Cecil Taylor Innovations Mp3, Flac, Wma

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Cecil Taylor Innovations mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Innovations Country: Germany Style: Free Jazz MP3 version RAR size: 1667 mb FLAC version RAR size: 1882 mb WMA version RAR size: 1894 mb Rating: 4.9 Votes: 556 Other Formats: WAV MPC FLAC DTS AC3 VOX AAC Tracklist A That's What 21:16 B1 Trance 8:50 B2 Call 8:53 Companies, etc. Made By – Intercord Recorded At – Jazzhus Montmartre Credits Alto Saxophone – Jimmy Lyons Artwork [Photo-graphics] – Phillip Gotlop Drums – Sunny Murray Engineer [Recording] – Børge Jensen Liner Notes – Barry McRae Photography By – Jan Persson Piano – Cecil Taylor Producer – Anders Stefansen Sleeve, Design – Hamish Grimes Written-By – Taylor* Notes Issued in a gatefold sleeve. First Category on back cover, 2nd on spine & 3rd on labels. Recorded at the Montmartre Club, Copenhagen on November 23, 1962. Barcode and Other Identifiers Rights Society: GEMA Other versions Category Artist Title (Format) Label Category Country Year Cecil Innovations (LP, FLP 40106 Freedom FLP 40106 Italy 1972 Taylor Album) FLP 40106, Cecil Innovations (LP, Freedom, FLP 40106, Germany 1972 2083 094 Taylor Album) Polydor 2083 094 FLP 40106, Cecil Innovations (LP, Freedom, FLP 40106, UK & 1972 2383-094 Taylor Album) Polydor 2383-094 Europe Cecil Innovations (LP, Freedom, 28 422-4 U 28 422-4 U Germany 1972 Taylor Album) Spiegelei PA-7033, FLP Cecil Innovations (LP, Trio Records, PA-7033, FLP Japan 1972 40106 Taylor Album) Freedom 40106 Related Music albums to Innovations by Cecil Taylor Jazz Cecil Taylor - Great Paris Concert «2» Jazz Cecil Taylor Unit - Akisakila - Cecil Taylor Unit In Japan Jazz Cecil Taylor / Buell Neidlinger - New York City R&B Jazz Cecil Taylor - Conquistador! Jazz Cecil Taylor - The World Of Cecil Taylor Jazz Cecil Taylor - Buell Neidlinger - New York City R&B Jazz Cecil Taylor - 3 Phasis Jazz Cecil Taylor Trio And Quintet - Love For Sale Jazz Cecil Taylor / Charles Tolliver / Grachan Moncur / Archie Shepp - The New Breed Jazz Cecil Taylor / Harald Kimmig / Muneer Abdul Fataah / William Parker / Tony Oxley - Looking (Berlin Version) Corona.

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Cecil Taylor 3 Phasis Mp3, Flac, Wma
Cecil Taylor 3 Phasis mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: 3 Phasis Country: US Released: 1979 Style: Free Jazz, Avantgarde, Free Improvisation MP3 version RAR size: 1205 mb FLAC version RAR size: 1983 mb WMA version RAR size: 1218 mb Rating: 4.9 Votes: 556 Other Formats: AHX MMF AC3 DXD MP4 XM MP2 Tracklist A Side One 28:22 B Side Two 28:50 Companies, etc. Phonographic Copyright (p) – Recorded Anthology Of American Music, Inc. Copyright (c) – Recorded Anthology Of American Music, Inc. Recorded At – Columbia Recording Studios Mastered At – Sterling Sound Credits Alto Saxophone – Jimmy Lyons Artwork [Cover Art] – Paul Jenkins Bass – Sirone Design [Cover] – Michael Sonino Drums – Ronald Shannon Jackson Engineer [Assistant Recording] – Ken Robertson Engineer [Recording, Editing, And Mixing] – Don Puluse Mastered By – Ted Jensen Photography By – Marc Brasz Piano – Cecil Taylor Producer – Sam Parkins Trumpet – Raphé Malik* Violin – Ramsey Ameen Notes Recorded in April 1978 at Columbia Recording Studios, 30th Street, New York, NY. Other versions Category Artist Title (Format) Label Category Country Year New World 80303-2, NW Cecil 3 Phasis (CD, 80303-2, NW Records, New US 1996 303-2 Taylor Album, RE) 303-2 World Records Cecil 3 Phasis (CD, New World NW 303-2 NW 303-2 US Unknown Taylor Album, RE) Records Related Music albums to 3 Phasis by Cecil Taylor Jazz Cecil Taylor - Innovations Jazz Cecil Taylor - Great Paris Concert «2» Rock dt's - Widow Of An All-American Jazz Cecil Taylor Unit - Akisakila - Cecil Taylor Unit In Japan Jazz Cecil Taylor / Buell Neidlinger - New York City R&B Jazz Cecil Taylor - Conquistador! Jazz Cecil Taylor - The World Of Cecil Taylor Jazz Cecil Taylor - Buell Neidlinger - New York City R&B Jazz Cecil Taylor Trio And Quintet - Love For Sale Jazz Cecil Taylor / Charles Tolliver / Grachan Moncur / Archie Shepp - The New Breed.
