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Robert GADEN: Slim GAILLARD
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN -
23. Other Major Players
23. Other Major Players s the 21st century began, a small army of jazz "Woody never told us in advance what tunes we would artists from Cleveland were making their marks play," said Fedchock, "but the band would know what A on world jazz stages. Perhaps never before had the upcoming number was after a couple ofwords ofthe so many excellent musicians from Cleveland received little rap he gave the audience." such widespread recognition simultaneously. After touring with the Herman Herd for a couple of In addition to Joe Lovano, Jim Hall and Ken years, Fedchock wrote his first arrangement for the Peplowski, there were many world class musicians from band, a tune called "Fried Buzzard." Cleveland playing and recording. Some traveled In 1985, when Woody was doing a small group tour, extensively; others remained in their hometown and Fedchock returned to Eastman and fmished up his made Cleveland their base of operations. masters. Here is a closer look at some of them: Five months later, he returned to the Herman Orchestra and became Herman's music director and an John Fedchock arranger. He did 16 or 17 charts for the band. Looking In 1974, when Woody back, Fedchock said, "Woody didn't like to do the old Herman and his Orchestra stuff." were in Cleveland for a series In a radio interview, Herman said, "We try to find of performances, they went new material and try to find things that are reasonably to Mayfield High School on new and different. I think that I would have lost interest Wilson Mills Road to playa a long, long time ago if I had been very stylized and concert and conduct a clinic. -
JVVWL VOL.6 B5 24P.Indd
Jazz Vintage Vinyl Want List Vol.6 BLUE NOTE, PRESTIGE, RIVERSIDE +MERCURY/ CLEF/NORGRAN/VERVE BLUE NOTE 1500番台 MILES DAVIS MILES DAVIS THE JAZZ MESSENGERS THE JAZZ MESSENGERS Vol. 1 Vol. 2 At The Cafe Bohemia, Vol. 1 At The Cafe Bohemia, Vol. 2 （BLP1501／LEX／DG／FLAT／額縁） （BLP1502／LEX／DG／FLAT／額縁） （BLP1507／LEX／DG／FLAT／額縁） （BLP1508／LEX／DG／FLAT／額縁） 買取 買取 買取 買取 価格 ¥50,000 10%UP→ ¥55,000 価格 ¥50,000 10%UP→ ¥55,000 価格 ¥30,000 10%UP→ ¥33,000 価格 ¥30,000 10%UP→ ¥33,000 THELONIOUS MONK THELONIOUS MONK THAD JONES JUTTA HIPP Genius Of Modern Music, Genius Of Modern Music, Detroit-New York Junction At The Hickory House, Vol. 1 Vol. 1 Vol. 2 （BLP1513／LEX／DG／FLAT／額縁） （BLP1515／LEX／DG／FLAT／額縁） （BLP1510／LEX／DG／FLAT／額縁） （BLP1511／LEX／DG／FLAT／額縁） 買取 買取 買取 買取 価格 ¥25,000 10%UP→ ¥27,500 価格 ¥35,000 10%UP→ ¥38,500 価格 ¥70,000 10%UP→ ¥77,000 価格 ¥70,000 10%UP→ ¥77,000 JUTTA HIPP HORACE SILVER HERBIE NICHOLS ART BLAKEY At The Hickory House, Vol. 2 And The Jazz Messengers Trio A Night At Birdland Vol.1 （BLP1516／LEX／DG／FLAT） （BLP1518／LEX／DG／FLAT／額縁） （BLP1519／LEX／DG／FLAT／額縁） （BLP1521／LEX／DG／FLAT／額縁） 買取 買取 買取 買取 価格 ¥80,000 10%UP→ ¥88,000 価格 ¥25,000 10%UP→ ¥27,500 価格 ¥30,000 10%UP→ ¥33,000 価格 ¥40,000 10%UP→ ¥44,000 ART BLAKEY KENNY BURRELL KENNY DORHAM CLIFFORD BROWN A Night At Birdland Vol.2 Introducing Round About Midnight At The Memorial Album （BLP1522／LEX／DG／FLAT／額縁） （BLP1523／LEX／DG／FLAT／額縁） Cafe Bohemia （BLP1526／LEX／DG／FLAT／額縁） （BLP1524／LEX／DG／FLAT／額縁） 買取 買取 買取 買取 価格 ¥40,000 10%UP→ ¥44,000 価格 ¥50,000 10%UP→ ¥55,000 価格 ¥100,000 10%UP→ ¥110,000 価格 ¥80,000 10%UP→ ¥88,000 -
2009 Faber Catalog.Pdf
