Bouncing with Bud Transcription
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Sendung, Sendedatum
WDR 3 Jazz & World, 02.01.2018 Bud Powell: Bebop Pianism – Live in Lausanne 1962 22:04-24:00 Stand: 23.10.2017 E-Mail: [email protected] | Web: jazz.wdr.de Moderation: Thomas Mau Redaktion: Bernd Hoffmann Laufplan 1. Anthropology K: Charlie Parker 4:11 BUD POWELL TRIO Stretch Records SCD 9038-2; LC 06713 LP: Live in Lausanne 1962 2. Billie’s bounce K: Charlie Parker 6:35 BUD POWELL TRIO Stretch Records SCD 9038-2; LC 06713 LP: Live in Lausanne 1962 3. Lover, come back to me K: Sigmund Romberg 5:26 BUD POWELL TRIO Stretch Records SCD 9038-2; LC 06713 LP: Live in Lausanne 1962 4. Round midnight K: Thelonious Monk 6:01 BUD POWELL TRIO Stretch Records SCD 9038-2; LC 06713 LP: Live in Lausanne 1962 5. How high the moon/ K: Morgan Lewis/ Charlie Parker 5:36 Ornithology Stretch Records SCD 9038-2; LC 06713 BUD POWELL TRIO LP: Live in Lausanne 1962 6. All god’s children K: Walter Jurman/ Roger Kahn 5:05 BUD POWELL TRIO Stretch Records SCD 9038-2; LC 06713 LP: Live in Lausanne 1962 7. Woody’n you K: Dizzy Gillespie 6:05 BUD POWELL TRIO Stretch Records SCD 9038-2; LC 06713 LP: Live in Lausanne 1962 8. Confirmation K: Charlie Parker 5:45 BUD POWELL TRIO Stretch Records SCD 9038-2; LC 06713 LP: Live in Lausanne 1962 9. I remember Clifford K: Benny Golson 5:37 BUD POWELL TRIO Stretch Records SCD 9038-2; LC 06713 LP: Live in Lausanne 1962 10. -
TOSHIKO AKIYOSHI NEA Jazz Master (2007)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOSHIKO AKIYOSHI NEA Jazz Master (2007) Interviewee: Toshiko Akiyoshi 穐吉敏子 (December 12, 1929 - ) Interviewer: Dr. Anthony Brown with recording engineer Ken Kimery Dates: June 29, 2008 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript 97 pp. Brown: Today is June 29th, 2008, and this is the oral history interview conducted with Toshiko Akiyoshi in her house on 38 W. 94th Street in Manhattan, New York. Good afternoon, Toshiko-san! Akiyoshi: Good afternoon! Brown: At long last, I‟m so honored to be able to conduct this oral history interview with you. It‟s been about ten years since we last saw each other—we had a chance to talk at the Monterey Jazz Festival—but this interview we want you to tell your life history, so we want to start at the very beginning, starting [with] as much information as you can tell us about your family. First, if you can give us your birth name, your complete birth name. Akiyoshi: To-shi-ko. Brown: Akiyoshi. Akiyoshi: Just the way you pronounced. Brown: Oh, okay [laughs]. So, Toshiko Akiyoshi. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Akiyoshi: Yes. Brown: And does “Toshiko” mean anything special in Japanese? Akiyoshi: Well, I think,…all names, as you know, Japanese names depends on the kanji [Chinese ideographs]. Different kanji means different [things], pronounce it the same way. And mine is “Toshiko,” [which means] something like “sensitive,” “susceptible,” something to do with a dark sort of nature. -
MUNI 20121022 – Piano 5 - Youtube 1 Teddy Wilson Trio: Honeysuckle Rose 5:49 Jimmy Atwood-B; Jo Jones-Dr
MUNI 20121022 – piano 5 - youtube http://www.youtube.com/watch?v=R5NqUoM-WZo 1 Teddy Wilson Trio: Honeysuckle Rose 5:49 Jimmy Atwood-b; Jo Jones-dr. Civic Opera House, Chicago, 1963 – hosted by Willis Conover http://www.youtube.com/watch?v=X2oDW1cTydA 2 Jess Stacy – Complainin’ Bob Cats 1951 2:44 Billy Butterfield trumpet, Matty Matlock clarinet, Eddie Miller tenor sax, Warren smith trombone, Jess Stacy piano, Nappy Lamare guitar, Bob Haggart bass and Ray Bauduc drums http://www.youtube.com/watch?v=qYcZGPLAnHA http://www.youtube.com/watch?v=MNp-ldlnf5s 3 Art Tatum: Humoresque 2:46 http://www.youtube.com/watch?v=D9Cs_zb4q14 4 Art Tatum: Yesterdays 2:01 http://www.youtube.com/watch?v=mVuE0ywwBO0 film Fabulous Dorseys (1947) – Art’s Blues 3:00 Ziggy Elman-tp; Tommy Dorsey-tb; Jimmy Dorsey-cl; Charlie Barnet-ts; Art Tatum-p; George Van Eps-g; Stuart Foster-b; Ray Bauduc-dr. http://www.youtube.com/watch?v=dCYApJtsyd0 5 Nat King Cole Quartet: Route 66 3:07 http://www.youtube.com/watch?v=cIkQNti8_EU 6 Oscar Peterson solo: I Can’t Get Started 4:58 http://www.youtube.com/watch?v=Q4Ht4Rm-qo4 Oscar Peterson Trio Live at Newport Jazz Festival 8:27 Ray Brown-; Ed Thigpen-dr. …….. 