Cash Box Jazz Albums

Total Page:16

File Type:pdf, Size:1020Kb

Cash Box Jazz Albums - 1 i ON JAZZ I CASH BOX JAZZ ALBUMS — at Barrow Street’s Greenwich ON BLUES— The reissue craze as always, Bowie and the Title, Artist, Label, Number, Distributor some sort of fever House — are Lester which is reaching = Available on Compact Disc other Brass Fantasy (9/13), “The Soul Stir- pitch in jazz — has extended to = Platinum (RIAA Certified) rings of Linda Tillery”, with a trio fea- fields. MCA-which has had the good = Gold (RIAA Certified) 20 IT TAKES TWO RODNEY FRANKLIN (Columbia FC reissue pro- turing Michele Rosewoman (10/4), sense to begin an active jazz 40307) with L O up “Bop Connection: Then ai)d Now’ , gram with Impulse! — has just come 21 LIGHT STRUCK Big W C its Kenny Barron, Cecil McBee, DAVE VALENTIN (GRP-A-1028) with ten dandy blues reissues from 1 14 I DOUBLE VISION Eddie Henderson, Sonny 1 SANBORN Chess vaults. The albums are hand- Black, BOB JAMES/DAVID m SAND dance (TBA TB-206) and Freddie Waits (11/8); (Warner Bros. 25393) Frank Potenza somely packaged — they have their Fortune, 2 11 23 INTRODUCING the Hatian band Ayiza, featuring I BREAKOUT notes, as well and 1 original covers and liner SPYRO GYRAIMCA 5753) JONATHAN BUTLER — and the sound Andrew Cyrille (12/13). (Jive/ Arista JL8-8404) as updated liner notes SHADES 3 12 jazz label has been 1 generally, clear and crisp. SWIFT—A new YELLOW JACKETS(MCA 5752) 24 SCHUUR THING on them is, DIANE SCHUURIGRP-1022) born. Gazell Records has revved up by The classic “Muddy Waters At New- 4 LOVE WILL FOLLOW 26 25 LYLE MAYS releasing four LPs from the excellent GEORGE HOWARD (TBATB 210) port”— which includes two definitive (Geffen /Warner Bros. GHS 24097) — which hasn’t had label Sonet I THE MOON versions of “Got My Mojo Workin by Swedish DOWN TO 26 SAVE TONIGHT FOR ME Andreas Vollenweider (CBS presence for years. Up first CHUCK MANG10NE(Columbia FC includes Otis Spann and a stateside Masterworks FM42255) a band that 40254) Gazell are the Paris Reunion — is the gem of the set, from 20 James Cotton 6 SONG X 27 IS THAT THE WAY TO 27 (a Feature PAT METHENY/ORNETTE nine albums are certainly Band’s “French Cooking” HEART but the other COLEMANIGeffen/Warner Bros. GHS YOUR of months THE KAZU MATSUI PROJECT are “Muddy Pick on this page a couple 24096) nothing to sneeze at. They (Passport Jazz PJ 88011) ago), Chet Baker’s “Candy”, Sivu- Waters Sings Big Bill Broonzy”, “Big JOYRIDE 28 22 | 28 DOUBLE TAKE PIECES OF A DREAM (Manhattan ’, ca’s “Som Brasil”, and Barney Kes- FREDDIE HUBBARD/WOODY Bill Broonzy and Washboard Sam “Two Way ST53023) SHAW(Blue Note BT 85121) “John Lee Hooker Plays and Sings sel/Red Mitchell’s 8 ALONE/BUT NEVER 25 YOU SATISFIED 29 if; Gazell is at 204 W. 20th 29 KEEP the Blues”, “The Best of Little Wal- Conversation”. ALONE NANCY WILSON(Columbia FC 40330) LARRY CARLTONIMCA 5689) Street, New York, NY 10011. - ter”, “Memphis Slim” (a must have ETil BLACK & BLUE 34 great Mem- BOPPING AROUND— It was heart