Art Blakey and the Jazz Messengers Moanin Mp3 Free
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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. -
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. -
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. -
Tommy Dorsey 1 9
Glenn Miller Archives TOMMY DORSEY 1 9 3 7 Prepared by: DENNIS M. SPRAGG CHRONOLOGY Part 1 - Chapter 3 Updated February 10, 2021 TABLE OF CONTENTS January 1937 ................................................................................................................. 3 February 1937 .............................................................................................................. 22 March 1937 .................................................................................................................. 34 April 1937 ..................................................................................................................... 53 May 1937 ...................................................................................................................... 68 June 1937 ..................................................................................................................... 85 July 1937 ...................................................................................................................... 95 August 1937 ............................................................................................................... 111 September 1937 ......................................................................................................... 122 October 1937 ............................................................................................................. 138 November 1937 ......................................................................................................... -
Lee Morgan Chronology 1956–1972 by Jeffery S
Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC). -
![Eloise Hubbard Linscott Collection [Finding Aid]. Library of Congress](https://docslib.b-cdn.net/cover/6944/eloise-hubbard-linscott-collection-finding-aid-library-of-congress-1126944.webp)
Eloise Hubbard Linscott Collection [Finding Aid]. Library of Congress
Eloise Hubbard Linscott collection Guides to the Collections in the Archive of Folk Culture American Folklife Center, Library of Congress Washington, D.C. June 2013 Contact information: http://hdl.loc.gov/loc.afc/folklife.contact Additional search options available at: http://hdl.loc.gov/loc.afc/eadafc.af013006 LC Online Catalog record: http://lccn.loc.gov/2008700340 Prepared by Marcia K. Segal Collection Summary Title: Eloise Hubbard Linscott collection Inclusive Dates: 1815-2002 Bulk Dates: 1932-1955 Call No.: AFC 1942/002 Creator: Linscott, Eloise Hubbard Extent (Manuscripts): 34 boxes (18 linear feet); 198 folders. Extent (Sound Recordings): 11 sound cylinders : analog. Extent (Sound Recordings): 441 sound discs : analog ; various sizes. Extent (Sound Recordings): 32 sound tape reels : analog ; various sizes. Extent (Sound Recordings): 1 sound cassette : analog. Extent (Graphic Materials): circa 200 photographs : photographic prints, negatives ; various sizes. Extent (Graphic Materials): 12 drawings. Language: Manuscripts in English; songs sung in English, French, Navajo, Passamaquoddy, Wabanaki, and Wampanoag. Location: Archive of Folk Culture, American Folklife Center, Library of Congress , Washington, D.C. http://hdl.loc.gov/ loc.afc/folklife.home Summary: Eloise Hubbard Linscott’s collection of research materials for her book, Folk Songs of Old New England (1939) and other folk music research through about 1955. The collection includes correspondence; music transcriptions; sound recordings of folk music, lectures, and radio broadcasts; photographs of Linscott's informants; documentation of events and trips within New England; plus some materials from her estate, dated circa 1815-2002. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. -
Freedom Riders Democracy in Action a Study Guide to Accompany the Film Freedom Riders Copyright © 2011 by WGBH Educational Foundation
DEMOCRACY IN ACTION A STUDY GUIDE TO ACCOMPANY THE FILM FREEDOM RIDERS DEMOCRACY IN ACTION A STUDY GUIDE TO ACCOMPANY THE FILM FREEDOM RIDERS Copyright © 2011 by WGBH Educational Foundation. All rights reserved. Cover art credits: Courtesy of the Birmingham Civil Rights Institute. Back cover art credits: Bettmann/CORBIS. To download a PDF of this guide free of charge, please visit www.facinghistory.org/freedomriders or www.pbs.org/freedomriders. ISBN-13: 978-0-9819543-9-4 ISBN-10: 0-9819543-9-1 Facing History and Ourselves Headquarters 16 Hurd Road Brookline, MA 02445-6919 ABOUT FACING HISTORY AND OURSELVES Facing History and Ourselves is a nonprofit and the steps leading to the Holocaust—the educational organization whose mission is to most documented case of twentieth-century engage students of diverse backgrounds in an indifference, de-humanization, hatred, racism, examination of racism, prejudice, and antisemitism antisemitism, and mass murder. It goes on to in order to promote a more humane and explore difficult questions of judgment, memory, informed citizenry. As the name Facing History and legacy, and the necessity for responsible and Ourselves implies, the organization helps participation to prevent injustice. Facing History teachers and their students make the essential and Ourselves then returns to the theme of civic connections between history and the moral participation to examine stories of individuals, choices they confront in their own lives, and offers groups, and nations who have worked to build a framework and a vocabulary for analyzing the just and inclusive communities and whose stories meaning and responsibility of citizenship and the illuminate the courage, compassion, and political tools to recognize bigotry and indifference in their will that are needed to protect democracy today own worlds. -
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron. -
The Jazz Messengers
