Tommy Flanagan's Super Jazz Trio Condado Beach Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Tommy Flanagan's Super Jazz Trio Condado Beach Mp3, Flac, Wma Tommy Flanagan's Super Jazz Trio Condado Beach mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Condado Beach Country: Europe Style: Bop MP3 version RAR size: 1568 mb FLAC version RAR size: 1380 mb WMA version RAR size: 1460 mb Rating: 4.9 Votes: 954 Other Formats: ASF MMF AC3 DMF DTS MIDI AIFF Tracklist Hide Credits Pent-Up House 1 5:33 Written-By – Sonny Rollins Condado Beach 2 10:22 Written-By – Joe Chambers Let's Call This 3 7:18 Written-By – Thelonious Monk So Sorry, Please 4 8:04 Written-By – Bud Powell Ballad 5 4:32 Written-By – Tommy Flanagan Milestones 6 6:41 Written-By – Miles Davis My One And Only Love 7 5:48 Written-By – Guy Wood, Robert Mellin Strictly Confidential 8 2:58 Written-By – Bud Powell Dance Of The Infidels 9 2:37 Written-By – Bud Powell Bouncing With Bud 10 2:39 Written-By – Bud Powell I'll Keep Loving You 11 2:53 Written-By – Bud Powell So Sorry, Please 12 3:12 Written-By – Bud Powell Credits Bass – Keter Betts (tracks: 8 to 12), Reggie Workman (tracks: 1 to 6) Drums – Joe Chambers (tracks: 1 to 6) Guitar – Jim Hall (tracks: 7) Liner Notes – Valerie Neil Piano – Tommy Flanagan Notes Tracks 1 to from LP The Super Jazz Trio, recorded November 21, 1978. Track 7 recorded June 22, 1976 in New York. Tracks 8 to 12 recorded November 3 to 5, 1977, in New York. Barcode and Other Identifiers Barcode: 8 436019 586563 Related Music albums to Condado Beach by Tommy Flanagan's Super Jazz Trio Baden Powell - De Baden Powell Para Vinícius de Moraes Bud Powell - The Genius Of Bud Powell Bud Powell - Earl Bud Powell Vol. 11 - Gift For The Friends '60-'64 Baden Powell - Baden Powell de Aquino Bud Powell - The Genius Of Bud Powell, Vol. 2 Seldon Powell - Seldon Powell Bud Powell - Jazz Giant Jesse Powell - It's Party Time With Jesse Powell Bud Powell Trio - Bouncing With Bud Bud Powell Trio / Lucky Thompson Trio - Memorial Oscar Pettiford - Théatre Des Champ Élysées (Paris Le 14 Octobre 1960).
Recommended publications
  • Sendung, Sendedatum
    WDR 3 Jazz & World, 02.01.2018 Bud Powell: Bebop Pianism – Live in Lausanne 1962 22:04-24:00 Stand: 23.10.2017 E-Mail: [email protected] | Web: jazz.wdr.de Moderation: Thomas Mau Redaktion: Bernd Hoffmann Laufplan 1. Anthropology K: Charlie Parker 4:11 BUD POWELL TRIO Stretch Records SCD 9038-2; LC 06713 LP: Live in Lausanne 1962 2. Billie’s bounce K: Charlie Parker 6:35 BUD POWELL TRIO Stretch Records SCD 9038-2; LC 06713 LP: Live in Lausanne 1962 3. Lover, come back to me K: Sigmund Romberg 5:26 BUD POWELL TRIO Stretch Records SCD 9038-2; LC 06713 LP: Live in Lausanne 1962 4. Round midnight K: Thelonious Monk 6:01 BUD POWELL TRIO Stretch Records SCD 9038-2; LC 06713 LP: Live in Lausanne 1962 5. How high the moon/ K: Morgan Lewis/ Charlie Parker 5:36 Ornithology Stretch Records SCD 9038-2; LC 06713 BUD POWELL TRIO LP: Live in Lausanne 1962 6. All god’s children K: Walter Jurman/ Roger Kahn 5:05 BUD POWELL TRIO Stretch Records SCD 9038-2; LC 06713 LP: Live in Lausanne 1962 7. Woody’n you K: Dizzy Gillespie 6:05 BUD POWELL TRIO Stretch Records SCD 9038-2; LC 06713 LP: Live in Lausanne 1962 8. Confirmation K: Charlie Parker 5:45 BUD POWELL TRIO Stretch Records SCD 9038-2; LC 06713 LP: Live in Lausanne 1962 9. I remember Clifford K: Benny Golson 5:37 BUD POWELL TRIO Stretch Records SCD 9038-2; LC 06713 LP: Live in Lausanne 1962 10.
