DOCSLIB.ORG

Order Form Full

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Order Form Full JAZZ ARTIST TITLE LABEL RETAIL ADDERLEY, CANNONBALL SOMETHIN' ELSE BLUE NOTE RM112.00 ARMSTRONG, LOUIS LOUIS ARMSTRONG PLAYS W.C. HANDY PURE PLEASURE RM188.00 ARMSTRONG, LOUIS & DUKE ELLINGTON THE GREAT REUNION (180 GR) PARLOPHONE RM124.00 AYLER, ALBERT LIVE IN FRANCE JULY 25, 1970 B13 RM136.00 BAKER, CHET DAYBREAK (180 GR) STEEPLECHASE RM139.00 BAKER, CHET IT COULD HAPPEN TO YOU RIVERSIDE RM119.00 BAKER, CHET SINGS & STRINGS VINYL PASSION RM146.00 BAKER, CHET THE LYRICAL TRUMPET OF CHET JAZZ WAX RM134.00 BAKER, CHET WITH STRINGS (180 GR) MUSIC ON VINYL RM155.00 BERRY, OVERTON T.O.B.E. + LIVE AT THE DOUBLET LIGHT 1/T ATTIC RM124.00 BIG BAD VOODOO DADDY BIG BAD VOODOO DADDY (PURPLE VINYL) LONESTAR RECORDS RM115.00 BLAKEY, ART 3 BLIND MICE UNITED ARTISTS RM95.00 BROETZMANN, PETER FULL BLAST JAZZWERKSTATT RM95.00 BRUBECK, DAVE THE ESSENTIAL DAVE BRUBECK COLUMBIA RM146.00 BRUBECK, DAVE - OCTET DAVE BRUBECK OCTET FANTASY RM119.00 BRUBECK, DAVE - QUARTET BRUBECK TIME DOXY RM125.00 BRUUT! MAD PACK (180 GR WHITE) MUSIC ON VINYL RM149.00 BUCKSHOT LEFONQUE MUSIC EVOLUTION MUSIC ON VINYL RM147.00 BURRELL, KENNY MIDNIGHT BLUE (MONO) (200 GR) CLASSIC RECORDS RM147.00 BURRELL, KENNY WEAVER OF DREAMS (180 GR) WAX TIME RM138.00 BYRD, DONALD BLACK BYRD BLUE NOTE RM112.00 CHERRY, DON MU (FIRST PART) (180 GR) BYG ACTUEL RM95.00 CLAYTON, BUCK HOW HI THE FI PURE PLEASURE RM188.00 COLE, NAT KING PENTHOUSE SERENADE PURE PLEASURE RM157.00 COLEMAN, ORNETTE AT THE TOWN HALL, DECEMBER 1962 WAX LOVE RM107.00 COLTRANE, ALICE JOURNEY IN SATCHIDANANDA (180 GR) IMPULSE RM132.00 COLTRANE, ALICE LORD OF LORDS SUPERIOR VIADUCT RM127.00 COLTRANE, ALICE TRANSFIGURATION (180 GR) WARNER BROS RM129.00 COLTRANE, ALICE UNIVERSAL CONSCIOUSNESS SUPERIOR VIADUCT RM127.00 COLTRANE, ALICE WORLD GALAXY IMPULSE RM132.00 COLTRANE, JOHN A LOVE SUPREME IMPULSE RM132.00 COLTRANE, JOHN A LOVE SUPREME: THE COMPLETE MASTER VERVE RM174.00 COLTRANE, JOHN AFRICA/BRASS (180 GR) JAZZ WAX RM138.00 COLTRANE, JOHN BAHIA FANTASY RM119.00 COLTRANE, JOHN BALLADS IMPULSE RM132.00 COLTRANE, JOHN BLACK PEARLS PRESTIGE RM119.00 COLTRANE, JOHN BLUE TRAIN UNIVERSAL RM112.00 COLTRANE, JOHN BOTH DIRECTIONS AT ONCE: THE LOST A VERVE RM138.00 COLTRANE, JOHN BOTH DIRECTIONS AT ONCE: THE LOST A VERVE RM166.00 COLTRANE, JOHN COLTRANE IMPULSE RM132.00 COLTRANE, JOHN COLTRANE'S SOUND (180 GR) WAX TIME RM138.00 COLTRANE, JOHN CRESCENT IMPULSE RM132.00 COLTRANE, JOHN DAKAR OJC RM119.00 COLTRANE, JOHN GIANT STEPS (180 GR) RHINO/ATLANTIC RM133.00 COLTRANE, JOHN IN THE WINNERS CIRCLE (180 GR) PURE