ART FARMER NEA Jazz Master (1999)
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Duke Ellington Kyle Etges Signature Recordings Cottontail
Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke Ellington, states that Cottontail “opened a window on the future, predicting elements to come in jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more grandiose pieces with more extended forms. -
Four for Jazz & Benny Bailey
obhU – press U Four For Jazz & Benny Bailey CD KICK 211180 CD KICK 211181 CD KICK 211178 CD KICK 211179 CD KICK 211180 A Land Of Dolls/ Four For Jazz & Benny Bailey Benny Bailey(tp)/ Heinz Bigler(as)/ Joe Haider(p,e.p)/ Isla Eckinger(b)/ H.P.Giger(dr,perc) 1. A Land Of Dolls (Haider)OBH/Domicile 2:43 2. What Is Happening (Haider)OBH 6:02 3. Interlude (Eckinger)OBH 7:46 4. All Them Chickens (Giger)OBH 12:52 5. Prompt (Bailey)Swingtone 6:08 CD KICK 211181 Stoned Ghost/ Four For Jazz & Benny Bailey Benny Bailey(tp)/ Heinz Bigler(as)/ Joe Haider(p,e.p)/ Isla Eckinger(b)/ H.P.Giger(dr,perc) 1. Stoned Ghost (Bailey)OBH 7:58 2. Sho-wa-di-ba-du-ba (Bigler)OBH 6:27 3. Music For A Quintet (Bigler)OBH 11:11 4. Three For Four (Bigler)OBH 7:30 5. Ghost And Blood Chant (Giger)OBH 6:23 CD KICK 211178 Sunday Child/ Four For Jazz : Gerd Dudek(ss,ts,fl,shenai)/ Joe Haider(p,e.p)/ Isla Eckinger(b)/ H.P.Giger(dr,perc) 1. Sunday Child (Haider)OBH 5:15 2. Muchacha (Haider)OBH 7:53 3. Thelonius I’m Sorry (Eckinger)OBH 4:51 4. Cage Of A Queen (Haider)OBH 5:38 5. Our Way Ahead (Dudek/Giger)OBH 4:09 6. Snake Temple (Haider/Eckinger)OBH 8:23 CD KICK 211179 Power Of Nature/ Four For Jazz : Heinz Bigler(as)/ Joe Haider(p,e.p)/ Isla Eckinger(b)/ H.P.Giger(dr,perc) 1. -
September 1995
Features CARL ALLEN Supreme sideman? Prolific producer? Marketing maven? Whether backing greats like Freddie Hubbard and Jackie McLean with unstoppable imagination, or writing, performing, and producing his own eclectic music, or tackling the business side of music, Carl Allen refuses to be tied down. • Ken Micallef JON "FISH" FISHMAN Getting a handle on the slippery style of Phish may be an exercise in futility, but that hasn't kept millions of fans across the country from being hooked. Drummer Jon Fishman navigates the band's unpre- dictable musical waters by blending ancient drum- ming wisdom with unique and personal exercises. • William F. Miller ALVINO BENNETT Have groove, will travel...a lot. LTD, Kenny Loggins, Stevie Wonder, Chaka Khan, Sheena Easton, Bryan Ferry—these are but a few of the artists who have gladly exploited Alvino Bennett's rock-solid feel. • Robyn Flans LOSING YOUR GIG AND BOUNCING BACK We drummers generally avoid the topic of being fired, but maybe hiding from the ax conceals its potentially positive aspects. Discover how the former drummers of Pearl Jam, Slayer, Counting Crows, and others transcended the pain and found freedom in a pink slip. • Matt Peiken Volume 19, Number 8 Cover photo by Ebet Roberts Columns EDUCATION NEWS EQUIPMENT 100 ROCK 'N' 10 UPDATE 24 NEW AND JAZZ CLINIC Terry Bozzio, the Captain NOTABLE Rhythmic Transposition & Tenille's Kevin Winard, BY PAUL DELONG Bob Gatzen, Krupa tribute 30 PRODUCT drummer Jack Platt, CLOSE-UP plus News 102 LATIN Starclassic Drumkit SYMPOSIUM 144 INDUSTRY BY RICK -
Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK -
The Jazz Record
oCtober 2019—ISSUe 210 YO Ur Free GUide TO tHe NYC JaZZ sCene nyCJaZZreCord.Com BLAKEYART INDESTRUCTIBLE LEGACY david andrew akira DR. billy torn lamb sakata taylor on tHe Cover ART BLAKEY A INDESTRUCTIBLE LEGACY L A N N by russ musto A H I G I A N The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year. -
