The Kenny Clarke Francy Boland Big Band Jazz Is Universal Mp3, Flac, Wma

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The Kenny Clarke Francy Boland Big Band Jazz Is Universal mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Jazz Is Universal Country: US Released: 1962 Style: Big Band MP3 version RAR size: 1585 mb FLAC version RAR size: 1271 mb WMA version RAR size: 1778 mb Rating: 4.5 Votes: 522 Other Formats: AUD MP4 MIDI DXD ADX AA AIFF Tracklist Hide Credits Box 703, Washington, D. C. A1 5:02 Written-By – Francy Boland The Styx A2 3:50 Written-By – Francy Boland Gloria A3 4:35 Written-By – Bronislaw Kaper Los Bravos A4 5:00 Written-By – Francy Boland Charon's Ferry B1 6:06 Written-By – Francy Boland Volutes B2 5:56 Written-By – Francy Boland Last Train From Overbrook B3 6:37 Written-By – James Moody Credits Alto Saxophone – Derek Humble Baritone Saxophone, Flute – Sahib Shihab Bass – Jimmy Woode Cover – Loring Eutemey Drums – Kenny Clarke Engineer [Recording] – Wolfgang Hirschmann Liner Notes – Bob Altshuler, Willis Conover Piano, Arranged By – Francy Boland Supervised By – Gigi Campi Tenor Saxophone – Carl Drevo*, Zoot Sims Trombone – Pat Peck*, Ake Persson* Trumpet – Benny Bailey, Jimmy Deuchar, Ahmed Muvaffak Falay*, Roger Guerin* Barcode and Other Identifiers Matrix / Runout (Side 1 Matrix): 11963 Matrix / Runout (Side 2 Matrix): 11964 Other versions Category Artist Title (Format) Label Category Country Year London The Kenny Clarke Jazz Is Universal Records, HA-K 8085 Francy Boland Big (LP, Album, HA-K 8085 UK 1962 London Band* Mono) Atlantic The Kenny Clarke Jazz Is Universal 432066 Francy Boland Big (LP, Album, Atlantic 432066 France Unknown Band* Mono) The Kenny Clarke Jazz Is Universal SD 1401 Francy Boland Big Atlantic SD 1401 US 1962 (LP, Album) Band* Jazz Is Universal Kenny Clarke & 8122-79684-7 (CD, Album, RE, Atlantic 8122-79684-7 Europe 2012 Francy Boland* RM) Jazz Is Universal Clarke-Boland Big 1401 (LP, Album, Atlantic 1401 US Unknown Band Promo) Related Music albums to Jazz Is Universal by The Kenny Clarke Francy Boland Big Band Jazz Kenny Clarke - Francy Boland Big Band, The - Off Limits Jazz The Kenny Clarke Francy Boland Big Band - All Smiles Jazz Francy Boland The Orchestra - 2. Red Hot Jazz Francy Boland - Flirt And Dream Jazz Gitte Haenning Meets The Francy Boland Kenny Clarke Big Band - Gitte Haenning Meets The Francy Boland Kenny Clarke Big Band Jazz Kenny Clarke & Francy Boland - Jazz Is Universal Jazz The Kenny Clarke-Francy Boland Sextet - Calypso Blues Jazz The Kenny Clarke-Francy Boland Big Band - The Second Greatest Jazz Big Band In The World Jazz Francy Boland & Kenny Clarke Big Band - Francy Boland & Kenny Clarke Famous Orchestra Jazz Clarke-Boland Big Band, The - Doing Time.

