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November 1983
VOL. 7, NO. 11 CONTENTS Cover Photo by Lewis Lee FEATURES PHIL COLLINS Don't let Phil Collins' recent success as a singer fool you—he wants everyone to know that he's still as interested as ever in being a drummer. Here, he discusses the percussive side of his life, including his involvement with Genesis, his work with Robert Plant, and his dual drumming with Chester Thompson. by Susan Alexander 8 NDUGU LEON CHANCLER As a drummer, Ndugu has worked with such artists and groups as Herbie Hancock, Michael Jackson, and Weather Report. As a producer, his credits include Santana, Flora Purim, and George Duke. As articulate as he is talented, Ndugu describes his life, his drumming, and his musical philosophies. 14 by Robin Tolleson INSIDE SABIAN by Chip Stern 18 JOE LABARBERA Joe LaBarbera is a versatile drummer whose career spans a broad spectrum of experience ranging from performing with pianist Bill Evans to most recently appearing with Tony Bennett. In this interview, LaBarbera discusses his early life as a member of a musical family and the influences that have made him a "lyrical" drummer. This accomplished musician also describes the personal standards that have allowed him to maintain a stable life-style while pursuing a career as a jazz musician. 24 by Katherine Alleyne & Judith Sullivan Mclntosh STRICTLY TECHNIQUE UP AND COMING COLUMNS Double Paradiddles Around the Def Leppard's Rick Allen Drumset 56 EDUCATION by Philip Bashe by Stanley Ellis 102 ON THE MOVE ROCK PERSPECTIVES LISTENER'S GUIDE Thunder Child 60 A Beat Study by Paul T. -
Howlin Wolf 1991.Pdf
FOREFATHERS Howlin’ W olf JUNE 10,1910 - JANUARY 10,1976 BY PETER GURALNICK OWLIN’ WOLF WAS LARGER than life in every respect. As an entertainer, as an individual, and as a bluesman, he was outsized, unpredictable, and always his own man. He was a great blues singer who pos sessed that quality of egocentric self-absorption that is the mark of the true showman. To many people this may seem contradictory, but Wolf proved that to its natural audience blues is not all pain and suffering, but is instead a kind of re his voice that was his crowning glory, a voice which could lease. When you listen to the blues, you should be moved; fairly be called inimitable, cutting with a sandpaper rasp and doubtless you should take the deep blues of a singer like overwhelming ferocity but retaining at the same time a curi Muddy Waters or Howlin’ Wolf with the sense of dignity that ous delicacy of shading, a sense of dynamics and subtlety of is intended. You should also come away with a smile on your approach that set it off from any other blues singer’s in that lips. rich tradition. It combined the rough phrasing of Patton with Howlin’ Wolf was a totally enigmatic personality. He was the vocal filigree of Tommy Johnson and its familial descen a man at once complex, driven, and dant: the blue yodel of Jimmie altogether impossible to read. I think WOLF’S RIGHT HAND: Rodgers, a white country singer he was as much a mystery to his HUBERT SUMLIN, LEAD GUITAR whom Wolf always admired. -
EARTH, WIND & FIRE -‐ Bio XRIJF JUNE 20-‐28, 2014 During the 1970S
EARTH, WIND & FIRE - Bio During the 1970s, a new brand of pop music was born - one that was steeped in African and African- American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music...which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force- feeding listeners' spiritual content." Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs. -
Click Here to Continue
Premieres Sunday September 28 at 9pm on This interactive document contains printable pages, downloadable photography, a video sample, music samples, and a link to The Blues Web site at www.pbs.org/theblues. Note that you can elcome navigate this document using the table of contents and the navigation buttons on each page. W Click here to continue. This document automatically adjusts to the size of your screen. The view may be adjusted under the View menu. Click below to navigate What is the Blues? Series Release Fact Sheet About the Films Director and Producer Biographies Performances in The Blues Quotes for The Blues Volkswagen “Celebrates the Arts” Release Contents Photography Index Video Sample Music Samples www.pbs.org/theblues Home pbs.org/theblues By Jason Emmons and edited by Robert Santelli, Blues Historian and Director & CEO of Experience Music Project In 1903 W. C. Handy, the African American leader of a dance orchestra, got stuck one night waiting for a train in the hamlet of Tutwiler, Mississippi. With hours to kill and nowhere else to go, Handy fell asleep at the empty depot on a hard wooden bench. When he woke, a ragged black man was sitting next to him, singing about “goin’ where the Southern cross the Dog” and sliding a knife against the strings of a guitar. The musician repeated the line three times and answered it with his guitar. Intrigued, Handy asked what the line meant. It turned out that the tracks of the Yazoo & Mississippi Valley Railroad, which locals called the Yellow Dog, crossed the tracks of the Southern Railroad in the town of Moorehead, where the musician was headed, and he’d put it into a song. -