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City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Lockett, P.W. (1988). Improvising pianists : aspects of keyboard technique and musical structure in free jazz - 1955-1980. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/8259/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] IMPROVISING PIANISTS: ASPECTS OF KEYBOARD TECHNIQUE AND MUSICAL STRUCTURE IN FREE JAll - 1955-1980. Submitted by Mark Peter Wyatt Lockett as a thesis for the degree of Doctor of Philosophy The City University Department of Music May 1988 TABLE OF CONTENTS Page No I List of Figures 3 IIListofRecordings............,........ S III Acknowledgements .. ..... .. .. 9 IV Abstract .. .......... 10 V Text. Chapter 1 .........e.e......... 12 Chapter 2 tee.. see..... S S S 55 Chapter 3 107 Chapter 4 ..................... 161 Chapter 5 ••SS•SSSS....SS•...SS 212 Chapter 6 SS• SSSs•• S•• SS SS S S 249 Chapter 7 eS.S....SS....S...e.
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The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.
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In the Break: the Aesthetics of the Black Radical Tradition
In the Break This page intentionally left blank In the Break The Aesthetics of the Black Radical Tradition Fred Moten University of Minnesota Press Minneapolis • London Copyright 2003 by the Regents of the University of Minnesota Portions of chapter 1 were originally published as “Voices/Forces: Migration, Surplus, and the Black Avant-Garde,” in Writing Aloud: The Sonics of Language, edited by Brandon LaBelle and Christof Migone (Los Angeles: Errant Bodies Press, 2001); reprinted by permission of Errant Bodies Press. Portions of chapter 1 also appeared as “Sound in Florescence: Cecil Taylor Floating Garden,” in Sound States: Innovative Poetics and Acoustical Technologies, edited by Adalaide Morris (Chapel Hill: University of North Carolina Press, 1998); copyright 1998 by the University of North Carolina Press; reprinted by permission of the University of North Carolina Press. An earlier version of chapter 2 appeared as “From Ensemble to Improvisation,” in Hambone 16 (Fall 2002); reprinted by permission of Hambone. An earlier version of chapter 3 appeared as “Black Mo’nin’ in the Sound of the Photograph,” in Loss, edited by David Kazanjian and David Eng (Berkeley: University of California Press, 2002); copyright 2002 by the Regents of the University of California; reprinted by permission of the University of California Press. Translated poetry by Antonin Artaud in chapter 1 originally appeared in WatchWends and Rack Screams: Works from the Final Period, edited and translated by Clayton Eshleman and Bernard Bador (Boston: Exact Change, 1995); reprinted courtesy of Exact Change. Lush Life, by Billy Strayhorn, copyright 1949 (renewed) by Music Sales Corporation (ASCAP) and Tempo Music Corporation (BMI); all rights administered by Music Sales Corporation (ASCAP); international copyright secured; all rights reserved; reprinted by permission.
