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The Historic Recordings of the Song Desafinado: Bossa Nova Development and Change in the International Scene1
The historic recordings of the song Desafinado: Bossa Nova development and change in the international scene1 Liliana Harb Bollos Universidade Federal de Goiás, Brasil [email protected] Fernando A. de A. Corrêa Faculdade Santa Marcelina, Brasil [email protected] Carlos Henrique Costa Universidade Federal de Goiás, Brasil [email protected] 1. Introduction Considered the “turning point” (Medaglia, 1960, p. 79) in modern popular Brazi- lian music due to the representativeness and importance it reached in the Brazi- lian music scene in the subsequent years, João Gilberto’s LP, Chega de saudade (1959, Odeon, 3073), was released in 1959 and after only a short time received critical and public acclaim. The musicologist Brasil Rocha Brito published an im- portant study on Bossa Nova in 1960 affirming that “never before had a happe- ning in the scope of our popular music scene brought about such an incitement of controversy and polemic” (Brito, 1993, p. 17). Before the Chega de Saudade recording, however, in February of 1958, João Gilberto participated on the LP Can- ção do Amor Demais (Festa, FT 1801), featuring the singer Elizete Cardoso. The recording was considered a sort of presentation recording for Bossa Nova (Bollos, 2010), featuring pieces by Vinicius de Moraes and Antônio Carlos Jobim, including arrangements by Jobim. On the recording, João Gilberto interpreted two tracks on guitar: “Chega de Saudade” (Jobim/Moraes) and “Outra vez” (Jobim). The groove that would symbolize Bossa Nova was recorded for the first time on this LP with ¹ The first version of this article was published in the Anais do V Simpósio Internacional de Musicologia (Bollos, 2015), in which two versions of “Desafinado” were discussed. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
Art Night on the Mall Visitor Study – Summer 2001
ART NIGHT ON THE MALL VISITOR STUDY – SUMMER 2001 OFFICE OF POLICY & ANALYSIS NOVEMBER 2001 ART NIGHT ON THE MALL VISITOR STUDY –SUMMER 2001 OFFICE OF POLICY &ANALYSIS SMITHSONIAN INSTITUTION 900 JEFFERSON DRIVE,SW WASHINGTON, DC 20560 (202) 786-2289 PROJECT STAFF KERRY BUTTON KERRY DIGIACOMO KATHY ERNST i TABLE OF CONTENTS BACKGROUND 1 Art Night on the Mall 1 The Study 1 Organization of the Report 3 KEY FINDINGS AND CONCLUSIONS 4 DATA ANALYSIS AND REPORT 6 APPENDICES A. The Survey Instrument 16 B. Questionnaire Responses, 2001, and Comparative 1997 Survey Responses 17 C. Selective Responses of Visitors by Age, Residence, and Minority Identification 23 D. Sales Data 27 E. Exit Survey Design 29 F. Art Night 2001 Schedule and Programming 30 LIST OF FIGURES 1. South Side of Mall with IAMD Museums 1 2. Art Night Audience by Gender 6 3. Art Night Audience by Age, 2001 and 1997 7 4. Art Night Audience by Groupings 7 5. Art Night Audience by Race/Ethnicity, 2001, and 1997 8 6. Art Night Audience by Residence 8 7. Art Night Attendance 9 8. Art Night Office of Protection Services Visit Counts, 1999 to 2001 10 9. Overall Art Night Attendance, 1999 to 2001 10 10. First, Repeat, and No Visits to Museums 11 11. Why Visitors Entered a Museum 12 12. How Visitors Heard about Art Night 13 13. Visitor Satisfaction with Outdoor Food/Drink, Service, and Music 14 14. Overall visitor satisfaction with Art Night 15 ii BACKGROUND Art Night on the Mall For the sixth consecutive summer, the Smithsonian’s four international art museums – the Arthur M. -
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. -
The Role of the Bass in Pianoless Jazz Ensembles: 1952-2014
The Role of the Bass in Pianoless Jazz Ensembles: 1952-2014 Volume One Nikki Joanna Stedman B.Mus. (Hons) 2010 (The University of Adelaide) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Arts The University of Adelaide June 2016 ! !!!! TABLE OF CONTENTS List of Figures .................................................................................................................... xii Abstract ............................................................................................................................ xxv Declaration ...................................................................................................................... xxvi Acknowledgements ........................................................................................................ xxvii Introduction ......................................................................................................................... 