DOCSLIB.ORG

Aug. 19, 2013 Jazz Album Chart

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aug. 19, 2013 Jazz Album Chart Jazz Album Chart Aug. 19, 2013 TW LW 2W Peak Artist Title Label TW LW Move Weeks Reports Adds Etienne Charles 1 1 1 1 Creole Soul Culture Shock Music 301 312 -11 5 59 1 3 weeks at No. 1 / Most Reports 2 2 2 2 Christian McBride Trio Out Here Mack Avenue 279 310 -31 6 53 1 3 14 63 3 Warren Wolf Wolfgang Mack Avenue 225 185 40 2 44 5 4 6 25 4 New Gary Burton Quartet Guided Tour Mack Avenue 213 216 -3 3 45 9 5 3 3 3 Yellowjackets A Rise In The Road Mack Avenue 211 236 -25 10 37 2 6 6 8 6 Andy Bey The World According To Andy Bey HighNote 209 216 -7 5 46 4 7 12 44 7 Steve Gadd Band Gadditude BFM Jazz 199 187 12 3 37 4 8 8 9 1 Bob James & David Sanborn Quartette Humaine OKeh 198 214 -16 11 34 1 George Duke 9 134 - 9 DreamWeaver Heads Up 190 44 146 1 31 27 Highest Debut / Most Added / Biggest Gainer 10 13 15 10 Mike LeDonne Trio Speak Cellar Live 188 186 2 5 46 3 11 18 20 11 Chester Thompson Trio Approved Joyful Noise Inc. 185 165 20 4 40 6 12 5 4 1 George Benson Inspiration: A Tribute To Nat King Cole Concord 183 222 -39 10 36 0 13 22 13 13 Chucho Valdes Border-Free Jazz Village 181 159 22 8 38 3 14 4 6 4 Mary Stallings But Beautiful HighNote 178 229 -51 6 46 5 14 9 12 1 Joe Locke Lay Down My Heart Motema 178 207 -29 13 37 0 16 40 116 16 Chick Corea The Vigil Concord 167 118 49 2 37 9 17 16 10 2 Eliane Elias I Thought About You (A Tribute To Chet Baker) Concord 164 174 -10 11 37 0 18 17 14 8 Freddy Cole This And That HighNote 161 166 -5 8 39 0 19 11 5 1 Terence Blanchard Magnetic Blue Note 156 192 -36 11 37 0 20 30 23 20 Mark Masters Ensemble Everything You Did (The Music Of Walter Capri 153 138 15 4 37 3 Becker And Donald Fagen) 21 10 7 4 Frank Wess Magic 101 IPO Recordings 151 194 -43 9 37 0 22 29 46 22 Geoffrey Keezer Heart Of The Piano Motema 143 141 2 4 36 4 23 18 17 17 Preservation Hall Jazz Band That’s It! Legacy 140 165 -25 5 27 0 24 90 344 24 Scott Hamilton Swedish Ballads And More Charleston Square / Stunt 138 63 75 1 24 10 25 34 40 25 Ryan Cohan The River Motema 137 133 4 4 33 2 25 21 10 2 Cécile McLorin Salvant Womanchild Mack Avenue 137 160 -23 14 28 0 27 27 40 27 José Rizo Baila Que Baila Saungu’ 136 142 -6 3 28 4 28 27 17 15 KCNS (Kikoski, Carpenter, Novak, Sheppard) From The Hip BFM Jazz 135 142 -7 9 32 0 29 25 28 25 Oliver Jones Just For My Lady Justin Time 134 147 -13 4 31 1 30 30 26 26 The Miami Saxophone Quartet Four Of A Kind Fourtitude 133 138 -5 6 37 3 31 15 16 10 Wayne Wallace Latin Jazz Quintet Latin Jazz / Jazz Latin Patois 131 179 -48 10 35 1 32 38 36 18 Marc Cary For The Love Of Abbey Motema 130 124 6 7 27 1 33 35 36 33 Tom Kennedy Just Play Capri 129 131 -2 3 27 3 34 30 19 19 Steve Heckman Born To Be Blue Jazzed Media 128 138 -10 9 28 2 35 24 23 2 Michael Dease Coming Home D-Clef 127 149 -22 15 33 0 36 23 35 23 Michael Treni Big Band Pop-Culture Blues Bell Production Co. 125 155 -30 5 28 2 37 35 30 30 Tim Warfield Eye Of