The Jazz Messengers Steven Criado 2 décembre 2020 1 Introduction 1.1 Écoutes du 2 décembre 2020 — The Freedom Rider - Art Blakey & The Jazz Messengers (The Freedom Rider, enregistré en 61, sorti en 64) — United - Art Blakey & The Jazz Messengers (Roots & Herbs, enregistré en 61 pendant les sessions de Freedom Rider, sorti en 70) — Mr. Jin - Art Blakey & The Jazz Messengers (Indestructible, 1964) — I’m Not So Sure - Art Blakey & The Jazz Messengers (Anthenagin, 1973), écouter aussi la version de Roy Hargrove (Earfood, 2008) — Live des Jazz Messengers de 1974 au studio 104 de la Maison de la Radio (lien ci-dessous) — Witch Hunt - Art Blakey & The Jazz Messengers (Album of the Year, 1981) 2 Freedom riders — arrêt de la cour suprême qui interdit la ségrégation dans les transports, en contradiction avec la loi Jim Crow issue du code noir appliquée dans les états du sud — des militants prennent les bus inter-états en 61, un premier bus partant de Wahsington à la Nouvelle-Orléan, est arrêté dans l’Alabama, à Anniston. Pneu crevé, incendie provoqué par la foule, les militants qui s’échappent du bus sont battus, les blessés ont du quitter l’hôpital par crainte de représailles — l’enregistrement de l’album d’Art Blakey à lieu 3 semaines après 1 3 ANNÉES 70 ET 80 DES MESSENGERS 2 — civil right movement, mouvement des droits civiques formé dans les années 50 rassemblant toutes les organisations noires (N.A.A.C.P, Urban League, S.N.C.C., le C.O.R.E., S.C.L.C), poursuit la lutte contre la ségrégation raciale dans la loi américaine, accès à l’éducation, -
Readers Poll
84 READERS POLL DOWNBEAT HALL OF FAME One night in November 1955, a cooperative then known as The Jazz Messengers took the stage of New York’s Cafe Bohemia. Their performance would yield two albums (At The Cafe Bohemia, Volume 1 and Volume 2 on Blue Note) and help spark the rise of hard-bop. By Aaron Cohen t 25 years old, tenor saxophonist Hank Mobley should offer a crucial statement on how jazz was transformed during Aalready have been widely acclaimed for what he that decade. Dissonance, electronic experimentation and more brought to the ensemble: making tricky tempo chang- open-ended collective improvisation were not the only stylis- es sound easy, playing with a big, full sound on ballads and pen- tic advances that marked what became known as “The ’60s.” ning strong compositions. But when his name was introduced Mobley’s warm tone didn’t necessarily coincide with clichés on the first night at Cafe Bohemia, he received just a brief smat- of the tumultuous era, as the saxophonist purposefully placed tering of applause. That contrast between his incredible artistry himself beyond perceived trends. and an audience’s understated reaction encapsulates his career. That individualism came across in one of his rare inter- Critic Leonard Feather described Mobley as “the middle- views, which he gave to writer John Litweiler for “Hank Mobley: weight champion of the tenor saxophone.” Likely not intended The Integrity of the Artist–The Soul of the Man,” which ran in to be disrespectful, the phrase implied that his sound was some- the March 29, 1973, issue of DownBeat. -
The Tax Legislative Process: a Byrd's Eye View
University of Chicago Law School Chicago Unbound Journal Articles Faculty Scholarship 2018 The Tax Legislative Process: A Byrd's Eye View Ellen P. Aprill Daniel Hemel Follow this and additional works at: https://chicagounbound.uchicago.edu/journal_articles Part of the Law Commons Recommended Citation Ellen Aprill & Daniel Hemel, "The Tax Legislative Process: A Byrd's Eye View," 81 Law and Contemporary Problems 99 (2018). This Article is brought to you for free and open access by the Faculty Scholarship at Chicago Unbound. It has been accepted for inclusion in Journal Articles by an authorized administrator of Chicago Unbound. For more information, please contact [email protected]. APRILL_HEMEL_FINAL (DO NOT DELETE) 5/16/2018 4:54 PM THE TAX LEGISLATIVE PROCESS: A BYRD’S EYE VIEW ELLEN P. APRILL* AND DANIEL J. HEMEL** I INTRODUCTION The year 2017 was, among other distinctions, the year of the Byrd rule. This once-obscure Senate procedural provision—on the books since 1985 but only recently the stuff of page one news1— featured prominently in several failed attempts to repeal the Affordable Care Act in the spring and summer. Then again at year’s end, the Byrd rule played a central role in the successful effort to rewrite large swaths of the Internal Revenue Code. While the Byrd rule has influenced the legislative process in the past, never before has it drawn so much attention from the mainstream and trade press, and never before has it shaped so consequential a law in such a significant way. One theme that runs throughout this article is that when it comes to the budget math mandated by the Byrd rule, numbers can obscure the truth. -
The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H. Keith Jackson, DMA, Committee Chair Constinia Charbonnette, EDD David Taddie, Ph.D. Michael Vercelli, DMA Mitchell Arnold, DMA Music Morgantown, West Virginia 2019 Keywords: Hard Bop, Trombone, Jazz, Jazz Improvisation Copyright 2019 Emmett C. Goods The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964). Emmett C. Goods This dissertation examines the improvisational stylings of Curtis Fuller, Locksley “Slide” Hampton, Julian Priester and Grachan Moncur III from 1955 through 1964. In part one of this study, each musician is presented through their improvisational connections to J.J. Johnson, the leading trombonist of the Bebop era. His improvisational signatures are then traced through to the musical innovations of the Hard-Bop Trombone Era. Source material for this part of the study includes published books, dissertations, articles, online sources, discographies and personal interviews. Part two of this paper analyzes selected solos from each of the four subjects to identify the defining characteristics of the Hard-Bop Trombone Era. Evidence for these claims is bolstered by interviews conducted with the four men and their protégés. In a third and final part, a discography has been compiled for each artists during the defined era. Through historical analysis of these four artists’ music and recording of first-hand accounts from the artists themselves, this document attempts to properly contextualize the Hard-Bop Trombone Era as unique and important to the further development of the jazz trombone.