1 Introduction ....................................................................................................................... 1 Thesis Structure ................................................................................................................. 4 Conceptual Framework ..................................................................................................... 9 1) Pianoless Ensembles ................................................................................................. 9 2) Accompaniment Techniques .................................................................................. -
ARSC Journal
THE SMITHSONIAN COLLECTION (OF JAZZ) ROOl KING OLIVER'S JAZZ BAND 1923 (two records) R002 LOUIS ARMSTRONG AND EARL HINES 1928 (two records) R003 DUKE ELLINGTON 1938 (two records) R004 DIZZY GILLESPIE "THE DEVELOPMENT OF AN AMERICAN ARTIST" 1940- 1946 (two records) ROOS TEDDY WILSON "STATEMENTS AND IMPROVISATIONS" 1934-1942 R006 FLETCHER HENDERSON "DEVELOPING AN AMERICAN ORCHESTRA" 1923- 1937 (two records) ROlO DUKE ELLINGTON 1939 (two records) N003 PIANO MUSIC OF FERDINAND 'JELLY ROLL' MORTON PERFORMED BY JAMES DAPOGNY This series is produced with the assistance of CBS Special Pro ducts, and all the contents - except most of the Dizzy Gillespie and the James Dapogny, are reissues of CBS-owned material (though a couple of items on the Fletcher Henderson would seem to belong to MCA). Their value is thus very dependent on their relationships with other reissues of this material - something that is their main weakness. Apart from the general excellence of the music, their main virtue is in their presentation. All the reissues are programmed in chronological order (usually the best way) and all the relevant discographical infor mation is supplied (though in the almost unreadable jumble that is common to too many jazz reissues). As a bonus there are also pages of photos and notes that contain an abundance of relevant fact and inte resting opinions - (only one incorrect fact stands out concerning Max Roach's recording debut), Overall, the most successful of this series is the one dealing with the earliest music, the KING OLIVER, All of the fifteen Okeh's and four Columbia's are brought together with much better sound than ever before, so that it definitely replaces all previous reissues of this material. -
1 Miles Davis Quintet, Live in Europe 1967: the Bootleg Series, Vol. 1
77TH ANNUAL READERS POLL HISTORICAL ALBUM OF THE YEAR 1 Miles Davis Quintet, Live In Europe 1967: The Bootleg Series, Vol. 1 (COLUMBIA/LEGACY) 2,619 votes The trumpeter and his second great quintet were in their prime while touring with George Wein’s Newport Jazz Festival in October and November 1967. 2 Wes Montgomery, Echoes 5 Stan Getz, Stan Getz 8 Fela Kuti, Vinyl Box Set I Of Indiana Avenue Quintets: The Clef & (KNITTING FACTORY/ (RESONANCE) 1,270 Norgran Studio Albums LABEL MAISON) 465 (HIP-O SELECT) 642 Newly dis- This package of covered live This three-disc remastered Fela recordings made collection, which Kuti albums—the in Indianapolis concentrates on first in a series sometime in Getz’s earliest sin- of vinyl box sets 1957 or ’58 gles and albums covering the shed light on the early work of (1952–1955) for work of the world-renown Afro- one of jazz’s greatest guitarists Norman Granz, elegantly fills a gap beat vocalist—was curated by during a pivotal point in his career. in the saxophonist’s discography. Ahmir “Questlove” Thompson. 3 The Dave Brubeck Quartet, 6 The Dave Brubeck Quartet, 9 Howlin’ Wolf, Smokestack The Columbia Studio Their Last Time Out Lightning:The Complete Albums Collection: 1955– (COLUMBIA/LEGACY) 596 Chess Masters, 1951–1960 (HIP-O SELECT/GEFFEN) 464 1966 (COLUMBIA/LEGACY) 1,001 Brubeck’s quar- tet of 17 years Perhaps the most Containing about with Paul Des- unique and power- 12 hours of mond, Eugene ful performer in music, this box Wright and Joe the history of the set covers all 19 Morello played blues, How- studio albums their last concert lin’ Wolf cre- that Brubeck together in Pittsburgh on Dec. -
Romance Del Diablo the Music of Piazzolla Marco Albonetti Saxophone Orchestra Filarmonica Italiana Bridgeman Images Bridgeman
