Savoy Record Albums Label Styles
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A Sleepin' Bee Press Release
NEWS RELEASE Contact: Ann Braithwaite (781) 259-9600 [email protected] Lauren Kinhan Pays Tribute to Legendary Vocalist Nancy Wilson in Transformative Fashion on the First All-Standards Album of her Career A Sleepin’ Bee uses Wilson’s iconic collaborations with Cannonball Adderley and George Shearing as the starting point for a unique take on the tribute album “Lauren Kinhan is… a tremendously gifted jazz singer.” – Christopher Loudon, JazzTimes "Her luscious, velvet voice is a good place to rest your weary head." – Ken Blanchard, Jazznote SD "A vocal tour de force" – Jazz Journal, Sally Evans-Darby CD Release Concerts: • November 8, 2017 – Red Room @ Café 939, WBGO Live Stream – Boston, MA • January 3, 2018 – JEN Convention – Inspiration Stage – Dallas, TX Whether on her own highly-acclaimed albums, as a 25-year member of the beloved vocal group New York Voices, or as co-founder of two diverse and inventive supergroups, Moss and JaLaLa, singer/songwriter Lauren Kinhan has always forged her own path as a performer, composer and improviser. With her latest, A Sleepin’ Bee (due out October 6 on her own Dotted i Records), Kinhan once again steers herself in unexpected directions with a new release that is at once the first all-standards collection of her career, a loving tribute to legendary vocalist Nancy Wilson, and unmistakably a Lauren Kinhan album – with all the unique perspective and idiosyncratic personality that has come to imply. If the sudden appearance of an album’s worth of standards in a catalogue dominated by original songs comes as a surprise, the process of its creation is just as atypical. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON School of Humanities: Music Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Thesis for the degree of Doctor of Philosophy October 2012 i UNIVERSITY OF SOUTHAMPTON ABSTRACT Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Josef Zawinul (1932-2007) holds a rare place in the world of jazz in view of the fact that as a European he forged a long and distinguished musical career in America. Indeed, from a position of relative obscurity when he arrived in New York in 1959, he went on to become one of contemporary jazz’s most prolific and commercially successful composers. The main focus of this dissertation will be Zawinul’s rise to prominence in American jazz during the 1960s and 1970s. -
AND ELECTIONS! Perby D"Ch* I Fraternity Sponsors Simi
m Derby Day Today-In The 'Oqmte^ Sororitiesn ^Vi'^c ~~ MAR 25 1960 *es, fo 'Strip' VOL. XXXV, No. urriccane Qn Field UNIVERSITY OF MIAMI CORAL GABLES, FLA. MAKCH 25,1960 A in "outhouses" on the St3t5 Sd- Id,, UM's 1122 sorori- ^^ vie this afternafternooo n for rLTm the Hth annual honors top AND ELECTIONS! perby D"Ch* i fraternity sponsors simi. iddv Spring Derby Day for I! &Ws sororities. ^ „,ritv will be stationed ^So^on the field in USG Week: in an ss wit*h~ th e "Day in the ^-throughout "Snatch Tinted members of Sigma Jazz, Races, rf'ote their top hats C «Tcamims. Girls are sup- ^i^atch them away, and STliS must then try to Lecture, Etc. recover them. By BARBARA McALPINE i .ls0 a variety of events are in 1 Activities ranging from student elections to bike Lr participants on the m- races, from Drew Pearson's lecture to Kai Winding's p.m. horn will highlight Undergraduate Student Govern I A four-legged race, strip ment Week, beginning Monday. {ease obstacle course and Strip The elections will be held Thursday and Friday for Tease are among the events positions on the USG Council and for school govern planned. ment offices. 4- from Miller Drive to Dickinson, I An egg and pepper contest, ALSO ON the ballot will be a to Walsh. The course whips on mystery event and baby-bottle referendum issue giving stu around to Ponce de Leon and sucking contests are also on the dents the opportunity to choose back up Miller Drive. -
Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK -
2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT for the ARTS
2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT FOR THE ARTS 2015 Fellows Carla Bley George Coleman Charles Lloyd Joe Segal NEA Jazz Masters 2015 Contents Introduction ..............................................................................1 A Brief History of the Program ................................................2 Program Overview ...................................................................5 2015 NEA Jazz Masters............................................................7 Carla Bley .......................................................................................8 George Coleman............................................................................9 Charles Lloyd ...............................................................................10 Joe Segal ......................................................................................11 NEA Jazz Masters, 1982–2015..............................................12 NEA Jazz Masters Awards Ceremony ...................................14 Pianist Jason Moran and guitarist Bill Frisell perform 2014 NEA Jazz Master Keith Jarrett’s “Memories of Tomorrow” at the 2014 awards concert. Photo by Michael G. Stewart The NEA is committed to preserving the legacy of jazz not just for this ”generation, but for future generations as well. ” IV NEA Jazz Masters 2015 IT IS MY PLEASURE to introduce the 2015 class of NEA Jazz Masters. The NEA Jazz Masters awards—the nation’s highest recognition of jazz in America—are given to those who have reached the pinnacle of their art: musicians -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
Program Features Don Byron's Spin for Violin and Piano Commissioned by the Mckim Fund in the Library of Congress