PLEASURE RM157.00 COLTRANE, JOHN LIVE AT THE VILLAGE VANGUARD AGAIN! IMPULSE RM132.00 COLTRANE, JOHN LUSH LIFE OJC RM119.00 COLTRANE, JOHN MY FAVORITE THINGS + AFRICA/BRASS ( VINYL PASSION RM149.00 COLTRANE, JOHN SOULTRANE PRESTIGE RM119.00 COLTRANE, JOHN STARDUST FANTASY RM119.00 COLTRANE, JOHN SUN SHIP IMPULSE RM132.00 COLTRANE, JOHN THE BELIEVER WAX LOVE RM107.00 COLTRANE, JOHN WELLS FARGO (180 GR) DOXY RM125.00 COLTRANE, JOHN & DUKE ELLINGTON JOHN COLTRANE & DUKE ELLINGTON IMPULSE RM132.00 COLTRANE, JOHN & JOHNNY HARTMAN JOHN COLTRANE & JOHNNY HARTMAN IMPULSE RM132.00 COLTRANE, JOHN & PAUL QUINICHETTE CATTIN' WITH COLTRANE & QUINICHETTE WAX TIME RM134.00 COLTRANE, JOHN & WILBUR HARDEN TANGANYIKA STRUT AUDIOPHILE CLEAR RM121.00 COLTRANE, JOHN W/RED GARLAND TRIO TRANEING IN PRESTIGE RM119.00 COLTRANE, JOHN/ALICE COLTRANE COSMIC MUSIC SUPERIOR VIADUCT RM124.00 CONNOR, CHRIS THIS IS CHRIS (180 GR) PURE PLEASURE RM157.00 COUNT BASIE BASIE ON THE BEATLES (180 GR) WAX TIME RM136.00 COUNT BASIE LIVE AT THE SANDS (BEFORE FRANK) (1 MOBILE FIDELITY RM217.00 CRUISE, JULEE FLOATING INTO THE NIGHT (180 GR) PLAIN RECORDINGS RM117.00 CRUISE, JULEE THE VOICE OF LOVE SACRED BONES RM120.00 DAVIS, MILES ROUND ABOUT MIDNIGHT (180 GR MONO) COLUMBIA RM133.00 DAVIS, MILES AT NEWPORT (1958) WAX LOVE RM107.00 DAVIS, MILES BAG'S GROOVE PRESTIGE RM114.00 DAVIS, MILES BIRTH OF THE COOL CAPITOL RM112.00 DAVIS, MILES COOKIN' WITH THE MILES DAVIS QUARTE OJC RM119.00 DAVIS, MILES DOO-BOP (180 GR) MUSIC ON VINYL RM155.00 DAVIS, MILES FIRST MILES SAVOY LABEL RM112.00 DAVIS, MILES IN A SILENT WAY (180 GR) CBS RM117.00 DAVIS, MILES IN PERSON-FRIDAY NIGHT AT THE BLACK DOXY RM148.00 DAVIS, MILES JAZZ AT THE PLAZA DOXY RM130.00 DAVIS, MILES JAZZ TRACK (W/CD) DOXY RM133.00 DAVIS, MILES KIND OF BLUE (180 GR) LEGACY RM133.00 DAVIS, MILES LIFT TO THE SCAFFOLD O.S.T. WAX LOVE RM107.00 DAVIS, MILES LIVE IN BOSTON 1972 RAINBOWED RM125.00 DAVIS, MILES LIVE-EVIL (180 GR) FOUR MEN/BEARDS RM135.00 DAVIS, MILES MILESTONES (180 GR MONO) MOBILE FIDELITY RM168.00 DAVIS, MILES MILESTONES (180 GR MONO) LEGACY RM126.00 DAVIS, MILES MY FUNNY VALENTINE (180 GR) MOBILE FIDELITY RM168.00 DAVIS, MILES PLAYS FOR LOVERS WAX LOVE RM107.00 DAVIS, MILES PORGY & BESS WAX LOVE RM107.00 DAVIS, MILES ROUND ABOUT MIDNIGHT (180 GR) MOBILE FIDELITY RM168.00 DAVIS, MILES SEVEN STEPS TO HEAVEN WAX LOVE RM107.00 DAVIS, MILES SKETCHES OF SPAIN (180 GR MONO) LEGACY/COLUMBIA RM126.00 DAVIS, MILES SOMEDAY MY PRINCE WILL COME (180 GR LEGACY RM126.00 DAVIS, MILES THE ESSENTIAL MILES DAVIS COLUMBIA/LEGACY RM146.00 DAVIS, MILES WE WANT MILES (180 GR) MUSIC ON VINYL RM180.00 DAVIS, MILES & THELONIOUS