The Beholder Criss Cross 123 131 -8 3 35 3 37 37 47 37 Martin Bejerano Potential Energy Figgland 123 127 -4 3 32 2 39 56 58 27 Roger Davidson Journey To Rio Soundbrush 121 99 22 6 20 0 40 20 22 2 Joshua Redman Walking Shadows Nonesuch 111 163 -52 14 29 0 Keith Jarrett / Gary Peacock / Jack 41 33 30 14 DeJohnette Somewhere ECM 109 137 -28 10 30 1 41 46 27 1 Christian McBride & Inside Straight People Music Mack Avenue 109 105 4 16 25 0 43 26 33 22 Bill Frisell Big Sur OKeh 107 144 -37 7 27 0 43 39 39 30 Dupree Nuestro Camino Public Hi-Fi 107 123 -16 7 25 0 45 64 65 45 Mike Wofford It’s Personal Capri 105 90 15 4 21 0 46 41 45 19 David Murray Infinity Quartet Be My Monster Love Motema 104 115 -11 8 30 0 46 49 29 29 Glenn Cashman’s Southland Nonet Music Without Borders Primose Lane 104 104 0 5 27 1 46 43 30 27 Albare The Road Ahead Enja 104 109 -5 8 23 1 49 49 55 47 PJ Rasmussen Adventures In Flight Third Freedom Music 101 104 -3 4 22 1 50 45 34 25 Kim Richmond Artistry MAMA 99 108 -9 7 22 0 BWB (Rick Braun, Kirk Whalum, Norman 50 51 65 50 Brown) Human Nature Heads Up 99 102 -3 1 7 0 Most Added Increased Airplay Chartbound George Duke DreamWeaver (Heads Up) +27 George Duke DreamWeaver (Heads Up) +146 Paul Carlon La Rumba Is A Lovesome Thing (Zoho) Kenny Burrell Special Requests (HighNote) +19 Scott Hamilton Swedish Ballads And More Joe Davidian Trio Live At The Jazz Cave Volume One (Sonic Nightcrawlers Volume 3 (Cellar Live) +13 (Charleston Square / Stunt) +75 Mirage Media) Miles Black Trio With Grant Stewart Live At Cory Weeds Kenny Burrell (HighNote) +72 The Aperturistic Trio (James Weidman / Harvie S / Steve (Cellar Live) +13 Special Requests Ethan Iverson Lee Konitz Larry Grenadier Jorge Rossy Albert Heath / Ethan Iverson / Ben Street Tootie’s Tempo Williams) Truth And Actuality (Inner Circle Music) Costumes Are Mandatory (HighNote) +13 (Sunnyside) +58 Scottish National Jazz Orchestra In The Spirit Of Duke Albert Heath / Ethan Iverson / Ben Street Tootie’s Tempo Earl Klugh Hand Picked (Heads Up) +58 (Spartacus) (Sunnyside) +12 Chick Corea The Vigil (Concord) +49 Derrick Hodge Live Today (Blue Note) Earl Klugh Hand Picked (Heads Up) +10 Warren Wolf Wolfgang (Mack Avenue) +40 Brian Andres & The Afro-Cuban Jazz Cartel San Francisco Marko Djordjevic & Sveti Something Beautiful (1709-2110) Mack Avenue Superband Live At The 2012 DJF (Bacalao) (Goalkeeper) +10 (Mack Avenue) +37 Paquito D’Rivera Song For Maura (Paquito / Sunnyside) Scott Hamilton Swedish Ballads And More (Charleston Square / Stunt) +10 Ethan Iverson Lee Konitz Larry Grenadier Jorge Rossy Sacha Boutros Sacha: NY After Dark (Diva Latina) Mack Avenue Superband Live At The 2012 DJF (Mack Avenue) +10 Costumes Are Mandatory (HighNote) +35 Resonance Introductions ( Mandala) Anthony Smith Vibraphone Quartet Connections Vol 1 Anthony Smith Vibraphone Quartet Connections Vol 1 (Jazz Clare Fischer New To Radio (Clavo - Clare Fischer Productions (Jazz Chords) +10 Chords) +35 - Various) Chart and Data ©2013 Trefzger Media LLC.
