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Excellent Beast
Nat "King" Cole, alphabetically by title Artist Title Arranger Album Inventory Call # Cole, Nat "King" A Media Luz Carmichael, Ralph SC + P 11832 Cole, Nat "King" Adelita Riddle, Nelson Cole Espanol SC + P 8241 Cole, Nat "King" Adelita Carmichael, Ralph xVln 11844 Cole, Nat "King" Adios Mariquita Linda Carmichael, Ralph SC + P 11833 Cole, Nat "King" After the Ball Carmichael, Ralph Those Lazy-Hazy-Crazy Days SC + P 12046 Cole, Nat "King" Again Cavanaugh, Dave Looking Back SC + P 8431 Cole, Nat "King" Ain't Misbehavin' Jenkins, Gordon Love Is the Thing SC + P 12003 Cole, Nat "King" Ain't She Sweet Riddle, Nelson SC 4819 Cole, Nat "King" All By Myself Hendricks, Belford Ramblin' Rose SC + P 11937 Cole, Nat "King" Always You Hefti, Neal? 1401 SC + P 2697 Cole, Nat "King" Am I Blue? Jenkins, Gordon Where Did Everyone Go? SC + P 12009 Cole, Nat "King" Andalucia (The Breeze and I) Carmichael, Ralph xNat 11844 Cole, Nat "King" Answer Me, My Love Riddle, Nelson SC 13206 Cole, Nat "King" Anytime, Anyday, Anywhere Cavanaugh, Dave Welcome To The Club SC 8231 Cole, Nat "King" Aqui Se Habla Amor Carmichael, Ralph More Cole Espanol SC + P 11834 Cole, Nat "King" Are You Disenchanted? Riddle, Nelson Wild Is Love Prod 10191 Cole, Nat "King" Arrivederci Roma Cavanaugh, Dave Cole Espanol SC + P 8234 Cole, Nat "King" At Last Jenkins, Gordon Love Is the Thing SC + P 11995 Cole, Nat "King" Autumn Leaves Carmichael, Ralph SC + P 11301 Cole, Nat "King" Avalon May, Billy? Welcome To The Club Prod 8411 Cole, Nat & George Shearing Azure-Te Carmichael, Ralph Cole Sings, Shearing Plays SC + P 11813 Cole, Nat "King" Baby Won't You Please Come Home Cavanaugh, Dave Welcome To The Club SC + P 8226 Cole, Nat "King" Baby, Won't You Say You Love Me? 889 Nat, Gtr 2686 Cole, Nat "King" Back To Joe's Jenkins, Gordon Where Did Everyone Go? SC + P 12007 Cole, Nat "King" Ballad of Cat Ballou Carmichael, Ralph SC + P 12826 Cole, Nat "King" Ballerina Riddle, Nelson SC + P 7384 Cole, Nat "King" Beale St. -
20. MÄRZ 2006 NAT KING COLE Stardust the Complete Capitol
LIEFERBAR: 20. MÄRZ 2006 KÜNSTLER NAT KING COLE TITEL Stardust The Complete Capitol Recordings 1955-1959 LABEL Bear Family Records KATALOG # BCD 16342 PREIS-CODE KL EAN-CODE 4000127 163424 ISBN-CODE 3-89916-152-1 FORMAT 11-CD-Box (LP-Format) mit 208-seitigem gebundenem Buch GENRE Pop ANZAHL TITEL 298 SPIELDAUER 809:24 • Die erste von zwei umfangreichen Box-Sets, die das umfassende Gesamtwerk dokumentieren • Nat King Cole ist neben Elvis Presley, Frank Sinatra und Bing Crosby einer der vier bekanntesten Sänger der Musikgeschichte und der bis heute bekannteste afro-amerikanische Pop-Superstar! • Die erste Box deckt die Einspielungen für Capitol Records von 1955 bis 1959 ab, enthält 298 Aufnahmen und umfasst ganze 16 Alben. • Bekanntes und unbekanntes, obskures und seltenes. • Erstmalig sind die Titel von der Compilation "Looking Back" nach seinem Tod 1965 OHNE die damals dazu gemischte Rhythmus-Sektion zu hören! INFORMATIONEN Nat King Cole war der populärste Sänger seiner Zeit und – gemeinsam mit Bing Crosby, Frank Sinatra und Elvis Presley – einer der vier bekanntesten Sänger der Geschichte. Was Coles Erfolgs-Story noch bemerkenswerter macht: Er begann seine Karriere nicht im Pop-Bereich, sondern als einer der versiertesten Jazz-Pianisten, die es je gab. Bereits als er den Übergang vom Jazz zum Pop vollzog, hatte er mehr Platten verkauft und mehr Hits gelandet als jeder andere Künstler der Nachkriegszeit – und übertraf dabei sogar Frank Sinatra. Außerdem war Cole der erste afro-amerikanische Pop-Superstar, und auch hier ist er bis heute die Nr. 1. Coles Bariton-Stimme war weich und wohlklingend – viele seiner größten Erfolge feierte er mit Liebesliedern. -
Ben Bliss, Tenor Lachlan Glen, Piano Sat, Nov 5 / 3 PM / Hahn Hall
