DOCSLIB.ORG

Morgenstern, Dan. [Record Review: Dizzy Gillespie: My Way] Down

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Morgenstern, Dan. [Record Review: Dizzy Gillespie: My Way] Down 'I • Records arf revie-.yed by Chris Albertson, Don DeMicheal, Gilbert M. Erskine, Ira Giller, Alan Heineman, .Wayne Jones, Lawrence ·Kart, John Litweiler, Jehn McDonough, Dan Morgenstern, Irvin Moskowitz, Don Nelsen, Harvey Pekar, Harvey Siders, Carol Sloane, and Pete Welding. 1,. Reviews are signed by the writers. 'I1 Ratings are: * * * * * excellent, * * * * very good, * * * good, * * fair, * poor. /J When two catalog numbers are listed, the first is mono, and the second is stereo. '![ . I Chicago Traisit Authority i iii! clear that hf,! likes Jorma Kaukonen (in My Way is slightly better, only because THE CHIC 'Go TRANSIT AUTHORITY­ the early building) and loves Eric Clapton, the repertoire is more varied and the trum­ Columbia GP 8: Introduction; Does Anybody Really Know I :,bat Time It is? Beginnings; Ques• emulating his tone as well as his way of pet soloist less frequently obstructed. On lions 67 and 8; Listen; Poem 58; Pree Form getting to a climax via hard chording. the other hand, Salvation, as a whole, is Guilar,· South ,california Purples: I'm a Man; Prologue, Aug ,'st 29, 1968/Someday, August 29, Derivative as hell, but pretty enjoyable more lively. nonetheless. I have no quarrel with the idea of mak­ 1968;Personnel: Liberalio cc·• Loughnane, trumpet, vocals; Jim Pankow, t : mbone; Walter Parazaider, wood­ The two best pieces arc Purples and ing a great jazz artist "commercial", giving winds, vocals; /Terry Kath, guitar, lead vocals; August. Purples is a real fooler: sounds., him "contemporary" material, and devising Robert Lamm, jp_iano, organ, lead vocals; Peter like a regular blues, then gets progressively settings for him that arc sufficiently fash­ Cetera, electri I bass, lead vocals; Daniel Sera­ phine, drums. I less regular. If you're used to humming or ionable-sounding to obtain some airplay I Rating: * * * * · singing along with records, it'll feel like and juke box exposure. If the formula There's 7 :f:43of music on these two you stepped into an elevator shaft. (But works, he can then be "sold" without such records. 70: :Oof it is at least good, and the fall is a gas.) As the song's going out, trappings. some is very l;eavy indeed. Producer James the lead singer throws in the brilliantly But for pity's sake, how can it work Guercio (wl b,to judge from the liner, is mimicked first line of / Am the Walrus. when the object of the experiment is 1 in Jove wit f' the sight of his name in Prologue is simply a short recording of smothered in banalities to the degree that print) is c nering the market on rock someone (Dlck Gregory?) exhorting the a listener applying even the bares( mini­ groups with rass, since he also produces Chicago de111onstrators to march hrough mum of musical standards is made to Blood, Swea & Tears. the police ba:rricades on S. Mic, 1gan, fol­ cringe on nearly every track? People who'd Comparis hs are inevitable. BS&T is po­ lowed by the repeated chant, " e whole actually like· these records coui'd never be tentially a · re exciting band and certain­ world's watching," which is used t set the expected to appreciate the art of Dizzy ly a more 1ariegated one. Steve Katz is rhythm for S'omeday. Effective lyri , good Gillespie. It's like smothering prime filet a more int resting guitarist than Kath vocal; the chant comes up agai nder­ mignon in stale ketchup, or mixing 20-year (hmm-eve ' the names are similar), and neath, leading into a vocal reprise and old scotch with sod_a pop. · CTA has n soloist with the power of another bit of good brass section. writing, Much to Dizzy's credit, he rises above it Fred Lipsiu on alto, although trombonist as various instruments , enter staggered to all on nearly every track. On Whatever, a· Pankow sou ds awful good. construct a· chillingly dissonant chord. The poigriant ballad from Tadd Dameron's Despite ich this set surpassei; either concept coulcl have been gimmicky, but legacy,, he is very moving (and the chart of BS&T's a bums. All seven members of the way the jchant sets up and reinforces quite passable); on Exotica, credited to CTA are fir t-rate musicians. All the lead the song is v:ery natur~l, very appropriate, "L. Gillespie" (which I assume is wife vocalists are · effective, though David Clay~ and very_ unrierving. · :t-orraine), he is relaxed and pleasantly 1 i, · nostalgic, and -on (credited to ton-Thomas I hows more individuality than The only bummer on t\e records is Magic Tree any of the , TA leads. Most importantly, Guitar, in which it is discovered that, gee, Richard Carpenter with the