6Uuruqronrn Puus
- '-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. -
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. -
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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. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot. -
Spilleliste: Åtti Deilige År Med Blue Note Foredrag Oslo Jazz Circle, 14
Spilleliste: Åtti deilige år med Blue Note Foredrag Oslo Jazz Circle, 14. januar 2020 av Johan Hauknes Preludium BLP 1515/16 Jutta Hipp At The Hickory House /1956 Hickory House, NYC, April 5, 1956 Jutta Hipp, piano / Peter Ind, bass / Ed Thigpen, drums Volume 1: Take Me In Your Arms / Dear Old Stockholm / Billie's Bounce / I'll Remember April / Lady Bird / Mad About The Boy / Ain't Misbehavin' / These Foolish Things / Jeepers Creepers / The Moon Was Yellow Del I Forhistorien Meade Lux Lewis, Albert Ammons & Pete Johnson Jumpin' Blues From Spiritals to Swing, Carnegie Hall, NYC, December 23, 1938 BN 4 Albert Ammons - Chicago In Mind / Meade "Lux" Lewis, Albert Ammons - Two And Fews Albert Ammons Chicago in Mind probably WMGM Radio Station, NYC, January 6, 1939 BN 6 Port of Harlem Seven - Pounding Heart Blues / Sidney Bechet - Summertime 1939 Sidney Bechet, soprano sax; Meade "Lux" Lewis, piano; Teddy Bunn, guitar; Johnny Williams, bass; Sidney Catlett, drums Summertime probably WMGM Radio Station, NYC, June 8, 1939 Del II 1500-serien BLP 1517 Patterns in Jazz /1956 Gil Mellé, baritone sax; Eddie Bert [Edward Bertolatus], trombone; Joe Cinderella, guitar; Oscar Pettiford, bass; Ed Thigpen, drums The Set Break Van Gelder Studio, Hackensack, NJ, April 1, 1956 BLP 1521/22 Art Blakey Quintet: A Night at Birdland Clifford Brown, trumpet; Lou Donaldson, alto sax; Horace Silver, piano; Curly Russell, bass; Art Blakey, drums A Night in Tunisia (Dizzy Gillespie) Birdland, NYC, February 21, 1954 BLP 1523 Introducing Kenny Burrell /1956 Tommy Flanagan, -
Soul Journey LP Press Release Copy
M I C H A E L W E I S S S O U L J O U R N E Y Sintra Records rereleases Michael Weiss's Soul Journey onto vinyl. Soul Journey was recorded to 2" analog tape at 30 ips and mixed to 1/2" tape at 30ips by legendary engineer Joe Ferla at Avatar Studios in March of 2000. It was originally released on CD in 2003. To date the original master tapes have remained in pristine condition. With today's resurgent interest in analog sound, Weiss decided to rerelease Soul Journey as a limited edition double LP set, sparing no expense to deliver a high quality all analog audiophile product. Only 500 sets have been pressed (250 numbered). Reel-to-reel sets are also available by special order. • Mastered by Bernie Grundman • Pressings supervised by Gary Salstrom at Quality Record Pressings onto 150gram vinyl • Jackets manufactured by Stoughton Printing Release date: JULY 15, 2020 Available exclusively through Sintra Records [email protected] Purchase online here: http://www.michaelweiss.info/recordings.htm • Michael Weiss - piano, Fender Rhodes • Steve Wilson - alto saxophone • Ryan Kisor - trumpet, flugelhorn • Steve Davis - trombone • Paul Gill - bass • Joe Farnsworth - drums • Daniel Sadownick - percussion All compositions and arrangements by Michael Weiss and published by Nepenthean Music Co. (BMI) Produced by Michael Weiss Steve Wilson, Joe Farnsworth, Michael Weiss and engineer Joe Ferla at the recording session “Soul Journey is about as close to perfection as a recording can get. The production is superb. The recording and mixing are as good as you might hear from any major label and recording studio. -
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.