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QUASIMODE: Ike QUEBEC
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ QUASIMODE: "Oneself-Likeness" Yusuke Hirado -p,el p; Kazuhiro Sunaga -b; Takashi Okutsu -d; Takahiro Matsuoka -perc; Mamoru Yonemura -ts; Mitshuharu Fukuyama -tp; Yoshio Iwamoto -ts; Tomoyoshi Nakamura -ss; Yoshiyuki Takuma -vib; recorded 2005 to 2006 in Japan 99555 DOWN IN THE VILLAGE 6.30 99556 GIANT BLACK SHADOW 5.39 99557 1000 DAY SPIRIT 7.02 99558 LUCKY LUCIANO 7.15 99559 IPE AMARELO 6.46 99560 SKELETON COAST 6.34 99561 FEELIN' GREEN 5.33 99562 ONESELF-LIKENESS 5.58 99563 GET THE FACT - OUTRO 1.48 ------------------------------------------ Ike QUEBEC: "The Complete Blue Note Forties Recordings (Mosaic 107)" Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Milt Hinton -b; J.C. Heard -d; recorded July 18, 1944 in New York 34147 TINY'S EXERCISE 3.35 Blue Note 6507 37805 BLUE HARLEM 4.33 Blue Note 37 37806 INDIANA 3.55 Blue Note 38 39479 SHE'S FUNNY THAT WAY 4.22 --- 39480 INDIANA 3.53 Blue Note 6507 39481 BLUE HARLEM 4.42 Blue Note 544 40053 TINY'S EXERCISE 3.36 Blue Note 37 Jonah Jones -tp; Tyree Glenn -tb; Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Oscar Pettiford -b; J.C. Heard -d; recorded September 25, 1944 in New York 37810 IF I HAD YOU 3.21 Blue Note 510 37812 MAD ABOUT YOU 4.11 Blue Note 42 39482 HARD TACK 3.00 Blue Note 510 39483 --- 3.00 prev. unissued 39484 FACIN' THE FACE 3.48 --- 39485 --- 4.08 Blue Note 42 Ike Quebec -ts; Napoleon Allen -g; Dave Rivera -p; Milt Hinton -b; J.C. -
JAZZIZ-Metheny-Interviews.Pdf
Pat Metheny www.jazziz.com JAZZIZ Subscription Ad Lage.pdf 1 3/21/18 10:32 AM Pat Metheny Covered Though I was a Pat Metheny fan for nearly a decade before I special edition, so go ahead and make fun if you please). launched JAZZIZ in 1983, it was his concert, at an outdoor band In 1985, we published a cover story that included Metheny, shell on the University of Florida campus, less than a year but the feature was about the growing use of guitar synthesizers before, that got me to focus on the magazine’s mission. in jazz, and we ran a photo of John McLaughlin on the cover. As a music reviewer for several publications in the late Strike two. The first JAZZIZ cover that featured Pat ran a few ’70s and early ’80s, I was in touch with ECM, the label for years later, when he recorded Song X with Ornette Coleman. whom Metheny recorded. It was ECM that sent me the press When the time came to design the cover, only photos of Metheny credentials that allowed me to go backstage to interview alone worked, and Pat was unhappy with that because he felt Metheny after the show. By then, Metheny had recorded Ornette should have shared the spotlight. Strike three. C around 10 LPs with various instrumental lineups: solo guitar, A few years later, I commissioned Rolling Stone M duo work with Lyles Mays on the chart-topping As Wichita Fall, photographer Deborah Feingold to do a Metheny shoot for a Y So Falls Wichita Falls, trio, larger ensembles and of course his Pat cover story that would delve into his latest album at the time. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
1 Partituur Ain't
