DOCSLIB.ORG

Charlie Parker – Portrait (10 CD)(2007)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Charlie Parker – Portrait (10 CD)(2007) Charlie Parker – Portrait (10 CD)(2007) Wpisany przez bluesever Piątek, 10 Sierpień 2012 19:43 - Zmieniony Niedziela, 17 Sierpień 2014 08:57 Charlie Parker – Portrait (10 CD)(2007) CD 1: Groovin' high 01 Swingmatism 02 The Jumpin' Blues 03 Tiny's Tempo 04 I'll Always Love You 05 Romance Without Finance 06 Red Cross 07 Dream Of You 08 Groovin' High 09 Dizzy Atmosphere 10 All The Things You Are 11 Salt Peanuts 12 Shaw 'nuff 13 Hot House 14 Hallelujah 15 Get Happy 16 Slam Slam Blues 17 Congo Blues 18 Takin' Off 19 20th Century Blues 20 The Street Beat CD 2: Now's the time 01 Warming Up A Riff 02 Billie's Bounce 03 Now's The Time 04 Thriving On A Riff 05 Meandering 06 Ko-Ko 07 Dizzy's Boogie 08 Flat Foot Boogie 09 Poppity Pop 10 Slim's Jam 11 Diggin' Diz 12 Moose The Mooche 13 Yardbird Suite 14 Ornithology 15 Night In Tunisia 16 Max (Is) Making Wax 17 Lover Man 18 The Gypsy 19 Be-Bop 20 This Is Always CD 3: Bird of paradise 01 Dark Shadows 02 Bird's Nest 03 Cool Blues 04 Relaxin' At Camarillo 05 Cheers 06 Carvin' The Bird 07 Stupendous 08 Donna Lee 09 Chasin' The Bird 10 Cheryl 11 Buzzy 12 Milestones 13 Little Willie Leaps 14 Half Nelson 15 Slippin' The Bells 16 Dexterity 17 Bongo Pop 18 Dewey Square 19 The Hymn 20 Bird Of Paradise CD 4: Blue bird 01 Embraceable You 02 Bird Feathers 03 Klact-Oveeseds-Tene 04 Scrapple From The Apple 05 My Old Flame 06 Out Of Nowhere 07 Don't Blame Me 08 Drifting On A Reed 09 Quasimodo 10 Charlie's Wig 11 Bongo Beep 12 Crazeology 13 How Deep Is The Ocean? 14 Another Hair-Do 15 Blue Bird 16 Klaunstance 17 Bird Gets The Worm 18 Barbados 19 Ah-Leu-Cha 20 Constellation CD 5: Parker’s mood 01 Parker's Mood 02 Perhaps 03 Marmaduke 04 Steeplechase 05 Merry-Go-Round 06 Segment 07 Cardboard 08 Passport 09 Star Eyes 10 Ballade 11 Bloomdido 12 My Melancholy Baby 13 Relaxin' With Lee 14 Leap Frog 15 An Oscar For Treadwell 16 Mohawk 17 My Melancholy Baby 18 Relaxin' With Lee 19 Overtime 20 Victory Ball CD 6: Confirmation 01 Oh, Lady, Be Good! 02 A Night In Tunisia 03 Dizzy Athmosphere 04 Groovin' High 05 Confirmation 06 Ko-Ko 07 Embraceable You 08 Ornithology 09 Cheryl 10 Ko-Ko 11 Bird Of Paradise 12 Now's The Time CD 7: What’s new 01 Sweet Georgia Brown (Part I + Ii) 02 Lady Be Good (Part I + Ii) 03 Ballad Medley 04 What Is This Thing Called Love 05 Jam Blues CD 8: Fiesta 01 Mango Mangue 02 No Noise (Part I + Ii) 03 My Little Suede Shoes 04 Okiedoke 05 Un 1 / 3 Charlie Parker – Portrait (10 CD)(2007) Wpisany przez bluesever Piątek, 10 Sierpień 2012 19:43 - Zmieniony Niedziela, 17 Sierpień 2014 08:57 Poquito De Tu Amor 06 Why Do I Love You 07 Tico-Tico 08 Fiesta 09 Afro-Cuban Jazz Suite 10 La Cucaracha 11 Mama Inez 12 Estrellita 13 La Paloma 14 Begin The Beguine CD 9: Star eyes 01 The Opener 02 Lover Man 03 Swedish Schnapps 04 Blues For Alice 05 K.C. Blues 06 She Rote 07 Star Eyes 08 Funky Blues 09 I Can't Get Started 10 What Is This Thing Called Love? CD 10: Just friends 01 Easy To Love 02 Summertime 03 I Didn't Know What Time It Was 04 If I Should Lose You 05 Just Friends 06 Everthing Happens To Me 07 I'm