BRITISH PRINTED MUSIC PUBLISHER OF THE YEAR 2004, 2005, 2006, 2007 & 2008 About Us Faber Music Inc was founded in 1965, for the also includes a wealth of high-quality publications principal purpose of publishing the music of meeting the needs of musicians in professional, Benjamin Britten. It now enjoys a world-wide teaching and recreational environments. reputation as one of the leading independent British publishers of classical, contemporary, Faber Music’s rapidly growing media division educational, media and popular music. represents outstanding composers of music for film and television, and through its subsidiary Alongside repertory works by Vaughan Williams, Rights Worldwide Ltd offers a specialist service Holst, Britten and Arnold, its performance catalog of copyright administration to media composers features one of the most notable and envied lists and production companies. of “house” composers including Oliver Knussen, Jonathan Harvey, George Benjamin and Thomas In 2005, Faber Music bought International Music Adès. Faber Music handles the concert works Publications (the European arm of Warner Bros. of Paul McCartney, the Christmas classic ‘The Publications) and has added a large roster of Snowman’ by Howard Blake, important music names to its popular music list. In Europe, Faber theatre works such as Andrew Lloyd Webber’s represents such groups as Arctic Monkeys, Cats, and Carl Davis’s renowned scores for great Queen, Nirvana, Aerosmith and Radiohead, films of the silent era. It has also developed, and solo artists such as George Michael, Amy with a strategy founded on quality, integrity and Winehouse, Michael Buble, Kate Bush and James creativity, a superb educational music programme Blunt. -
Blue Note Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963
Discography Of The Blue Note Label Blue Note was started in New York City in 1938 by Alfred W. Lion. Blue Note recorded jazz only. The following history of the Blue Note record label is from the Blue Note Website (bluenote.com). “In 1925, 16-year old Alfred Lion noticed a concert poster for Sam Wooding's orchestra near his favorite ice-skating arena in his native Berlin, Germany. He'd heard many of his mother's jazz records and began to take an interest in the music, but that night his life was changed. The impact of what he heard live touched a deep passion within him. His thirst for the music temporarily brought him to New York in 1928 where he worked on the docks and slept in Central Park to get closer to the music. On December 23, 1938, Lion attended the celebrated Spirituals to Swing concert at Carnegie Hall. The power, soul and beauty with which boogie woogie piano masters Albert Ammons and Meade Lux Lewis rocked the stage gripped him. Exactly two weeks later, on January 6 at 2 in the afternoon, he brought them into a New York studio to make some recordings. They took turns at the one piano, recording four solos each before relinquishing the bench to the other man. The long session ended with two stunning duets. Blue Note Records was finally a reality. The label's first brochure in May of 1939 carried a statement of purpose that Lion rarely strayed from throughout the many styles and years during which he built one of the greatest jazz record companies in the world. -
VINYL JAZZ 2011 08 20.Xls 20/08/2011 1/72
Artist Title Units Media Price € Origin Statuscode Label Genre Release Eancode Aaron, Robert 7-Saddest Kiss 1 12in 15 € Nld Hswee Jaz 8/04/2010 3700426912716 Aaron, Robert 7-Saddest Kiss 1 12in 16 € Eu V Hstar Jaz 12/04/2010 3700426912716 Aaron, Robert Trouble Man 1 Lp 24 € Nld Hswee Jaz 23/12/2010 3700426915663 Aaron, Robert Trouble Man 2 Lp 27 € Eu Hstar Jaz 22/10/2010 3700426915663 Abdulmalik, Ahmed East Meets West-180gr- 1 Lp 19 € Usa A Rca Jaz 1/07/2009 9990710030095 Abdulmalik, Ahmed Music of Ahmed Abdul-Mali 1 Lp 18 € Usa Newja Jaz 30/07/2000 9990910052163 Abdul-Malik, Ahmed Music of 1 Lp 22 € Usa Hihor Jaz 1/11/2011 0725543324917 Abdul-Malik, Ahmed Sounds of Africa 1 Lp 18 € Usa Newja Jaz 31/07/2000 9999108941203 Abeleen, Staffan Perspolis -Ltd- 1 Lp 48 € Jpn Drago Jaz 12/12/2007 4988005493477 Abercrombie, John Animato 1 Lp 23 € Nld Ecm Jaz 22/01/2009 0042284177917 