Xerocopie Accordeon rythm : fox-swing accordeon / [comp.] L. Hamelryck ; [comp.] J. Roberts. — Bruxelles : Tempo. — 1 partituur Amakue / [bew.] David Bee. — 1 partituur. — Samen met EPA ; samen met Daar waar mijn dorpje ligt ; Autograaf Artesis-KC: MM–MICHP–HAMEL-accorde-1 Artesis-KC: MM–MICHP–BEE-amakue-1 Ain't it queer? Fox trot / [comp.] Gus Deloof ; [comp.] Eddie Tower ; Wm. Fountain. — Brussels : International Music Amberes 1961 / [comp.] Jack Sels. — 1 partituur (12 p.). — Company. — 1 partituur. — Tekst incipit: Love and all it's Autograaf doings. — Uitg. nr./Pl. nr. I.M.C.576 Artesis-KC: MM–MICHP–SELS-amberes-1 Artesis-KC: MM–MICHP–DELOO-aintitq-1 Xerocopie Amberes 1961 : portret of my city : modern concerto for chamber orchestre woodwinds & strings / [comp.] Jack Sels. — Alabama mamma (Oh! I miss my Alabama mamma!) / 1 partituur (24 p.). — Autograaf [comp.] Peter Packay ; R. Bayfield Evans. — Brussels : Artesis-KC: MM–MICHP–SELS-amberes-1 International Music Company, 1929. — 1 partituur (4 p.). — Xerocopie Tekst incipit: I'm weary sad and dreary. — Uitg. nr./Pl. nr. I.M.C.325 Amour cannibale / [comp.] David Bee. — 1 partituur. — Artesis-KC: MM–MICHP–PACKA-alabama-1 Autograaf ; tekst incipit: Assez taresse caresse moi. — Uitg. Xerocopie nr./Pl. nr. Roland Kluger Music 4/83 Artesis-KC: MM–MICHP–BEE-amourca-1 Allahabad / [comp.] David Bee ; [comp.] Peter Packay. — 1 partituur (21 p.). — Autograaf ; jaar van compositie: 1959 Amour et jazz : fox trot / [comp.] Gus Deloof ; William Artesis-KC: MM–MICHP–BEE-allahab-1 Fountain. — Brussels : International Music Company, 1931. — 1 partituur (3 p.). — Samen met Tha-ma-ra-boum-di-he´ ; tekst Allahabad : fox-trot / [comp.] David Bee ; [comp.] Peter incipit: Il etait´ un' clarinette Packay. -
ŞEHRİN CAZ HALİ 3-19 Kasım 2017
ŞEHRİN CAZ HALİ www.akbankcaz.com 3-19 Kasım 2017 ŞEHRIN CAZ HALI AKBANK JAZZ FESTIVAL AKBANK CAZ FESTIVALI ECHOING ACROSS TURKEY 27. KEZ ISTANBUL’DA FOR THE PAST 27 YEARS Şehirde özgürce dolaşmak gibidir caz: Jazz is like walking around the city freely: Önce bilmediğiniz bir sokakta kaybolur, At first you get lost in a street you don't know. sonra her gün ama her gün o sokağı arar Then you look for that street every single day. durursunuz. Fark etmeden sizi kendine çeker. It draws you in. 27. Akbank Caz Festivali başlıyor. 27. Akbank Jazz Festival is starting. Cazın çekimine kapılıp şehrin caz halini We hope that you get in the attraction of Jazz keşfetmeniz dileğiyle. and you discover the jazz version of the city. 3 FESTIVAL PROGRAMI FESTIVAL PROGRAM FESTIVAL PROGRAMI FESTIVAL PROGRAM THE SEED ZORLU PERFORMANS SANATLARI MERKEZI, DRAMA SAHNESI ZORLU PERFORMING ARTS CENTER, DRAMA STAGE 03 Kasım Cuma November 03 Friday 20:30 Vanessa Rubin & Trio 06 Kasım Pazartesi November 06 Monday 20:30 Wolfgang Muthspiel Trio 07 Kasım Salı November 07 Tuesday 20:30 Christian Scott VOLKSWAGEN ARENA 11 Kasım Cumartesi November 11 Saturday 21:00 Bonobo (Live) CEMAL REŞIT REY KONSER SALONU CEMAL REŞIT REY CONCERT HALL CADDEBOSTAN KÜLTÜR MERKEZI 12 Kasım Pazar November 12 Sunday 18:00 Amina Figarova Sextet CADDEBOSTAN CULTURE CENTER 12 Kasım Pazar November 12 Sunday 20:30 Chucho Valdés and Gonzalo Rubalcaba (100%) Trance (75%) 14 Kasım Salı November 14 Tuesday 20:30 TRT İstanbul Hafif Müzik ve Caz Orkestrası & Sibel Köse 15 Kasım Çarşamba November 15 Wednesday 20:30 Emir Ersoy Quartera feat. -
Het Gouden Tijdperk Van De Belgische Jazz 1920 –1950 (OK)
Het gouden tijdperk van de Belgische jazz 1920 –1950 (OK) De Pré-jazz : de Ragtime Om het allemaal te verduidelijken moeten wij eerst terugkeren bij het begin : de ragtime. Dit w s de eerste geschreven Afro-Amerikaanse muziek van rond de jaren 1900. Deze muziek werd ontwikkeld door zwarte of Creoolse muzikanten die een klassieke opleiding hadden genoten. De ragtime had een typische opbouw van contrasterende delen , zoals bij een rondo of een liedvorm in de klassieke muziek. Toch klonk deze muziek ook in bars en gelegenheden die minder deftig golden, Er is dus geen improvisatie en eigenlijk geen swing. De onbetwistbare koning van de ragtime was Scott Joplin die meer dan 600 composities schreef, met daarbij een ragtime-opera. Hierbij een voorbeeld van