Load more

Recommended publications
  • Biography&Musical Background Final
    Professional Resume JEON, SONG YI 15 Park Drive, Apt#6, Fenway, Boston MA 02215 USA Tel.: +1/857 205 2811 [email protected] http://www.songyiJeon.com/ Personal Data • Name Jeon • First name Song Yi • Birthday August 28, 1984 • Place of birth TaeBeck, Republic of Korea (SoutH Korea) • Nationality Republic of Korea Early Education • 3/2000 – 11/2001 High-school in WonJu city, Rep. Korea • 2005 Graduations exam in WonJu city, Rep. Korea Professional Education <Classic – Composition> • 10/2002 ~ 11/2005 Musik u. Darstellende Kunst Uni. Graz, BacHelor Degree Program (Music and Art University Graz, Austria) - Composition, studied witH Georg Friedrich HAAS and Gerd KÜHR • 10/2007 ~ 7/2008 Musik Akademie der Stadt Basel, Musik HocHscHule, Switzerland (University of Music Basel, Switzerland) Diploma – Composition, studied witH Georg FriedricH HAAS <Jazz – Voice Performance> • 10/2008 ~ 7/2011 Musik Akademie der Stadt Basel, Musik HocHscHule Basel, Jazz Department BacHelor in Jazz Performance Voice, studied witH Ann MALCOLM (10/2008~7/2010) and Lisette Spinnler(10/2010~) • 9/2011 ~ Present Berklee College of Music, Boston, MA, Performance Major, Diploma concentrate in Jazz Voice, studied witH Mili Bermejo, Lisa THorson, improvisation witH Tiger OkosHi, Dave Santoro, Ed Tomassi, Berklee Global Jazz Institute – studied witH George Garzone Concerts & Workshop & Projects Song Yi Jeon Quintet March 2010 Bscene 10, The Basel Clubfestival – Bird’s Eye Jazzclub CH July 2010 Schützenhaus Restaurant, Basel CH July 2010 Lange Erlen Restaurant „Chill out“,
    [Show full text]
  • Analytic, Descriptive, and Prescriptive Components of Evolving Jazz: a New Model Based on the Works of Brad Mehldau
    Analytic, Descriptive, and Prescriptive Components of Evolving Jazz: A New Model Based on the Works of Brad Mehldau Mark Edward Baynes An exegesis submitted in partial fulfilment of the requirements for the degree of Doctor of Musical Arts The University of Auckland 2015 ii Abstract Jazz has steadily evolved from its inception in the late 19th century to the present. As is the case for other genres, musicological analytic research on jazz evolution has lagged behind its practice; consequently, there is a paucity of in-depth descriptive and analytic research on the music of recent innovators. Among the most recent examples of this evolution, the works of Brad Mehldau as a solo/ensemble pianist and as a composer arguably embody some of the most compelling innovations in the field. Non-academically oriented jazz writers and fans have consistently assigned these works vanguard status, but Mehldau’s output has not yet been sufficiently examined to prescribe performance methods. This exegesis contains (1) descriptive analysis of improvisation contained within a broad cross-section of Mehldau’s music; (2) definition of a new analytical lexicon derived from a holistic study of consonance, dissonance, and research into perceived motivation in music; and (3) prescriptive musical tools relating to consonance and dissonance that have informed the researcher’s performance. iii Acknowledgements I would like to express my special thanks to Dr David Lines, Associate Professor W. Dean Sutcliffe, Dr Davinia Caddy, Kevin Field, Dr Mark Kramer, Gary Burton, Jo Shum, Steve Harvie, Alex Freer, Tom Dennison, Dixon Nacey, Nick Marsh, Jason Orme, Chrissie Hart, Hadyn Godfrey, Chris Mason-Battley, Phil Broadhurst, Kim Paterson, Tom Rainey, Mike Booth and Stephen Morton-Jones.