Abercrombie, John Works 1 Lp 18 € Nld Ecm Jaz 22/01/2009 0042283727519 Abrams, Josh Natural Information 1 Lp 30 € Usa V Eremi Jaz 7/09/2010 Abrunhosa, Pedro Longe 1 Lp 31 € Eu V Rasti Jaz 31/12/2099 5609330120423 Abstract Truth Silver Trees 1 Lp 51 € Nld Shadk Jaz 29/01/2009 9991501099307 Abstract Truth Totum 1 Lp 48 € Nld Shadk Jaz 29/01/2009 9991501099314 Achenza, Paolo -Trio- Ombre 2 Lp 24 € Eu Sche Jaz 28/02/1997 8018344113012 Acid Birds Acid Birds 1 Lp 26 € Nld Qbico Jaz 27/11/2008 9991410014507 Acid Birds Ii 1 Lp 28 € Nld D Sagit Jaz 3/03/2011 2090503544376 Acid Birds Iii 1 Lp 23 € Nld B.Rai Jaz 21/07/2011 2090503603264 Adams, Pepper Plays Charlie Mingus 1 Lp 45 € Eu Jazwo Jaz 26/07/2010 8427328230186 Adams, Pepper & Jimmy Kne The Pepper-Knepper Quinte 1 Lp 29 € Eu Jw Jaz 21/01/2010 8427328230032 Adasiewicz, Jason Rolldown 1 Lp 23 € Usa 482 Jaz 9/09/2008 0650594105812 Adderley, Cannoball In San Francisco -Hq- 1 Lp 21 € Nld Waxti Jaz 24/09/2010 8436028697014 Adderley, Cannonball Cannonball Adderley In. -
Hearing on Impact of Rt. 78 Meets a Hostile Environment Meeting Wos Flooding
An Official Newspaper For The Borough Of Mountainside : NJ., THURSDAY.JANUARY IT. Hearing on impact of Rt. 78 meets a hostile environment meeting wos flooding. Township Com- flooding and the municipal official suggested "If your plan will have,adverse effect* on BYBOBL1BKIND flooding, I'll ask for court action," Representatives from the New Jersey mitteeman Robert Wellchck chastised the that litigation may be needed in, the future if the transportation department for causing newest section of the highway causes similar Springfield Committeeman Nat Stokes wai Department of Transportation were confronted just as upset as Weltchek by what he said were with a concerned, confused and sometimes "irreparable damage to Springfield" through problems. flooding with sections of the highway now "You're taking retention basins away from past failures by the transportation department hostile audience at a special hearing on the Rt. in highway construction. 78 Environmental Impact Statement draft held, under construction. The township was awarded us," said WeltchekV referring to the loss of two Tuesday night in Springfield's municipal; $180,000 in damages by the courts for that" ponds planned to make room for the highway. (Centlnuid on piat 101 building. About 100 Springfield,' Mountainside • •• ond Summit residents attended the three-hour] *•* • •• session sponsored by the Springfield Town6.hi#r COmmittee. The purpose, of the mooting was to solicit comments and questions from local citizens on U.S. agency labels Rt. 78 the • highway—project through—SpringfieW— Summit, Mountainside and Berkeley Heights. CORNERSTONES SALVAGED — A goping hole arid a pile of bricks mork the spot of the "We will not solve all the problems caused by 1958 cornerstone of the old Mountainside Gospel Chapel on Rt. -
Japanjapan Asas Theythey Sawsaw Itit
JapanJapan AsAs TheyThey SawSaw ItIt TomTom GallyGally Introduction.....................................................................................................................5 Japan.................................................................................................................................7 Arrivals..................................................................................................................................8 Land.....................................................................................................................................30 Climate.................................................................................................................................33 Street scenes........................................................................................................................36 