een van die composities die rond 1900 ingespeeld werden op mechanische piano. CD : EXTRA Ragtime op mechanische piano (op geponste – papieren- rol), door de creoolse componist Scott Joplin (1868-1917) nr 1 Euphonic sounds 2,50 Van Jass naar Jazz (Original Dixieland Jazz Band) De eerste Amerikaanse jazzbands waren eigenlijk ragtime -orkesten die interpretaties brachten van piano-ragtimes. Die ragtimes werden eerst bewerkt voor salonorkest. De ragtime-orkesten brachten daarop hun versie op straat , maar niet alle muikanten konden muziek lezen . Het gevolg was dat ze wel het begin van elk theme meespeelden en de rest zo maar “uit de klak” speelden. Dat waren dus nog geen echte improvisaties maar collectieve variaties die ze speelden. Voor de echte improvisatie zullen we nog moeten wachten totdat Louis Armstrong als mischien de eerste het voorbeeld zal geven met zijn optredens als solist op trompet. -
(As) Fud Candrix (Ts) Coco Colignon (P) Cam Marchand (B) Armand Dralandts (D) Brussels, Early 1937 Mathusalem (The Oldest Swinger in Harlem) Sdd Acetate
FUD CANDRIX (Belgian) Roger Doneux (tp) Bobby Naret (cl) Jo Magis (as) Fud Candrix (ts) Coco Colignon (p) Cam Marchand (b) Armand Dralandts (d) Brussels, early 1937 Mathusalem (The oldest swinger in Harlem) SdD Acetate Fud Candrix et son Orchestre : Georges Clais, Roger Doneux (tp) Nick Frérar (tb) Jo Magis, Bobby Naret (as,cl) Fud Candrix (ts) Coco Colignon (p) Reggie Denys (g) Cam Marchand (b) Armand Dralandts (d) Wally Sluyzer (vcl) Brussels, November 25, 1937 22610 Cross country hop Tel A2377 22611 Nagasaki (ws vcl) - 22612 Cotton picker's congregation A2378 22613 Love is in the air tonight (ws vcl) - 22614 52nd Street (ws vcl) A2379 22615 Lullaby to a lamp post - Brussels, January 21, 1938 22801 After all these years (ws vcl) Tel A2446, Bob (B)BS51 22802 Midnite in Harlem A2444, Historical H649, Bob (B) BS51 22803 Swing serenade (ws vcl) Tel A2444, Bob (B)BS18, CD16 22804 The donkey serenade (ws vcl) A2447 22805 Lover come back to me A2445 22806 The folks who live up in the hill (wd vcl) A2449 Brussels, February 2, 1938 22807 All you want to do is dance (ws vcl) Tel A2445 22808 Time signal A2448, Bob (B)BS33, CD16 22809 The snake charmer - , (B)BS19, - 22810 Corrine, Corrina (ws vcl) A2446, (B)BS51, CD2 22811 Always (ws vcl) A2453, Historical H649, Bob (B) BS18, CD16 22820 You've got to take your pick and swing (ws vcl) Tel A2447, Bob (B)BS47 22821 O sole mio A2449, - Tony Young (rn. Jongenelen) (vcl) Gaston Backaert (g) replace Sluyzer and Denys Blankenberge, June 27, 1938 23278 Washington squabble Tel A2661, 622390 23279 Vilja lied A2613 23280 So many memories (ty vcl) A2612 23281 Sugar foot stomp A2661, - , Bob (B)BS51 23282 Something to sing about A2612 23283 I've found a new baby (1) A2614, Bob (B)BS13, CD16 Note : (1) Fud Candrix (vln) solo on this title. -
Non-Isochronous Meter: a Study of Cross-Cultural Practices, Analytic Technique, and Implications for Jazz Pedagogy
NON-ISOCHRONOUS METER: A STUDY OF CROSS-CULTURAL PRACTICES, ANALYTIC TECHNIQUE, AND IMPLICATIONS FOR JAZZ PEDAGOGY JORDAN P. SAULL A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO December 2014 © Jordan Saull, 2014 ABSTRACT This dissertation examines the use of non-isochronous (NI) meters in jazz compositional and performative practices (meters as comprised of cycles of a prime number [e.g., 5, 7, 11] or uneven divisions of non-prime cycles [e.g., 9 divided as 2+2+2+3]). The explorative meter practices of jazz, while constituting a central role in the construction of its own identity, remains curiously absent from jazz scholarship. The conjunct research broadly examines NI meters and the various processes/strategies