In The Mood For Love 08 I'll Remember April 09 Dancing In The Dark 10 Out Of Nowhere 11 Laura 12 East Of The Sun 13 They Can't Take That Away From Me 14 Temptation 15 Lover 16 Autumn In New York 17 Stella By Starlight In his brief career, Charlie Parker transformed jazz, spontaneously extending the harmonic and rhythmic range of the music in his fluent improvisations. Only Louis Armstrong and John Coltrane have had as dramatic an influence on other musicians. Broadly considered as one of the greatest saxophonists of all time, he was crucial in the development of the bebop movement. Many of his compositions have become standards including "Billie’s Bounce", "Ornithology" and "Confirmation". Two of his albums, Jazz at Massey Hall and Charlie Parker with Strings, have received the Grammy Hall of Fame award. His playing was highly acclaimed during his lifetime although his many performances were, from time to time, hampered by his growing addictions – primarily to alcohol and heroin. His prodigious output of albums belies that fact that he died aged only 34, from pneumonia and a bleeding ulcer. ---amazon.com download: uploaded: CD1-5 CD6-10 yandex: CD1-5 CD6-10 2 / 3 Charlie Parker – Portrait (10 CD)(2007) Wpisany przez bluesever Piątek, 10 Sierpień 2012 19:43 - Zmieniony Niedziela, 17 Sierpień 2014 08:57 4shared: CD1-5 CD6-10 mediafire: CD1-5 CD6-10 solidfiles: CD1-5 CD6-10 mega: CD1-5 CD6-10 zalivalka: CD1-5 CD6-10 cloudmailru: CD1-5 CD6-10 filecloudio: CD01 CD6-10 anonfiles: CD1-5 CD6-10 oboom: CD1-5 CD6-10 back 3 / 3.
Load more

Recommended publications
  • The Singing Guitar
    August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.
    [Show full text]
  • [Lytteeksempel 1
    [Lytteeksempel 1: - Introduksjon; Hallgeir Pedersen Trio spiller ”Blues for Alice”, komponert av Charlie Parker fra albumet ”Bluero”( 2006).] Forord Jeg vil her gjøre et forsøk på å dele kunnskap med dere om musikkformen som kalles jazz. I dag kan jazz være så mangt og det er lett å bli forvirret i en jungel av vidt forskjellige musikalske utrykk hvor mange plasserer seg under betegnelsen jazz. Det kan være lett å si ”jeg liker ikke jazz!”, fordi man har hørt noe ”rart” eller merkelig musikk på radio eller TV, som ofte er annonsert som jazz. Utviklingen av teknologi og nye kommunikasjonsformer har i de siste 30-40 årene bidratt til at det har oppstått mange varianter av jazzen, noe som har skapt og stadig skaper diskusjon. Enkelte tilhørere omfavner teknologiske nyvinner som dataprogrammering i musikken og mener dette er genialt, mens andre mener at ordenlig jazz kun skal spilles med akustiske instrumenter. Noen mener at musikken som skapes i dag ikke skal ha noe med fortiden å gjøre, mens andre igjen mener at skikkelig jazz er noe som har vært. Det mest fornuftige etter undertegnedes syn er at musikken er et utrykk av vår samtid og at samtiden ikke ville ha vært den samme hvis vi ikke hadde med oss arven og visdommen fra de som kom før oss. De fleste er likevel enige i at jazz er tuftet på improvisasjon (spontanitet) og kommunikasjon (samspill). Samtidig er de fleste enige i at mye av kjernen i jazzen har med å ha kjennskap til standardlåtene å gjøre, altså melodier som i sin tid bl.a.