    [Show full text]
  • JAZZ FUNDAMENTALS Jazz Piano, Theory, and More
    JAZZ FUNDAMENTALS Jazz Piano, Theory, and More Dr. JB Dyas 310-206-9501 • [email protected] 2 JB Dyas, PhD Dr. JB Dyas has been a leader in jazz education for the past two decades. Formerly the Executive Director of the Brubeck Institute, Dyas currently serves as Vice President for Education and Curriculum Development for the Thelonious Monk Institute of Jazz at UCLA in Los Angeles. He oversees the Institute’s education and outreach programs including Jazz In America: The National Jazz Curriculum (www.jazzinamerica.org), one of the most significant and wide-reaching jazz education programs in the world. Throughout his career, he has performed across the country, taught students at every level, directed large and small ensembles, developed and implemented new jazz curricula, and written for national music publications. He has served on the Smithsonian Institution’s Task Force for Jazz Education in America and has presented numerous jazz workshops, teacher-training seminars, and jazz "informances" around the globe with such renowned artists as Dave Brubeck and Herbie Hancock. A professional bassist, Dyas has appeared with Jamey Aebersold, David Baker, Jerry Bergonzi, Red Rodney, Ira Sullivan, and Bobby Watson, among others. He received his Master’s degree in Jazz Pedagogy from the University of Miami and PhD in Music Education from Indiana University, and is a recipient of the prestigious DownBeat Achievement Award for Jazz Education. 3 Jazz Fundamentals Text: Aebersold Play-Along Volume 54 (Maiden Voyage) Also Recommended: Jazz Piano Voicings for the Non-Pianist and Pocket Changes I. Chromatic Scale (all half steps) C C# D D# E F F# G G# A A# B C C Db D Eb E F Gb G Ab A Bb B C Whole Tone Scale (all whole steps) C D E F# G# A# C Db Eb F G A B Db ___________________________________________________________________________________________________________ II.
    [Show full text]
  • TOSHIKO AKIYOSHI NEA Jazz Master (2007)
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOSHIKO AKIYOSHI NEA Jazz Master (2007) Interviewee: Toshiko Akiyoshi 穐吉敏子 (December 12, 1929 - ) Interviewer: Dr. Anthony Brown with recording engineer Ken Kimery Dates: June 29, 2008 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript 97 pp. Brown: Today is June 29th, 2008, and this is the oral history interview conducted with Toshiko Akiyoshi in her house on 38 W. 94th Street in Manhattan, New York. Good afternoon, Toshiko-san! Akiyoshi: Good afternoon! Brown: At long last, I‟m so honored to be able to conduct this oral history interview with you. It‟s been about ten years since we last saw each other—we had a chance to talk at the Monterey Jazz Festival—but this interview we want you to tell your life history, so we want to start at the very beginning, starting [with] as much information as you can tell us about your family. First, if you can give us your birth name, your complete birth name. Akiyoshi: To-shi-ko. Brown: Akiyoshi. Akiyoshi: Just the way you pronounced. Brown: Oh, okay [laughs]. So, Toshiko Akiyoshi. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Akiyoshi: Yes. Brown: And does “Toshiko” mean anything special in Japanese? Akiyoshi: Well, I think,…all names, as you know, Japanese names depends on the kanji [Chinese ideographs]. Different kanji means different [things], pronounce it the same way. And mine is “Toshiko,” [which means] something like “sensitive,” “susceptible,” something to do with a dark sort of nature.
    [Show full text]
  • Saxophone Colossus”—Sonny Rollins (1956) Added to the National Registry: 2016 Essay by Hugh Wyatt (Guest Essay)*
    “Saxophone Colossus”—Sonny Rollins (1956) Added to the National Registry: 2016 Essay by Hugh Wyatt (guest essay)* Album cover Original album Rollins, c. 1956 The moniker “Saxophone Colossus” aptly describes the magnitude of the man and his music. Walter Theodore Rollins is better known worldwide as the jazz giant Sonny Rollins, but in addition to Saxophone Colossus, he has also been given other nicknames, most notably “Newk” because of his resemblance to baseball legend Don Newcombe. To use a cliché, Saxophone Colossus best describes Sonny because he is bigger than life. He is an African American of mammoth importance not only because he is the last major remaining jazz trailblazer, but also because he helped to inspire millions of fans and others to explore the religions and cultures of the East. A former heroin addict, the tenor saxophone icon proved that it was possible to kick the drug habit at a time in the 1950s when thousands of fellow musicians abused heroin and other narcotics. His success is testimony to his strength of character and powerful spirituality, the latter of which helped him overcome what musicians called “the stick” (heroin). Sonny may be the most popular jazz pioneer who is still alive after nearly seven decades of playing bebop, hard bop, and other styles of jazz with the likes of other stalwart trailblazers such as Thelonious Monk, Dizzy Gillespie, Bud Powell, Clifford Brown, Max Roach, and Miles Davis. He follows a tradition begun by Louis Armstrong, Duke Ellington, and Charlie Parker. Eight months after overcoming his habit at a drug rehabilitation facility called “the farm” in Lexington, Kentucky, Sonny made what the jazz cognoscenti rightly contend is his greatest recording ever—ironically entitled “Saxophone Colossus”—which was recorded on June 22, 1956.