THIS IS THIS 10 RARE SILK (TBA-TB-214) if you’re unfamiliar with the Q WEATHER REPORT (Columbia FC see the public reconciliation be- 31 FLOPPY DISK 30 31 phis Slim), “We’re Gonna Make It by ening to 40280) Marsalis. At KIRK WHALUMIColumbia FC 40221) Milton, “Go Bo Diddley ”, the tween the brothers 9 79 Little 10 MAGIC TOUCH TO THE SOURCE 31 2< or so JORDAN(B!ue Note BT 32 CLOSER Wynton’s Pier Concert a week STANLEY Atlantic 81646-1) Soundtrack of Rock , Rock, DIZZY GILLESPIE( “Original 85101 — who, you’ll recall, Rock”, with Chuck Berry, the Fla- ago, Branford 33 NITE STREET 33 i' 11 TOO FAR TO WHISPER 11 11 Wynton’s Quintet after ROB MULLINSfRMC 1006) * mingos, and the Moonglows; and was fired from SHADOWFAX(Windham Hill/A&M « “spe- WH1051) DRINKIN’FROM THE 36 got Stung — was on hand as a ET1 , “The Blues Volume 1”, a compilation. he “ MONEY WATER he raised the level of POWERPLAY 12 10 of the great independent labels of cial guest”, and 12 GRANT GEISSMAN (TBA TB 217) Many BILLY COBHAM (GRP-A-1027) of notches. Bran- yore are now owned by the megalabels the band by a couple 35 THE BOHEMIANS 32 — 13 ANOTHER PLACE 13 45 ZEB 5715) ford was busy on the Pier that week SKYWALK (Zebra/MCA and it’s good to see that, slowly but HlROSHIMA(Epic BFE 39938) 38 American two nights before he guested with the EH SPONTANEOUS surely, much of our classic IQ DUTONES 19 “ INVENTIONS Neville Brothers Max Roach KENNY G. (Arista AL8 8427) (Blue Note BT music is seeing the light of day again. BOBBY McFERRIN jazz drummer — 85110) These reissue trends don’t tend to last, who ain’t your typical IH SLICE OF LIFE 16 SPECIAL EFX (GRP A 1025) 37 ATAVACHRON 35 get ’em. and the Kronos Quartet — which ain’t so if you want ’em, better go ALLAN HOLDSWORTH (Enigma/ THE WORLD 18 Green your typical string quartet — will team IH AROUND Capitol ST-73203) WORLD CLASS SERIES’— JETSTREAM (TBA TB 211) of performances of Peter 37 wich Village, which is the current heart up for a pair 38 PARKER’S MOOD 1 17 ROSSITER ROAD 14 22 SADAO WATANABE LIVE AT — “Survivors”, written for Max of the contemporary jazz world Phillips’ AHMAD JAMAL(Atlantic 81645-1) BRAVAS CLUB '85(Elektra 60475) a string quartet, September 12 at thanks to such clubs as Sweet Basil, the and 18 THE CHICK COREA 15 24 39 STILL WARM 39 f — Herbst Theatre, and JOHN SCOFIELD (Gramavision 18- Village Vanguard,and the Blue Note San Francisco’s ELEKTRIC BAND (GRP-A-1026) 8508) September 13 at UCLA’s Schoenberg also harbors an excellent pair of jazz 40 — ONE OF A KIND 21 40 DIALECTS Hall... Three cheers to Phil Alvin a ZAW1NUL (Columbia FC-40081) series’: Jack Kleinsinger’s “High- E FATTBURGER (Golden Boy GBT 2001) JOE rock band, The Blast- lights In Jazz”, and Kwame Shaw’s member of the l enlisting Sun Ra and his Ar- SOLELY ON “Jazztrack”. The series’ are comple- ers— for THE CASH BOX TOP 40 JAZZ ALBUM CHART IS BASED role on his solo RETAIL STORES. mentary — Kleinsinger’s shows run to kestra for a featured ACTUAL PIECES SOLD AT — n Stories’” (Slash); the