    [Show full text]
  • Charlie Parker Transcriptions Collection
    http://oac.cdlib.org/findaid/ark:/13030/ft4v19n6vq No online items Finding Aid for the Charlie Parker Transcriptions Collection Collection processed and machine-readable finding aid created by UCLA Performing Arts Special Collections staff. UCLA Library, Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm © 2002 The Regents of the University of California. All rights reserved. Note Arts and Humanities--Music Finding Aid for the Charlie Parker 182 1 Transcriptions Collection Finding Aid of the Charlie Parker Transcriptions Collection Collection number: 182 UCLA Library, Performing Arts Special Collections University of California, Los Angeles Los Angeles, CA Contact Information University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm Processed by: UCLA Performing Arts Special Collections staff Date Completed: 2001 Encoded by: Bryan Griest © 2002 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Charlie Parker Transcriptions Collection Collection number: 182 Creator: Parker, Charlie Extent: 1 box (0.5 linear ft.) Repository: University of California, Los Angeles. Library. Performing Arts Special Collections Los Angeles, California 90095-1575 Abstract: This collection consists of transcriptions by Andrew White of sound recordings of saxophone solos Physical location: Stored off-site at SRLF.
    [Show full text]
  • Cycles and Symmetric Division of the Octave in the Works of John Coltrane
    !1 Cycles And Symmetric Division Of The Octave In The Works Of John Coltrane By Jeff Pifher Musically adventurous and always evolving, John Coltrane’s breadth of contributions to the jazz community as well as the world of music is astounding. Coltrane's infatuation with the symmetric division of the octave is one of the most commonly identified elements of his compositional and improvisational style. Perhaps one of Coltrane's most influential musical explorations was his compositional and improvisational work involving sequences of major thirds. This technique was the subject of two of his most influential compositions, "Giant Steps" and "Countdown." Background Coltrane was drawn to the angular and rapid moving chord progressions characteristic of the bebop style. He spent countless hours in his early years familiarizing himself with the required repertoire and practicing to master the bebop language at ever- increasing tempos. Coltrane's earlier compositions, such as “Moments Notice” (1957) and "Lazy Bird" (1957), were typical of the bebop idiom of the period, featuring whole and half step II V sequences, modulations to the subdominant, as well as occasional third modulations to the key of III or bVI. Pieces such as Tadd Dameron's "Lady Bird" (1947) and "If You Could See Me Now" (1946), as well as Dizzy Gillespie's "Woody'n You" (1943) and "Con Alma" (1956) were no doubt influential in this regard. !2 Coltrane soon progressed to pieces containing larger intervallic leaps utilizing sequential major and minor thirds, highlighted in original
    [Show full text]
  • Kuba Więcek Saksofon to Mój Język
    LIPIEC-SIERPIEŃ 2020 Miesięcznik internetowy poświęcony jazzowi i muzyce improwizowanej ISSN 2084-3143 100 LAT BIRDA The Consonance Trio Orient Express TOP NOTE Marcin Wasilewski Trio, Joe Lovano Arctic Riff Kuba Więcek Saksofon to mój język Marcelina Gawron Teus Nobel fot. Kuba Majerczyk 2nd 'We Want Jazz' Poster Competition: THEME POLISH COMPOSERS PRIZE 10.000 PLN DEADLINE: 24.08.2020 INFO: www.radiojazz.fm/wewantjazz2020 Od Redakcji redaktor naczelny Piotr Wickowski [email protected] Po pierwsze: „To on nie tylko wynalazł pewien idiom, ale go w najwyższym stopniu udoskonalił! Owszem, Miles Davis czy John Coltrane dołożyli swoje, ale mieli już go- towy wzorzec z Sèvres! Parkera uważa się powszechnie za najbardziej kreatywnego improwizatora, jaki do tej pory pojawił się w muzyce jazzowej i nie tylko”. Po drugie: „Obcując z postacią Parkera, ma się dziwne wrażenie, że strumień inwen- cji twórczej był u niego zupełnie niezależny od marnej zazwyczaj kondycji życiowej”. Po trzecie: „Bird był w zasadzie samoukiem – jeśli nie liczyć krótkiego epizodu z jakąś orkiestrą szkolną, z której szybko go wyrzucono za brak... talentu”. Po czwarte: „Parker z Gillespiem zmienili już strukturę jazzu na poziomie melodycz- nym, harmonicznym i rytmicznym, tak jak 20 lat wcześniej zrobili to Louis Arm- strong z Kingiem Oliverem w Chicago”. Po piąte: „W przypadku Parkera nie ma czegoś takiego, jak «wersja ostateczna» da- nego utworu. On nie nagrywał muzyki w taki sposób, w jaki robiła to i robi większość wykonawców na tej planecie. Niczego nie «szlifował», nie próbował, nie udoskonalał. Po prostu spontanicznie muzykował”. Po szóste: „Parker udowodnił, że jazz można grać w inny niż dotychczas sposób.