Corporate Season Sponsor: Ben Bliss, tenor Lachlan Glen, piano Sat, Nov 5 / 3 PM / Hahn Hall Program Strauss: John Gruen: Selections from Sechs Lieder von Adolf Friedrich Graf Spring is Like a Perhaps Hand von Schack, op. 17 from Three by E.E. Cummings Ständchen Lady will You Come with Me Into Nur Mut! from Three by E.E. Cummings Barkarole Lowell Liebermann: Ver Lieder, op. 27 The Arrow and the Song Morgen! from Six Songs on Poems of Henry W. Longfellow Boulanger: Theodore Chanler: Clairières dans le ciel I Rise When You Enter No. 4 - Un poète disait No. 7 - Nous nous aimerons tant Ned Rorem: No. 8 - Vous m’avez regardé avec toute votre âme Stopping by Woods on a Snowy Evening No. 9 - Les lilas qui avaient fleuri Eden Ahbez: Tosti: Nature Boy (Nat King Cole) Marechiare Harold Arlen and Johnny Mercer: - Intermission - One for My Baby (and One More for the Road) Britten: Ray Charles: The Children and Sir Nameless Hallelujah I Love Her So The Last Rose of Summer John Gruen’s works are provided courtesy of his daughter, Julia Gruen, The Choirmaster’s Burial (from Winter Words) to whom his Cummings cycle is dedicated. About the Program On today’s concert, our recitalists present a distinctly modern program spanning three languages, two hemispheres, and multiple genres, yet what differences we find in language and musical idiom are bridged by time: every compos- er featured in this recital lived and composed in the twentieth century. While the Strauss and Tosti selections were both written in the waning years of the nineteenth century, both composers bridged the gap between the two centu- ries, ushering in a new era of composition. -
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected]
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] ARTIST Eden Ahbez TITLE Wild Boy The Lost Songs Of Eden Ahbez LABEL Bear Family Productions CATALOG # BAF 18018 PRICE-CODE BAF EAN-CODE ÇxDTRBAMy180187z FORMAT VINYL-album with gatefold sleeve • 180g vinyl GENRE Rock 'n' Roll / Tiki TRACKS 14 PLAYING TIME 37:26 G Hippie #1 G 14 rare/unreleased recordings G Guest appearances by Paul Horn, Eartha Kitt, and more G 180 gram vinyl G Fully annotated, with never before seen pictures INFORMATION By now psychedelic music is a mainstay of popular taste. But questions of its origins still linger. As such, BEAR FAMILY RECORDS now submits 'Wild Boy: The Lost Songs Of Eden Ahbez' as fresh evidence in the quest for answers. Over the past twenty years Ahbez has gone from cult figure to harbinger of the Sixties flower-power movement. This notion is born out largely by his 1948 ant- hem of universal love, Nature Boy, and his rare solo album from 1960, titled 'Eden's Island' – one of popular music's earliest con- cept albums. 'Wild Boy: The Lost Songs Of Eden Ahbez' both expands the Ahbez catalog and deepens the notion of a psychedelic movement having roots in the 1950s. Side one acts as a compilation of music that Ahbez wrote in the aftermath of Nature Boy. Inclusion of songs like Palm Springs by the Ray Anthony Orchestra and Hey Jacque by Eartha Kitt give listeners the chance to hear obscure cuts by big-name artists in the context of Ahbez for the first time. -
MARCH 20, 2006 ARTIST NAT KING COLE TITLE Stardust The
SHIPPING DATE: MARCH 20, 2006 ARTIST NAT KING COLE TITLE Stardust The Complete Capitol Recordings 1955-1959 LABEL Bear Family Records CATALOG # BCD 16342 PRICE-CODE KL EAN-CODE 4000127 163424 ISBN-CODE 3-89916-152-1 FORMAT 11-CD Box-Set (LP-size) with 208-page hardcover book GENRE Pop TRACKS 298 PLAYING TIME 809:24 SALES NOTES Nat King Cole (1919-1965) was the most popular male singer of his generation, and, along with Bing Crosby, Frank Sinatra and Elvis Presley, one of the four best known male vocalists of all time. Making Cole's story all the more remarkable, he began his career not as a pop singer but as one of the greatest of all jazz pianists. Yet by the time he had made the transition from jazz to pop, he had sold more records and racked up more hit singles than anyone in the immediate post-war era, even Frank Sinatra. He was also the first Afro-American pop music superstar - and still the greatest. Cole's baritone voice was sweet and pretty, and most of his greatest successes were with love songs. Still, he had the greatest time of any singer ever, and was equally well-versed in swinging rhythm numbers and blues. In his combination of tenderness and bluesy energy, Cole was a founding father of rhythm and blues and a major influence on the soul movement – as cited by Charles Brown, Ray Charles and many other later stars. Like Frank Sinatra, he collaborated closely with the greatest pop orchestrators of all time, particularly Gordon Jenkins, Billy May and in particular, Nelson Riddle. -
Nat King Cole