Ar- the traditional, with a smattering of be- LP, “Un'Sung three tunes ar- 1 bop; Shaw’s shows run to the contem- kestra cuts it up on the Omniverse. porary, with a smattering of bebop. ranged by the Master of Band is also “Highlights In Jazz’”s fall series — The Dirty Dozen Brass number. ..Chicago’s Mar- which will take place, as always, at on hand for a NYU’s Loeb Student Center — goes like coa Direct will begin a national televi- JAZZ FEATURE PICKS to market “Let It this: “Still Going Strong”, with veterans sion sales campaign Barney Kessel/Red Mitchell—Gaz-’U Art Hodes, Milt Hinton, Doc Live”, the Jazzletter Records LP that TWO WAY CONVERSATION— Bergstrom, Sven Lindholm ba Cheatham, George Kelly, Tommy features Sarah Vaughan singing jazz GJ 1003— Producers: Gunnar toget Paul Guitarist Kessel and bassist Mitchell-who worked ba Benford, and Clarence Hutchen- versions of poems by Pope John A well-titled LP. weave a seamless tapestry fc is getting their extensively in the ’50s-are musical soulmates who drider (9/25); “A Salute to Pepper II... Concord Records and r the on this ’73 session, produced by Sweden s Sonet tin Adams”, with Adams, Clark Terry, artists together and taking them on swinging improvisation Ronnie Cuber, Nick road: Rosemary Clooney, Scott available on the new Gazell label. •>& Cecil Payne, AND THE BOSS BRASS—Cone Brignola, Joe Morello, and others Hamilton, Maxine Sullivan, Jim MEL TORME/ROB McCONNELL p Remler, Producer: Carl E. Jefferson ? (10/20); “Voices ofJazz”, with Hall, Ray Brown, Emily Jazz CJ-306 — been done in the sparest of company, fj and others will be participating in a 10- Torme, whose vocalizing has lately of McConnell’s smoking, 24-piece big band and concert tour of Japan this month. ..“Mu- gets to air his pipes in front j voice is matched perfectly by sical Interpretations of Yoruba results are excellent: the lushness of Torme’s Proverbs” is an intriguing-sounding pro lushness of the Boss Brass. Producer: Lee Riteno gram that Wind And Thunder will be EARTH RUN— Lee Ritenour—GRP A-1021— along for most of the ride. This ca performing at NYC’s Symphony Space, Dave Grusin is not co-billed here, but he’s guitar synthesizer u wrote the mu- of fusion finesse-his guitar work (mostly September 26. Bill Cole Ritenour’s stamp | Roy Eldridge, Marlene VerPlanck, sic, Julius Hemphill did the arrange hops, skips, and jumps. Eschete Bainbridge BT 6264—Producer: Jay Leonhart, and other (12/11), and ments, and they will be joined by Olu STUMP JUMPER—Ron — Abdul Wadud, “Jazz Is My Passport”, with Astrud Dara, Joe Daley, mond Edwards different jazz genres-popping electr Gilberto, Niels Lan Doky, Claudio Gerald Veasley, Warren Smith, Guitar man Eschete straddles several being the prominent sounds-with well-seas Roditi, and others. “Jazztrack’”s au- and Hafiz Shabazz. Call (212) 864 sion and plaintive acoustic ballads tumnal offerings — which will take place, 5400 for tickets. Lee Jeske chops and a well-tuned ear. Cash Box September 1 1 12.