Walkin' ears), the brass cha, ts, by Pankow, are gorgeous, Dad, my new $1500 toy can soynd ·wike he is brilliant. But even a master can't and they're [ played sharply and cleanly. an airpwane [or a choo-choo or ~omebody cope w'ith the deadly tempo and logy Furthermore CT A uses hard rock more with severe gas problems. Feh. ,jr rhythm. (tympani sounds like a fat man integrally an, more successfully than BS&T. Whoever thought there'd be something stumbling about the studio) on Besame or One of t more ingratiating traits of nice to say I about the Chicago Transit the absolutely dumb revamping. of Birks' the music he e is that the introductory riffs Authority? This is one EI of an impres­ Works into Latin rock, with interminable usually e~ta ish a pattern that leads log­ sive debut. ' . -Heineman trumpet~piccolo unison statements (the ically but s prisingly into another figure (Note: Th~ group has reportedly changed piccolo must be one of the most irritating in the same mpo, set by the rhythm. J,1- its name to just plain "Chicago".-Ed.) instrmrlents devised by m~n, and the· usu­ troduction, r example: nice brass riff; ! ally impeccable Jerome Richardson plays 1 vocal based , n another pattern, good en­ It badly on Besame). And there's no vi­ semble blow~ g, a ritard into a fine, full­ Dizzy Gi-lles~ie tality in Jimmy Mundy's settings of not­ toned tromb, e solo by Pankow, another MY WAY...!...Solid State SSI8054; Galveston; so-hot Bacharach, Jim Webb and Galt Mac­ ritard for a oughnane trumpet spot (ap­ This Girl's In, Lave With You; Games People Dermot. times. (Sure, Aquarius is a nice Play; Magic Tree; Whatever Possessed Me; Med­ propriate if i ot electrifying), an accele­ ley; Aquarius) Let the Sunshine In; Besame song. But it doesn't raise my hair.) rando for K.i h's guitar solQ, and- back to Mucha; I'm Gonna Sit Right Down and Write The · second album gives Diz a chance Myself a Lette'r; Exotica; Birks' Works. the ensemblel chart for the out choruses. Personnel: Gillespie, trumpet; Joe De Angelis, to preach and moan. But what material! Pankow is gutty and groovy after the Don Corrado; Paul Ingraham, French horn; And what arrangements! Ed Bland is 1 Jerome Richardson, baritone saxophone, flute, vocal on Begir_nings, entering with a mov­ piccolo; unidentified strings; Paul Griffin, piano; aptly nained; his musical taste fits his witty ing cry. There's also some nice dual im­ · Billy Butler, guitar; Bob Bushnell, ·electric bass; titles. Sprinkle from one large bag of Joe Marshall, drums; Paul Fein, tympani; Jimmy provisation b~tween him and Loughnane. Mundy, arranger, conductor. cliches one or more of the following: blues, The tune en1:S with a suspended riff fol­ Rating:*** soul, Gospel, Latin, bossa nova. Lard gen­ erously with backbeat, and season with lowed, unfort$nately, by some overextend­ SOUL AND SALVATION-Tribute 5001: ed Latin per2ussion. SJomJ,ed and If?'asted; Pot Licka; Blue Cuchi­ doo-wah: voices. Phew! What a stew! f rito,· TurniJ, ToJ,s; Tbe Fly Fox; Chicken Gib­ There:,are a few spots for Moody's tenor ' Scraphine ~teals Questions, an interest­ lets; Casahab Melon; Clabber Biscuits; R111t1baga ing line wit~:/ an early-Classical feel. He Pie; Turke{ Fan. (no a!tolst is mentioned, but if Moody is Personne : Gillespie, Joe Newman, trumpet; responsible for the passages on that horn, plays some fire breaks behind the vocal, James Moody,' tenor saxophone; others unidenti­ and some sti1nging figures on the seventh fied; Ed Bland, arranger. aside frqm the fair solo on Stomped, he and eighth hats of the singer's re-entry. His ' Rating: ** ½ must have had his tongue in both cheeks). nicest touch, )10wever, is to hit the closed Dizzy merits five stars on each of these; No personnel is listed, but Joe Newman hi-hat just a :hair early on the back beat the ratings arc based on subtraction for the appears in a backliner photo, so presum­ behind the 9fass; it really locomotes the backdrops fashioned for him, possibly with ably it _is he who engages in a brief shout­ arrangement. 1 good (if not pure) intentions, but undeni­ ing match with Dizzy on Giblets. The Poem fcat(lres Kath. His solo makes it ably with atrocious taste. oddly named Turkey Fan, a minor piece October 2 D 17 with some semblance of melodic substance, band and of the popular Handy group of sonnel. This is indicated by the fact that has honest tenor and soulful Diz, and the a few years ago is almost the same. Budimir's work is blatantly imiative of Wes trumpeter tries valiantly to make himself Nance, a veteran of the Swing era, rises Montgomery's commercial playing. (When heard in front of the ceaseless ooh-ooh- to the occasion and plays very well here in Budimir is in a non-commercial setting he .