MONK MILES & MONK AT NEWPORT CORNBREAD RM121.00 DAVIS, MILES - QUINTET - W/GIL EVANS ORCH. AT CARNEGIE HALL AUDIOPHILE CLEA RM140.00 DAVIS, MILES/JOHN COLTRANE THE FINAL TOUR: COPENHAGEN MARCH 24 LEGACY RM116.00 DOLPHY, ERIC BERLIN CONCERTS AUDIOPHILE CLEAR RM136.00 DOLPHY, ERIC IRON MAN CELLULOID RM89.00 DOLPHY, ERIC OUT THERE OJC RM119.00 DOLPHY, ERIC/DONALD BYRD/NATHAN DAVIS LAST RECORDINGS WESTWIND RM95.00 DORHAM, KENNY & JACKIE MCCLEAN INTA SOMETHIN' (180 GR) DOXY RM125.00 DUKE ELLINGTON'S SPACEMEN THE COSMIC SCENE PURE PLEASURE RM157.00 FAME, GEORGIE THE THIRD FACE OF FAME PURE PLEASURE RM157.00 FITZGERALD, ELLA CLAP HANDS, HERE COME CHARLIE! (200 CLASSIC RECORDS RM147.00 FITZGERALD, ELLA ELLA AT ZARDI'S VERVE RM132.00 FITZGERALD, ELLA JAZZ AT THE PHILHARMONIC VERVE RM132.00 FITZGERALD, ELLA & LOUIS ARMSTRONG ELLA & LOUIS (180 GR) NOT NOW MUSIC RM112.00 FITZGERALD, ELLA & LOUIS ARMSTRONG ELLA & LOUIS - CLASSIC ALBUM COLL. VINYL PASSION RM178.00 FITZGERALD, ELLA & LOUIS ARMSTRONG PORGY & BESS (180 GR) NOT NOW RM112.00 GAINSBOURG, SERGE THEATRE DES CAPUCINES 1963 JEANNE DIELMAN RM125.00 GARLAND, RED - QUINTET DIG IT! AUDIOPHILE CLEA RM125.00 GAYLE, CHARLES/WILLIAM PARKER/RASHIED ALI TOUCHIN' ON TRANE JAZZWERKSTATT RM95.00 GETZ, STAN CAPTAIN MARVEL (180 GR) PURE PLEASURE RM157.00 GILBERTO, ASTRUD THE ASTRUD GILBERTO ALBUM VERVE RM140.00 GILLESPIE, DIZZY DIZZY ON THE FRENCH RIVIERA WAX LOVE RM107.00 GOGO PENGUIN A HUNDRUM STAR BLUE NOTE RM127.00 GOGO PENGUIN MAN MADE OBJECT BLUE NOTE RM138.00 GOLDEN PALOMINOS VISIONS OF EXCESS (180 GR) VINYL PASSION RM108.00 GORDON, DEXTER DEXTER GORDON BLOWS HOT AND COOL CLEOPATRA RM100.00 GORDON, DEXTER - QUARTET MANHATTAN SYMPHONIE PURE PLEASURE RM188.00 GRAY, MACY STRIPPED CHESKY RM149.00 GREEN, GRANT IDLE MOMENTS BLUE NOTE RM112.00 GUARALDI, VINCE - TRIO CHARLIE BROWN'S HOLIDAY HITS FANTASY RM119.00 GUMPERT, ULRICH & WORKSHOP BAND BERLIN/NEW YORK JAZZWERKSTATT RM82.00 HANCOCK, HERBIE MAIDEN VOYAGE BLUE NOTE RM112.00 HANCOCK, HERBIE RIVER: THE JONI LETTERS VERVE RM151.00 HARRIOTT, JOE - QUARTET ABSTRACT AUDIOPHILE CLEAR RM125.00 HARRIOTT, JOE QUINTET FREE FORM (W/CD) DOXY RM136.00 HAWKINS, COLEMAN HAWK SWINGS (180 GR) DOXY RM125.00 HENDERSON, JOE & ALICE COLTRANE THE ELEMENTS (180 GR) MILESTONE RM132.00 HENRY, PIERRE LE VOYAGE (180 GR) DOXY RM133.00 HOLIDAY, BILLIE LADY IN SATIN LEGACY RM116.00 HOLIDAY, BILLIE LADY SINGS THE BLUES (180 GR) VERVE RM112.00 HOLIDAY, BILLIE MUSIC FOR TORCHING WITH ... (180 GR DOXY RM133.00 HOLIDAY, BILLIE SONGS FOR DISTINGUE LOVERS (200 GR) CLASSIC RECORDS RM146.00 HOLIDAY, BILLIE VELVET MOOD (180 GR) (W/CD) DOXY RM133.00 HOLMES, RICHARD & GENE AMMONS GROOVIN' WITH JUG PURE PLEASURE RM157.00 HU VIBRATIONAL UNIVERSAL MOTHER SOUL JAZZ RM165.00 HUBBARD, FREDDIE ARTISTRY OF FREDDIE HUBBARD (45 RPM ANALOGUE PRODUC RM257.00 HUBBARD, FREDDIE HUB CAP (45 RPM) ANALOGUE PRODUC RM257.00 HUBBARD, FREDDIE HUB-TONES (45 RPM) ANALOGUE PRODUC RM257.00 HUBBARD, FREDDIE READY FOR FREDDIE BLUE NOTE RM112.00 IRVINE, WELDON THE SISTERS NATURE SOUNDS RM117.00 JOBIM, ANTONIO CARLOS STONE FLOWER (180 GR) ORG MUSIC RM149.00 JOHNSON, BUDD & EARL HINES MR. BECHET PURE PLEASURE RM157.00 JONES, NORAH COME AWAY WITH ME BLUE NOTE RM112.00 JONES, NORAH DAY BREAKS BLUE NOTE RM127.00 JONES, NORAH FEATURING NORAH JONES BLUE NOTE RM117.00 JONES, NORAH THE FALL BLUE NOTE RM117.00 JONES, THAD & MEL LEWIS ORCHESTRA CONSUMMATION (180 GR) PURE PLEASURE RM157.00 KENT, STACEY THE CHANGING LIGHTS (180 GR) PURE PLEASURE RM188.00 KENTON, STAN & HIS ORCHESTRA FIRE, FURY AND FUN GNP CRESCENDO RM100.00 KESSEL, BARNEY/S.MANNE/R.BROWN THE POLL WINNERS (180 GR) JAZZ WAX RM137.00 KIEFER HAPPYSAD STONES THROW RM116.00 KIRK, ROLAND THIRD DIMENSION (180 GR) BETHLEHEM RM157.00 KIRK, ROLAND VOLUNTEERED SLAVERY (180 GR) MUSIC ON VINYL RM155.00 KRALL, DIANA FROM THIS MOMENT VERVE RM151.00 KRALL, DIANA GLAD RAG DOLL VERVE RM151.00 KRALL, DIANA LIVE IN PARIS VERVE RM151.00 KRALL, DIANA LOOK OF LOVE VERVE RM151.00 KRALL, DIANA LOVE SCENES (180 GR) VERVE RM151.00 KRALL, DIANA STEPPING OUT (180 GR) JUSTIN TIME RM139.00 KRALL, DIANA VERY BEST OF DIANA KRALL VERVE RM151.00 KROG, KARIN DON'T JUST SING: AN ANTHOLOGY 1963- LIGHT I/T ATTIC RM128.00 LAINE, CLEO CLEO'S CHOICE GNP CRESCENDO RM100.00 LEE, PEGGY IS THAT ALL THERE IS? PURE PLEASURE RM157.00 LEVEY, STAN - SEXTET GRAND STAN (180 GR) PURE
Load more

Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
    [Show full text]
  • Sideways Title Page
    SIDEWAYS by Alexander Payne & Jim Taylor (Based on the novel by Rex Pickett) May 29, 2003 UNDER THE STUDIO LOGO: KNOCKING at a door and distant dog BARKING. NOW UNDER BLACK, A CARD -- SATURDAY The rapping, at first tentative and polite, grows insistent. Then we hear someone getting out of bed. MILES (O.S.) ...the fuck... A door is opened, and the black gives way to blinding white light, the way one experiences the first glimpse of day amid, say, a hangover. A worker, RAUL, is there. MILES (O.S.) Yeah? RAUL Hi, Miles. Can you move your car, please? MILES (O.S.) What for? RAUL The painters got to put the truck in, and you didn’t park too good. MILES (O.S.) (a sigh, then --) Yeah, hold on. He closes the door with a SLAM. EXT. HIDEOUS APARTMENT COMPLEX - DAY SUPERIMPOSE -- SAN DIEGO, CALIFORNIA Wearing only underwear, a