jazz is a Four Letter Word: Hegemony and Resistance in Black American Music Thesis directed by Dr. John Gunther This thesis focuses on four musicians: Charles Mingus, Max Roach, Yusef Lateef, and Nicholas Payton, in order to examine colonialism and hegemony in black American music and investigate the various ways in which musicians have made peace with the problematic elements of the label and genre. Some musicians have remained vocal in their rejection of injustice, some have turned to a message of spirituality in music above all else, and some took their music abroad to a European environment where race relations were not quite as volatile as in the United States. iv CONTENTS CHAPTER I. INTRODUCTION ....................................................................................1 A Few Problems With Jazz .................................................................1 Important Considerations ....................................................................2 Colonialism and Hegemony in Jazz ....................................................3 II. Charles -
Eddie Preston: Texas Trumpeter Fallen Through the Cracks Dave Oliphant
Eddie Preston: Texas Trumpeter Fallen Through the Cracks Dave Oliphant 8 Photo of Eddie Preston from the album Charles Mingus in Paris. Courtesy Christian Rose and Sunnyside Communications. Identifying a jazz musician’s place of birth has interested me ever since my parents gave me a copy of Leonard Feather’s 1962 The New Edition of The Encyclopedia of Jazz. Some thirty years later it became essential for me to know which musicians hailed from my home state of Texas, once I had taken on the task of writing about Texans in jazz history. As a result of this quest for knowledge, I discovered, among other things, that guitarist, trombonist, and 9 composer-arranger Eddie Durham was born and raised in San Marcos, home to Texas State University. Although I never worked my way systematically through the Feather encyclopedia or any subsequent volumes devoted to the identification of musicians’ places and dates of birth, I mistakenly felt confident that I had checked every musician on any album I had acquired over the years to see if he or she was a native Texan. Following the 1996 publication of Texan Jazz, my survey of Texas jazz musicians, I discovered a few Texans and their recordings that I had not been aware of previously. When the opportunity arose, I included them in other publications, such as my 2002 study The Early Swing Era, 1930 to 1941, and my essay “Texan Jazz, 1920- 1950,” included in The Roots of Texas Music. Despite my best efforts to trace the origins of the many jazz musicians I chronicled, it took years before I realized that Eddie Preston (a trumpeter who was born in Dallas in 1925 and died in Palm Coast, Florida, in 2009) was a native of the Lone Star State.