Load more

Recommended publications
  • Jazz Workshop Dana Hall, Director Jazz Orchestra Thomas Matta, Director Jazz Ensemble Bob Lark, Director Program Jazz Workshop Dana Hall, Director
    Thursday, May 25, 2017 • 8:00 P.M. Jazz Workshop Dana Hall, director Jazz Orchestra Thomas Matta, director Jazz Ensemble Bob Lark, director DePaul Student Center 2250 North Sheffield Avenue • Chicago Thursday, May 25, 2017 • 8:00 P.M. DePaul Student Center JAZZ WORKSHOP Dana Hall, director JAZZ ORCHESTRA Thomas Matta, director JAZZ ENSEMBLE Bob Lark, director PROGRAM JAZZ WORKSHOP Dana Hall, director Dan Higgins A New Start Bob Meyer In The Moment Joel Adams Love Song Benjamin Phillips Little Warrior Dan Burke Living in the Existential Vacuum Sammy Galop and Peter DeRose; arr. Alex Blomarz Autumn Serenade Ben Voigt B’s Blues DEPAUL JAZZ ENSEMBLES • MAY 25, 2017 PROGRAM JAZZ ORCHESTRA Thomas Matta, director To be selected from the following: Bill Holman Told You So George and Ira Gershwin; arr. Ted Nash Our Love Is Here To Stay Matt Harris Cabeza De Carne Mike Crotty The Poet Jim McNeely Extra Credit Harry Warren & Al Dubin; arr. Frank Mantooth I Only Have Eyes For You Thelonius Monk; arr. Ryan Adamsons Epistophry JAZZ ENSEMBLE Bob Lark, director Juan Tizol & Duke Ellington; arr. John Wasson Caravan Bob Lark; arr. Chris Madsen Rum Point Phil Woods Randi Thomas Matta Another Shuffle DEPAUL JAZZ ENSEMBLES • MAY 25, 2017 PROGRAM Richard Rodgers & Lorenz Hart; arr. Thomas Matta It Never Entered My Mind Joseph Clark Blaze Sammy Mysels, Nelson Cogane & Dick Robertson; arr. Joseph Clark Yesterday’s Gardenias DEPAUL JAZZ ENSEMBLES • MAY 25, 2017 BIOGRAPHIES Drummer, composer, ethnomusicologist, and bandleader Dana Hall has been an important musician on the international music scene since 1992, after leaving aerospace engineering for a life in music.
    [Show full text]
  • Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
    Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A.
    [Show full text]
  • PASIC 2010 Program
    201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space.
