DOCSLIB.ORG

Adderley, Cannonball: Somethin' Else (1958) Armstrong, Louis: The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Adderley, Cannonball: Somethin' Else (1958) Armstrong, Louis: The Adderley, Cannonball: Somethin’ else (1958) Armstrong, Louis: The complete Hot Five and Hot Seven recordings vol. 1•3 (1925•1929) Ayler, Albert: Spiritual unity (1964) Baker, Chet: Prince of cool (1952•1957) Basie, Count: The complete atomic Basie (1957) Basie, Count: The original American Decca recordings (1937•1939) Bechet, Sidney: 1940•1941 Blakey, Art: Moanin’ (1958) Bley, Paul: Time will tell (1994) Braxton, Anthony: Five compositions (quartet) 1986 Brown, Clifford: Clifford Brown and Max Roach (1954•1955) Brubeck, Dave: Time out (1959) Brötzmann, Peter: Machine gun (1968) Carter, Benny: Further definitions (1961•1966) Christian, Charlie: The genius of the electric guitar (1939•1941) Clark, Sonny: Cool struttin’ (1958) Coleman, Ornette: At the “Golden Circle” Stockholm vol. 1•2 (1965) Coleman, Ornette: Free jazz (1960) Coleman, Ornette: The shape of jazz to come (1959) Coltrane, John: Giant steps (1960) Coltrane, John: Interstellar space (1967) Coltrane, John: A love supreme (1964) Corea, Chick: Now he sings, now he sobs (1968) Corea, Chick: Return to forever (1972) Davis, Miles: In a silent way (1969) Davis, Miles: Kind of blue (1959) Davis, Miles: Milestones (1958) Dolphy, Eric: Out to lunch (1964) Douglas, Dave: Strange liberation (2003) Ellington, Duke: Ellington at Newport 1956 (complete) Ellington, Duke: Complete legendary Fargo concert (1940) Evans, Bill: Sunday at the Village Vanguard (1961) Evans, Gil: Out of the cool (1961) Farmer, Art: Portrait of Art Farmer (1958) Fitzgerald, Ella: Ella Fitzgerald sings the George and Ira Gershwin songbook (1959) Freeman, Chico: Destiny’s dance (1981) Garbarek, Jan: Witchi•tai•to (1973) Garner, Erroll: Concert by the sea (1955) Gayle, Charles: Touchin’ on Trane (1991) Getz, Stan: Getz plays Jobim (1962•1964) Goodman, Benny: Live at Carnegie Hall (1938) Gordon, Dexter: Our man in Paris (1963) Hancock, Herbie: Head hunters (1973) Hancock, Herbie: Maiden voyage (1965) Hawkins, Coleman: Body and soul (1939•1956) Henderson, Fletcher: 1927•1931 Henderson, Joe: The state of the tenor (1985) Hill, Andrew: Point of departure (1964) Hines, Earl: Earl Hines plays Duke Ellington (1971•1975) Holiday, Billie: Lady Day swings! (1935•1941) Holland, Dave: Conference of the birds (1972) Hubbard, Freddie: Hub•tones (1962) Jarrett, Keith: The Köln concert (1975) Jones, Thad: Consummation (1970) Kirk, Rahsaan Roland: Rip, rig, and panic ; Now please don’t you cry, beautiful Edith (1965•1967) Lovano, Joe: Rush hour (1994) McLean, Jackie: Let freedom ring (1962) Mahavishnu Orchestra: The inner mounting flame (1971) Mehldau, Brad: Introducing Brad Mehldau (1995) Mingus, Charles: Charles Mingus presents Charles Mingus (1960) Mingus, Charles: Mingus ah um (1959) Mingus, Charles: Pithecanthropus erectus (1956) Modern Jazz Quartet: Lonely woman (1962) Monk, Thelonious: Brilliant corners (1956) Monk, Thelonious: The complete Blue Note recordings (1947•1958) Montgomery, Wes: The incredible jazz guitar of Wes Montgomery (1960) Morgan, Lee: The sidewinder (1963) Morton, Jelly Roll: The Library of Congress recordings (1938) Mulligan, Gerry: The original quartet with Chet Baker (1952•1957) Murray, David: Ming (1980) Nelson, Oliver: The blues and the abstract truth (1961) Oliver, King: 1923 Parker, Charlie: Confirmation : best of the Verve years (1946•1953) Parker, Charlie: Complete Savoy & Dial sessions (1944•1948) Pass, Joe: Virtuoso (1973) Pastorius, Jaco: Jaco Pastorius (1975) Peterson, Oscar: