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MTO 11.4: Spicer, Review of the Beatles As Musicians
Volume 11, Number 4, October 2005 Copyright © 2005 Society for Music Theory Mark Spicer Received October 2005 [1] As I thought about how best to begin this review, an article by David Fricke in the latest issue of Rolling Stone caught my attention.(1) Entitled “Beatles Maniacs,” the article tells the tale of the Fab Faux, a New York-based Beatles tribute group— founded in 1998 by Will Lee (longtime bassist for Paul Schaffer’s CBS Orchestra on the Late Show With David Letterman)—that has quickly risen to become “the most-accomplished band in the Beatles-cover business.” By painstakingly learning their respective parts note-by-note from the original studio recordings, the Fab Faux to date have mastered and performed live “160 of the 211 songs in the official canon.”(2) Lee likens his group’s approach to performing the Beatles to “the way classical musicians start a chamber orchestra to play Mozart . as perfectly as we can.” As the Faux’s drummer Rich Pagano puts it, “[t]his is the greatest music ever written, and we’re such freaks for it.” [2] It’s been over thirty-five years since the real Fab Four called it quits, and the group is now down to two surviving members, yet somehow the Beatles remain as popular as ever. Hardly a month goes by, it seems, without something new and Beatle-related appearing in the mass media to remind us of just how important this group has been, and continues to be, in shaping our postmodern world. For example, as I write this, the current issue of TV Guide (August 14–20, 2005) is a “special tribute” issue commemorating the fortieth anniversary of the Beatles’ sold-out performance at New York’s Shea Stadium on August 15, 1965—a concert which, as the magazine notes, marked the “dawning of a new era for rock music” where “[v]ast outdoor shows would become the superstar standard.”(3) The cover of my copy—one of four covers for this week’s issue, each featuring a different Beatle—boasts a photograph of Paul McCartney onstage at the Shea concert, his famous Höfner “violin” bass gripped in one hand as he waves to the crowd with the other. -
Miles Davis the Last Word
MILES DAVIS THE LAST WORD MILES DAVIS THE LAST WORD MILES DAVIS THE LAST WORD - MILES DAVIS ON WARNER BROTHERS (Rhino/Warner Brothers Jazz, Unreleased) RARE COLLECTORS SERIES RCS-084/87 Originally slated for release August 2002, Rhino pulled The Last Word from rotation stating: "We deeply regret the fact that we will not be releasing [the box set] on August 20," David Dorn, VP of Media Relations for Warner Strategic Marketing, told ICE. "Our commitment has always MILES DAVIS THE LAST WORD been to offer consumers the best possible audio and video products for the best possible value. Due to developing circumstances beyond our control, we felt that this box set would not, in its finished form, meet our standards, or the standards our customers expect from our products." (ICE, July 30,2002). What the hell is that all about? You hold in your hands a copy of the promo sent out to the press and to retailers. MILES DAVIS THE LAST WORD Trade Freely. Not For Sale. DISC 1 1. Tutu 05:13 (a) a) Capitol Recording Studio, Los Angeles, USA, 11. Februar 1986 2. Tomaas 05:35 (b) Miles Davis (tp); Marcus Miller (el-b); Paulinho DaCosta (perc) 3. Portia 06:16 (c) b) Clinton Recording Studio, New York City, USA, März 1986 4. Splatch 04:42 (d) Miles Davis (tp); Bernard Wright (synth); Marcus Miller (el-b); Omar Hakim (perc) 5. Backyard Ritual 04:47 (e) c) Clinton Recording Studio, New York City, USA, 13. Februar 1986 6. Perfect Way 04:32 (b) Miles Davis (tp); Marcus Miller (el-b); Paulinho Da Costa (perc) 7. -
For Immediate Release
FOR IMMEDIATE RELEASE June 15, 2010 Contact: Joyce Evans San Jose Jazz Office: 408-288-7557 x2310 [email protected] SAN JOSE JAZZ ANNOUNCES ARTISTS FOR 21ST AT&T SAN JOSE JAZZ FESTIVAL Silicon Valley's Premier Summer Event Brings All-Star International Lineup to Downtown San Jose, August 13-15, 2010 San Jose, CA – San Jose Jazz today announced the artist roster for the upcoming AT&T San Jose Jazz Festival. Held the second weekend in August, this year's line up has an international flavor coupled with a diverse lineup that will please lovers of all genres of music. Past festivals have drawn over 100,000 people from Silicon Valley, California, and across the United States. "San Jose is becoming a world-class, international city and this edition of the jazz festival mirrors that growth from a regional event to one that is gaining recognition and fame across the globe," said Geoff Roach, CEO of San Jose Jazz. "As jazz continues to evolve into many different formats and forms, the goal of the festival is to embrace and showcase the artists driving the art form. We seek to present music not only from internationally known artists but also from the world-class talent that exists here in the Bay Area." Festival highlights include: Standards Updated - Modern takes on the classic jazz repertoire John Handy John is a consummate world musician and teacher who’s devoted his life to using music to elevate the human spirit. His soulful and fiery saxophone style is instantly recognizable to generations of jazz fans world-wide. -