    [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]
  • Biography-George-ROBERT.Pdf
    George ROBERT Born on September 15, 1960 in Chambésy (Geneva), Switzerland, George Robert is internationally reCognized as one of the leading alto saxophonists in jazz today. He started piano at a very early age and at age 10 he began Clarinet lessons at the Geneva Conservatory with LuC Hoffmann. In 1980 he moved to Boston and studied alto saxophone with Joe Viola at the Berklee College of MusiC. In 1984 he earned a Bachelor of Arts in Jazz Composition & Arranging and moved to New York where he enrolled at the Manhattan SChool of MusiC. He studied with Bob Mintzer and earned a Master’s Degree in Jazz PerformanCe in 1987. He played lead alto in the Manhattan SChool of MusiC Big Band for 2 years, whiCh earned in 1985 the 1st Prize in the College Big Band Category in the Down Beat Magazine Jazz Awards In July 1984 he performed on the main stage of the Montreux Jazz Festival and earned an Outstanding PerformanCe Award from Down Beat Magazine. In 1985 & 1986 he toured Europe extensively. In 1987 he met Tom Harrell and together they founded the George Robert-Tom Harrell Quintet (with Dado Moroni, Reggie Johnson & Bill Goodwin). The group Completed 125 ConCerts worldwide between 1987 & 1992, and reCorded 5 albums. He remained in New York City and free-lanCed for 7 years, playing with Billy Hart, Buster Williams, the Lionel Hampton Big Band, the Toshiko Akiyoshi-Lew Tabackin Jazz OrChestra, Joe Lovano, and many others. He met Clark Terry and started touring with him extensively, Completing a 16- week, 65-ConCert world tour in 1991.
    [Show full text]
  • Brad Mehldau Trio Brad Mehldau, Pianoforte Larry Grenadier, Contrabbasso Jorge Rossy, Batteria
    lunedì 9 settembre 2002 ore 21 Teatro Regio Brad Mehldau Trio Brad Mehldau, pianoforte Larry Grenadier, contrabbasso Jorge Rossy, batteria In collaborazione con Centro Jazz Torino Brad Mehldau ha iniziato gli studi classici di pianoforte a soli sei anni, dedicandosi poi completamente al jazz. Il suo vero lancio nel mondo internazionale arriva con il tour mon- diale come membro del quartetto Redman, con cui registra MoodSwing. Subito dopo arrivano i suoi album Introducing Brad Mehldau e The Art of Trio, volume One, che riscuotono un immediato ed entusiastico consenso da parte della critica americana; nell’album Elegiac Cycle del 1999 Brad giunge a confrontarsi solo con il suo strumento, mentre nell’ultimo, The Art of Trio: Back at the Vanguard, ritorna insieme ai suoi compagni d’avventura, Larry Grenadier e Jorge Rossy, alla configurazione del trio. La sua caratteristica è quella di fon- dere in un unico, inimitabile stile, la raffinatezza di Lennie Tristano, la creatività di Keith Jarrett e la coralità della polifo- nia di suggestione bachiana, con la sua tecnica formidabile, in cui la “sinistra concertante” non si limita all’accompagna- mento, ma offre costantemente un vero e proprio dialogo con la linea melodica principale, creando spunti sempre nuovi e dando un senso polifonico alla composizione. Larry Grenadier è nato a S. Francisco nel 1966 e si è lau- reato in Letteratura Inglese nel 1989 a Stanford. Ha suonato in tournée e in sala di incisione con i chitarristi John Sco- field e Pat Metheny, con Charles Lloyd, Andy Ezrin, Chick Corea, Lea DeLaria, e ha ricevuto grandi consensi dalla cri- tica per le sue esibizioni in trio con Brad Mehldau Jorge Rossy è nato a Barcellona dove ha iniziato gli studi, proseguiti poi alla Berklee School di Boston dove ha suo- nato con Joshua Redman e Danilo Perez; attualmente è con- siderato uno dei più brillanti batteristi della scena americana jazzistica e contemporanea.