bathrobe, and clogs, MILES RAYMOND comes out of his unit and heads toward the street. He passes some SIX MEXICANS, ready to work. 2. He climbs into his twelve-year-old convertible SAAB, parked far from the curb and blocking part of the driveway. The car starts fitfully. As he pulls away, the guys begin backing up the truck. EXT. STREET - DAY Miles rounds the corner and finds a new parking spot. INT. CAR - CONTINUOUS He cuts the engine, exhales a long breath and brings his hands to his head in a gesture of headache pain or just plain anguish. He leans back in his seat, closes his eyes, and soon nods off.
    [Show full text]
  • Evenings for Educators 2018–19
    ^ Education Department Evenings for Educators Los Angeles County Museum of Art 5905 Wilshire Boulevard 2018–19 Los Angeles, California 90036 Charles White Charles White: A Retrospective (February 17–June 9, involved with the WPA, White painted three murals in 2019) is the first major exhibition of Charles White’s Chicago that celebrate essential black contributions work in more than thirty-five years. It provides an to American history. Shortly thereafter, he painted the important opportunity to experience the artist’s mural The Contribution of the Negro to Democracy in work firsthand and share its powerful messages with America (1943), discussed in detail in this packet. the next generation. We are excited to share the accompanying curriculum packet with you and look After living in New York from 1942 until 1956, White forward to hearing how you use it in your classrooms. moved to Los Angeles, where he remained until his passing in 1979. Just as he had done in Chicago Biography and New York, White became involved with local One of the foremost American artists of the twentieth progressive political and artistic communities. He century, Charles White (1918–1979) maintained produced numerous lithographs with some of Los an unwavering commitment to African American Angeles’s famed printing studios, including Wanted subjects, historical truth, progressive politics, and Poster Series #14a (1970), Portrait of Tom Bradley social activism throughout his career. His life and (1974), and I Have a Dream (1976), which are work are deeply connected with important events included in this packet. He also joined the faculty and developments in American history, including the of the Otis Art Institute (now the Otis College of Great Migration, the Great Depression, the Chicago Art and Design) in 1965, where he imparted both Black Renaissance, World War II, McCarthyism, the drawing skills and a strong social consciousness to civil rights era, and the Black Arts movement.