Shawn Phillips: Ignored Talent? by Albert Salerno out the ‘70S and ‘80S, and He Never Acoustic Trio, and Occasionally with a Collins
JANUARY 2000 discoveries 39 Shawn Phillips: Ignored Talent? by Albert Salerno out the ‘70s and ‘80s, and he never acoustic trio, and occasionally with a Collins. Like Phillips, Collins had been Since the mid–1960s, when he began scored the hit single which might have 7–piece band. When he’s not on the consciously moving away from folk as veering away from folk music, Shawn helped him expand his audience. But road, Phillips lives with his wife in she began using rock and neo–classical Phillips’ music has been nearly impos- certain of Shawn’s albums were popu- Austin, Texas, where he serves as a orchestral arrangements. Her record- sible to categorize. Is he a progressive lar in the midwestern and southern part–time volunteer firefighter and cer- ing of Joni Mitchell’s “Both Sides Now” folk–rocker, a protest singer, or a United States, on the West Coast, Cana- tified emergency technician. was given a straight–ahead pop treat- singer of orchestrated pop? da, and South Africa. During the 1970s, he tended to be ment, became a Top 10 single, and Perhaps “singer of art songs” is Phillips’ voice has always been his overshadowed by fellow ex–folkies like introduced her to a mass audience in more accurate. Yet each of these trademark – hear him once, and you’ll James Taylor, Paul Simon, Neil Young, 1968. Had Shawn’s “progressive pop” descriptions could be justified by lis- usually recognize him again. His 35 Jackson Browne, and Joni Mitchell. songs reached those listeners who were tening to a scattering of tunes on any year career has been fraught with bad Some of these performers lacked embracing Collins, he might have of his Best Of compilations, and every management, lack of promotion, tax Shawn’s vocal gifts, but due to other enjoyed a similar crossover success. -
SBCC Music with Michael Mcdonald at the Lobero Theatre – a Special Benefit Concert to Support SBCC Music
FOR IMMEDIATE RELEASE September 7, 2018 Contact: Jennifer LeMay Director of Marketing and Communications SBCC Foundation (805) 730-4409 [email protected] SBCC Music with Michael McDonald at the Lobero Theatre – A Special Benefit Concert to Support SBCC Music Santa Barbara, CA – The SBCC Foundation is excited to present a groundbreaking benefit concert at the Lobero Theatre on Wednesday, October 10, 2018 at 7:00 p.m. that will showcase the amazing talents of SBCC Music students and faculty along with special guest Michael McDonald. SBCC’s award-winning Lunch Break Jazz Band directed by Jim Mooy will present an exciting tribute to Ray Charles. The SBCC New World Jazz Ensemble directed by Tony Ybarra will accompany Michael McDonald in a tribute to Steely Dan’s classic album Aja, along with other songs from his illustrious career. The concert will also feature Tess Erskine, a Nashville-based singer-songwriter who is an alumna of the SBCC Songwriting class. The concert is expected to sell out. A limited number of VIP tickets are available that include a reception where attendees will meet and greet with Michael McDonald and SBCC musicians. "Few members of our community realize the incredible talents that reside within SBCC's music program. This will be an extraordinary opportunity to hear them perform live alongside a renowned Grammy- winning artist. We are so grateful to Michael McDonald for his generosity. All of the performers are donating their time and talents for this special evening," says Geoff Green, CEO for the SBCC Foundation. Tickets are on sale now and range from $45 to $60, with VIP tickets available for $125. -
Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin -
SSJW 2022 Brochure