Romance del Diablo The Music of Piazzolla Marco Albonetti saxophone Orchestra Filarmonica Italiana Astor Piazzolla, 1969 Photograph by Eduardo Comesana / Bridgeman Images Astor Piazzolla (1921 – 1992) Orchestrations by Marco Albonetti except* Romance del Diablo 1 Otoño Porteño (1970) 7:11 (Autumn in Buenos Aires) from Las Cuatro Estaciones Porteñas (The Four Seasons of Buenos Aires) Cesare Carretta violin 2 Romance del Diablo (1965) 7:00 (Romance of the Devil) 3 Invierño Porteño (1969) 6:50 (Winter in Buenos Aires) from Las Cuatro Estaciones Porteñas (The Four Seasons of Buenos Aires) Alessandra Gelfini piano 3 Oblivion (1982)* 8:05 Arranged by Pablo Ziegler 4 Improvisation to Oblivion – 2:38 5 Oblivion 5:26 6 Primavera Porteña (1970) 5:57 (Spring in Buenos Aires) from Las Cuatro Estaciones Porteñas (The Four Seasons of Buenos Aires) Virgilio Monti double-bass 7 Años de Soledad (1974) 5:01 (Years of Solitude) 4 8 Veraño Porteño (1965, rearranged 1972) 9:51 (Summer in Buenos Aires) from Las Cuatro Estaciones Porteñas (The Four Seasons of Buenos Aires) Cesare Carretta violin Alessandra Gelfini piano 9 Libertango (1974) 3:50 TT 54:19 Marco Albonetti soprano saxophone • baritone saxophone Orchestra Filarmonica Italiana 5 © Mirk_ONE Piazzolla: Romance del Diablo Piazzolla and I air of the porteños, the people who were born I discovered the music of Astor Piazzolla, in Buenos Aires, where tango is a way of life who was born on 11 March 1921, on 4 July and the core of their identity. While there, I 1992, the day he died. When RAI, the Italian had the privilege of examining the composer’s national television channel, reported the sad original manuscript scores and interviewing news and paid tribute to the great Argentine people who had worked closely with Piazzolla: composer, the network broadcast his music. -
Brazillian Voices
FROM BRAZIL TO THE WORLD Who are the Brazilian Voices Brazilian Voices is a female vocal ensemble engaged in musical performances as an instrument for the advancement of intercultural, educational, philanthropic and entertainment activities, with the purpose of creating a peaceful artistic movement with social responsibility to the local and global community. Five times award winner of the International Brazilian Press Awards, Brazilian Voices is composed of about fifty females who have been expanding Brazilian music in the United States, Brazil, Italy and Spain singing famous composers of Brazilian music. Brazilian Voices will immerse you in the beauty of the Brazilian culture with the educational program “From Brazil to the World”. Through a combination of informative presentations and live performances, the participants will learn in an interactive and interesting way about Brazilian rhythms and culture. Music allows all of us to develop a greater capacity for concentration, creative group work, and imagination, while fostering a greater sense of responsibility as well as more adaptive interpersonal involvement. Music also offers unique communication as it provides individuals with an alternative channel of interaction and participation with a wide range of abilities, from listening and active contribution to adept performance. With these objectives in mind, Brazilian Voices has developed this educational program that offers a broader understanding and greater appreciation of musical and cultural diversity. FROM BRAZIL TO THE WORLD What to Know About Brazil Discovered in 1500, Brazil was colonized by the Portuguese, but its population is very diverse, with many races and ethnic groups. Brazil declared its independence in 1822, now being a Federal Republic with a multi-party political system, holding democratic elections. -
A Brief History of Bossa Nova
A brief history of Bossa Nova Translation of Bossa Nova = New Trend (Taken from “The marriage of American Jazz and Brazilian Bossa Nova” Masters thesis by Ami Molinelli and Andre Scarabelot; California Institute of the Arts (CalArts, 2002) 1850-1910 Birth of Choro: Brazil’s first national music and the mother of the samba. Likened as Brazil’s “ragtime” 1917 First “possible” recording of a Samba “Pelo Telefone” 1939 Carmen Miranda brings “Samba” to the USA 1956 “Orfeo Negro” or Black Orfeus opens as a play (musical composer is Vinicius de Morães) 1956 “Bim Bom” composed by Joao Gilberto and is considered the first bossa nova composition for style and simplicity* 1958 Elizete Cardoso released album Canção do Amor Demais; with compositions by Jobim/Morães; track