    [Show full text]
  • An Exploration of Cultural Transmission Through the Application of Jazz Theory to the Music of Frederic Chopin
    BearWorks MSU Graduate Theses Fall 2020 An Exploration of Cultural Transmission through the Application of Jazz Theory to the Music of Frederic Chopin Aaron Michael King Missouri State University, [email protected] As with any intellectual project, the content and views expressed in this thesis may be considered objectionable by some readers. However, this student-scholar’s work has been judged to have academic value by the student’s thesis committee members trained in the discipline. The content and views expressed in this thesis are those of the student-scholar and are not endorsed by Missouri State University, its Graduate College, or its employees. Follow this and additional works at: https://bearworks.missouristate.edu/theses Part of the Music Theory Commons Recommended Citation King, Aaron Michael, "An Exploration of Cultural Transmission through the Application of Jazz Theory to the Music of Frederic Chopin" (2020). MSU Graduate Theses. 3565. https://bearworks.missouristate.edu/theses/3565 This article or document was made available through BearWorks, the institutional repository of Missouri State University. The work contained in it may be protected by copyright and require permission of the copyright holder for reuse or redistribution. For more information, please contact [email protected]. AN EXPLORATION OF CULTURAL TRANSMISSION THROUGH THE APPLICATION OF JAZZ THEORY TO THE MUSIC OF FREDERIC CHOPIN A Master’s Thesis Presented to The Graduate College of Missouri State University TEMPLATE In Partial Fulfillment Of the Requirements for the Degree Master of Music By Aaron Michael King December 2020 Copyright 2020 by Aaron Michael King ii AN EXPLORATION OF CULTURAL TRANSMISSION THROUGH THE APPLICATION OF JAZZ THEORY TO THE MUSIC OF FREDERIC CHOPIN Music Missouri State University, December 2020 Master of Music Aaron Michael King ABSTRACT Connections between classical music and jazz were observed and detailed, providing an expanded understanding of the cultural underpinnings of Western music.
    [Show full text]
  • MTO 23.1: Mcclimon, Transformations in Tonal Jazz
    Transformations in Tonal Jazz: ii–V Space * Michael McClimon NOTE: The examples for the (text-only) PDF version of this item are available online at: h%p://www.mtosmt.org/issues/mto.17.23.1/mto.17.23.1.mcclimon.php /E0WO2DS: 3azz, harmony, transformational theory, ii–V–I progression, tritone substitution, 6Ceora,8 69lues for Alice8 A9ST2ACT: This article presents a transformational model of 3azz harmony based on the ii–V–I progression. This progression is fundamental to 3azz harmony, and to its improvised performance. It serves as the foundation for a more rigorous transformational approach, developed in the first two sections here. This approach is easily extensible; the final section suggests a few such extensions. Received September 2016 Volume 23, Number 1, March 201, Copyright © 2017 Society for Music Theory A0.1] Consider the set of chord changes in Figure 1a : the bridge of Jerome /ern and Oscar CammersteinDs 6All the Things 0ou Are.” If we imagine ourselves for the moment to be 3azz improvisers, we might consider approaching this passage in a number of diEerent ways. One approach might be to realize the chord changes as simply as possible ( Figure 1b ), and then to play a melody highlighting these chord tones. Another might notice the eFcient voice-leading implicit in the harmonic structure ( Figure 1c ), and highlight this in our improvisation. A third might instead divide the music into smaller units, each in a single key ( Figure 1d ), and use these units as the basis for an improvised melody. These three techniHues for understanding the changes are all valid, and an experienced musician might move Iuidly among them (and countless others not enumerated here) in the course of an improvisation.
