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The Carroll News
John Carroll University Carroll Collected The aC rroll News Student 10-6-1982 The aC rroll News- Vol. 67, No. 3 John Carroll University Follow this and additional works at: http://collected.jcu.edu/carrollnews Recommended Citation John Carroll University, "The aC rroll News- Vol. 67, No. 3" (1982). The Carroll News. 670. http://collected.jcu.edu/carrollnews/670 This Newspaper is brought to you for free and open access by the Student at Carroll Collected. It has been accepted for inclusion in The aC rroll News by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. Vol. OINo. 3 October 6. 1982 tlrbe <!Carroll _jf}etus John Carroll University University Heights, Ohio 44118 Student Union proposes renewal of Stunt Night Will Stunt Night return? This Stunt Night was considered recent. Student Union meeting. tion. laborating data of the past is one of the more popular ques· one of the best sources of class JCU alumni have suggested Student Union President stunt nights, and devising tions pervading the halls of unity, and received significant that Stunt Night be brought Chris Miller says that he is wiU· ground rules which will im· Carroll as of late. yearbook coverage. back, according to senior class ing to lli1ten to any ideas prove future stunt nights. "What is Stunt Night?" you Unfortunately, some of the representative Jim Garvey. students have regarding the Stunt Night was once a main might ask. Actually, it was one material in the skits, which was Presently, the newly-formed return of this much-missed at· event on campus to bring of the bigger events here until intended for the coUege·level Investigative Committee, com· traction. -
Ecological Sanitation in the Khuvsgul Area, Northern Mongolia: Socio-Cultural Parameters and Acceptance
Department of Geosciences, University of Basel Institute of Geography Ecological Sanitation in the Khuvsgul Area, Northern Mongolia: Socio-Cultural Parameters and Acceptance An Evaluation of the Current Sanitation Situation in the Khuvsgul Area and a Study about the Acceptance and Suitability of the Ecosan Approach in Mongolia Master’s Thesis in the College of Social Sciences Katharina Conradin November 2007 Supervisor: Prof. (em.) Dr. rer. nat. Dr. h.c. Hartmut Leser Co-Supervisor: Dr. rer. nat. Johannes Heeb © 2007: Katharina Conradin Winkelriedplatz 2 CH-4053 Basel Switzerland +41 (0)79 660 38 66 [email protected] PREFACE AND ACKNOWLEDGEMENTS Preface and Acknowledgements This thesis would not have been written had there not been a series of coincidences. Had I and my partner not chosen to go mountaineering in Mongolia, I would never have gotten to know this beautiful country. And had we not been so exhausted after six weeks of hard mountain climbing, we may not have gone to Lake Khuvsgul at all. Once there, I had recognized the need for sanitary improvements at once, but thought a project impossible just on my own. Had not a series of mishaps lead to the fact that we were among the last people to check in at the small airport in Muren, the capital town of the Khuvsgul aimag, I would never have stood behind Kent Madin, a lodge operator in Khatgal, who – also coincidentally – happened to walk around with a urine-separating toilet under his arms… It was this coincidental meeting which started this thesis. I owe Kent and his Mongolian partner Chinbat my deepest gratitude. -
Discourses of Decay and Purity in a Globalised Jazz World