Recommended publications
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
    04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS
    [Show full text]
  • 78Th and 3Rd Lee Ritenour Rit of Habeas Music 100%
    May 2004 RIT OF HABEAS MUSIC CATALOGUE TITLE COMPOSER(S) PUBLISHER(S) SHARE “78th and 3rd Lee Ritenour Rit of Habeas Music 100% “10th AVENUE” Lee Ritenour Rit of Habeas Music 100% “4 PLAY AND PLEASURE” Lee Ritenour Rit of Habeas Music 100% “AFTER THE RAIN” Lee Ritenour Rit of Habeas Music 100% “A COUNTRY BLUES” Lee Ritenour Rit of Habeas Music 100% "A LITTLE BUMPIN'" Lee Ritenour Rit of Habeas Music 100% “A LITTLE DOLPHIN Lee Ritenour Rit of Habeas Music 100% DREAMIN’” "A SUMMER CHILD" Lee Ritenour Rit of Habeas Music 100% "ALONE WITH YOU" Lee Ritenour Rit of Habeas Music 50% Phil Perry Pepsongs Music Corp. 50% “AND YOU KNOW WHAT.... Lee Ritenour Rit of Habeas Music 100% I LOVE YOU” "AMARETTO" Lee Ritenour Rit of Habeas Music 100% "A NEW DAY" Lee Ritenour Rit of Habeas Music 100% "BACK IN THE CITY" Lee Ritenour Rit of Habeas Music 25% Greg Mathieson Mighty Mathieson Music 37.50% Trevor Veitch Slapshot Music 37.50% "BAHIA FUNK" Lee Ritenour Rit of Habeas Music 100% "BALI RUN" Lee Ritenour Rit of Habeas Music 100% Bob James “BEIJOS (KISSES)” Lee Ritenour Rit of Habeas Music 100% "BITTERSWEET" Lee Ritenour Rit of Habeas Music 100% "BITTERSWEET (A LOVE Lee Ritenour Rit of Habeas Music 100% MORE WONDERFUL)" Roxanne Seeman (LYRIC VERSION) “BLUE LINE (THE)” Lee Ritenour Rit of Habeas Music 100% "BULLET TRAIN" Lee Ritenour Rit of Habeas Music 80% Ernie Watts Sttawe Music 20% “CAN YOU FEEL IT” Lee Ritenour Rit of Habeas Music 100% "CAPTAIN FINGERS" Lee Ritenour Rit of Habeas Music 100% "CAPTAIN'S JOURNEY, Lee Ritenour Rit of Habeas Music 100% THE" (Part 1 - The Calm Part 2 - The Storm) “(THE) CHILD WITHIN” Lee Ritenour Rit of Habeas Music 100% "COLOR RIT" Lee Ritenour Rit of Habeas Music 100% "COUNTDOWN" Lee Ritenour Rit of Habeas Music 100% “COUNTRY BLUES” Lee Ritenour Rit of Habeas Music 100% *Japan Only 2 "CROSS MY HEART" Lee Ritenour Rit of Habeas Music 50% Eric Tagg Captain Fingers Prod.
    [Show full text]
  • Cecil Mcbee Mutima Mp3, Flac, Wma
    Cecil McBee Mutima mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Mutima Country: Japan Released: 2010 Style: Contemporary Jazz, Avant-garde Jazz MP3 version RAR size: 1271 mb FLAC version RAR size: 1902 mb WMA version RAR size: 1762 mb Rating: 4.6 Votes: 671 Other Formats: AIFF APE AUD FLAC AA TTA VOC Tracklist Hide Credits 1 From Within 11:21 2 Voice Of The 7th Angel 2:02 Life Waves 3 Alto Saxophone – Allen Braufman*Bells – Lawrence KillianPercussion – Jimmy HoppsTenor 9:13 Saxophone, Soprano Saxophone – George AdamsTrumpet – Tex Allen 4 Mutima 13:41 A Feeling 5 2:38 Drums – Allen Nelson Tulsa Black 6 6:10 Electric Bass – Cecil McBee, Jr. Companies, etc. Manufactured By – Bomba Records, Inc. Distributed By – Bomba Records, Inc. Licensed From – Strata-East Records, Inc. Recorded At – Minot Sound Credits Bass, Arranged By, Composed By, Producer – Cecil McBee Congas – Lawrence Killian Design [Cover] – Lucia Haskell McBee Drums – Jimmy Hopps Engineer – Ron Carran Engineer [Mixing] – Richard Adler* Flugelhorn – Tex Allen Flute – Art Webb Gong, Percussion – Michael Carvin Liner Notes – 悠雅彦* Percussion, Cymbal – Jaboli Billy Hart* Piano, Electric Piano – Onaje Allen Gumbs* Transferred By [Digital Transfer] – Duncan Stanbury Vocals – Dee Dee Bridgewater Notes Recorded May 8, 1974 at Minot Studios, White Plains, NY Other versions Category Artist Title (Format) Label Category Country Year Cecil Mutima (LP, SES-7417 Strata-East SES-7417 US 1974 McBee Album) Everland Jazz Cecil Mutima (LP, Everland Jazz Everland Jazz Netherlands 2018
    [Show full text]
  • Weeksville Lost Jazz Shrines
    1 Weeksville Lost Jazz Shrines Annotated Bibliography and Discography Primary Sources Interviews Note: Most of the artists listed below were interviewed over a period of two years (April, 2010 –October, 2011 through Weeksville’s Lost Jazz Shrine Project). Artists interviewed include: Brooklyn natives; longtime Brooklyn residents; or artists who performed frequently at some of Brooklyn's Lost Jazz Shrines and in some cases, continue to perform in Brooklyn. Abdullah, Ahmed. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 46 mins 36 sec. Barnes, Wade E. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 7 December 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 51 min. 26 sec. Barron, Kenny. Oral History Interview. Interviewed by Willard Jenkins. 9 October 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Braithwaite, “Fab 5” Freddie. Oral History Interview. Interviewed by Willard Jenkins and Jennifer Scott. 7 Oct 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 25 mins. 32 secs. Carroll, Alma. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 24 August 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 10 mins. 34 secs. Cheatham, Jo Ann. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project.