Countryside........................................................................................................................46 Smells...................................................................................................................................50 Metaobservations...............................................................................................................52 People.............................................................................................................................58 Appearance.........................................................................................................................59 Character.............................................................................................................................63 -
ARCHITECT and ENGINEER
«Ari FRAflCiSM nsiHi \n '' sailABY kf ^-jf* ^>^' M^^ ,i V E ARCHITECT and ENGINEER POSED CIVIC CENTER FOR LOS ANGELES HOW TAN PLASTIC MADE THIS Mq Office. Dr. S. N. Weil, Rodeo, Calij. Architects: Hertzka & Knoules San Francisco IMPE RVI O U TO MOISTUR Nothing short of perfection would do in building this modern struc- ture. Scientifically designed to reflect the dignity and character of the profession it represents, it must also meet its exacting demands in every detail of construction. For the concrete and stucco work, Golden Gate TAN PLASTIC was specified and used, assuring lasting protection against dampness and moisture. In addition, its plasticity and pleasing tan color assure smooth, attractive surfaces . .permanently. No structure is up-to-date that absorbs moisture and lets in damp- ness. Assure this modern protection for your projects by always specifying TAN PLASTIC, the basically waterproof Portland Ce- ment. Used right it will never fail you. Sold by Building Material Dealers for STUCCO POOLS MONOLITHIC CONCRETE BASEMENTS ^tASTIB free folder ti MORTAR This tells how to use TAN f] CAST STONE PLASTIC to get best results. PACIFIC PORTLAND CEMENT COMPA The Architect ^^^ Engineer VOLUME 124 NUMBER 1 JANUARY 19 3 6 COVER REFLECTING POOL, ADMINISTRATION CENTER FOR LOS ANGELES Proposed by William Lee Woollett, Architect FRONTISPIECE TERRACES AND GARDENS, ADMINISTRATION CENTER, LOS ANGELES Proposed by William Lee Woollett. Architect TEXT ADMINISTRATION CENTER FOR LOS ANGELES . II Wm. Hamilton TWO LOW COST MEDICO-DENTAL OFFICE BUILDINGS . 17 Frederick W. Jones ARCHITECTURE AT THE NATION'S CAPITOL 27 Katherlne Stanley Brown THE SAN FRANCISCO MINT 33 A WORLDS FAIR ON SAN FRANCISCO BAY 34 PRIZE AWARD HOUSE 37 BUILDING MODERNIZATION 39 DOME ROOF ELIMINATES COLUMNS AND TRUSSES .. -
Del III Blå Musikk Med Blue Note – # III.2
Blå musikk med Blue Note – # III.1 Johan Hauknes salt peanuts* & Oslo Jazz Circle 14. januar 2020 salt-peanuts.eu Åtti deilige år med Blue Note You just have to play better for Blue Note! Del III Blå musikk med Blue Note – # III.2 III. 4000 Modern Jazz (4001-4382) – 1958/59–1972 Blå musikk med Blue Note – # III.3 Hva skjer inn mot 1960-tallet? Rudy Van Gelder nytt studio i Englewood Cliffs, NJ, mellom 1. og 20. juli 1959! IraBlue Gitler Note:beskrev det ny studioet: «In the high-domed, wooden-beamed, brick-tiled, spare modernity of Rudy Van Gelder's Reid Miles designet de aller fleste i denne delen studio, one can get a feeling akin to religion!» “soul jazz” og “funk jazz” Stilmessig: Nye stemmer: Hardbopen på vei ut Freddie Hubbard, Herbie Hancock, Grant Green, Wayne Shorter, Stanley Turrentine, Joe Henderson, Ny jazz, neo-bopLarry Young, & beyondTony Williams, 1964-66 Andrew Hill, Eric Dolphy Fri-formig og spirituell jazz blir “tidens melodi” Blue Note-familien blomstrer videre Horace Silver, Jackie McLean, Hank Mobley, Lee Morgan, Lou Donaldson og (drum roll) Art Blakey and the Jazz Messengers! Mot 1970 blir Blue Note mindre relevant for moderne jazz! Blå musikk med Blue Note – # III.4 Gamle kjemper vokser fortsatt: Blå musikk med Blue Note – # III.5 BLP 4003 Art Blakey and the Jazz Messengers – Moanin' /1958 Lee Morgan, trumpet; Benny Golson, tenor sax; Bobby Timmons, piano; Jymie Merritt, bass; Art Blakey, drums Van Gelder Studio, Hackensack, NJ, October 30, 1958 Moanin' (Bobby Timmons) Art Blakey and the Jazz -