    [Show full text]
  • Montclair State University Jazz Ensemble with Mike Lee, Guest Soloist
    Montclair State University Jazz Ensemble With Mike Lee, Guest Soloist Oscar Perez, Director Cali Music Live Sunday, May 23rd, 2021 3:00 pm Exactly Like You Jimmy McHugh arr. by Dennis Mackrel Black Narcissus Joe Henderson arr. by Bob Belden Guest Soloist, Mike Lee Alter Ego James Williams arr. by Eddie Allen Finya Wulo Michael Phillip Mossman Dolphin Dance Herbie Hancock arr. by Bob Mintzer PERSONNEL Oscar Perez, Director Mike Lee, Guest Soloist Nicolas Martin, Alto 1 Stephan Schwarz, Alto 2 Allan Romero Tenor Sax 1 Bella Rochford, Tenor Sax 2 Sabrina Isaac, Baritone Sax Shanyse Strickland, Flute/French Horn Deshaun Hinson, Trumpet 1 Gavin Ard, Trumpet 2 Justina Carandola, Trumpet 3 David Long, Trumpet 4 Vito Cakaroglu, Trombone 1 Martin Pyda, Trombone 2 Dan Harkins, Trombone 3 Matthew Veal, Bass Trombone Derick Campos, Guitar Pierce Sparncroft, Vibraphone Tia Mae Frostrom, Piano Senny Raines, Bass Zack Perez, Drums MSU Jazz Ensemble Bio The MONTCLAIR STATE UNIVERSITY JAZZ ENSEMBLE is in its first year under the direction of new Jazz Studies coordinator Oscar Perez and is honored to present a varied program of music from James Williams, Herbie Hancock, Michael Phillip Mossman, and Joe Henderson. We are also proud to present saxophone faculty and guest soloist Mike Lee. The group was founded and directed for twenty-two years by Dr. Jeffrey Kunkel, who retired from full-time teaching in August. The MSUJE, which is comprised of majors in Jazz Studies as well as other music majors (and even the occasional non-music major!), is dedicated to the performance of music representative of contemporary literature composed for the large jazz ensemble, as well as music of historical importance to the genre, with each semester focusing on the music of one composer or arranger.
    [Show full text]
  • Concert Jazz Orchestra
    PERSONNEL STUDIO JAZZ BAND CONCERT JAZZ ORCHESTRA Alto Sax—Hayden Dekker* Alto Sax—Kyle Myers*† Alto Sax—Jordan Guzman* Alto Sax—Grant Beach* Tenor Sax—Andrew Rosenblum* Tenor Sax—Brandon Baker* Tenor Sax—Brandon Muhawi* Tenor Sax—Josias Miguel* Baritone Sax—Emily Williams* Baritone Sax—Howard Hardaway* Trumpet—Max Maynard Trumpet—Andrew Solares*+ Trumpet—Elias Rodriguez* Trumpet—Adam Portocarrero*+ Trumpet—Ryan Furness* Trumpet—Evan Hamada*> Trumpet—Alex Hille Trumpet—Adam Rosenblum* CONCERT JAZZ Trombone—Ethan Saxe Trombone—Ethan Saxe Trombone—Luke Lizotte* Trombone—Chris Innes+ Trombone—Max Mineer* Trombone—Anna Menotti* Trombone—Daniel Nakazono Trombone—Rob Verdugo Trombone—Evan Wicks Guitar—Mauricio Martin* ORCHESTRA Vibes—Joseph Nazariego* Guitar—Daniel Mandrychenko* Piano—Eric Bell*^ Piano—Alex Flavell*^ Bass—Matthew Evans* Bass—Evan Tom*‡ Drums—Jackie Rush*^ / Ryan Dong* Drums—Karo Galadjian*^ *—Jazz Studies Major †—Beau & Jo France Graduate Jazz Studies Scholar STUDIO JAZZ BAND +—Cole Scholar ‡—Jazz Studies Scholar ^—KKJZ Scholar >—President's Scholar JEFF JARVIS, DIRECTOR UPCOMING “JAZZ AT THE BEACH” EVENTS JEFF HAMILTON, GUEST ARTIST November 23 Pacific Standard Time, Jazz & Tonic November 24 Jazz Lab Band, 4PM, Daniel Recital Hall December 6 Jazz @ the Nugget, 5PM SUNDAY, NOVEMBER 10, 2019 4:00PM GERALD R. DANIEL RECITAL HALL PLEASE SILENCE ALL ELECTRONIC MOBILE DEVICES. This concert is funded in part by the INSTRUCTIONALLY RELATED ACTIVITIES FUNDS (IRA) provided by California State University, Long Beach. recordings for such names as Lou Rawls, Michael Jackson, Melba Moore, The O’Jays and more. Live performance credits include Gladys Knight, Van Morrison, Dizzy Gillespie, Louie Bellson, Joe Williams, Benny Golson, Jon Hendricks, Jimmy Heath, Joe Lovano, Henry Mancini, Slide Hampton, Kevin Mahogany, Grady Tate, Eddie Daniels, Rob McConnell, and Doc Severinsen.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • CV Tech Copy