    [Show full text]
  • John Mcneil Bill Mchenry
    John McNeil John McNeil is regarded as one of the most original and creative jazz artists in the world today. For nearly three decades John has toured with his own groups and has received widespread acclaim as both a player and composer. His highly personal trumpet style communicates across the full range of contemporary jazz, and his compositions combine harmonic freedom with melodic accessibility. John's restless experimentation has kept him on the cutting edge of new music. His background includes the Horace Silver Quintet, Gerry Mulligan, and the Thad Jones/Mel Lewis Orchestra. John is equally at home in free and structured settings, and this versatility has put him on stage with artists from Slide Hampton to John Abercrombie. John McNeil was born in 1948 in northern California. Due to a lack of available musical instruction in his home town of Yreka, John largely taught himself to play trumpet and read music. By the time he graduated from high school in 1966, John had already begun playing professionally in the northern California region. John moved to New York in the mid-1970's and began a freelance career. His reputation as an innovative trumpet voice began to grow as he played with the Thad Jones/Mel Lewis Orchestra, and led his own groups at clubs such as Boomer's, the legendary Village jazz room. In the late 70's, John joined the Horace Silver Quintet. Around the same time, he began recording for the SteepleChase label under his own name and toured internationally. Although he has worked as a sideman with such luminaries as Gerry Mulligan, John has consistently led his own groups from about 1980 to the present.
    [Show full text]
  • Acoustic Guitar Songs by Title 11Th Street Waltz Sean Mcgowan Sean
    Acoustic Guitar Songs by Title Title Creator(s) Arranger Performer Month Year 101 South Peter Finger Peter Finger Mar 2000 11th Street Waltz Sean McGowan Sean McGowan Aug 2012 1952 Vincent Black Lightning Richard Thompson Richard Thompson Nov/Dec 1993 39 Brian May Queen May 2015 50 Ways to Leave Your Lover Paul Simon Paul Simon Jan 2019 500 Miles Traditional Mar/Apr 1992 5927 California Street Teja Gerken Jan 2013 A Blacksmith Courted Me Traditional Martin Simpson Martin Simpson May 2004 A Daughter in Denver Tom Paxton Tom Paxton Aug 2017 A Day at the Races Preston Reed Preston Reed Jul/Aug 1992 A Grandmother's Wish Keola Beamer, Auntie Alice Namakelua Keola Beamer Sep 2001 A Hard Rain's A-Gonna Fall Bob Dylan Bob Dylan Dec 2000 A Little Love, A Little Kiss Adrian Ross, Lao Silesu Eddie Lang Apr 2018 A Natural Man Jack Williams Jack Williams Mar 2017 A Night in Frontenac Beppe Gambetta Beppe Gambetta Jun 2004 A Tribute to Peador O'Donnell Donal Lunny Jerry Douglas Sep 1998 A Whiter Shade of Pale Keith Reed, Gary Brooker Martin Tallstrom Procul Harum Jun 2011 About a Girl Kurt Cobain Nirvana Nov 2009 Act Naturally Vonie Morrison, Johnny Russel The Beatles Nov 2011 Addison's Walk (excerpts) Phil Keaggy Phil Keaggy May/Jun 1992 Adelita Francisco Tarrega Sep 2018 Africa David Paich, Jeff Porcaro Andy McKee Andy McKee Nov 2009 After the Rain Chuck Prophet, Kurt Lipschutz Chuck Prophet Sep 2003 After You've Gone Henry Creamer, Turner Layton Sep 2005 Ain't It Enough Ketch Secor, Willie Watson Old Crow Medicine Show Jan 2013 Ain't Life a Brook
    [Show full text]
  • PROGRAM NOTES Guided Tour
    13/14 Season SEP-DEC Ted Kurland Associates Kurland Ted The New Gary Burton Quartet 70th Birthday Concert with Gary Burton Vibraphone Julian Lage Guitar Scott Colley Bass Antonio Sanchez Percussion PROGRAM There will be no intermission. Set list will be announced from stage. Sunday, October 6 at 7 PM Zellerbach Theatre The Annenberg Center's Jazz Series is funded in part by the Brownstein Jazz Fund and the Philadelphia Fund For Jazz Legacy & Innovation of The Philadelphia Foundation and Philadelphia Jazz Project: a project of the Painted Bride Art Center. Media support for the 13/14 Jazz Series provided by WRTI and City Paper. 10 | ABOUT THE ARTISTS Gary Burton (Vibraphone) Born in 1943 and raised in Indiana, Gary Burton taught himself to play the vibraphone. At the age of 17, Burton made his recording debut in Nashville with guitarists Hank Garland and Chet Atkins. Two years later, Burton left his studies at Berklee College of Music to join George Shearing and Stan Getz, with whom he worked from 1964 to 1966. As a member of Getz's quartet, Burton won Down Beat Magazine's “Talent Deserving of Wider Recognition” award in 1965. By the time he left Getz to form his own quartet in 1967, Burton had recorded three solo albums. Borrowing rhythms and sonorities from rock music, while maintaining jazz's emphasis on improvisation and harmonic complexity, Burton's first quartet attracted large audiences from both sides of the jazz-rock spectrum. Such albums as Duster and Lofty Fake Anagram established Burton and his band as progenitors of the jazz fusion phenomenon.