7 od 2:33 Yours Is My Heart Alone http://www.youtube.com/watch?v=xdd5pn1xs7M&feature=related 8 Peterson-Kessel-Pedersen: Boogie Blues Etude at Ronnie Scott’s 1974 8:04 http://www.youtube.com/watch?v=-rpdxSMgtUc&feature=related 9 Peterson-Pass-Pedersen: Sweet Georgia Brown, Italy 1985 8:40 Live at the Bussoladomani, Lido di Camaiore http://www.youtube.com/watch?v=XIs1vcoPQbw&feature=related 10 Oscar Peterson-Count Basie: Jumpin‘ at the Woodside 3:05 Niels Henning Ørsted-Pedersen, Martin Drew http://www.youtube.com/watch?v=5-mIHk2rM0Q 11 Oscar Peterson Quartet: Hymn to Freedom 5:58 Ulf Wakenius-g; NHØP-b; Martin Drew-b. -
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. -
Trevor Tolley Jazz Recording Collection
TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre. -
Guide to the Milt Gabler Papers
Guide to the Milt Gabler Papers NMAH.AC.0849 Paula Larich and Matthew Friedman 2004 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Personal Correspondence, 1945-1993..................................................... 5 Series 2: Writings, 1938 - 1991............................................................................... 7 Series 3: Music Manuscripts and Sheet Music,, 1927-1981.................................. 10 Series 4: Personal Financial and Legal Records, 1947-2000............................... -
F U S I O N Performance of Some Most Inspirational Spontaneous Music from a Quartet of Jazz Masters Who Were Destined Never to Play Together Again
F U S I O N performance of some most inspirational spontaneous music from a quartet of jazz masters who were destined never to play together again. Oscar Pettiford, one of the prime emancipators of the bass, died later that year; Bud Powell went to that great 52nd Street in the sky six years later. And three years after that, Coleman Hawkins was dead. A most precious recording, then – and it underscores yet again the gratitude that all jazz lovers owe to the people who ensure that such auspicious musical encoun- ters are preserved on record. The product of over-zealous recording, wherever and whenever jazz musicians appear, is a veritable avalanche of albums which range mostly from the abysmal to the sub-mediocre. But when, every once In a while the recor- dings are of this historical importance and musical dis- tinction, and then all can be forgiven. The four Essen tracks are eloquent testimony to the way in which Hawkins kept a responsive and open mind to changing jazz idioms. Here he was in the “fast” com- pany of three men who’d been in the vanguard of the bebop revolution, yet he adapted superbly. He fits in he first four sides of this album capture the momen- with the Bud Powell Trio as though he had worked with tous meeting of four great iconoclastic jazz figures. It that rhythm section for years. wasT a historic, magical moment when Coleman Hawkins, As a matter of fact, Pettiford had been on a Capitol Bud Powell, Oscar Pettiford and Kenny Clarke came record date with Hawkins in February 1945 when among together on the stage of the Grugahalie in Essen on the the titles recorded was the original that opens this album. -
New World NW 271 Jazz Historians Explain the Coming of Bebop—The Radically New Jazz Style That Established Itself Toward