Night train (1962) Powell, Bud: The amazing Bud Powell vol. 1•2 (1949•1953) Quintet [Charlie Parker, Dizzy Gillespie…]: Jazz at Massey Hall (1953) Reinhardt, Django: Peche à la mouche (1947•1953) Roach, Max: We insist! (1960) Rollins, Sonny: A night at the “Village Vanguard” (1957) Rollins, Sonny: Saxophone colossus (1956) Shepp, Archie: Four for Trane (1964) Shorter, Wayne: Speak no evil (1964) Silver, Horace: Song for my father (1964) Smith, Jimmy: Groovin’ at Smalls’ Paradise (1957) Stanko, Tomasz: Leosia (1996) Sun Ra: Jazz in silhouette (1958) Tatum, Art: 20th century piano genius (1950•1955) Taylor, Cecil: For Olim (1986) Taylor, Cecil: Jazz advance (1956) Tyner, McCoy: The real McCoy (1967) Waller, Fats: The centennial collection (1927•1943) Vaughan, Sarah: Sarah Vaughan with Clifford Brown (1954) Weather Report: Heavy weather (1976) Webster, Ben: Soulville (1957) Young, Larry: Unity (1965) Young, Lester: The complete Aladdin sessions (1942•1947) Zorn, John: The big gundown (1984•1985) Tampereen kaupunginkirjasto 2009 Timo Alanen.
Load more

Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • Top 100 Jazz Cds the Best Jazz Ever Released on CD
    Top 100 Jazz CDs The Best Jazz Ever Released on CD The list below is based on a comprehensive statistical survey of jazz critics, record stores and popular polls. I hope you find this useful as we continue to study a largely aural tradition of jazz study. To study jazz is to listen to it. As we work this year to define and re-define what our definition of jazz is, let’s use this list as a starting place. Enjoy. Rank Artist Title Year 1 Miles Davis Kind of Blue 1959 2 John Coltrane A Love Supreme 1964 3 Duke Ellington The Blanton-Webster Band 1942 4 Charles Mingus Mingus Ah Um 1959 5 Thelonious Monk Brilliant Corners 1956 6 Sonny Rollins Saxophone Colossus 1956 7 Louis Armstrong 25 Greatest Hot Fives & Sevens 1928 8 Bill Evans Trio Sunday At the Village Vanguard 1961 9 Charlie Parker Best of Complete Savoy & Dial 1948 10 Ornette Coleman The Shape of Jazz to Come 1959 11 Count Basie Orchestra The Complete Atomic Basie 1957 12 Art Blakey & the Jazz Messengers Moanin' 1958 13 Herbie Hancock Maiden Voyage 1965 14 Miles Davis Sketches Of Spain 1960 15 Stan Getz & João Gilberto Getz/Gilberto 1963 16 Ella Fitzgerald The Best of the Song Books 1964 17 Dizzy Gillespie Groovin' High [Indigo] 1946 18 Clifford Brown & Max Roach Study in Brown 1955 19 Eric Dolphy Out to Lunch! 1964 20 Miles Davis In a Silent Way 1969 21 Billie Holiday & Lester Young A Musical Romance 1944 22 Various Artists Best of Blue Note (Vols 1 & 2) 1965 23 John Coltrane Blue Train 1957 24 The Gerry Mulligan Quartet The Best Of… With Chet Baker 1953 25 The Horace Silver Quintet
    [Show full text]
  • UT Jazz Jury Repertoire – 5/2/06 Afternoon in Paris 43 a Foggy Day
    UT Jazz Jury Repertoire – 5/2/06 Level 1 Tunes JA Level 2 Tunes JA Level 3 Tunes JA Level 4 Tunes JA Afternoon in Paris 43 A Foggy Day 25 Alone Together 41 Airegin 8 All Blues 50 A Night in Tunisia 43 Anthropology (Thrivin’ from a Riff) 6 Along Came Betty 14 A Time for Love 40 Afro Blue 64 Blue in Green 50 Beyond All Limits 9 Autumn Leaves 54 All the Things You Are 43 Body and Soul 41 Blood Count 66 Blue Bossa 54 Angel Eyes 23 Ceora 106 Bolivia 35 But Beautiful 23 Bird Blues (Blues 4 Alice) 2 Chelsea Bridge 66 Brite Piece 19 C Jam Blues 48 Bluesette 43 Children of the Night 33 Cherokee 15 Cantaloupe Island (96) 54 But Not for Me 65 Come Rain or Come Shine 25 Clockwise 35 Cantaloupe Island (132) 11 Cottontail 48 Confirmation 6 Countdown 28 Days of Wine and Roses 40 Don’t Get Around Much Anymore48 Corcovado-Quiet