SMOOTHJAZZ.COM GLOBAL Founder/President SANDY SHORE is expanding her exhilarating 4-day Jazz Weekender gathering with its collaborative music sets and improvisational performances, to a full week on board Travel + Leisure’s #1 pick for the most luxurious mid-size ship on the seas, the m/s Paul Gauguin! Some of the world’s greatest musicians and recording artists will sail with you for 7 days & nights in the South Pacific’s French Polynesia. An exotic adventure, floating in the French Polynesia around the Society Islands, from Papeete to Moorea and Bora Bora… Sun drenched days, and jazz filled nights! limited to 300 passengers! SAIL THE SOUTH PACIFIC WITH MUSIC ROYALTY NATHAN EAST [Host / Bassist] Yamaha Artist, bassist, producer and songwriter, Nathan has collaborated with hundreds of iconic artists in his illustrious career, from Phil Collins and Kenny Loggins to Eric Clapton and Anita Baker. With more than 2,000 recordings, he is considered one of the most recorded bass players in the history of music, which is why we call him the ‘Host with the Most’! STEPHEN FERRONE [Drummer] Celebrated English drummer known for his work with Tom Petty and the Heartbreakers from 1994 to 2017. He was also part of the classic lineup of the Average White Band in the 1970s and keeps the beat for great company including Dire Straits, Stevie Nicks, Chaka Khan, Duran Duran, Eric Clapton and of course Nathan’s Band of Brothers band! GREG PHILLINGANES [Keyboardist] A prolific session & touring musician, this Emmy-winning musical director, keyboardist, singer-songwriter, and composer has contributed to numerous iconic recordings over his illustrious career. -
TOTO Bio (PDF)
TOTO Bio Few ensembles in the history of recorded music have individually or collectively had a larger imprint on pop culture than the members of TOTO. As individuals, the band members’ imprint can be heard on an astonishing 5000 albums that together amass a sales history of a HALF A BILLION albums. Amongst these recordings, NARAS applauded the performances with 225 Grammy nominations. Band members were South Park characters, while Family Guy did an entire episode on the band's hit "Africa." As a band, TOTO sold 35 million albums, and today continue to be a worldwide arena draw staging standing room only events across the globe. They are pop culture, and are one of the few 70s bands that have endured the changing trends and styles, and 35 years in to a career enjoy a multi-generational fan base. It is not an exaggeration to estimate that 95% of the world's population has heard a performance by a member of TOTO. The list of those they individually collaborated with reads like a who's who of Rock & Roll Hall of Famers, alongside the biggest names in music. The band took a page from their heroes The Beatles playbook and created a collective that features multiple singers, songwriters, producers, and multi-instrumentalists. Guitarist Steve Lukather aka Luke has performed on 2000 albums, with artists across the musical spectrum that include Michael Jackson, Roger Waters, Miles Davis, Joe Satriani, Steve Vai, Rod Stewart, Jeff Beck, Don Henley, Alice Cooper, Cheap Trick and many more. His solo career encompasses a catalog of ten albums and multiple DVDs that collectively encompass sales exceeding 500,000 copies. -
UNIVERSAL MUSIC • Paul Mccartney – New • Mary J Blige – a Mary
Paul McCartney – New Mary J Blige – A Mary Christmas Luciano Pavarotti – The 50 Greatest Tracks New Releases From Classics And Jazz Inside!!! And more… UNI13-42 “Our assets on-line” UNIVERSAL MUSIC 2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 Artwork shown may not be final UNIVERSAL MUSIC CANADA NEW RELEASE Artist/Title: KATY PERRY / PRISM Bar Code: Cat. #: B001921602 Price Code: SPS Order Due: Release Date: October 22, 2013 File: POP Genre Code: 33 Box Lot: 6 02537 53232 2 Key Tracks: ROAR ROAR Artist/Title: KATY PERRY / PRISM (DELUXE) Bar Code: Cat. #: B001921502 Price Code: AV Order Due: October 22, 2013 Release Date: October 22, 2013 6 02537 53233 9 File: POP Genre Code: 33 Box Lot: Key Tracks: ROAR Artist/Title: KATY PERRY / PRISM (VINYL) Bar Code: Cat. #: B001921401 Price Code: FB Order Due: October 22, 2013 Release Date: October 22, 2013 6 02537 53234 6 File: POP Genre Code: 33 Box Lot: Key Tracks: Vinyl is one way sale ROAR Project Overview: With global sales of over 10 million albums and 71 million digital singles, Katy Perry returns with her third studio album for Capitol Records: PRISM. Katy’s previous release garnered 8 #1 singles from one album (TEENAGE DREAM). She also holds the title for the longest stay in the Top Ten of Billboard’s Hot 100 – 66 weeks – shattering a 20‐year record. Katy Perry is the most‐followed female artist on Twitter, and has the second‐largest Twitter account in the world, with over 41 million followers. -
“I Felt a Kind of Sweet Giddiness When I Met Mingus.”