Notre Dame Collegiate Jazz Festival Program, 1963
Archives of the University of Notre Dame I xnarch as&30 university of notre dame Archives of the University of Notre Dame 1963 i~ \\ fJ'he :dtt(od~'tn dound " a full hou't of iazz I!.fJl!.'ty d11onday, CO llfB IAIE Wedni!.1.d2'j, and 9tida'j night at ~efJl!.n on JAZZ ffSTlVAl LJ.J~NC:>~F="~ presents ~~THE NEW STREAM IN COLLEGE JAZZ" JUDGES ADVISORS I:hi~ 9'tom 7:00 until 8:00 'j0u. czan hea't the be~t in iazz on Manny Albam Steve Allen Lawrence Berk Leonard Feather Willis Conover \lIlIddV:b c40tt and 90tt dimuLcza~1: Terry Gibbs Don DeMicheal Robert Share Quincy Jones Herman Kenin Charles Suber Stan Kenton Henry Mancini Kenneth Morris Fred Williamson AM 640 PM 88.9 Archives of the University of Notre Dame S.\\II·: ~ R,o ~ Welcome to Notre Dime's 1963 ~~ The New Stream in Uollege Jazz" I Collegiate Jazz Festival! CJF is again presenting to you is flowing; it is streaking from the mainstream of jazz as the the twenty-two finest college jazz groups in the United "'63 splotch" signifies on the program cover. Ever since the S states. They have been auditioned and selected from the stream of college jazz began to trickle from the mainstream of largest number of applicants in our five year history. They jazz in 1948 when North Texas state University under Dr. Eugene are free to compete, to play their best, and to win! It is Hall's direction offered credit for Stage Band or Dance Band, S this competitive nature that distinguishes this festival jazz began to flow into the educational atmosphere of the col from any other that you have been to. -
A Study of Blues And
“YOUNG FASHIONED WAYS”: A STUDY OF BLUES AND AUTHENTICITY IN THREE TRANSATLANTIC STUDIO COLLABORATIONS _______________ A Thesis Presented to the Faculty of San Diego State University _______________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Music _______________ by Conor M. Jamison Fall 2013 iii Copyright © 2013 by Conor M. Jamison All Rights Reserved iv ABSTRACT OF THE THESIS “Young Fashioned Ways”: A Study of Blues and Authenticity in Three Transatlantic Studio Collaborations by Conor M. Jamison Master of Arts in Music San Diego State University, 2013 During the late 1960s and early 1970s, it was popular for blues artists—both British and American—to travel across the Atlantic to record with their fellow musicians. Three albums resulted from these collaborative exchanges which have been popular among fans, but also matters of controversy among blues purists: The London Muddy Waters Sessions, The London Howlin' Wolf Sessions, and Fleetwood Mac: Blues Jam in Chicago. Some feel that the American masters did not play to their own potential, and the white, British sidemen sound weak in comparison with their black, American counterparts. These reflections call into question the ability of the British musicians to achieve authentic blues, as well as the ability of the American players to remain authentic in a collaborative environment. In 2002, musicologist, Allan Moore published his article “Authenticity as Authentication,” wherein, he outlined a tripartite typology that can be uses as a basis for evaluating musical performances in terms of the perception of authenticity by those experiencing it. Moore's typology classifies the factors of authenticity into “first-, second-, and third-person.” Or “authenticity of: 'expression,' 'experience,' and 'execution'”. -
Earth, Wind & Fire Gratitude Mp3, Flac
Earth, Wind & Fire Gratitude mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Gratitude Country: Brazil Style: Soul, Funk, Disco MP3 version RAR size: 1596 mb FLAC version RAR size: 1718 mb WMA version RAR size: 1396 mb Rating: 4.3 Votes: 109 Other Formats: DMF AC3 MP4 WAV TTA ADX AIFF Tracklist Introduction (0:22) Medley (5:58) A1a Africano A1b Power A2 Yearnin' Learnin' 4:18 A3 Devotion 4:54 B1 Sun Goddess 7:57 B2 Reasons 8:27 B3 Sing A Message To You 1:21 C1 Shining Star 4:59 C2 New World Symphony 9:47 C3 Sunshine 4:18 D1 Singasong 3:25 D2 Gratitude 3:29 D3 Celebrate 3:09 D4 Can't Hide Love 4:12 Companies, etc. Copyright (c) – CBS Inc. Recorded At – Wally Heider Recording Studio, Los Angeles Recorded At – Hollywood