Nights 98 Dolphin Dance 11 Doxy (134) 54 Easy Living 52 Desafinado (184) 74 E.S.P. 33 Doxy (92) 8 Everything Happens to Me 23 Desafinado (136) 98 Giant Steps 28 Freddie the Freeloader 50 Footprints 33 Donna Lee 6 I'll Remember April 43 For Heaven’s Sake 89 Four 7 Embraceable You 51 Infant Eyes 33 Georgia 49 Groovin’ High 43 Estate 94 Inner Urge 108 Honeysuckle Rose 71 Have You Met Miss Jones 25 Fee Fi Fo Fum 33 It’s You or No One 61 I Got It Bad 48 Here’s That Rainy Day 23 Goodbye 94 Joshua 50 Impressions (112) 54 How Insensitive 98 I Can’t Get Started 25 Katrina Ballerina 9 Impressions (224) 28 I Didn’t Know About You 48 I Mean You 56 Lament for Booker 60 Killer Joe 70 I Hear a Rhapsody 80 In Case You Haven’t Heard 9 Love for
    [Show full text]
  • Sellafield Magazine: Issue 7
    Editor's Letter Editor’s Letter British engineering making a hole lot of difference page 54 his issue of Sellafield Magazine comes later than originally advertised. As a publicly funded organisation we minimised our communication Tactivity in the run up to the General Election in June. It is our home within the civil service and as a subsidiary of the Nuclear Aspiring young writers visit Sellafield Decommissioning Authority that prompted another highlight from the page 70 last few months. Our digital home has moved. We are now part of the GOV.UK platform. You can read more about the transition of our website on page 63 and don’t forget to save our new address to your favourites: www.gov.uk/sellafieldltd We have been busy since our last issue so our pages are bursting with stories about the progress we are making on the Sellafield site. You can read about the doors we have installed into the side of an old waste silo on page 54; about the robots our supply chain partner Forth Engineering have developed to help us complete radiological surveys on page 12; and find out everything you need to know about our Site Ion Exchange Plant in the latest of our ‘In Focus’ series on page 50. Our new website: www.gov.uk/sellafieldltd is now live page 63 At a corporate level, we have published our new strategy as well as our transformation plan. Together they provide an overview of our direction and our approach to fundamental and far-reaching changes in our organisation.
    [Show full text]
  • The Aftermath of the Porn Rock Wars
    Loyola of Los Angeles Entertainment Law Review Volume 7 Number 2 Article 1 3-1-1987 Radio-Active Fallout and an Uneasy Truce - The Aftermath of the Porn Rock Wars Jonathan Michael Roldan Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Jonathan Michael Roldan, Radio-Active Fallout and an Uneasy Truce - The Aftermath of the Porn Rock Wars, 7 Loy. L.A. Ent. L. Rev. 217 (1987). Available at: https://digitalcommons.lmu.edu/elr/vol7/iss2/1 This Article is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. RADIO-ACTIVE FALLOUT AND AN UNEASY TRUCE-THE AFTERMATH OF THE PORN ROCK WARS Jonathan Michael Roldan * "Temperatures rise inside my sugar walls." - Sheena Easton from the song "Sugar Walls."' "Tight action, rear traction so hot you blow me away... I want a piece of your action." - M6tley Criie from the album Shout at the Devil.2 "I'm a fairly with-it person, but this stuff is curling my hair." - Tipper Gore, parent.3 "Fundamentalist frogwash." - Frank Zappa, musician.4 I. OVERTURE TO CONFLICT It began as an innocent listening of Prince's award-winning album, "Purple Rain,"5 and climaxed with heated testimony before the Senate Committee on Commerce in September 1985.6 In the interim the phrase "cleaning up the air" took on new dimensions as one group of parents * B.A., Journalism/Political Science, Cal.