Bebop New World NW 271 Jazz historians explain the coming of bebop—the radically new jazz style that established itself toward the end of World War II—as a revolutionary phenomenon. The motives ascribed to the young pioneers in the style range from dissatisfaction with the restrictions on freedom of expression imposed by the then dominant big-band swing style to the deliberate invention of a subtle and mystifying manner of playing that could not be copied by uninitiated musicians. It has even been suggested that bebop was invented by black musicians to prevent whites from stealing their music, as had been the case with earlier jazz styles. Yet when Dizzy Gillespie, one of the two chief architects of the new style, was asked some thirty years after the fact if he had been a conscious revolutionary when bebop began, his answer was Not necessarily revolutionary, but evolutionary. We didn't know what it was going to evolve into, but we knew we had something that was a little different. We were aware of the fact that we had a new concept of the music, if by no other means than the enmity of the [older] musicians who didn't want to go through a change.... But it wasn't the idea of trying to revolutionize, but only trying to see yourself, to get within yourself. And if somebody copied it, okay! Were he able, the other great seminal figure of bebop, alto saxophonist Charlie Parker, would probably amplify Gillespie's opinion that the new music arose from inner needs rather than external factors. -
The Hot Club of Baltimore: Baltimore Discovers the Spirit of Django
FEB/MARCH 2014 The Hot Club of Baltimore: Baltimore Discovers the Spirit of Django . 1 Cold Spring Jazz Quartet – Night Songs: The Music of Film Noir . 3 BALTIMORE JAZZ ALLIANCE An Interview with Donny McCaslin . 4 Warren Wolf, Christian McBride and Friends . 6 Jazz Jam Sessions . 10 BJA Member Notes, Products and Discounts . 10 Ad Rates and Member Sign-up Form . 11 VOLUME XI ISSUE II THE BJA NEWSLETTER WWW.BALTIMOREJAZZ.COM Baltimore Discovers the Spirit of Django The Hot Club A cold start to February’s Monday night ously sat in. On this particular night a Gypsy Jazz Jam didn’t prevent Balti - blend of accordion, violin, harmonica more’s Djangophiles from flocking to and four guitars kicked off the jam. of Baltimore Liam Flynn’s Ale House, an atmospheric, Swinging into action in the middle of welcoming, bare-bones pub on W. North the room, seated in the round and soloing Avenue, Baltimore. For nearly a year, in rotation, the musicians started with the under the leadership of guitarist Michael jazz standard “Coquette.” Harris’s open - Joseph Harris, whom many will know ing solo embellished the song with the through his band Bossalingo, the Mon - arpeggios and flourishes that typify the day night jam has been picking up acco - Django style. Arefin’s guitar picked up the lades and winning over fans. City Paper theme, building the rhythmic energy with recently declared the jam to be Best Mon - a more chordal solo before handing off to day Night in Baltimore. the liquid Wes Montgomery-style runs of Musicians from as far away as Jim Tisdall. -
Tommy Irvine Jazz Collection SPC.2018.038
http://oac.cdlib.org/findaid/ark:/13030/c8g166g7 No online items Inventory of the Tommy Irvine Jazz Collection SPC.2018.038 Jade Delao California State University Dominguez Hills Archives and Special Collections 2018-12-05 University Library South -5039 (Fifth Floor) 1000 E. Victoria St. Carson, CA 90747 [email protected] URL: https://www.csudh.edu/libarchives/ Inventory of the Tommy Irvine SPC.2018.038 1 Jazz Collection SPC.2018.038 Language of Material: English Contributing Institution: California State University Dominguez Hills Archives and Special Collections Title: Tommy Irvine Jazz Collection creator: Cole, Nat King, 1919-1965 creator: Holiday, Billie, 1915-1959 creator: Eckstine, Billy creator: Garner, Erroll creator: Shearing, George creator: Vaughan, Sarah, 1924-1990 Identifier/Call Number: SPC.2018.038 Physical Description: 24 boxes Date (inclusive): 1908-1981, undated Date (bulk): 