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Cecil Taylor, Piano Jimmy Lyons, Alto Saxophone Raph
CECIL TAYLOR, PIANO JIMMY LYONS, ALTO SAXOPHONE RAPH. MALIK, TRUMPET RAMSEY AMEEN, VIOLIN SIRONE, BASS RONALD SHANNON JACKSON, DRUMS CECILTAYLOR New World Records 80303-2 THE MUSIC OF CECIL TAYLOR by Gary Giddins More than any one else in contemporary music, Cecil Taylor has successfully reconciled the traditions of jazz and the academy. To no one's surprise, least of all his own, the accomplishment is not universally celebrated. The classical avant-garde views it with the suspicion it turns on all jazz-related developments, while the jazz traditionalists are disaffected by Taylor's abandonment of swing orthodoxies. Yet the achievement is unmistakable: Taylor's music gives emotional satisfaction; it enlarges the language and potential of musical expression; it makes us hear deeper and better. After two decades of uncompromising dedication, Taylor has earned a passionate international following. His art remains difficult for the novitiate to grasp, but time has proved that those difficulties are not insurmountable. To understand the impact of Taylor's innovations, it is useful to recall the state of American music in the nineteen- fifties, when his influence was first felt. At the time of his debut recording in 1955, the structure of a jazz performance was rigidly codified. Jazz improvisation and composition were based on a cyclical form—that is, the soloist and the composer worked with a predetermined structure, usually the twelve-bar blues or the thirty-two-bar popular song, which served as a harmonic and rhythmic pattern to be repeated over and over for the duration of a performance. Each cycle, or chorus, had the same harmonic progression and number of measures; the melodies had to conform to the harmonic outline, and the rhythms to the time signature.
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The Avant-Garde 15
CURRENT A HEAD ■ 407 ORNETTE COLEMAN lonely woman CECIL TAYLOR bulbs CECIL TAYLOR willisau concert, part 3 ALBERT AYLER ghosts DAVID MURRAY el matador THE AVANT-GARDE 15 Forward March T e word “avant-garde” originated in the French military to denote the advanced guard: troops sent ahead of the regular army to scout unknown territory. In English, the word was adapted to describe innovative composers, writers, painters, and other artists whose work was so pioneering that it was believed to be in the vanguard of contemporary thinking. Avant-gardism represented a movement to liberate artists from the restraints of tradition, and it often went hand-in-hand with progressive social thinking. T ose who championed avant-garde art tended to applaud social change. T ose who criticized it for rejecting prevailing standards couched their dismay in warnings against moral laxity or political anarchy. In the end, however, all art, traditional or avant-garde, must stand on its merit, inde- pendent of historic inﬂ uences. T e art that outrages one generation often becomes the tradition and homework assignments of the next: the paintings of Paul Cézanne and Pablo Picasso, music of Gustav Mahler and Claude Debussy, and writings of Marcel Proust and James Joyce were all initially considered avant-garde. Two especially promi- nent twentieth-century avant-garde movements gathered steam in the decades follow- ing the world wars, and jazz was vital to both. Sonny Rollins combined the harmonic progressions of bop with the freedom of the avant-garde and sustained an international following. He appeared with percussionist Victor See Yuen and trombonist Clifton © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM Anderson at a stadium in Louisiana, 1995.
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9783540921943.Pdf
Computational Music Science Series Editors Guerino B. Mazzola Moreno Andreatta Guerino B. Mazzola • Paul B. Cherlin In Collaboration with Mathias Rissi and Nathan Kennedy Flow, Gesture, and Spaces in Free Jazz Towards a Theory of Collaboration Prof. Dr. Guerino B. Mazzola Paul B. Cherlin 164 Ferguson Hall University of Minnesota, Twin Cities Minneapolis MN 55455 Dept. Philosophy USA 271 19th Avenue South [email protected] Minneapolis MN 55455 831 Heller Hall USA ISBN: 978-3-540-92194-3 e-ISBN: 978-3-540-92195-0 Library of Congress Control Number: 2008941078 ACM Computing Classification (1998): H.5.5, J.5, E.1, F.2, F.4 c 2009 Springer-Verlag Berlin Heidelberg This work is subject to copyright. All rights are reserved, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilm or in any other way, and storage in data banks. Duplication of this publication or parts thereof is permitted only under the provisions of the German Copyright Law of September 9, 1965, in its current version, and permission for use must always be obtained from Springer. Violations are liable for prosecution under the German Copyright Law. The use of general descriptive names, registered names, trademarks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. Cover design: WMXDesign GmbH, Heidelberg Printed on acid-free paper 987654321 springer.com Für Christina, die immer alles gibt Preface Let’s try to play the music and not the background.