Nat King Cole Background information Birth name Nathaniel Adams Coles Also known as Nat Cole Born March 17, 1919 Montgomery, Alabama, U.S. Died February 15, 1965 (aged 45) Santa Monica, California, U.S. Genres Vocal jazz, swing, traditional pop Occupation(s) Vocalist, pianist Instruments Piano, vocals, organ Years active 1935–1965 Labels Capitol Associated acts Natalie Cole, Frank Sinatra, Dean Martin Nathaniel Adams Coles (March 17, 1919 – February 15, 1965), known professionally as Nat King Cole, was an American singer who first came to prominence as a leading jazz pianist. He was widely noted for his soft, baritone voice, which he used to perform in big band and jazz genres and which he used to become a major force in popular music for 3 decades producing many hit songs for Cole. Cole was one of the first African Americans to host a national television variety show, The Nat King Cole Show, and has maintained worldwide popularity since his death from lung cancer in February 1965. Early life Nathaniel Adams Coles was born in Montgomery, Alabama, on March 17, 1919. Cole had three brothers: Eddie, Ike, and Freddy, and a half-sister, Joyce Coles. Ike and Freddy would later pursue careers in music as well. When Cole was four years old, he and his family moved to Chicago, Illinois, where his father, Edward Coles, became a Baptist minister. Cole learned to play the organ from his mother, Perlina Coles, the church organist. His first performance was of "Yes! We Have No Bananas" at age four. He began formal lessons at 12, eventually learning not only jazz and gospel music, but also Western classical music, performing, as he said, "from Johann Sebastian Bach to Sergei Rachmaninoff". -
"A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas. -
EDEN Mauro Grossi
EDEN Mauro Grossi Progetto di composizioni originali basate sul brano “Nature Boy” in forma di Tema e Variazioni uscito in cd il 18 ottobre per l'etichetta Abeat. Un lavoro concettuale con trama e motivazioni, coraggioso e poetico in grado di approfondire le innumerevoli implicazioni strutturali di questa fenomenale canzone dovuta ad un autore sorprendente e influente come Eden Ahbez. Il progetto Eden propone un nuovo e creativo approccio agli standard, lontano da qualunque tipo di revival e si configura anche come uno dei più lunghi atti musicali d'amore di cui si abbia notizia: l'amore di Mauro Grossi per un brano che celebra l'amore, intendendo "tolleranza e rispetto", come valori primari. Per questo motivo ogni brano presentato, appartenendo ad uno stile diverso, da un suo apporto specifico, ma trae senso e vantaggi dall'accostamento agli altri. Infatti, benchè tutti originali, i brani hanno un'unica radice, della quale sono variazioni sempre più evolute ed emancipate. Proprio come esseri umani. (continua) Mauro Grossi piano, celesta, arrangiamenti, direzione Claudia Tellini voce Nico Gori clarinetto, clarinetto basso, sax soprano Andrea Dulbecco vibrafono Ares Tavolazzi contrabbasso Walter Paoli batteria, percussioni Possibilità di avere la sezione d'archi in concerto. Estratti dalle prime recensioni pubblicate. “ Bizzarro: un album interamente dedicato alla celebrazione di un unico brano. E' un segno dello straordinario amore da parte del suo ideatore, il pianista Mauro Grossi per una delle composizioni più belle mai scritte non solo in ambito Jazz “Nature Boy”.... Grossi ha elaborato/composto una fantastica serie di variazioni basate sulla melodia di questo meraviglioso pezzo e quindi è possibile ascoltare “Nature Boy” nei contesti più disparati... -
Erroll Garner
1 The PIANO of ERROLL GARNER Solographer: Jan Evensmo Last update: June 20, 2020 2 Born: Pittsburgh, June 15, 1921 Died: Los Angeles, Jan. 2, 1977 Introduction: Erroll Garner was one of the very first jazz artists I ever heard, and I will never forget the astonishment and joy I felt when listening to “Lullaby Of Birdland”, “Caravan” and other exciting performances. He was held in high esteem in Oslo Jazz Circle already from the middle fifties. History: Brother of Linton Garner. He played professionally in the Pittsburgh area from 1938 to 1941 with Leroy Brown’s orchestra. By 1944 he had moved to New York, where he started to play in nightclubs; he served as a substitute for Art Tatum in Tatum’s trio with Tiny Grimes and Slam Stewart, remaining when it became the Slam Stewart Trio (1945). He then formed his own trio with bass and drums, a format he retained for the whole of his career when not playing as a soloist, and he quickly captured a large audience. In 1947, while working in the Los Angeles area, he recorded with Charlie Parker. In 1950s and 1960s he was one of the most frequently seen jazz musicians on television, and in 1957-8 he undertook the first of many overseas tours. He remained active until February 1975, becoming one of the most familiar figures on the jazz scene and issuing a great many recordings (ref. New Grove Dictionary of Jazz). Message: This solography is the first version of the planned result from awarding me the “Erroll Garner – Martha Glaser Archive Research Award”. -