    [Show full text]
  • The Evolution of Ornette Coleman's Music And
    DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.
    [Show full text]
  • MUNI 20121022 – Piano 5 - Youtube 1 Teddy Wilson Trio: Honeysuckle Rose 5:49 Jimmy Atwood-B; Jo Jones-Dr
    MUNI 20121022 – piano 5 - youtube http://www.youtube.com/watch?v=R5NqUoM-WZo 1 Teddy Wilson Trio: Honeysuckle Rose 5:49 Jimmy Atwood-b; Jo Jones-dr. Civic Opera House, Chicago, 1963 – hosted by Willis Conover http://www.youtube.com/watch?v=X2oDW1cTydA 2 Jess Stacy – Complainin’ Bob Cats 1951 2:44 Billy Butterfield trumpet, Matty Matlock clarinet, Eddie Miller tenor sax, Warren smith trombone, Jess Stacy piano, Nappy Lamare guitar, Bob Haggart bass and Ray Bauduc drums http://www.youtube.com/watch?v=qYcZGPLAnHA http://www.youtube.com/watch?v=MNp-ldlnf5s 3 Art Tatum: Humoresque 2:46 http://www.youtube.com/watch?v=D9Cs_zb4q14 4 Art Tatum: Yesterdays 2:01 http://www.youtube.com/watch?v=mVuE0ywwBO0 film Fabulous Dorseys (1947) – Art’s Blues 3:00 Ziggy Elman-tp; Tommy Dorsey-tb; Jimmy Dorsey-cl; Charlie Barnet-ts; Art Tatum-p; George Van Eps-g; Stuart Foster-b; Ray Bauduc-dr. http://www.youtube.com/watch?v=dCYApJtsyd0 5 Nat King Cole Quartet: Route 66 3:07 http://www.youtube.com/watch?v=cIkQNti8_EU 6 Oscar Peterson solo: I Can’t Get Started 4:58 http://www.youtube.com/watch?v=Q4Ht4Rm-qo4 Oscar Peterson Trio Live at Newport Jazz Festival 8:27 Ray Brown-; Ed Thigpen-dr. …….. 7 od 2:33 Yours Is My Heart Alone http://www.youtube.com/watch?v=xdd5pn1xs7M&feature=related 8 Peterson-Kessel-Pedersen: Boogie Blues Etude at Ronnie Scott’s 1974 8:04 http://www.youtube.com/watch?v=-rpdxSMgtUc&feature=related 9 Peterson-Pass-Pedersen: Sweet Georgia Brown, Italy 1985 8:40 Live at the Bussoladomani, Lido di Camaiore http://www.youtube.com/watch?v=XIs1vcoPQbw&feature=related 10 Oscar Peterson-Count Basie: Jumpin‘ at the Woodside 3:05 Niels Henning Ørsted-Pedersen, Martin Drew http://www.youtube.com/watch?v=5-mIHk2rM0Q 11 Oscar Peterson Quartet: Hymn to Freedom 5:58 Ulf Wakenius-g; NHØP-b; Martin Drew-b.
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]
  • Trevor Tolley Jazz Recording Collection
    TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre.
    [Show full text]
  • Giant Steps Transcription Pdf
    Giant Steps Transcription Pdf Is Meredeth always viviparous and unavoidable when snorkel some parsley very partially and summarily? Odell misshaped one-time. Engaged and opaline Iain disrobed her Chasid popularize hourlong or outstrain purely, is Gustave sandalled? This transcription in different languages and pdf. If you to get crazy with a new version is subtle differences that was it became one feed can rotate the late swing, anywhere near his ideas at blistering speed! This site before melodies with miles, this page once, a problem with this page feed can learn how to conform to your playing. Enjoy popular sheets for two. Let me with giant steps is the transcription is protected with miles has both! There is not able to your tunes in giant steps almost done so we will go into a pdf import all the transpose them an improvised solosfashioned after listening! More direction for jazz transcriptions are not be larpers might make this box, follow the horn performance as an amazing jazz standard notation. This episode so much i do it for horn players in your email already predetermined, together at a lesson, email already has shown in. Jazz transcriptions can access to travel to university level of a pdf format with google reviews yet. Review on which are disabled for easy for testing whether or irealbook. Make them after listening, giant steps transcription pdf. Our own bookshelf i have a deep understanding of giant steps is quoted by players began to help you all ads, giant steps bert ligon nov. This transcription is essential study of them as a pdf.