    JEFF KAISER www.jeffkaiser.com EDUCATION ________________________________________________________________________________________ Ph.D., Music, Integrative Studies University of California San Diego, 2013 Fields of study: Media technology, ethnomusicology, critical studies, improvisation. Committee: David Borgo (Chair), Anthony Davis, Mark Dresser, Kevin Fellezs, Sarah Shun-lien Bynum. Dissertation Title: Improvising Technology: Configuring Identities and Interfaces in Contemporary Electro-Acoustic Music. M.M., Choral and Orchestral Conducting, Azusa Pacific University, Azusa, CA, 1987 B.A., Music Composition, Westmont College, Santa Barbara, CA, 1985 PROFESSIONAL ACTIVITIES, SKILLS AND CREATIVE WORK ____________________________________________________ Audio professional • Producer: As a music label owner and freelance consultant, I have overseen the production of hundreds of full- length music recordings and thousands of smaller projects that range from language education to sound-for- picture. I have been actively involved with all aspects of production, including: recording, mixing, mastering, audio restoration, graphic design, manufacturing, advertising, as well as physical and digital distribution. • Recording and mixing engineer: I have extensive knowledge of—and experience with—audio technology. This includes, but is not limited to: Pro Tools, Ableton Live, Digital Performer, Native Instruments Komplete Ultimate, Logic, DSP Quattro, Finale, Audacity, Reaper and third party plug-ins from companies such as Izotope, Waves and DMG
    [Show full text]
  • Internet Recruiting Power: Opportunities and Effectiveness
    IESE UNIVERSITY OF NAVARRA INTERNET RECRUITING POWER: OPPORTUNITIES AND EFFECTIVENESS José Ramón Pin* Miriam Laorden** Inés Sáenz-Diez*** RESEARCH PAPER No 439 July, 2001 Published by the International Research Centre on Organizations (IRCO) * Professor of Organizational Behaviour, IESE ** Manager at IRCO, IESE *** Research Associate at IRCO, IESE. Research Division IESE University of Navarra Av. Pearson, 21 08034 Barcelona - Spain Copyright © 2001, IESE Do not quote or reproduce without permission INTERNET RECRUITING POWER: OPPORTUNITIES AND EFFECTIVENESS Abstract Recruiting via the Internet, or e-Recruitment, is a phenomenon that has led to the appearance of a new market in which there is an unprecedented level of interaction between employers and potential employees. In this paper we describe the actual and emergent models in the e-Recruitment market, assess the changes this new recruitment tool is bringing about in companies’ practices and strategies, and analyse the risks and opportunities of e-Recruitment for companies and for job candidates. INTERNET RECRUITING POWER: OPPORTUNITIES AND EFFECTIVENESS I. Introduction 1. Research aims The main goal of this research project is to analyse the e-Recruitment tools that use new technologies, and more specifically everything that is done in this area over the Internet. The scope of the analysis is mainly Europe, although we could hardly have done it without comparing the European level with the market in the US, due to its broader experience in using these tools and the fact that it is a more mature market. The study focuses on three main objectives: Objective I. Describe current and emerging models in the European Internet recruitment market and define key actors.
    [Show full text]
  • Lee Morgan and the Philadelphia Jazz Scene of the 1950S
    A Musical Education: Lee Morgan and the Philadelphia Jazz Scene of the 1950s Byjeffery S. McMillan The guys were just looking at him. They couldn't believe what was coming out of that horn! You know, ideas like . where would you get them? Michael LaVoe (1999) When Michael LaVoe observed Lee Morgan, a fellow freshman at Philadelphia's Mastbaum Vocational Technical High School, playing trumpet with members of the school's dance band in the first days of school in September 1953, he could not believe his ears. Morgan, who had just turned fifteen years old the previous July, had remarkable facility on his instrument and displayed a sophisticated understanding of music for someone so young. Other members of the ensemble, some of whom al- ready had three years of musical training and performing experience in the school's vocational music program, experienced similar feelings of dis- belief when they heard the newcomer's precocious ability. Lee Morgan had successfully auditioned into Mastbaum's music program, the strongest of its kind in Philadelphia from the 1930s through the 1960s, and demon- strated a rare ability that begged the title "prodigy." Almost exactly three years later, in November of 1956, Lee Morgan, now a member of die Dizzy Gillespie orchestra, elicited a similar response at the professional level after the band's New York opening at Birdland. Word spread, and as the Gillespie band embarked on its national tour, au- diences and critics nationwide took notice of the young soloist featured on what was often the leader's showcase number: "A Night in Tunisia." Nat Hentoff caught the band on their return to New York from the Midwest in 1957.