Concert on LOCation The Elizabeth Sprague Coolidge Foundation The McKim Fund in the Library of Congress "" .f~~°<\f /f"^ TI—IT A TT^v rir^'irnr "ir i I O M QUARTET URI CAINE TRIO Saturday, April 24, 2010 Saturday, May 8, 2010 Saturday, May 22, 2010 8 o'clock in the evening Atlas Performing Arts Center 1333 H Street, NE In 1925 ELIZABETH SPRAGUE COOLIDGE established the foundation bearing her name in the Library of Congress for the promotion and advancement of chamber music through commissions, public concerts, and festivals; to purchase music manuscripts; and to support musical scholarship. With an additional gift, Mrs. Coolidge financed the construction of the Coolidge Auditorium which has become world famous for its magnificent acoustics and for the caliber of artists and ensembles who have played there. The McKiM FUND in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson, to support the commissioning and performance of chamber music for violin and piano. The audiovisual recording equipment in the Coolidge Auditorium was endowed in part by the Ira and Leonore Gershwin Fund in the Library of Congress. Request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 [email protected]. Due to the Library's security procedures, patrons are strongly urged to arrive thirty min- utes before the start of the concert. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the chamber music con- certs. -
Polish Musicians Merge Art, Business the INAUGURAL EDITION of JAZZ FORUM SHOWCASE POWERED by Szczecin Jazz—Which Ran from Oct
DECEMBER 2019 VOLUME 86 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
“Cannonball” Adderley
Journal of Jazz Studies vol. 9, no. 1, pp. 101-106 (Summer 2013) Portrait of Cannonball: Cary Ginell's Walk Tall Dustin Mallory Walk Tall: The Music and Life of Julian “Cannonball” Adderley. By Cary Ginell. Milwaukee: Hal Leonard Books, 2013. 190 pp. $18.99. Very few jazz musicians can say that their band had a Top 20 single and a Top 20 album. Within that elite group of artists, only two men can state in the same breath that they also performed on jazz’s best-selling album of all time, Kind of Blue. One is Miles Davis and the other is Julian “Cannonball” Adderley. Cannonball’s success in album sales is just one measure of his achievements, albeit a tangible one. However, a casual stroll through the practice rooms of any jazz school in the country or jazz club in a city will aurally reveal the sheer volume of musicians that practice, perform, and revere the vocabulary that poured from Cannonball’s saxophone. Yet, despite the respect that Cannonball has been accorded over the years, both measureable and immeasurable, there is relatively little in the way of published biographical information. With the exception of the occasional feature in a periodical, an entry in The Encyclopedia of Jazz, a handful of scholarly works, and a few publications geared toward theory or discography,1 Mr. Adderley’s biography has gone largely unwritten. Furthermore, it can be said definitively that there is nothing in the marketplace that even closely resembles a comprehensive biography. Cary Ginell’s Walk Tall is one of the first publications that sets theory, analysis, and discography on the back burner in favor of history/biography. -
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. -
Soprano Cornet
SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN (Under the Direction of Brandon Craswell) ABSTRACT The E-flat soprano cornet has served an indispensable role in the British brass band; it is commonly considered to be “the hottest seat in the band.”1 Compared to its popularity in Britain and Europe, the soprano cornet is not as familiar to players in North America or other parts of world. This document aims to offer young players who are interested in playing the soprano cornet in a brass band a more complete view of the instrument through the research of its historical roots, its artistic role in the brass band, important solo repertoire, famous players, approach to the instrument, and equipment choices. The existing written material regarding the soprano cornet is relatively limited in comparison to other instruments in the trumpet family. Research for this document largely relies on established online resources, as well as journals, books about the history of the brass band, and questionnaires completed by famous soprano cornet players, prestigious brass band conductors, and composers. 1 Joseph Parisi, Personal Communication, Email with Yanbin Chen, April 15, 2019. In light of the increased interest in the brass band in North America, especially at the collegiate level, I hope this project will encourage more players to appreciate and experience this hidden gem of the trumpet family. INDEX WORDS: Soprano Cornet, Brass Band, Mouthpiece, NABBA SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN Bachelor -
From Guy Warren to Kofi Ghanaba: a Life of Transatlantic (Dis)Connections
Individual Life From Guy Warren to Kofi Ghanaba: A Life of Transatlantic (Dis)Connections Robin D. G. Kelley “ here has never been anybody in the history of Jazz music like me . I am Tto Jazz music what Kwame Nkrumah was to modern African politics.”1 These bold words belong to the late Kofi Ghanaba, the Ghanaian-born drum- mer who pioneered jazz-African fusion music during the era of decolonization. Anyone familiar with Ghanaba and his music, whether as the wise African in Haile Gerima’s celebrated film “Sankofa,” or as the young, dynamic percussion- ist Guy Warren who had taken London, Chicago, and New York by storm in the 1950s, will immediately recognize his legendary hubris. But there is a grain of truth here beyond his conceit. Their lives might be read as parallel stories of two important Ghanaian-born intellectuals whose transatlantic travels between the United States, the United Kingdom, and West Africa profoundly shaped their politics, ideas, and identities. Both men studied at Achimota College in the Gold Coast; both men spent time in the United Kingdom where they encountered an African diasporic community whose politics and art widened their horizons; and both men spent several years in the United States, which they initially envi- sioned as a land of freedom and possibility in an era when the United Kingdom’s imperial fortunes were declining and the so-called American Century was beginning. Nkrumah first arrived in London in 1935, just after Italy invaded Ethiopia. Although he was passing through en route to the United States, Nkrumah fell in with a group of like-minded activists mobilizing against the occupation and demanding that the League of Nations protect Ethiopia’s sovereignty.