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Friday, Oct. 25 at the Graduate Center, Elebash Hall
1 Friday, Oct. 25 at The Graduate Center, Elebash Hall Session 1: the 1950s & 60s in context 9:00-9:30 am, Eric Charry, “The Development of Cecil Taylor’s Musical Language in the 1950s and 1960s” Cecil Taylor’s new musical language is audible from his very first album, Jazz Advance, recorded in fall 1956 when he was 27 years old. By exploring the interplay of pianistic textures (interactions between the two hands) and directional gestures and contours (ascending or descending lines, moving or static clusters), Taylor created new stories to be told and laid the foundation for developments that have resounded to the present day. Taylor’s approach precluded the necessity for a steady pulse and meter, and with the arrival of drummer Sunny Murray in 1960 and bassist Henry Grimes in 1961 his unit began to join him in breaking through the musical forms of the day and forging new ones. Taylor’s innovations yielded an extraordinary burst of extended solo piano recordings, from Carmen with Rings (1967) and Praxis (1968) through Indent (1973) and Silent Tongues (1974). Few in Taylor’s generation systematized and wrote down the codes to their language for others to decipher, with exceptions like George Russell (1923-2009). Anthony Braxton (1945-) would do just that for his own music in his 5-volume Composition Notes (1988), which codified a system of 99 “sound classifications,” including gestures such as accelerating, gliss, long, low, parallel, and trills. The intellectual underpinnings of Braxton’s music from the late 1960s onward can be linked directly to Taylor’s breakthroughs.
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Discographie
CHRISTIAN SCHOLZ UNTERSUCHUNGEN ZUR GESCHICHTE UND TYPOLOGIE DER LAUTPOESIE Teil III Discographie GERTRAUD SCHOLZ VERLAG OBERMICHELBACH (C) Copyright Gertraud Scholz Verlag, Obermichelbach 1989 ISBN 3-925599-04-5 (Gesamtwerk) 3-925599-01-0 (Teil I) 3-925599-02-9 (Teil II) 3-925599-03-7 (Teil III) [849] INHALTSVERZEICHNIS I. PRIMÄRLITERATUR 389 [850] 1. ANTHOLOGIEN 389 [850] 2. VORFORMEN 395 [865] 3. AUTOREN 395 [866] II. SEKUNDÄRLITERATUR 439 [972] III. HÖRSPIELE 452 [1010] ANHANG 460 [1028] IV. VOKALKOMPOSITIONEN 460 [1029] V. NACHWORT 471 [1060] [850] I. PRIMÄRLITERATUR 1. ANTHOLOGIEN Absolut CD # 1. New Music Canada. A salute to Canadian composers and performers from coast to coast. Ed. by David LL Laskin. Beilage in: Ear Magazine. New York o. J., o. Angabe der Nummer. Beiträge von Hildegard Westerkamp u. a. CD Absolut CD # 2. The Japanese Perspective. Ed. by David LL Laskin. Special Guest Editor: Toshie Kakinuma. Beilage in: Ear Magazine. New York o. J., o. Angabe der Nummer. Beiträge von Yamatsuka Eye & John Zorn, Ushio Torikai u. a. CD Absolut CD # 3. Improvisation/Composition. Beilage in: Ear Magazine. New York o. J., o. Angabe der Nummer. Beiträge von David Moss, Joan La Barbara u. a. CD The Aerial. A Journal in Sound. Santa Fe, NM, USA: Nonsequitur Foundation 1990, Nr. 1, Winter 1990. AER 1990/1. Mit Beiträgen von David Moss, Malcolm Goldstein, Floating Concrete Octopus, Richard Kostelanetz u. a. CD The Aerial. Santa Fe, NM, USA: Nonsequitur 1990, Nr. 2, Spring 1990. AER 1990/2. Mit Beiträgen von Jin Hi Kim, Annea Lockwood, Hildegard Westerkamp u. a. CD The Aerial.