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- '-l^AL ..{a t-2, -l t,r',. -- 7/ '-r-tt \91,- Our Twenty-sixthSeason Our One Hundred Sixty-sixth Program 2004-2005 6uuruqroNrnPuus: (ur,tv[0000s, gng${ ilnrrrnrt Monrerco, v00AL6 A99l$'t6D8t: (o+txlhcarsoN. prANoLes ltnesrs. (e..oeuus TtcepuoQur,reuuter q Oc.Oue ut ecz,t,f?ul,rp€f{ fuuqeu+{o?N Sponsored by the Department of Music and the New Hampshire Library of Traditional Jazz 8 p.m. Monday, October 25,2004 JohnsonTheatre, Paul CreativeArts Center,Durham, NH TIIE ARTISTS Jirnmy Woode, Shawnn Monteiro, and Clark Terry In our personal lives certain evens tend to stand out and take on legendary or ml,thic status within our families. This is likewise true ofjazz as a living organism, and because of the nature of the beast, the mystique of these special occurrences is best spread via recordings, by design or otherwise. Orc might think of the first cuts by the Original Dixieland Jazz Band, I-ouis Armshoug's llot Five sessions,Benny Goodman's 1938 Carnegie Hall concert, and the Miles Davis Krnd o/Blue sessions;the participants may even come to seem larger than life, and the opportunity for any of us to encounter them unlikely if not inpossible. Certainly Duke Ellington's long career generated many such singular happenings, and one of the most memorable took place early in July of 1956 at the Newport Jazz Festival, when the band, then thought by some to be at a low point, electrified the audience during a near-midnight appearance, most especially with a rendition of Dirzrzuendo and Crescmdo in BluepunctuateAby a 27-chorus "interlude" by Paul Gonsalves, and galvanized by Jimmy Woode's bass.
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BE! NEWS JAZZ AM RHEIN 1967-1968 Rare live sessions from original tapes! It was the summer of love in 1967, and more than 12 000 peo - ple found their way into the Rheinpark in Cologne – situated opposite the majestic cathedral and right at the bank of the Rhine river – for the first German open air jazz festival. Fea - tured on those two sunny days in September were three big bands – including ace musicians like Jiggs Whigham, Dusko Gojkovic, Manfred Schoof and Volker Kriegel – and the Kenny Clarke - Francy Boland Sextet. When the festival was revived the following year, visitors experienced the exciting sounds of the Maynard Ferguson Big Band, the Joachim Kühn Trio and the bands of Peter Trunk, Hank Mobley and George Gruntz, among many others. These recordings were remastered from the RECORDED live in Cologne, West Germany, September 16/17, 1967 original tapes and are accompanied by a lavish 20-page booklet with pictures, credits and notes in German and English. CD 1 (73 min.): Klaus Doldinger Quartet | Kurt Edelhagen All Star Band CD 2 (68 min.): Dusko Gojkovich International Quintet | Manfred Schoof Quintet Im Hippie-Sommer 1967 trafen sich mehr als 12 000 Jazzfans CD 3 (75 min.): Ingfried Hoffmann Big Band | bei “Jazz am Rhein”, dem ersten deutschen Jazzfestival im Jimmy Deuchar Studio All Stars | Freien, direkt am Rhein, sozusagen im Schatten des Doms. An Horst Gmeinwieser Quartet | Ted zwei Septembertagen erlebten die Besucher drei Bigbands – mit Curson Quartet | Kenny Clarke - Spitzenmusikern wie Jiggs Whigham, Dusko Gojkovich, Manfred Francy Boland Sextet Schoof und Volker Kriegel – und das Kenny Clarke - Francy Bo - RECORDED land Sextett.