Ella Fitzgerald Collection of Sheet Music, 1897-1991
http://oac.cdlib.org/findaid/ark:/13030/tf2p300477 No online items Ella Fitzgerald collection of sheet music, 1897-1991 Finding aid prepared by Rebecca Bucher, Melissa Haley, Doug Johnson, 2015; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2002 The Regents of the University of California. All rights reserved. Ella Fitzgerald collection of sheet PASC-M 135 1 music, 1897-1991 Title: Ella Fitzgerald collection of sheet music Collection number: PASC-M 135 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 13.0 linear ft.(32 flat boxes and 1 1/2 document boxes) Date (inclusive): 1897-1991 Abstract: This collection consists of primarily of published sheet music collected by singer Ella Fitzgerald. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. creator: Fitzgerald, Ella Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. -
A Bewitching Realm Reopens Tahquitz Canyon Had Been
TAahBqeuwitzitCchaninyognRHeaadlBmeeRn eShoapnegrni-s La to Hippies, Hermits and Evil Spirits. For Decades Its Dangers Made It Off-Limits. Now the ‘NoTrespassing’ Signs Are Coming Down. Los Angeles Times Magazine, Jan 14, 2001 By Ann Japenga SEVERAL YEARS AGO, I WAS LUGGING BOXES into my new Palm Springs home and needed a break from unpacking. Parking my car not far from the spritzing misters downtown, I walked up the flood-control channel toward a massive gash, a door into the mountains: Tahquitz Canyon. Coming toward me down the trail was a lone man. At first I was happy to encounter another hiker, but as he got closer, I picked up an unmistakable scent of evil. He glared at me sideways out of psychotic blue eyes, spraying sweat and spitting out a malicious incantation. A few months later I saw a mug shot of the same fellow in the paper and read that he’d tried to push a group of hikers off a precipice into the canyon. I felt lucky to have survived the man’s wrath, of course, but more than that I felt privileged, as a newcomer, to have met the wrathful spirit of Tahquitz. It was like attending the ultimate insider bash your first week in town. I’d known—in some vague, folkloric way—about the curse of Tahquitz my whole life. Growing up in the San Gabriel Valley, I simply assimilated the notion that there was an awesome canyon out in Palm Springs and weird things happened there. California kids know this. “ere are a thousand stories up there,” affirms helicopter pilot Steve de Jesus, who has assisted in many Tahquitz rescues. -
Prologue Géraldine Gourbe
5 In the Canyon, Revise the Canon Prologue Géraldine Gourbe Revise the Canon The Duty to Remember is Not Sovereign Linda Nochlin has taught me that while a wish to bring certain moments of collective amnesia to general knowledge might admittedly be justifiable, it can paradoxically prove to be counterproductive. Shedding light upon certain veiled practices cannot be envisaged without a critical analysis that can and must acutely consider its own territory. In “Why Have There Been No Great Women Artists?” the author takes a distance from the actions of overexposure and legitimation of veiled knowledge undertaken by her own sisters, who at the time belonged to the Women Art Coalition and the Women’s Art in Revolution groups, the first artist protest groups stemming from the Women’s Liberation Movement. It is therein that lies, in my opinion, her literally revolutionary contribution. From this strategic and discursive deviation, Nochlin names and describes a chain of correlative actions between the emancipation movements that were rapidly expanding in the end of the 1960s on the one hand, and the process of calling into question the Humanities’ epistemological principles on the other. What the North American intellectual saw in these marches and protests was not a blind spot; she rather discerned a disjunctive force, also called, 1 in Michel de Certeau’s words, a founding rupture. This founding rupture is driven by expressions of singularity rubbing and grating against enunciations marked by universality; from then on liberating “questions that were unheard and whose answers were unspoken, that remained to be sought in [...] a labor of 2 common elucidation.” 1.