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Jazz Experimentalism in Germany, 1950-1975
European Echoes: Jazz Experimentalism in Germany, 1950-1975 Harald Kisiedu Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Harald Kisiedu All rights reserved ABSTRACT “European Echoes: Jazz Experimentalism in Germany, 1950-1975” Harald Kisiedu “European Echoes: Jazz Experimentalism in Germany, 1950-1975” is a historical and interpretive study of jazz and improvised music in West and East Germany. “European Echoes” illuminates an important period in German jazz whose beginnings are commonly associated with the notion of Die Emanzipation (“The Emancipation”). Standard narratives of this period have portrayed Die Emanzipation as a process in which mid-1960s European jazz musicians came into their own by severing ties of influence to their African American musical forebears. I complicate this framing by arguing that engagement with black musical methods, concepts, and practices remained significant to the early years of German jazz experimentalism. Through a combination of oral histories, press reception, sound recordings, and archival research, I elucidate how local transpositions and adaptations of black musical methods, concepts, and practices in post-war Germany helped to create a prime site for contesting definitions of cultural, national, and ethnic identities across Europe. Using a case study approach, I focus on the lives and works of five of the foremost German jazz experimentalists: multi-reedist Peter Brötzmann, trumpeter and composer Manfred Schoof, pianist and composer Alexander von Schlippenbach, multi-reedist Ernst-Ludwig Petrowsky, and pianist Ulrich Gumpert. Furthermore, I discuss new music composer Bernd Alois Zimmermann’s sustained engagement with African American musical forms in addition to the significance of both Schoof’s and Schlippenbach’s studies and various collaborations with him.
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The Use of Two Basses in the Jazz Avant-Garde of the 1960S
UNIVERSITY OF CALIFORNIA SAN DIEGO Double Down ! : The Use Of Two Basses in the Jazz Avant-Garde of the 1960s A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Contemporary Music Performance by Thomas Andrew Babin Committee in Charge : Professor Mark Dresser, Chair Professor David Borgo Professor Anthony Davis Professor Victoria Petrovich Professor Stephanie Richards 2021 Copyright, Thomas Andrew Babin, 2021 All Rights Reserved The dissertation of Thomas Andrew Babin is approved, and it is acceptable in quality and form for publication on microﬁlm and electronically. University of California, San Diego 2021 iii TABLE OF CONTENTS Dissertation Approval Page. ........................................................................................ iii Table of Contents ..................................................................................................... iv List of Figures ............................................................................................................ v List of Supplemental AudioFiles ................................................................................. vii Acknowledgements ................................................................................................ ix Vita ........................................................................................................................... x Abstract 0f the Dissertation ..................................................................................... xi Introduction
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CECIL TAYLOR New World Records 80201
CECIL TAYLOR New World Records 80201 The World of Cecil Taylor Spencer Richards and Ramsey Ameen I met Cecil Taylor on August 2, 1978. Over a couple of brews, we talked about many of the facets of his world: jazz personalities, Duke Ellington's greatness, Lena Home's enormous talent, being black and talented in America, Taylor's recent visit to the White House. I sought no secrets about his music; he told me none. We talked of his having heard Chick Webb drum when he was a child and the subsequent effect the drum had on his percussive style of piano playing. He talked about finding, while artist-in-residence at the University of Wisconsin, a Bosendorfer piano locked up in the basement and coming afoul of authorities there for holding late sessions. We talked also of the all-too-familiar obstacles and misunderstandings that must be finally overcome simply by continuing to make music. —S.R. ••• Because in fact he has continued to make music of overwhelming originality, Cecil Taylor has been increasingly successful in exercising his right to determine the working conditions such music requires—in particular, pianos of the best quality, and extensive practice and rehearsal. Listen to the sound of the piano on this record. It is the instrument Taylor requested, a remarkable ninety-six-key Bosendorfer that he describes as possessing a mellow lower register, being rich in overtones, and having a powerful action that “will stop you cold if you're not ready.” The readiness of which he speaks is, in the broader sense, the subtle relationship one must maintain with one's instrument, with one's fellow musicians, with the economics of the music business, with the technology of the recording studio, and ultimately with music as one lives it.
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