1 Chapter Seven Cold Commodities: Discourses of Decay and Purity in a Globalised Jazz World Haftor Medbøe Since gaining prominence in public consciousness as a distinct genre in early 20th Century USA, jazz has become a music of global reach (Atkins, 2003). Coinciding with emerging mass dissemination technologies of the period, jazz spread throughout Europe and beyond via gramophone recordings, radio broadcasts and the Hollywood film industry. America’s involvement in the two World Wars, and the subsequent $13 billion Marshall Plan to rebuild Europe as a unified, and US friendly, trading zone further reinforced the proliferation of the new genre (McGregor, 2016; Paterson et al., 2013). The imposition of US trade and cultural products posed formidable challenges to the European identities, rooted as they were in 18th-Century national romanticism. Commercialised cultural representations of the ‘American dream’ captured the imaginations of Europe’s youth and represented a welcome antidote to post-war austerity. This chapter seeks to problematise the historiography and contemporary representations of jazz in the Nordic region, with particular focus on the production and reception of jazz from Norway. Accepted histories of jazz in Europe point to a period of adulatory imitation of American masters, leading to one of cultural awakening in which jazz was reimagined through a localised lens, and given a ‘national voice’. Evidence of this process of acculturation and reimagining is arguably nowhere more evident than in the canon of what has come to be received as the Nordic tone. In the early 1970s, a group of Norwegian musicians, including saxophonist Jan Garbarek (b.1947), guitarist Terje Rypdal (b.1947), bassist Arild Andersen (b.1945), drummer Jon Christensen (b.1943) and others, abstracted more literal jazz inflected reinterpretations of Scandinavian folk songs by Nordic forebears including pianist Jan Johansson (1931-1968), saxophonist Lars Gullin (1928-1976) bassist Georg Riedel (b.1934) (McEachrane 2014, pp. -
Kenny Wheeler Gnu High Mp3, Flac, Wma
Kenny Wheeler Gnu High mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Gnu High Country: Germany Released: 1976 Style: Contemporary Jazz MP3 version RAR size: 1354 mb FLAC version RAR size: 1292 mb WMA version RAR size: 1647 mb Rating: 4.7 Votes: 634 Other Formats: MPC APE AA TTA MP3 MMF AAC Tracklist A Heyoke 21:47 B1 'Smatter 5:56 B2 Gnu Suite 12:47 Companies, etc. Phonographic Copyright (p) – ECM Records GmbH Published By – ECM Verlag Recorded At – Generation Sound Studios Credits Bass – Dave Holland Composed By – Kenny Wheeler Drums – Jack DeJohnette Engineer – Tony May Flugelhorn – Kenny Wheeler Layout – B. Wojirsch* Mixed By – Martin Wieland Photography By [Cover] – Tadayuki Naito* Piano – Keith Jarrett Producer – Manfred Eicher Notes Recorded June 1975, Generation Sound Studios, New York City. An ECM Production ℗ 1976 ECM Records GmbH Printed in W. Germany Barcode and Other Identifiers Matrix / Runout (Side A runout, stamped): ST-ECM 1069-A Matrix / Runout (Side B runout, stamped): ST-ECM 1069-B Rights Society: GEMA Other versions Category Artist Title (Format) Label Category Country Year ECM ECM 1069, 825 Kenny Gnu High (CD, ECM 1069, 825 Records, Germany Unknown 591-2 Wheeler Album, RE) 591-2 ECM Records Kenny Gnu High (LP, 25MJ 3327 ECM Records 25MJ 3327 Japan 1976 Wheeler Album) ECM ECM 1069, ECM Kenny Gnu High (LP, ECM 1069, ECM Records, Germany Unknown 1069 ST Wheeler Album, RE) 1069 ST ECM Records ECM ECM 1069, Kenny Gnu High (CD, ECM 1069, Records, US 2008 B0011628-02 Wheeler Album, RE, Dig) B0011628-02 ECM -
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. -
Earth Power: Techniques of Natural Magic © 1983 and 2006 by Scott Cunningham
About the Author Scott Cunningham was born in Royal Oak, Michigan, on June 27, 1956. He learned about Wicca while still in high school and practiced elemental magic for twenty years. He experienced, researched, then wrote about what he learned in his magical training. Scott is credited with writing more than thirty books (both fiction and nonfiction). He passed from this incarnation on March 28, 1993, but his work and his words live on. Llewellyn Publications Woodbury, Minnesota Copyright Information Earth Power: Techniques of Natural Magic © 1983 and 2006 by Scott Cunningham. All rights reserved. No part of this book may be used or reproduced in any matter whatsoever, including Internet usage, without written permission from Llewellyn Publications, except in the form of brief quotations embodied in critical articles and reviews. As the purchaser of this e-book, you are granted