    [Show full text]
  • The Syntax of Jazz Harmony: Diatonic Tonality, Phrase Structure, and Form
    Martin Rohrmeier The Syntax of Jazz Harmony: Diatonic Tonality, Phrase Structure, and Form Abstract The regularities underlying the structure building of chord sequences, harmonic phrases, and combinations of phrases constitute a central research problem in music theory. This article proposes a formalization of Jazz harmony with a generative framework based on formal grammars, in which syntactic structure tightly corresponds with the functional interpretation of the sequence. It assumes that chords establish nested hierarchical dependencies that are characterized by two core types: preparation and prolongation. The approach expresses diatonic harmony,embedded modulation, borrowing, and substitution within a single grammatical framework. It is argued in the second part that the proposed framework models not only core phrase structure, but also relations between phrases and the syntactic structures underlying the main forms of Jazz standards. As a special case, the Blues form relies heavily on the plagal derivation from the tonic and is analyzed in comparison with other analytical approaches to the Blues. The proposed theory is specified to a sufficient level of detail that it lends itself to computational implementation and empirical exploration, and this way it makes a step towards music theory building that embraces the close links between formal, mathematical, and computational methods. Keywords music; jazz; syntax theory; harmony; music theory; generative modeling music theory & analysis International Journal of the Dutch-Flemish Society for Music Theory volume 7, # i, april 2020, 1–62 keynotearticle © Martin Rohrmeier https://doi.org/10.11116/MTA.7.1.1 Delivered by Ingenta IP: 68.4.47.192 On: Thu, 27 Aug 2020 17:09:03 Copyright Leuven University Press The Syntax of Jazz Harmony: Diatonic Tonality, Phrase Structure, and Form Martin Rohrmeier “All musicians are subconsciously mathematicians.” – Thelonious Monk, interview Down Beat, 28 October 19711 1.
    [Show full text]
  • Four Studies of Charlie Parker's Compositional Processes
    Four Studies of Charlie Parker’s Compositional Processes Henry Martin NOTE: The examples for the (text-only) PDF version of this item are available online at: hp://www.mtosmt.org/issues/mto.18.24.2/mto.18.24.2.martin.php KEYWORDS: Charlie Parker, jazz, jazz composition, bebop, jazz analysis, “Ornithology,” “Blues (Fast),” “Red Cross,” “My Lile Suede Shoes” ABSTRACT: Charlie Parker has been much appreciated as an improviser, but he was also an important jazz composer, a topic yet to be studied in depth. Parker’s compositions offer insight into his total musicianship as well as provide a summary of early bebop style. Because he left no working manuscripts, we cannot examine his compositions evolving on paper. We do possess occasional single parts for trumpet or alto saxophone of pieces wrien for recording sessions and four Library of Congress lead sheets copied in his hand, and, as an introduction, I show examples of such manuscripts. The article continues by exploring what we can infer about Parker’s compositional processes from those instances where he made revisions to improve or create the final product. In particular, there is one instance of Parker revising a work already completed (“Ornithology”), one instance of Parker combining two pieces by another composer into one of his own (“My Lile Suede Shoes”), and two instances of Parker composing in the studio where we can hear his revisions immediately (“Red Cross” and “Blues (Fast)”). The middle part of the paper explores Parker in these creative seings. Parker’s methods sometimes differ from traditional composition and suggest that we reconsider the usual distinction between improvisation and composition.
    [Show full text]
  • By Charlie Parker VERVE 8005 J = 208 (4-Bar Intra) ~"' ~N~
    CHARLIEPARKEROMNIBOOK For C Instruments(TrebleClef) • TranscribedFrom His RecordedSolos• TransposedTo Concert Key CONTENTS Title Page AH-LEU·CHA (AH LEV CHA) 86 ANOTHER HAIRDO 104 ANTHROPOWGY 10 AU PRIVAVE (No.1) 24 AU PRIVAVE (No.2) 26 BACK HOME BLUES 106 BALLADE 142 BARBADOS 70 BILLIE'S BOUNCE (BILL'S BOUNCE) 80 THE BIRD . .. .. 110 BIRD GETS THE WORM '" : . .. 94 BWOMDIDO 108 BLUE BIRD :......................... 84 BLUES (FAST) 124 BLUES FOR ALICE 18 BUZZy 78 CARD BOARD 92 CELERITY 22 CHASING THE BIRD 82 CHERYL 58 CHI CHI 28 CONFIRMATION 1 CONSTELLATION 45 COSMIC RAYS " 30 DEWEY SQUARE 14 DIVERSE 114 DONNA LEE . .. .. .. .. 48 K. C. BLUES 20 KIM (No.1) 51 KIM (No.2) 54 KLAUN STANCE 89 KOKO 62 LAIRD BAIRD 32 LEAP FROG 130 MARMADUKE 68 MERRY·GO·ROUND 117 MOHAWK (No.1) 38 MOHAWK (No.2) 40 MOOSE THE MOOCHE 4 MY LITTLE SUEDE SHOES 120 NOW'S THE TIME (No.1) 74 NOW'S THE TIME (No.2) 76 ORNITHOWGY 6 AN OSCAR FOR TREADWELL . .. 42 PARKER'S MOOD 134 PASSPORT 102 PERHAPS 72 RED CROSS 66 RELAXING WITH LEE 122 SCRAPPLE FROM THE APPLE. 16 SEGMENT 97 SHAWNUFF. .. .. .. 128 SHE ROTE (No.1) 34 SHE ROTE (No.2) 36 mm STEEPLECHASE . .. .. 112 THRIVING FROM A RIFF 60 VISA 100 WARMING UP A RIFF . .. .. .. .. .. .. 136 YARDBIRD SUITE........................ 8 Charlie Parker (Biography) ii Introduction iv Scale Syllabus 143 'i'J1978 ATLANTlC MUSIC CORP. International Copyright Secured Made in U.S.A. All Rights . " INTRODUCTION The solos in this book represent a cross section of the music of Charlie Parker.