    [Show full text]
  • 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]
  • An Analytical Approach to Vibraphone Performance Through the Transcription and Analysis of Gary Burton’S Solo on Blue Monk
    AN ANALYTICAL APPROACH TO VIBRAPHONE PERFORMANCE THROUGH THE TRANSCRIPTION AND ANALYSIS OF GARY BURTON’S SOLO ON BLUE MONK A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in Partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Charles B. Brooks B.A., Western Kentucky University, 1997 M.A., Austin Peay State University, 2000 December 2007 ACKNOWLEDGMENTS This document would not exist without the guidance and counsel of several extraordinary individuals. It is dedicated to my father for introducing me to the world of music. I would like to extend special gratitude to my mother for her guidance, strength, and belief that anything is possible. In addition I would like to thank Johnny Walker and my brother, Michael Brooks, without whom none of this would possible. This document is also dedicated to Kenneth Welch and Larry Long for their counsel and friendship. I extend special thanks to my teachers Dr. Christopher Norton, Mr. David Steinquest, Dr. Charles Smith, Dr. Thomas King, Dr. Jefferey Wood, Dr. Dinos Constantinides, Dr. Joseph Skillen, Dr. Robert Peck, and Dr. Michael Kingan. I would especially like to thank Dr. Willis Delony for staying the course and guiding me through rough terrain. ii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................................................ii LIST OF MUSICAL EXAMPLES................................................................................iv
    [Show full text]
  • A Brief Exploration of Variances in Larry Grenadier's Approach To
    Edith Cowan University Research Online Theses : Honours Theses 2016 A brief exploration of variances in Larry Grenadier’s approach to soloing in piano trio and duo contexts on selected recordings of All the Things You Are and Long Ago and Far Away Alistair Campbell Peel Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Music Commons Recommended Citation Peel, A. C. (2016). A brief exploration of variances in Larry Grenadier’s approach to soloing in piano trio and duo contexts on selected recordings of All the Things You Are and Long Ago and Far Away. https://ro.ecu.edu.au/theses_hons/1491 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1491 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth).
    [Show full text]
  • An Evening with Pat Metheny with Antonio Sánchez, Linda May Han Oh, and Gwilym Simcock
    Thursday, October 25, 2018, 8pm Fox Theater, Oakland An Evening with Pat Metheny with Antonio Sánchez, Linda May Han Oh, and Gwilym Simcock Cal Performances’ 2018 –19 season is sponsored by Wells Fargo. ABOUT THE ARTISTS Pat Metheny was born in Lee’s Summit (MO) on one of the very first jazz musicians to treat the August 12, 1954, into a musical family. Starting synthesizer as a serious musical instrument. on trumpet at the age of eight, he switched to Years before the invention of MIDI technology, guitar at age 12. By the age of 15, he was work - Metheny was using the Synclavier as a compos - ing regularly with the best jazz musicians in ing tool. He has also been instrumental in the Kansas City, receiving valuable on-the-band - development of several new kinds of guitars, in - stand experience at an unusually young age. cluding the soprano acoustic guitar, the 42-string Metheny first burst onto the international jazz Pikasso guitar, Ibanez’s PM series of jazz guitars, scene in 1974. Over the course of his three-year and a variety of other custom instruments. stint with vibraphone great Gary Burton, the It is one thing to attain popularity as a musi - young Missourian quickly displayed his soon- cian, but it is another to receive the kind of to-become trademark playing style, which acclaim Metheny has garnered from critics and blends the loose and flexible articulation peers. Over the years, he has won countless polls customarily reserved for horn players with an as Best Jazz Guitarist along with awards includ - advanced rhythmic and harmonic sensibility— ing gold records for (Still Life) Talking, Letter a way of playing and improvising that is mod - from Home, and Secret Story .
    [Show full text]