LONDON a MEMPHIS a EL PORTAL APRIL 2016 Issue 269 FEATURES 40 TRACEY THORN TheEverythingButTheGirl singer speaks to Andrew Male aboutthehighsandlowsoflife as an indie icon, and her new career as an acclaimed author. 46 FIELD MUSIC After12yearsofDIYjazz-pop- soul,andaheartyendorsement fromPrince,istheworldfinally ready for the Brewis Brothers? Ben Myers find out. 50 DAVE DAVIES TheyoungestKinkbrother takesMarkPaytressona journeyintohisremarkable musicalpast,andapresent world of psychic magick and extraterrestrials. 58 MICHAEL CHAPMAN Celebrating 50 years on the road, the hard-as-nails Yorkshire singer-songwriter givesBenThompsonamusical survival masterclass. 62 JONI MITCHELL Howdida’60sacousticfolkicon reinvent herself and confound her critics in the 1970s? David Frickewatchesthechanges. COVER STORY 70 IGGY POP On the eveofhisfarewellfrommusic, Mr James Osterberg speaks to KeithCameronabout50years on the rock’n’roll front line. Plus: Swan-song collaborators Josh Homme, Matt Helders andDeanFertitadiscussthe method and madness of Iggy old and new. “I felt a kind of sweet giddiness whenImetMingus.” JONIMITCHELLLOOKSBACKONTHE LIBERATIONOFHERJAZZYEARS.P62 Henry Diltz MOJO 3 Desert blooms: Joni Mitchell takes the air outside Las Vegas, Nevada, May 1978. MOJO 63 AN DOWN THE BLOCK OUTSIDE THE BAKED POTATO ON TUESDAY 3. Named after the main dish on the menu, the small, venerable Los Angeles jazz d by pianist Don Randi in 1970 – hosted a popular residency by a combo of top, ers who also happened to be among the busiest session musicians in town. The r, saxophonist Tom Scott, made records with John Coltrane’s producer Bob Thiele ing business in TV and movie scores. But the other cats were his equals in resumé. Sample was a founding member of hard-bop-turned-R&B stars The Crusaders; Bennett grew up in the bebop era and worked with singers Peggy Lee and Ella ummer John Guerin played with Thelonious Monk, Lou Rawls and Linda Ronstadt late line-up of The Byrds. -
Yellowjackets Cohearence
YELLOWJACKETS COHEARENCE An outgrowth of L.A. Express guitarist Robben Ford’s band founded in 1977, the Yellowjackets came to full buzzing flight four years later with its debut eponymous jazz-funk album, a salient introduction to a new-styled electric fusion of jazz and R&B—a modern take on Weather Report, if you will—for the post Return to Forever/Headhunters decade. The band was an immediate and controversial hit at the time when the jazz pendulum was beginning to swing back in the acoustic direction. Some skeptics didn’t give the Yellowjackets a chance to survive, but here it is 35 years later—hardly trailing the segmented 40-year longevity of MJQ—and the group stretches its impressive longevity by continuing to evolve artistically with its third Mack Avenue Records recording, Cohearence. With two founding members—pianist/keyboardist Russell Ferrante and drummer Will Kennedy—and its longtime reeds player Bob Mintzer (a Jacket since 1990) and a brand-new virtuoso electric bassist, Australia-born Dane Alderson, the Yellowjackets cover a range of jazz flavors, including a rousing Weather Report jazz fusion vibe, a swinging switch-up on John Coltrane’s “Giant Steps,” a moving rendition of a folk song classic, a funky soul-jazz excursion and a chamber jazz-like grace in the album end-song, “Coherence.” With its pockets of halcyon, buoyance, mystery, tumult and whimsy, Cohearence plays out as a multifaceted documentation of how far the once fusion band has come. “There’s a lot of gratitude,” Ferrante says of the band’s 35th birthday. -
Guitar Channel)
RENEGADE CREATION Michael Landau (Guitar); Robben Ford (Guitar); Jimmy Haslip (Bass); Gary Novak (Drums) Renegade Creation is the new record by veteran musical giants, Michael Landau, Robben Ford, Jimmy Haslip and Gary Novak. Blending together to create a blues-driven sound that not only will satisfy their individual fans but is fresh enough to attract a legion of new fans as well. Delivering bothrootsy, blues/rock vocal tunes and fiery instrumentals, the band draws on the unique guitar interplay between guitar giants Robben Ford and Michael Landau who inspire each other to new personal bests. Review Renegade Creation (Blues Bureau International - a division of Shrapnel Records) is a thinking man's blues rock album featuring a dream-team of four top shelf musicians - Michael Landau (guitar), Robben Ford (guitar), Jimmy Haslip (bass) and Gary Novak (drums). Though this is the first time the four have recorded an album together, it's not as though there's no history between these players. Ford and Haslip go back to the pre-Yellowjackets days, Landau has played with Ford many times (including a late-70s west coast tour that included Haslip), both Landau and Ford have used Novak on various tours and recordings, you get the idea. Some of you may envision "west coast jazz" when you think of these musicians, but what they've done here is far removed from that scene. Renegade Creation is a guitar-driven, predominantly vocal rock album, with a heavy emphasis on blues; more akin to Ford and Landau's vocal recordings than any manner of jazz or fusion.