    [Show full text]
  • The Complete Clifford Jordan Strata-East Sessions
    RECORD REV!EWS TAfrZ celebrated or discussed. Martin Bough's jaw-dropping photos from the rI actual sessions transport us precisely to that time and place. fiiflvsJ The booklet also reproduces a full- page ad in support of the albums, eJ. 'Ware's minus Sup,sv Bass and Shades of Edward Blackwell, the late drummer's L968 debut, issued here for the first time ever. These rarities greatly increase the set's historical value. So does the five-minute interview with 'Ware CLIFFORD JORDAN (even if "Wilbur" is misspelled in The Complete Clifford lordan Strata- 'the track listing). East Sessions A Chicago riitirr.,Jordan came of Clifford Jordan, Charles Brackeen, Sonny Fortune, age in bands led by Horace Silver, Max Luqman Lateel Cecil Payne, Pharoah Sanders, Roach, and Charles Mingus, but he saxophones; Don Cherry, Kenny Dorham, was out there as a leader by his mid- trumpets; Julian Priester, trombone; Howard Johnson, tuba; Stanley Cowel!, 20s. His agile lines, sinewy tone, and Wynton Kelly, Lonnie Liston Smith, Cedar Walton, deep blues feeling mark him as one of piano; guitar; Sonny Sharrock, Richard Davis, the era's great tenors. A creative risk- Charlie Haden, Sam Jones, Bill Lee, Cecil McBee, Sirone, Wilbur Ware, bass; Ed Blackwell, Dennis taker, too: he used fwo bassists and Charles, Billy Hart, Roy Haynes, Albert Heath, drummers on In the World, an imperflect Ttte Haven for Billy Higgins, Majeed Shabazz, drums; record that nonetheless allows us to Chief Bey, others, percussion; Leon Thomas, hear Don Cherry and'W.ynton Kelly Music Lorers in the Mosa ic M D6-2sJ?:'l S$:liirlt',no rd r orda n, in the same band.
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]
  • Jazz at the Crossroads)
    MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs.
    [Show full text]
  • Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
    DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen 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] 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, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin
    [Show full text]
  • New York Quartet
    NEW YORK STANDARDS QUARTET Tim Armacost David Berkman Gene Jackson Ugonna Okegwo 1 "Power of 10" is notable for its powerful music, intelligent interactions, excellent solos...The New York Standards Quartet takes music many listeners are familiar with, styles we can put a name to, and creates a program that illustrates just how alive jazz can be. RIC Richard Kamins, Hartford Courant 2 new york standards quartet biography When we formed the New York Standards Quartet (nysq) ten years ago, the concept was a straightforward one: play jazz standards in our own way. After playing a lot of original music (we all compose and lead bands that do that) we thought it would be fun and liberating to play music based on simpler, standard jazz tunes that we had grown up playing. By playing jazz standard tunes like “Confirmation” and “All the Things You Are,” we put the focus on the playing of the tune—what we do with it, not so much the tune itself. These tunes are blank slates to write on, with a lot of freedom and room for interpretation. We’ve expanded our approach to include arrangements and reinventions of these tunes, as well as original compositions that have a close connection to forms and harmonies derived from standards. The band has been touring and developing together for ten years, and it shows in the music. Audience response has been phenomenal, and bookings are pouring in from festivals and venues around the world. The New York Standards Quartet is Tim Armacost (Billy Hart, Ray Drummond, Kenny Barron) on saxes and flute, David Berkman (Tom Harrell, Cecil McBee, Vanguard Orchestra) on piano, Gene Jackson (Herbie Hancock, Wayne Shorter, Dave Holland) on drums, and Ugonna Okegwo (Brad Mehkdau, Tom Harrell, Kurt Rosenwinkel) on bass.