    [Show full text]
  • Fall/Winter 2015
    The NOTE Al Cohn Memorial Jazz Collection at East Stroudsburg University of Pennsylvania • Fall / Winer 2015 MED FLORY PART 2 • BILL DOBBINS • SUE TERRY • COTA In This Issue... The NOTE The NOTE contains some content that may be considered offensive. Authors’ past recollections reflect attitudes of the times and remain uncensored. Vol. 25 - No. 1 - Issue 62 3 A Note From the Collection Coordinator Fall/Winter 2015 by Matt Vashlishan 4 Phil In The Gap The NOTE is published two times per year by Phil Woods by the Al Cohn Memorial Jazz Collection, 6 Interview with Med Flory Part 2 East Stroudsburg University of Pennsylvania, by Bob Bush as part of its educational outreach program. 12 From the Bridge by Sue Terry Editor: 14 COTA Festival 2014 Matt Vashlishan, D.M.A. by Rick Chamberlain, photos by Bob Weidner Design/Layout: 17 Reflections on Bob Dorough’s “Eulalia” Charles de Bourbon at BGAstudios.com by Phil Mosley ESU Office of University Relations 21 Al Grey at ESU ________________________________ by Guest Editor Patrick Dorian Al Cohn Memorial Jazz Collection 27 Zoot Sims: a True Jazz Master Kemp Library by Bill Dobbins East Stroudsburg University 32 Straight Talk Part 2 200 Prospect St. by David Liebman East Stroudsburg, PA 18301-2999 34 Contributors & Acknowledgements [email protected] (570) 422-3828 www.esu.edu/alcohncollection From the Collection . East Stroudsburg University President Marcia G. Welsh, Ph.D. Dean of the Library and University Collections: Edward Owusu-Ansah, Ph.D. Cover Photo (front): Al Grey performing with plunger mute, ESU 1990. Photographed and do- The mission of the Al Cohn Memorial Jazz Collec- nated by Bob Napoli.
    [Show full text]
  • Charlie Parker Was the One Who and There Was No Stopping It Now
    -- It had all started during the early tity, Charlie Parker was the one who and there was no stopping it now. Dizzy- morning hours of a December day in laid down the new set of rules. (Dizzy Gillespie had become the flamboyant 1939. Unwinding after a night of playing Gillespie had independently harbored "Clown Prince of Bop" —w itty and ex- bland fare in the Times Square taxi- certain related musical ideas, but b y his troverted. he was popular with the menu dance joint that earned him his living, own admission cannot recall playing hop and a non-iazz public. symbolizing the Parker was jamming at a Harlem chili changes prior to 1942.) new music with his beret, goatee. and house with a rhythm section led by an The early part of 1943 found Parker colorful be-hop terminology. obscure guitarist named Biddy Fleet. and. Gillespie working together in the Earl Parker. a quiet and self-effacing per- He frequently participated in after-hours Hines band and in the now legendary in- sonality, did not. partake Willingly in the sessions around Harlem, but although formal sessions at Milton's Playhouse; be-bop circus. While he always had the he enjoyed such informal get-togethers, the seed planted by Parker that De- highest regard for Dizzy, Whom he once he had grown weary of playing the usual cember morning in 1939 was about to referred to as - the other half of my chord changes and was convinced that reach fruition. By the mid-forties there heartbeat," he took a dim view Of Dizzy"; there had to be a different structure upon was officially something called be-bop; bopsploitat ion activities.
    [Show full text]