Sound Recorders Recorded By – Haji Sound Recorded By – Wally Heider Recording Phonographic Copyright (p) – CBS Inc. Manufactured By – Columbia Records Mastered At – The Mastering Lab Pressed By – Columbia Records Pressing Plant, Terre Haute Mastered At – Customatrix Credits Arranged By [Live Show; Studio Tracks] – Earth, Wind & Fire Drums, Percussion – Fred White, Ralph Johnson Engineer – George Massenburg Guitar – Johnny Graham Guitar, Percussion – Al McKay Piano, Organ, Synthesizer [Moog] – Larry Dunn Producer [Live Show] – Joe Wissert Producer [Studio Tracks], Arranged By [Studio Tracks] – Charles Stepney Recorded By – Haji Sound, Wally Heider Recording Saxophone – Don Myrick Saxophone, Percussion – Andrew Woolfolk Trombone – Louis Satterfield Trumpet – Michael Harris Vocals, Bass, Percussion – Verdine -
From Suits to Robes: the Use of African Inspired Apparel As a Communication Tool in the Mid-Twentieth Century American Avant- Garde Jazz Community
C. Adam Cottle University of Tennessee Frederick S. Cottle Kansas State University Thomas W. Bell Kansas State University From suits to robes: The use of African inspired apparel as a communication tool in the mid-twentieth century American avant- garde jazz community. KEYWORDS African fashion Afrocentricity Afro-jazz avant-garde jazz communities of practice popular culture ABSTRACT Many musicians working in the avant-garde of American jazz in the post-Civil Rights era publicly aligned themselves with black power cultural ideologies. The Afrocentric fashions worn by some of these musicians were a visual representation of their cultural beliefs and endure as a major component of the musical form’s legacy. This article reevaluates these performers’ standing in popular culture, recognizing them as fashion innovators on top of being musical revolutionaries. These musicians’ adventurous style lives on in popular culture through fashion statements in hip hop, neo soul, and other musical genres. Expressions of Afrocentric fashion are relatively common in modern American culture, but this was not always the case. For most of the country’s history, mainstream fashion was dominated by European traditions. In the 1960’s and 1970’s, however, African American cultural nationalists and black power advocates began to utilize traditional African clothing and jewelry to show pride in their cultural heritage. Today, many of these African stylistic components have been assimilated into mainstream American fashion, particularly in the realm of urban fashion. In the Sixties and Seventies, it was not uncommon to see popular African American entertainers wearing African clothes. Nina Simone frequently exhibited an Afrocentric look, and even Sammy Davis Jr. -
Those Studio Musicians Were Moving Like Chess Mirrored the Changing Times Chess Sessions from 1955 to 1960
NON P E I F 0 R E N S Ralph B ass BY HARRY W E I N G E R /ALPH BASS WAS A CO-CREATOR of some of the indisputable landmarks of rock & roll: producer of and/or witness to “Call It Stormy Monday” (T-Bone Walker), “Sixty-Minute Man” (the Dominoes), “Sleep” (Earl Bostic), “Work With Me, Annie” (Hank Ballard & the Midnighters), “Please Please Please” (James Brown), and so many more. His life spans five decades of music and stints with such pioneering indie labels as Black & White, Savoy, King, and Chess. Yet for all of the artists he nurtured and the labels he Flushed with this sudden success, Bass launched his toiled for, a Ralph Bass production was almost invisible. He own Bop label. His most famous date was a two-part live sax inspired seemingly effortless performances from his vocalists battle between Dexter Gordon and Wardell Gray titled “The and musicians in which the overriding Chase” and “The Hunt.” Bass later concern was for pure feeling, “I didn’t RALPH BASS founded Portrait Records and captured give a shit about technique,” he says to PICKS SIX significant performances by Errol Gamer. day. “To hell with bad notes. They had to Bass found his first consistent suc T-Bone Walker, Call It Stormy Monday feel it. I had to feel it.” (1947, Black & White, #5 R&B) cess with Herman Lubinsky’s Savoy Part Italian, part Jew, all hipster-hus “A landmark, and I was no longer andvice. It gave me Records from 1948 to 1951. -
Aaron Dodd (1948-2010)