    [Show full text]
  • How to Incorporate Bebop Into Your Improvisation by Austin Vickrey Discussion Topics
    How to Incorporate Bebop into Your Improvisation By Austin Vickrey Discussion Topics • Bebop Characteristics & Style • Scales & Arpeggios • Exercises & Patterns • Articulations & Accents • Listening Bebop Characteristics & Style • Developed in the early to mid 1940’s • Medium to fast tempos • Rapid chord progressions / changes • Instrumental “virtuosity” • Simple to complex harmony - altered chords / substitutions • Dominant syncopation of rhythms • New melodies over existing chord changes - Contrafacts Scales & Arpeggios • Scales and arpeggios are the building blocks for harmony • Use of the half-step interval and rapid arpeggiation are characteristic of bebop playing • Because bebop is often played at a fast tempo with rapidly changing chords, it’s crucial to practice your scales and arpeggios in ALL KEYS! Scales & Arpeggios • Scales you should be familiar with: • Major Scale - Pentatonic: 1, 2, 3, 5, 6 • Minor Scales - Pentatonic: 1, b3, 4, 5, b7; Natural Minor, Dorian Minor, Harmonic Minor, Melodic Minor • Dominant Scales - Mixolydian Mode, Bebop Scales, 5th Mode of Harmonic Minor (V7b9), Altered Dominant / Diminished Whole Tone (V7alt, b9#9b13), Dominant Diminished / Diminished starting with a half step (V7b9#9 with #11, 13) • Half-diminished scale - min7b5 (7th mode of major scale) • Diminished Scale - Starting with a whole step (WHWHWHWH) Scales & Arpeggios • Chords and Arpeggios to work in all keys: • Major triad, Maj6/9, Maj7, Maj9, Maj9#11 • Minor triad, m6/9, m7, m9, m11, minMaj7 • Dominant 7ths • Natural extensions - 9th, 13th
    [Show full text]
  • SSJW 2022 Brochure
    SMOOTHJAZZ.COM GLOBAL Founder/President SANDY SHORE is expanding her exhilarating 4-day Jazz Weekender gathering with its collaborative music sets and improvisational performances, to a full week on board Travel + Leisure’s #1 pick for the most luxurious mid-size ship on the seas, the m/s Paul Gauguin! Some of the world’s greatest musicians and recording artists will sail with you for 7 days & nights in the South Pacific’s French Polynesia. An exotic adventure, floating in the French Polynesia around the Society Islands, from Papeete to Moorea and Bora Bora… Sun drenched days, and jazz filled nights! limited to 300 passengers! SAIL THE SOUTH PACIFIC WITH MUSIC ROYALTY NATHAN EAST [Host / Bassist] Yamaha Artist, bassist, producer and songwriter, Nathan has collaborated with hundreds of iconic artists in his illustrious career, from Phil Collins and Kenny Loggins to Eric Clapton and Anita Baker. With more than 2,000 recordings, he is considered one of the most recorded bass players in the history of music, which is why we call him the ‘Host with the Most’! STEPHEN FERRONE [Drummer] Celebrated English drummer known for his work with Tom Petty and the Heartbreakers from 1994 to 2017. He was also part of the classic lineup of the Average White Band in the 1970s and keeps the beat for great company including Dire Straits, Stevie Nicks, Chaka Khan, Duran Duran, Eric Clapton and of course Nathan’s Band of Brothers band! GREG PHILLINGANES [Keyboardist] A prolific session & touring musician, this Emmy-winning musical director, keyboardist, singer-songwriter, and composer has contributed to numerous iconic recordings over his illustrious career.
    [Show full text]