and systems utilized in historical and current jazz composition and performance practices. While a considerable amount of NI meter composers have advertantly drawn from the metric practices of non-Western music traditions, the potential for utilizing insights gleaned from contemporary music-theoretical discussions of meter have yet to fully emerge as a complimentary and/or organizational schemata within jazz pedagogy and discourse. This paper seeks to address this divide, but not before an accurate picture of historical meter practice is assessed, largely as a means for contextualizing developments within historical and contemporary practice and discourse. The dissertation presents a chronology of explorative meter developments in jazz, firstly, by tracing compositional output, and secondly, by establishing the relevant sources within conjunct periods of development i.e., scholarly works, relative academic developments, and tractable world music sources. -
Grant Green: an Analysis of the Blue Note Guitaristâ•Žs Musical
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2018 Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary Teague Stefan Bechtel Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Bechtel, Teague Stefan, "Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary" (2018). Dissertations. 479. https://digscholarship.unco.edu/dissertations/479 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2018 TEAGUE STEFAN BECHTEL ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School GRANT GREEN: AN ANALYSIS OF THE BLUE NOTE GUITARIST’S MUSICAL VOCABULARY A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Teague Stefan Bechtel College of Performing and Visual Arts School of Music Jazz Studies May 2018 This Dissertation by: Teague Stefan Bechtel Entitled: Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary has been approved as meeting the requirements for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies. Accepted by the Doctoral Committee Steven G. Kovalcheck, M.M., Research Advisor H. David Caffey, M.M., Co-Research Advisor Socrates Garcia, D.A., Committee Member Mary Schuttler, Ph.D., Faculty Representative Date of Dissertation Defense________________________________________________ Accepted by the Graduate School _________________________________________________ Linda L. -
The Finest in Belgian Jazz (FR)
THE FINEST IN BELGIAN JAZZ Jempi Samyn & Sim Simons Colophon Auteurs : Jempi Samyn & Sim Simons Traduction française : Philippe Schoonbrood (portraits) et Alias Languages Sprl (historique du jazz belge) Photographie : Jan Vernieuwe, Jacky Lepage, Jos Knaepen Design : Folio, Marijke Deweerdt Imprimerie : Walleyn graphics Brugge Depot légal : D/2002/9668/3 ISBN 90-807 378-3-6 Photos : Archives De Werf Collection Robert Pernet Jos Knaepen Jacky Lepage Jan Vernieuwe VRT Le livre ‘The Finest in Belgian Jazz’ est une publication de : © De Werf, 2002, Brugge Werfstraat 108, 8000 Brugge Tel. +32 50-33 05 29 e-mail : [email protected] Une initiative du Werf dans le cadre de Brugge 2002, Capitale culturelle de l’Europe Avec la collaboration de : Brugge 2002, Capitale culturelle de l’Europe - Het Muziekcentrum Vlaanderen - Wallonie-Bruxelles Musiques Tous droits de réproduction, y compris par la photocopie, de traduction; et d’adaptation, réservés pour tous pays. Contenu Préface 5 Toots Thielemans 6 Historique du jazz belge 15 Introduction 16 Précisions 17 Little Belgium ? 18 L’amateur 20 Clubs et opportunités 21 Les médias 22 Aujourd’hui 24 Les cédés 24 La suite… 25 La décennie (élargie) 26 Le Django d’Or 27 Projets 28 Une haute conjoncture qui repose sur du solide 29 Les origines 30 La préhistoire : ménestrel, ragtime et John-Philip Sousa 30 ‘Europe’ et le jazz arrive en Europe 32 Louis Mitchell, Félix Faecq et Robert Goffin 32 Entre-temps… 33 Le swing et les big-bands 35 Stan Brenders 35 Fud Candrix 35 Jean Omer 36 Quelques autres musiciensi 36 Les -