of Chega de Saudade considered first bossa nova recording 1958/59 Chega de Saudade/No More Blues released by João Gilberto (written by Jobim/Morães) and gains popularity. Bim Bom was released on this album Mid-late 1950’s MusiDisc (Brazilian Record label) is issuing Pacific Jazz Records: “West Coast Jazz” ** 1959 Film adaptation of play “Black Orfeu” wins 1st prize at Cannes Film Festival (soundtrack by Luis Bonfá and Antônio Carlos Jobim and includes compositions by Morães) 1962 “Jazz Samba” released in April on Verve by Stan Getz and Charlie Byrd*** 1962 Carnegie Hall Bossa Nova concert: Miltinho Banana, Luiz Bonfá, Ico Castro-Neves, Oscar Castro-Neves, Carmen Costa, Chico Feitosa, Stan Getz, João Gilberto, Antônio Carlos Jobim, Ana Lucia, Carlos Lyra, Gary McFarland, Sérgio Mendes, Roberto Menescal, José Paulo, Roberto Ponte, Sérgio Ricardo, Normando Santos, Agostinho dos Santos Lalo Schifrin, Bola Sete, Percy Wilcox, and Caetano Zama, etc. -
Saxophone Journal As I Write This Column the Preseason College
s I write this column the preseason college football poll is (bass), Nick Stabluas (drums) and George Syran (piano). If Aout. For some reason Nebraska is not in the top ten and for no other reason you should by this CD recording for the this must be an oversight. Anyhow, this seemed like the perfect tracks Black Cherry Fritters and Cream De Funk. These two backdrop for discussing my favorite saxophone combination, tunes burn with a freshness that is more meaningful today the duo. than when they were first recorded. I highly recommend this I love jazz saxophone recordings, but something extra special recording for young alto players who need direction in regards seems to happen when you pair two talented musicians and put to sound. them in the moment. Somehow the constraints of the recording process (choosing songs, marketing, packaging concerns, etc.) go 9 by the wayside and the true natural of creativity and perhaps, Conversation With Warne (Criss Cross Jazz) competition come to the fore. Many younger people are not aware of this duo, let alone Born in the backroom jam sessions on the 930s and 40s the Warne Marsh. If they have heard this pair it is usually in the saxophone duo was often presented in the form of a saxophone form of their Warner Brothers album titled Apogee, which as battle. Legend has it that the great Coleman Hawkins used to produced by the Steely Dan pair of Donald Fagen and Walter travel from town to town asserting his superiority in the jam Becker. As good as that album (LP) was, I feel this re-released sessions that he used to frequent. -
Boston Symphony Orchestra Concert Programs, Summer, 1993
HnnaiRsasau ^BSBU nrnvmnB; - ' J|MHii«paKKiiBaiia^ff^«lijii|ifiieiiipK«Hpi«^P; laiittHiiBaiiaePiHiiriin ')bj" ^•5^;'i; , i^: Tools ofExcellence \ In every discipline, outstanding performance springs from the combination of skill, vision and commitment. As a technology leader, GE Plastics is dedicated to the development of advanced materials: engineering thermoplastics, silicones, superabrasives and circuit board substrates. Like the lively arts that thrive in this inspiring environment, we enrich life's quality through creative excellence. GE Plastics *• * ,9is*"^' '^. Jazz At Tanglewood Thursday, Friday, Saturday, and Sunday September 2, 3, 4, and 5, 1993 Tanglewood, Lenox, Massachusetts Thursday, September 2, at 8:30 p.m. GERRY MULLIGAN QUARTET Theatre-Concert Hall Friday, September 3, at 7:30 p.m. TONY BENNETT with THE COUNT BASIL ORCHESTRA Koussevitzky Music Shed Saturday, September 4 at 4:30 p.m. RUSSELL MALONE QUARTET Theatre-Concert Hall at 7:30 p.m. A TRIO OF JAZZ TRIOS' HERBIE HANCOCK TRIO MARIAN McPARTLAND TRIO JOHN PIZZARELLI TRIO Koussevitzky Music Shed Sunday, September 5 at 4 :30 p.m. TS. MONK, JR., QUINTET Theatre-Concert Hall at 7:30 p.m. THE LINCOLN CENTER JAZZ ORCHESTRA RAMSEY LEWIS QUINTET Koussevitzky Music Shed ilm' <*^>>. .T*** ARTISTS Gerry Mulligan formed in 1960, he toured North America and Europe and recorded five albums for Saxophonist, Verve Records. In 1968 he performed as composer, ar- soloist on the Cincinnati Symphony's re- ranger, and cording of Dave Brubeck's oratorio The conductor Gerry Light in the Wilderness. Mr. Mulligan commis- Mulligan has sioned a saxophone concerto from Amer- played an impor- ican composer Frank Proto; the work was tant role in the premiered by the Cincinnati Symphony in history of mod- 1973.