With Ease a 5-Step Approach
WELCOME TO MIX GREENS WITH EASE A 5-STEP APPROACH Excerpt from my forthcoming book: I Just Want to Paint! Easily Mix the Colors You Want © Carol A. McIntyre. All Rights Reserved 1 “Greens are so hard to mix!” It’s a lament I hear often from painters. You don’t like the greens that come out of tubes and you don’t like the mixtures that result from sincere attempts of mixing blue and yellow. This e-book Mix Greens with Ease: A 5-Step Approach, will release you from this color mixing frustration. Soon you will love to mix green no matter what your medium is. Sentinels on the Pond, 36x 24 oil, ©Carol A. McIntyre Notice the variety of greens in this painting. © Carol A. McIntyre. All Rights Reserved 2 Why are greens difficult to mix? Here are some possible reasons: • Like candy, tubes of paint are irresistible. There are many tubes of green available. The overwhelming choices available in the art material candy store makes it diicult to buy paint with color conidence. I remember being frustrated after buying several greens and none of them worked for me because they look so un-natural. • Green appears nearly everywhere in our environments. Hence, we expect it to be easy to mix. • Seeing the subtle diferences in a landscape of multiple greens is not easy. • There is little instruction available on mixing green that can be applied immediately. • There is an on-going debate: I hale from the latter school of thought. You are not alone, even Kermit bemoans the challenges of being green, yet ultimately surmises that green is beautiful! Can you mix Kermit’s green? You will be able to if you follow the steps I outline. -
Swing in Early Funk and Jazz-Funk (1967-1971): Micro-Rhythmic and Macro-Structural Investigations
Swing in early Funk and Jazz-Funk (1967-1971): Micro-rhythmic and Macro-structural investigations Guilherme S. Câmara A Thesis Presented to The Department of Musicology University of Oslo in Partial Fulfillment of the Requirements for the MA Degree Spring 2016 Swing in early Funk and Jazz-Funk (1967-1971): Micro-rhythmic and Macro-structural investigations Guilherme S. Câmara © Guilherme S. Câmara 2016 Swing in early Funk and Jazz-Funk (1967-1971): Micro-rhythmic and Macro-structural investigations Guilherme S. Câmara http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo Contents Abstract .............................................................................................................................................. vii Acknowledgements ........................................................................................................................... viii 1 Introduction .................................................................................................................................. 1 1.1 Swingin’ Funk Grooves? .................................................................................................................... 1 1.2 Research questions ............................................................................................................................. 2 1.3 Theory and Methods ........................................................................................................................... 3 1.4 Historical Connections - Funk and Jazz ............................................................................................