the non- exclusive, non-transferable right to access and read the text of this e-book on screen. The text may not be otherwise reproduced, transmitted, downloaded, or recorded on any other storage device in any form or by any means. Any unauthorized usage of the text without express written permission of the publisher is a violation of the author’s copyright and is illegal and punishable by law. First e-book edition © 2013 E-book ISBN: 9780738716657 Revised Edition Sixth Printing, 2012 First edition, thirty-two printings Book design and layout by Joanna Willis Cover design by Kevin R. Brown Cover illustration © by Fiona King Interior illustrations by Llewellyn art department Revised edition editing by Kimberly Nightingale Llewellyn Publications is an imprint of Llewellyn Worldwide Ltd. -
Downbeat.Com December 2014 U.K. £3.50
£3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [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; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, -
OCCULT BOOKS Catalogue No
THOMPSON RARE BOOKS CATALOGUE 45 OCCULT BOOKS Catalogue No. 45. OCCULT BOOKS Folklore, Mythology, Magic, Witchcraft Issued September, 2016, on the occasion of the 30th Anniversary of the Opening of our first Bookshop in Vancouver, BC, September, 1986. Every Item in this catalogue has a direct link to the book on our website, which has secure online ordering for payment using credit cards, PayPal, cheques or Money orders. All Prices are in US Dollars. Postage is extra, at cost. If you wish to view this catalogue directly on our website, go to http://www.thompsonrarebooks.com/shop/thompson/category/Catalogue45.html Thompson Rare Books 5275 Jerow Road Hornby Island, British Columbia Canada V0R 1Z0 Ph: 250-335-1182 Fax: 250-335-2241 Email: [email protected] http://www.ThompsonRareBooks.com Front Cover: Item # 73 Catalogue No. 45 1. ANONYMOUS. COMPENDIUM RARISSIMUM TOTIUS ARTIS MAGICAE SISTEMATISATAE PER CELEBERRIMOS ARTIS HUJUS MAGISTROS. Netherlands: Aeon Sophia Press. 2016. First Aeon Sophia Press Edition. Quarto, publisher's original quarter black leather over grey cloth titled in gilt on front cover, black endpapers. 112 pp, illustrated throughout in full colour. Although unstated, only 20 copies were printed and bound (from correspondence with the publisher). Slight binding flaw (centre pages of the last gathering of pages slightly miss- sewn, a flaw which could be fixed with a spot of glue). A fine copy. ¶ A facsimile of Wellcome MS 1766. In German and Latin. On white, brown and grey-green paper. The title within an ornamental border in wash, with skulls, skeletons and cross-bones. Illustrated with 31 extraordinary water-colour drawings of demons, and three pages of magical and cabbalistic signs and sigils, etc. -
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. -
Norway's Jazz Identity by © 2019 Ashley Hirt MA
Mountain Sound: Norway’s Jazz Identity By © 2019 Ashley Hirt M.A., University of Idaho, 2011 B.A., Pittsburg State University, 2009 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Musicology. __________________________ Chair: Dr. Roberta Freund Schwartz __________________________ Dr. Bryan Haaheim __________________________ Dr. Paul Laird __________________________ Dr. Sherrie Tucker __________________________ Dr. Ketty Wong-Cruz The dissertation committee for Ashley Hirt certifies that this is the approved version of the following dissertation: _____________________________ Chair: Date approved: ii Abstract Jazz musicians in Norway have cultivated a distinctive sound, driven by timbral markers and visual album aesthetics that are associated with the cold mountain valleys and fjords of their home country. This jazz dialect was developed in the decade following the Nazi occupation of Norway, when Norwegians utilized jazz as a subtle tool of resistance to Nazi cultural policies. This dialect was further enriched through the Scandinavian residencies of African American free jazz pioneers Don Cherry, Ornette Coleman, and George Russell, who tutored Norwegian saxophonist