    [Show full text]
  • Robert GADEN: Slim GAILLARD
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN
    [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]
  • JREV3.8FULL.Pdf
    JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc.
    [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]
  • Bebopnet: Deep Neural Models for Personalized Jazz Improvisations - Supplementary Material
    BEBOPNET: DEEP NEURAL MODELS FOR PERSONALIZED JAZZ IMPROVISATIONS - SUPPLEMENTARY MATERIAL 1. SUPPLEMENTARY MUSIC SAMPLES We provide a variety of MP3 files of generated solos in: https://shunithaviv.github.io/bebopnet Each sample starts with the melody of the jazz stan- dard, followed by an improvisation whose duration is one chorus. Sections BebopNet in sample and BebopNet out of sample contain solos of Bebop- Net without beam search over chord progressions in and out of the imitation training set, respectively. Section Diversity contains multiple solos over the same stan- Figure 1. Digital CRDI controlled by a user to provide dard to demonstrate the diversity of the model for user- continuous preference feedback. 4. Section Personalized Improvisations con- tain solos following the entire personalization pipeline for the four different users. Section Harmony Guided Improvisations contain solos generated with a har- monic coherence score instead of the user preference score, as described in Section 3.2. Section Pop songs contains solos over the popular non-jazz song. Some of our favorite improvisations by BebopNet are presented in the first sec- Algorithm 1: Score-based beam search tion, Our Favorite Jazz Improvisations. Input: jazz model fθ; score model gφ; batch size b; beam size k; update interval δ; input in τ sequence Xτ = x1··· xτ 2 X 2. METHODS τ+T Output: sequence Xτ+T = x1··· xτ+T 2 X in in in τ×b 2.1 Dataset Details Vb = [Xτ ;Xτ ; :::; Xτ ] 2 X ; | {z } A list of the solos included in our dataset is included in b times scores = [−1; −1; :::; −1] 2 Rb section 4.
    [Show full text]
  • Jack Dejohnette's Drum Solo On
    NOVEMBER 2019 VOLUME 86 / NUMBER 11 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.
    [Show full text]
  • [email protected] 1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master Interview Was Provided by the Nati
    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ORRIN KEEPNEWS NEA Jazz Master (2011) Interviewee: Orrin Keepnews (March 2, 1923 – March 1, 2015) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: December 10, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 20 pp. Orrin Keepnews: I wonder if you didn’t—or you could do it when you come back, make sure you didn’t get to show off Lennie. Anthony Brown: The dog? Keepnews: The dog. I remember right now the one strain she couldn’t remember to put in there. He’s part Jack Russell. Brown: Okay. That’s it. Okay so we’ll go from the room tone. Keepnews: Okay so. Brown: Oh we haven’t got it yet. Keepnews: We don’t have it? Brown: Just talk to it. Go ahead. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Keepnews: (Laughs) Brown: Today is December 10th, 2010. This is the Smithsonian/ NEA Jazz Masters Award interview with Orrin Keepnews at his house in El Cerrito, California. And it is a foggy day outside, but a lot of warmth in this house. Good afternoon Orin Keepnews. Keepnews: Good afternoon. Brown: We’re no strangers and so this is, for quite a joy, and a privilege. We’ve done several projects together, well let me just say we’ve done a few projects together, of which I’m very proud. Again, its an honor to be able to conduct this interview with you, to be able to share this time with you so that you could help the listening audience, and the historians, understand—further understand your contribution to this music since our last interview, which was in 1997.
    [Show full text]