Aaron Dodd (1948-2010) By Gene Pokorny and Brian Frederiksen With Linda Dorsey, Paul Robertz, Richard Armandi, Roger Rocco, John Taylor It is an often said fact that there were two tubists at Chicago’s Symphony Center: The one who played inside Orchestra Hall and the one who played outside Orchestra Hall. For nearly three decades, Aaron Dodd played outside the hall on perhaps the toughest block anywhere for a street musician - the home-base of the Chicago Symphony Orchestra. He played where members of the Chicago Symphony, conductors, soloists and visiting groups from all over the world entered and exited that esteemed locale. While at Chicago’s Wendell Phillips High School, Aaron’s twin sister, Linda Dorsey started playing the cornet. She was more interested in the boys in the band than the cornet, although she brought it home but never practiced: Aaron picked it up with instant success. He soon joined the high school band where he began playing many instruments. Linda said, "He could play anything." Eventually, he decided that his instrument would be the tuba. Roger Rocco, a Chicago-area tuba player and music educator, commented, “I first noticed Aaron’s smile in 1964 when we performed in the ten-member tuba section of the Chicago Public Schools All-City High School Band. Aaron’s grin was as wide as the bell of his tuba. Later, he asked me to share the knowledge that I was fortunate enough to receive from the tubist of the Chicago Symphony, Arnold Jacobs. Very few young musicians had the opportunity to study with ‘Jake’ so he was thankful to receive [the knowledge] second-hand from me.” Eventually, Aaron met the legendary tuba player of the Chicago Symphony, Arnold Jacobs, who, typical of Jacobs, gave him lessons, gratis, and they became instant and fast friends. -
Matthew Matheny: 2015 Young Baylor Lawyer of the Year
WINTER ’15 SCHOOL OF LAW One Bear Place #97288 Waco, TX 76798-7288 It is through the generosity of many, that Baylor Law School can continue its commitment to service this, and every, holiday season. WITH MATTHEW MATHENY: 2015 YOUNG BAYLOR LAWYER OF THE YEAR What better way to help students VOLUME 130 | WINTER ’15 BAYLOR UNIVERSITY SCHOOL FIND THEIR SEATS? OF LAW ALUMNI MAGAZINE at Baylor Law Invest in a student scholarship fund today and make a difference for the Baylor Lawyers of tomorrow. 2 Dean’s Letter 14 Student Notes 16 Alumni Notes To learn more about how your gift can impact lives, contact Susan Wommack, 18 Faculty Notes 20 Adjunct Faculty Profile 22 Obituaries Senior Director of Development for Baylor Law School, at [email protected], 27 Out and Abouts 28 Back in Time call 254.710.8537 or visit baylor.edu/law/give. © Baylor University School of Law. All Rights Reserved. A Message from Dean Toben Docket Call is published by the Baylor University School of Law for its alumni, faculty, staff, students, supporters, and friends. GRATITUDE. THIS IS A FEELING In this issue, we’ll also introduce you to As we celebrate the season, I thank you Established in 1857, Baylor Law School was one of the I EXPERIENCE EACH TIME I THINK Matthew Matheny—the 2015 Young Baylor again—our alumni family, our friends, and our first law schools in Texas and one of the first west of the Mississippi River. Today, the school has more than OF THE FRIENDS AND FAMILY OF Lawyer of the Year—who was surprised with faculty and staff colleagues—who support us 7,200 living alumni. -
Barracuda Bass Transcription Pdf
Barracuda Bass Transcription Pdf Sorbian Hadleigh rebrace some species after afghani Leroy supervening bonny. Rodolph jeopardizes skittlesdecidedly some as catalyticalpresbytery Walton after abler surnaming Jody phase her cottontail strugglingly. outdaring untremblingly. Untressed Gomer Lorem ipsum dolor sit amet, special section on page you ever made of Not all our sheet music are transposable. Enjoy your transcriptions that is wrongfully on shipping discount will need your message could not logged in. And being a versatile and accomplished player has never been so important. Leonard bass transcriptions for a pdf format as soon as you purchase and drop d tuning are playable. To play electric bass features lessons pertaining to help you play in pdf music notes are you should i get any tempo without notice. Neon knights paranoid planet caravan rat salad sabbath! Lorem ipsum dolor sit amet, model of creating solid rock bass students of bass guitar case so important. Loading the interactive preview of this score. Using Charts for Professional Work? Free blues rock metal and country bass tabs in PDF format. This only includes the reckless and CD and salesperson the companion to the Bass DVD. Selected by our editorial team. Woodshedding source bookhas to play bass transcriptions for interesting melodies and submit it is also contains a pdf? Thanks a strap for sharing. It contains virtually every chord a player will be asked to produce. Preparing document for printing. Please Note: Buyer is responsible for any duties. As world as riff transcriptions and demonstrations on the CD. Bass transcriptions are using charts and bass lines found on shipping fees.