Jan Garbarek. Garbarek is credited with codifying the “Nordic sound” in the 1960s and ‘70s through his improvisations on numerous albums released on the ECM label. Throughout this document I will define, describe, and contextualize this sound concept. Today, the Nordic sound is embraced by Norwegian musicians and cultural institutions alike, and has come to form a significant component of modern Norwegian artistic identity. This document explores these dynamics and how they all contribute to a Norwegian jazz scene that continues to grow and flourish, expressing this jazz identity in a world marked by increasing globalization. -
Keith Jarrett's Spiritual Beliefs Through a Gurdjieffian Lens
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals... Channelling the Creative: Keith Jarrett’s Spiritual Beliefs Through a Gurdjieffian Lens Johanna Petsche Introduction The elusive nature of the creative process in art has remained a puzzling phenomenon for artists and their audiences. What happens to an inspired artist in the moment of creation and where that inspiration comes from are questions that prompt many artists to explain the process as spiritual or mystical, describing their experiences as ‘channelling the divine’, ‘tapping into a greater reality’, or being visited or played by their ‘muse’. Pianist and improviser Keith Jarrett (b.1945) frequently explains the creative process in this way and this is nowhere more evident than in discussions on his wholly improvised solo concerts. Jarrett explains these massive feats of creativity in terms of an ability to ‘channel’ or ‘surrender to’ a source of inspiration, which he ambiguously designates the ‘ongoing harmony’, the ‘Creative’, and the ‘Divine Will’. These accounts are freely expressed in interviews and album liner notes, and are thus highly accessible to his audiences. Jarrett’s mystical accounts of the creative process, his incredible improvisatory abilities, and other key elements come together to create the strange aura of mystery that surrounds his notorious solo concerts. This paper will demystify Jarrett’s spiritual beliefs on the creative process by considering them within a Gurdjieffian context. This will allow for a much deeper understanding of Jarrett’s cryptic statements on creativity, and his idiosyncratic behaviour during the solo concerts. -
Memoria Info Sheet
Memoria (World Premiere – 1979) IN MEMORY – IN CELEBRATION Choreography: Alvin Ailey Music: Keith Jarrett Costumes: A. Christina Giannini Lighting: Chenault Spence In the tumultuous time of 1979 when Mr. Ailey’s great, perennial friend from his Lester Horton days, choreographer Joyce Trisler, died prematurely, he began choreographing Memoria. Later, he wrote, “Memoria is about Joyce’s life, my memories of her, my image of her. Although these are very abstract images, nobody has ever asked me what Memoria is about. People everywhere understand it. Making the dance was a very deep and wrenching experience for me.” The ballet is structured in two parts—“In Memory” and “In Celebration”—to the sublime music of Keith Jarrett. Memoria marked the first time Mr. Ailey combined Alvin Ailey American Dance Theater with Ailey II and advanced students from The Ailey School. AAADT in Alvin Ailey’s Memoria with Kansas City Area Dance Students. Photo by Steve Wilson. “…a serious stage drama, with mystery and poetry.” The New York Times “…Mr. Ailey has paid Miss Trisler the fine tribute of creating a work that has a universal quality. It is a dance of both exultation and quiet but deep feeling.” The New York Times “...a homage to the late Joyce Trisler that grows more poignant and more golden every season.” The New York Times “…a rhapsodic ensemble number that unfolds like the opening of a blossom.” The Washington Post, Alan M. Kriegsman “A work of love that brims over with the joys of life.” San Francisco Chronicle, Marilyn Tucker Keith Jarrett Keith Jarrett, pianist, composer and bandleader, is one of the most prolific, innovative, and iconoclastic musicians to emerge from the late 20th century.