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ART FARMER NEA Jazz Master (1999)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ART FARMER NEA Jazz Master (1999) Interviewee: Art Farmer (August 21, 1928 – October 4, 1999) Interviewer: Dr. Anthony Brown Dates: June 29-30, 1995 Repository: Archives Center, National Museum of American History Description: Transcript, 96 pp. Brown: Today is June 29, 1995. This is the Jazz Oral History Program interview for the Smithsonian Institution with Art Farmer in one of his homes, at least his New York based apartment, conducted by Anthony Brown. Mr. Farmer, if I can call you Art, would you please state your full name? Farmer: My full name is Arthur Stewart Farmer. Brown: And your date and place of birth? Farmer: The date of birth is August 21, 1928, and I was born in a town called Council Bluffs, Iowa. Brown: What is that near? Farmer: It across the Mississippi River from Omaha. It’s like a suburb of Omaha. Brown: Do you know the circumstances that brought your family there? Farmer: No idea. In fact, when my brother and I were four years old, we moved Arizona. Brown: Could you talk about Addison please? Farmer: Addison, yes well, we were twin brothers. I was born one hour in front of him, and he was larger than me, a bit. And we were very close. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: So, you were fraternal twins? As opposed to identical twins? Farmer: Yes. Right.
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Wallace Roney Joe Fiedler Christopher
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View Was Provided by the National Endowment for the Arts
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOOTS THIELEMANS NEA Jazz Master (2009) Interviewee: Toots Thielemans (April 29, 1922 – August 22, 2016) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: August 31 and September 1, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 80 pp. Brown: Today is August 31, 2011. My name is Anthony Brown, and I am conducting the Smithsonian Institution Oral History with NEA Jazz Master, harmonica virtuoso, guitarist and whistler, Toots Thielemans. Hello… Thielemans: Yes, my real name is Jean. Brown: Jean. Thielemans: And in Belgium… I was born in Belgium. Jean-Baptiste Frédéric Isidor. Four first names. And then Thielemans. Brown: That’s funny. Thielemans: And in French-speaking Belgium, they will pronounce it Thielemans. But I was born April 29, 1922. Brown: That’s Duke Ellington’s birthday, as well. Thielemans: Yes. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: All right. Thielemans: Yes, same day. Brown: Yeah, same day. Just a few years later. [laughs] Thielemans: [laughs] Oh, Duke. Okay. Brown: Where in Belgium? What city? Thielemans: In Brussels. Brown: That’s the capitol. Thielemans: In a popular neighborhood of Brussels called Les Marolles. There was… I don’t know, I wouldn’t know which neighborhood to equivalent in New York. Would that be Lower East Side? Or whatever… popular. And my folks, my father and mother, were operating, so to speak, a little beer café—no alcohol but beer, and different beers—in this café on High Street, Rue Haute, on the Marolles.
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CORE Metadata, citation and similar papers at core.ac.uk Provided by D-Scholarship@Pitt THE INTERPRETATION OF EXPERIENCE: A CONTEXTUAL STUDY OF THE ART OF THREE PITTSBURGH JAZZ DRUMMERS by Kenan A. Foley Bachelor of Music, Southern University and A & M College, 1984 Master of Arts, Binghamton University, 1995 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH Faculty of Arts and Sciences This dissertation was presented by Kenan A. Foley It was defended on April 23, 2007 and approved by Dr. Nathan T. Davis, Professor of Music, Dissertation Advisor J. H. Kwabena Nketia, Andrew W. Mellon Professor Emeritus of Music Dr. Akin Euba, Andrew W. Mellon Professor of Music Dr. Mathew Rosenblum, Professor of Music ii Copyright © by Kenan Foley 2007 iii THE INTERPRETATION OF EXPERIENCE: A CONTEXTUAL STUDY OF THE ART OF THREE PITTSBURGH JAZZ DRUMMERS Kenan A. Foley, PhD University of Pittsburgh, 2007 This dissertation presents an ethnomusicological study of the art of three Pittsburgh jazz drummers, Joe Harris, Ron Tucker, and Roger Humphries with particular reference to the nexus relations between performance practice and the interpretation of experience. Following the work of Davis, Nketia and others this study argues for an approach to the analysis of black music which takes into consideration the viewpoints of the musicians who produce the music as well as those of the community who participate at performance events. Accordingly it examines the art of these drummers not only in terms of sound and structure but also in respect of the cultural factors that govern the operation of style and the meaning systems behind the music.
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