    [Show full text]
  • Music Video As Black Art
    IN FOCUS: Modes of Black Liquidity: Music Video as Black Art The Unruly Archives of Black Music Videos by ALESSANDRA RAENGO and LAUREN MCLEOD CRAMER, editors idway through Kahlil Joseph’s short fi lm Music Is My Mis- tress (2017), the cellist and singer Kelsey Lu turns to Ishmael Butler, a rapper and member of the hip-hop duo Shabazz Palaces, to ask a question. The dialogue is inaudible, but an intertitle appears on screen: “HER: Who is your favorite fi lm- Mmaker?” “HIM: Miles Davis.” This moment of Black audiovisual appreciation anticipates a conversation between Black popular cul- ture scholars Uri McMillan and Mark Anthony Neal that inspires the subtitle for this In Focus dossier: “Music Video as Black Art.”1 McMillan and Neal interpret the complexity of contemporary Black music video production as a “return” to its status as “art”— and specifi cally as Black art—that self-consciously uses visual and sonic citations from various realms of Black expressive culture in- cluding the visual and performing arts, fashion, design, and, obvi- ously, the rich history of Black music and Black music production. McMillan and Neal implicitly refer to an earlier, more recogniz- able moment in Black music video history, the mid-1990s and early 2000s, when Hype Williams defi ned music video aesthetics as one of the single most important innovators of the form. Although it is rarely addressed in the literature on music videos, the glare of the prolifi c fi lmmaker’s infl uence extends beyond his signature lumi- nous visual style; Williams distinguished the Black music video as a creative laboratory for a new generation of artists such as Arthur Jafa, Kahlil Joseph, Bradford Young, and Jenn Nkiru.
    [Show full text]
  • Black Pearls
    Number 22 The Journal of the AMERICAN BOTANI CAL COUNCU.. and the HERB RESEARCH FOUNDATION Hawthorn -A Literature Review Special Report: Black Pearls - Prescription Drugs Masquerade as Chinese Herbal Arthritis Formula FROM THE EDITOR In This Issue his issue of HerbalGram offers some good news and some herbal combination for use in rheumatoid arthritis and related bad news. First the good news. Our Legal and Regulatory inflammatory conditions, this product has been tested repeatedly Tsection is devoted to a recent clarification by the Canadian and shown positive for the presence of unlabeled prescription drugs. Health Protection Branch (Canada's counterpart to our FDA)of its Herb Research Foundation President Rob McCaleb and I have willingness to grant "Traditional Medicine" status to many medici­ spent several months researching the latest resurgence in sales of nal herb products sold in Canada under the already existing approval this and related products. We have made every attempt to follow up process for over-the-counter remedies. This announcement has on many avenues to determine whether these products contain un­ been hailed as a positive step by almost everyone with whom we labeled drugs, and whether or not they are being marketed fraudu­ have talked, both in academia and in the herb industry. lently. Herb marketers and consumers alike should be concerned More good news is found in the literature review on Hawthorn. whenever prescription drugs are presented for sale as "natural" and Steven Foster has joined Christopher Hobbs in preparing a compre­ "herbal." You will find our report on page 4. hensive view of a plant with a long history of use as both food and In addition, we present the usual array of interesting blurbs, medicine.
    [Show full text]
  • Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
    Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works.
    [Show full text]
  • Wavelength (December 1981)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ----­ Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson.
    [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]
  • 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,
    [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]
  • 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]
  • AN ANALYSIS of the MUSICAL INTERPRETATIONS of NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 a THESIS S
    AN ANALYSIS OF THE MUSICAL INTERPRETATIONS OF NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 A THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2010 Approved by: Major Professor Dale Ganz Copyright JESSIE L. FREYERMUTH 2010 Abstract Nina Simone was a prominent jazz musician of the late 1950s and 60s. Beyond her fame as a jazz musician, Nina Simone reached even greater status as a civil rights activist. Her music spoke to the hearts of hundreds of thousands in the black community who were struggling to rise above their status as a second-class citizen. Simone’s powerful anthems were a reminder that change was going to come. Nina Simone’s musical interpretation and approach was very unique because of her background as a classical pianist. Nina’s untrained vocal chops were a perfect blend of rough growl and smooth straight-tone, which provided an unquestionable feeling of heartache to the songs in her repertoire. Simone also had a knack for word painting, and the emotional climax in her songs is absolutely stunning. Nina Simone did not have a typical jazz style. Critics often described her as a “jazz-and-something-else-singer.” She moved effortlessly through genres, including gospel, blues, jazz, folk, classical, and even European classical. Probably her biggest mark, however, was on the genre of protest songs. Simone was one of the most outspoken and influential musicians throughout the civil rights movement. Her music spoke to the hundreds of thousands of African American men and women fighting for their rights during the 1960s.
    [Show full text]