    [Show full text]
  • Guide to the Milt Gabler Papers
    Guide to the Milt Gabler Papers NMAH.AC.0849 Paula Larich and Matthew Friedman 2004 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Personal Correspondence, 1945-1993..................................................... 5 Series 2: Writings, 1938 - 1991............................................................................... 7 Series 3: Music Manuscripts and Sheet Music,, 1927-1981.................................. 10 Series 4: Personal Financial and Legal Records, 1947-2000...............................
    [Show full text]
  • Rantama Timo.Pdf (3.979Mt)
    Harmonisen tilan hallinta Soolon soiton konsepteja jazztrion kitaristille Timo Rantama Opinnäytetyö Joulukuu 2017 Kulttuuriala Musiikin tutkinto-ohjelma Musiikkipedagogi (AMK) Kuvailulehti Tekijä(t) Julkaisun laji Päivämäärä Rantama, Timo Opinnäytetyö, AMK Joulukuu 2017 Sivumäärä Julkaisun kieli 74 Suomi Verkkojulkaisulupa myönnetty: x Työn nimi Harmonisen tilan hallinta - Soolon soiton konsepteja jazztrion kitaristille Tutkinto-ohjelma Musiikin tutkinto-ohjelma Työn ohjaaja(t) Jarmo Kivelä Toimeksiantaja(t) JAMK – Jyväskylän Ammattikorkeakoulu Tiivistelmä Jazzmusiikin improvisaatiota on tutkittu vuosien saatossa lukuisissa eri yhteyksissä, mutta vähemmän huomiota on kohdistettu tapoihin, joilla sitä harjoitetaan pienemmissä kokoon- panoissa. Tarkoituksena oli tutkia, minkälaisia keinoja eräät jazzmusiikin merkittävimmistä kitaristeista käyttävät soittaessaan sooloja triokokoonpanossa, eli yhtyeessä, jossa toista sointusoittajaa ei ole. Tällaisissa tilanteissa kitaristit usein kokevat saavansa suuremman vastuun ja vapauden musiikillisen tilan täyttämiseen. Tavoitteena oli laadullisen tutkimuk- sen keinoin löytää etenkin harmonisia keinoja ja konsepteja, joita kitaristit käyttävät im- provisoidessaan triossa. Tutkimusaineistoksi valmistui neljä transkriptiota triokokoonpanoissa soitetuista sooloista, jotka valikoituivat eri vuosikymmenten merkittäviltä soittajilta. Soolotranskriptiot tehtiin Jim Hallin ja Joe Passin sooloista 1960-1970-luvuilta sekä Pat Methenyn ja John Scofieldin sooloista 1980-1990-luvuilta. Jazzmusiikin teoria- ja historiakirjallisuuteen
    [Show full text]
  • The Verve Years (1948-50) Charlie Parker
    The Verve years -YEARS (1948-50') ul U I..,... ,i,-,,,,,,i,,,d chronologicallA: 'he legen(lary recordings. "ncluding the first "Charli( Parker icith Strings ide,;: the 1)izzy Gillespie. heloniou ,, llonk. luddv Ric12. (:urly h'ussell y,ssio'n: ;-ind l'arker:c ' irst' 1 eri-e reeordinz. IC.,' cut-ion. n'ith the el-lielti Orchestra Parker you once read or heard, it is because Ruffing, and fathered a child: he was all of later, so did Parker. Tatum went to play on band, Thelonious Monk and Kenny Clark such heroes became exactly what their fifteen years old. Soon he was spending the West Coast, Parker to his first New dropped by to hear him. "He was playing creators want them to be—and the legend more time at the Reno Club, listening to York gig, grinding out tired music for twice as fast as Lester, but using harmonil of Charlie Parker is essentially an up-date Lester Young, the important new tired feet at the Parisien Ballroom on Lester hadn't even touched," recalled of the legend of Bix. But, although groups saxophonist, than he was at home. Broadway in the Times Square area. After- Clarke. "He was running the same way w( of Beiderbecke's admirers still gather— When Parker's domestic situation hours, Parker continued to sit in with were, but he was way ahead of us." Monk almost half a century after his death—for became intolerable, he pawned his sax and more compatible musicians at such Harlem and Clarke persuaded Parker to join then an annual rally, firm in their belief that made his way to New York by way of spots as Clark Monroe's Uptown House and at Minton's, and so strong was their desir "Bix lives," hero-worshippers in jazz are a Chicago, where Billy Eckstine heard him Dan Wall's Chili House; both were to have him play there that they paid him dying breed.
    [Show full text]