The Jazz Rag
THE JAZZ RAG ISSUE 132 SUMMER 2014 UK £3.25 LAURA MVULA AT BRECON JAZZ CONTENTS BRECON JAZZ FESTIVAL (PAGE 14) ACCLAIMED SINGER/SONGWRITER LAURA MVULA IS ONLY ONE OF THE STARS OF THE FESTIVAL. ARTIST-IN-RESIDENCE HUW WARREN TALKS ABOUT 30 YEARS OF BRECON. 4. NEWS 5. UPCOMING EVENTS 8. 10 OVERLOOKED JAZZ GREATS 10. RED HOT PEPPER 12. COMPETITIONS/LETTER 13. PROPAGANDA SWING SUBSCRIBE TO THE JAZZ RAG 16. SOUTHPORT WINTER JAZZ THE NEXT SIX EDITIONS MAILED 17. LITHUANIA'S SINGER OF THE YEAR DIRECT TO YOUR DOOR FOR ONLY £17.50* 18. FRESH SOUND OF BARCELONA Simply send us your name. address and postcode along with your 20. CD REVIEWS payment and we’ll commence the service from the next issue. OTHER SUBSCRIPTION RATES: 30. BOOK REVIEWS EU £20.50 USA, CANADA, AUSTRALIA £24.50 Cheques / Postal orders payable to BIG BEAR MUSIC 32. BEGINNING TO CD LIGHT Please send to: JAZZ RAG SUBSCRIPTIONS PO BOX 944 | Birmingham | England 34. LIVE REVIEWS * to any UK address THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 30 YEARS OF BIRMINGHAM JAZZ FESTIVAL Fax: 0121 454 9996 This year is the 30th Birmingham International Jazz and Blues Festival. That sounds an Email: [email protected] impressive enough number in terms of years, but how about 5498 performances? Web: www.jazzrag.com That’s the figure the statisticians at BIJBF have come up with for Birmingham 1985- 2013, so make that 5499 by adding in the inaugural M&B Jam Session (Humphrey Publisher / editor: Jim Simpson Lyttelton (right), Digby Fairweather et al.) in Cannon Hill Park in 1984. -
Music \(1924\2261939\): a History of Belgium\222S First Jazz Journal
Music (1924–1939): A History of Belgium’s First Jazz Journal http://www.crj-online.org/v7/CRJ-BelgiumJazzJournal.php Home > V7 > Music (1924–1939): A History of Belgium’s First Jazz Journal Music (1924–1939): A History of Belgium’s First Jazz Journal Matthias Heyman Introduction Belgium’s fascinating jazz history is something of a paradox in that it is little known locally or externally, yet it is filled with unique events—such as the creation of one of the world’s first hot clubs devoted to jazz (in 1932)—and significant proponents, some of whom were among the most highly regarded musicians on the European jazz scene in the 1920s and 1930s. But rather than survey the early history of jazz in Belgium and its performers, I will introduce the Belgian jazz journal Music (1924–1939) along with its creator, Félix-Robert Faecq (1901–1992), as it is an ideal way to explore some of the nation’s key figures, policies and perspectives in the era between the two world wars. Other Belgian music magazines existed, but in general they devoted little or no attention to jazz, a topic that was also largely ignored by the general press. As such, Music played an instrumental role in the introduction, reception, and popularization of jazz in Belgium, and at times was even used as a mechanism for achieving specific goals. Despite this periodical’s tremendous importance, it is now nearly forgotten, and unfortunately there are only two complete runs available anywhere, both in Belgian archives. [1] It is hard to assess to what extent lack of access to this magazine has affected how Belgian jazz history has been perceived, but one thing is certain: Music is a vital tool for any serious student of the history of Belgian jazz in its first few decades, a period often neglected in examinations of this nation’s jazz past.