1940-1953 Language of Material: Collection material is in English. Abstract: This collection contains approximately 444 records held in 76 album sets with performances from musicians, many of which fall under the musical genre of jazz. Most of the records are 10" Shellac, 78 RPMs. Notable musicians featured in this collection include: George Shearing, Billy Eckstine, Nat King Cole, Erroll Garner, Billie Holiday, Sarah Vaughan, and others. Physical Description: Shellac, 10'', 78 RPM Conditions Governing Access There are no access restrictions on this collection. Conditions Governing Use All requests for permission to publish or quote from manuscripts must be submitted in writing to the Director of Archives and Special Collections. Permission for publication is given on behalf of Special Collections as the owner of the physical materials and not intended to include or imply permission of the copyright holder, which must also be obtained. -
Sendung, Sendedatum
WDR 3 Jazz & World 05. Juni 2017 Parisian Thoroughfare - Der Pianist Bud Powell 22.04-24.00 Stand: 09.06.2017 E-Mail: [email protected] | Online: jazz.wdr.de Moderation: Hans W. Ewert Redaktion: Dr. Bernd Hoffmann Sendelaufplan / Lizenzen 1. Parisian Thoroughfare K: Bud Powell 3:25 BUD POWELL TRIO Membran 232096/053 LC 29284 CD: Bebop Story – Bud Powell Vol.3 2. Royal Garden Blues K: Clarence Williams 3:15 COOTIE WILLIAMS ORCH. Mystic Sound MS 60001 LP: Bud Powell, Vol. 1 - Early Years Of A Genius, 44-48 3. Reverse the changes K: Freddy Webster 2:53 FRANK SOKJOLOW’S DUKE QUINTET Membran 232096/051 LC 29284 CD: BEBOP STORY Vol.51 4. I’ll remember April K: Gene de Paul 2:40 BUD POWELL TRIO Membran 232096/051 LC 29284 CD: Bebop Story Vol. 53 - Bud Powell, Vol.1 5. Strictly confidential K: Bud Powell 3:05 BUD POWELL TRIO Membran 232096/051 LC 29284 CD: Bebop Story Vol. 53 - Bud Powell, Vol.1 6. Buds Bubble K: Bud Powell 2:25 BUD POWELL TRIO Membran 232096/051 LC 29284 CD: Bebop Story Vol. 53 - Bud Powell, Vol.1 7. Tempus fugit K: Earl Rudolph Powell 2:25 BUD POWELL TRIO Verve 314521669 LC 00383 5-CD: The Complete Bud Powell on Verve Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 1 WDR 3 Jazz & World 05. Juni 2017 Parisian Thoroughfare - Der Pianist Bud Powell 22.04-24.00 Stand: 09.06.2017 E-Mail: [email protected] | Online: jazz.wdr.de 8. -
Earl Rudolph Powell “Bud”
1 The PIANO of EARL RUDOLPH POWELL “BUD” Solographers: James Accardi & Jan Evensmo Last update: June 3, 2020 2 Born: NYC. Sept. 27, 1924 Died: NYC. Aug. 1, 1966 Introduction: Oslo Jazz Circle was originally based on the swing era (with Chu Berry as the primary idol), but a heavy minority managed to achieve equally high status for bebop and other modern forms. Bud Powell was discovered early, and personally I bought my first Blue Note LPs as a teenager. Bud Powell also played in Metropol Jazzclub, Oslo, Sept. 24-27 with Bjørn Pedersen (b), Jon Christensen (dm). I wa s there and remember how he looked ahead with a glassy stare when playing, almost like he did not know where he was. But sometimes he looked at his watch to the right of the keyboard, and after 45 minutes he stopped abruptly, even if the tune was not finished! An unforgettable experience for all of us! History: From 1940 BP took part in informal jam sessions at Minton’s Playhouse, New York, where he came under the tutelage and protection of Thelonious Monk and contributed to the emerging bop style. By 1942-44, when he played in the band of Cootie Williams, he had already developed his individual style in most of its essentials. After sustaining a head injury during a racial incident in 1945, he suffered the first of many nervous collapses, which were to confine him to sanatoriums for much of his adult life. Thereafter, in the late 1940s and early 1950s, he appeared intermittently in New York clubs with leading bop musicians or in his own trio.