    [Show full text]
  • Herbie Hancock Mr. Hands Mp3, Flac, Wma
    Herbie Hancock Mr. Hands mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: Mr. Hands Country: Europe Released: 1992 Style: Fusion MP3 version RAR size: 1631 mb FLAC version RAR size: 1810 mb WMA version RAR size: 1691 mb Rating: 4.6 Votes: 840 Other Formats: MP3 VOX WMA AHX VQF DTS ASF Tracklist Hide Credits Spiraling Prism 1 6:22 Bass – Byron MillerDrums – Leon Ndugu Chancler 2 Calypso 6:42 Just Around The Corner 3 Bass – Freddie WashingtonDrums – Alphonse MouzonGuitar – Melvin "Wah Wah" 7:34 WatsonPercussion – Sheila Escovedo 4 AM 4 5:21 Bass – Jaco PastoriusDrums – Harvey MasonPercussion – Sheila Escovedo Shiftless Shuffle 5 7:08 Bass – Paul Jackson Drums – Harvey MasonTenor Saxophone – Bennie Maupin 6 Textures 6:38 Companies, etc. Made By – DADC Austria Phonographic Copyright (p) – Sony Music Entertainment Inc. Copyright (c) – Sony Music Entertainment Inc. Distributed By – Sony Music Credits Percussion – Bill Summers (tracks: 1, 4, 5) Producer – David Rubinson, Herbie Hancock Notes Jewel case 8-page booklet Originally released on LP in 1980 Barcode and Other Identifiers Barcode (Text): 5 099747 124020 Barcode (Scanned): 5099747124020 Label Code: LC 0162 Matrix / Runout: 01-471240-10 11 A1 DADC AUSTRIA Price Code: CB 741 Price Code: CDM Other (Sony Code): 01-471240-10 Rights Society: BIEM/STEMRA Other (Mould stamp): * Other versions Category Artist Title (Format) Label Category Country Year JC 36578 Herbie Hancock Mr. Hands (LP, Album) Columbia JC 36578 US 1980 PCT 36578 Herbie Hancock Mr. Hands (Cass, Album) Columbia PCT 36578 US 1980 PC 36578 Herbie Hancock Mr. Hands (LP, Album) Columbia PC 36578 US 1980 JCA 36578 Herbie Hancock Mr.
    [Show full text]
  • Various Funky Beats Mp3, Flac, Wma
    Various Funky Beats mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: Funky Beats Country: US Released: 1994 Style: Jazz-Funk, Soul-Jazz MP3 version RAR size: 1442 mb FLAC version RAR size: 1434 mb WMA version RAR size: 1182 mb Rating: 4.5 Votes: 525 Other Formats: MP4 DXD VOX APE DMF VQF FLAC Tracklist 1 –Bernard Purdie Theme From Shaft 5:52 2 –Melvin Sparks Featuring Idris Muhammad Spark Plug 8:50 3 –Johnny "Hammond" Smith* Featuring Bernard Purdie Soul Talk 9:30 4 –Leon Spencer* Featuring Idris Muhammad First Gravy 4:01 5 –Idris Muhammad Super Bad 5:25 6 –Bernard Purdie Purdie Good 6:25 7 –Joe Dukes Moohah The D.J. 7:29 8 –Gene Ammons Featuring Bernard Purdie Jungle Strut 5:08 9 –Brother Jack McDuff Featuring Joe Dukes Soulful Drums 4:15 10 –Boogaloo Joe Jones* Featuring Bernard Purdie Brown Bag 5:05 11 –Sonny Stitt Featuring Idris Muhammad The Bar-B-Que Man 7:58 Companies, etc. Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Remastered At – Fantasy Studios Credits Art Direction, Design – Phil Carroll Recorded By – Rudy Van Gelder Remastered By [Digital Remastering] – Joe Tarantino Supervised By [Original Session Supervision] – Bob Porter (tracks: 1 to 6, 8, 10, 11), Lew Futterman (tracks: 7), Ozzie Cadena (tracks: 9) Notes All selections recorded by Rudy Van Gelder (Englewood Cliffs, NJ), except "Moohah the D.J." Digital remastering , 1994 (Fantasy Studio, Berkeley) Total time 70:26 Barcode and Other Identifiers Barcode: 025218514828 Other versions Category Artist Title (Format) Label Category
    [Show full text]
  • Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
    June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty.
    [Show full text]