Jean Shy & the Shy Guys
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The Art of Lyric Improvisation
THE ART OF LYRIC IMPROVISATION A Comparative Study of Two Renowned Jazz Singers ______________________________________________ A thesis in partial fulfilment of the Requirements for the Degree of Masters of Music in the University of Canterbury by S. J. de Jong University of Canterbury 2008 _________________________________________ de Jong i Table of Contents THE ART OF LYRIC IMPROVISATION ........................................................................................................ i Table of Contents ........................................................................................................................................... i Abstract .................................................................................................................................................... iii Introduction ................................................................................................................................................... 1 Chapter 1: Historical and Biographical Overviews ....................................................................................... 5 1.1: Jazz Historical Background ................................................................................................................ 5 1.2: “Sometimes I’m Happy” .................................................................................................................... 6 1.3: Sarah Vaughan .................................................................................................................................. -
Yes, Virginia, Rock and Roll Is Dead, and Flesht<>
Yes, Virginia, Rock and Roll is dead, and Flesht<>nes is its potent spirit. The brain-child of Playhouse of the Ridic:ulous alumni ./ Sterling Blak, (Mario Montez, Taylor Mead, and Charles Ludlahm were his classmates), and fellow avant-gardist Larry Lean, (son of famed L.A. session-man Mel Moore), Fleshtones is Rock and Roll in the boldest of colors; the rightful l:eirs to Professor Longhair and The Velvet Underground ••• the fulfillment of rock's promise of long ago, and a triumph for hard rockers everywhere. Egged on by their bone-crunching bant L, vocalists Blak and Lean bend and twist the musical express:'.on of ecstacy and despair to their most tormented limits. Those to be held personally responsible are fat-1.:at drummer Walt 'twhammy" Douglas (who parlayed a ho-hum bat·:;ing average into one of the most impressive slugging records in ·rock history), power-bassist Marko Roxx (his name tells the tale), ' guitarists Chance Fleeting (who's searing leads ,Uld .relentless rhythms on such instant classics as "Rock and Ro:Ll Hell" and "Bitch Boy" assure his niche in rock's Hall of F:Lame), and Mario David (his solo at the end of the catharti·! masterpiece, "No More", makes it clear once and for all that Jimi and Robin are nice names for girls). But mostly credit is due composer-vocalist Lean ( a high-yellow baby Jean Genet with the voice of Carmen McRae gone mad), and lyricist-vocalist Blak (a tantalizing flash of pure terror guaranteed to drive psycho-drama out of the clos~t with a single blood-freezing scream). -
SONG LIST | Email [email protected] with Questions
RUBY VELLE & THE SOULPHONICS 2017 CURRENT SONG LIST | email [email protected] with questions CURRENT COVERS - In ALPHABETICAL ORDER CURRENT ORIGINALS 1. 25 Miles - Edwin Starr 1. Heartlite 2. A Change Gonna Come - Sam Cooke 2. My Dear 3. Ain’t It Funky Now - James Brown 3. The Man Says 4. Ain’t No Mountain High Enough - M.Gaye/T.Terrell 4. Soul of the Earth 5. Ain’t No Sunshine - Bill Withers 5. Medicine Spoon 6. Am I the Same Girl - Barbara Acklin 6. Longview 7. Baby I Love You- Aretha Franklin 7. Mr. Wrong 8. Baby It’s You - Smith 8. Coming Home to You 9. Bootleg - Booker T. & the MG’s (instrumental) 9. Feet on the Ground 10. Can We Pretend - Bill Withers 10. Looking for a Better Thing 11. Can’t Turn You Loose - Otis Redding 11. The Agenda 12. Chain of Fools- Aretha Franklin 12. Soul of the Earth 13. Champagne & Wine - Otis Redding/ Etta James 13. Its About Time 14. Cold Sweat - James Brown 14. Used Me again 15. Comin’ Home Baby - Mel Torme 15. I Tried 16. Darkness- Tab Benoit 16. Tried on A Smile 17. Fade Into You- Mazzy Star 17. Just Blink 18. Fever- Peggy Lee 18. Close the Book On Us 19. Georgia On My Mind - Ray Charles 19. Broken Women 20. Grab This Thing - The Markeys 20. Call My Name 21. Grapevine- Marvin Gaye/ Gladys Knight 21. Way Back When 22. Groove Me - King Floyd 22. Shackles 23. Hard Times - Baby Huey 23. Lost Lady Usa 24. Hava Nagila- Jewish Traditional Song 24. -
Chicago Was a Key R&B and Blues
By Harry Weinger h e g r e a te st h a r m o n y g r o u p o p ment,” “Pain in My Heart” and original all time, the Dells thrilled au versions of “Oh W hat a Nile” and “Stay diences with their amazing in My Comer.” After the Dells survived vocal interplay, between the a nasty car accident in 1958, their perse gruff, exp lore voice of Mar verance became a trademark. During vin Junior and the keening their early down periods, they carried on high tenor of Johnny Carter, thatwith sweet- innumerable gigs that connected T the dots of postwar black American- homeChicago blend mediated by Mickey McGill and Veme Allison, and music history: schooling from Harvey the talking bass voice from Chuck Fuqua, studio direction from Willie Barksdale. Their style formed the tem Dixon and Quincy Jones, singing back plate for every singing group that came grounds for Dinah Washington and Bar after them. They’ve been recording and bara Lewis (“Hello Stranger”) and tours touring together for more than fifty with Ray Charles. years, with merely one lineup change: A faithful Phil Chess helped the Dells Carter, formerly ©f the Flamingos reinvigorate their career in 1967. By the (t ool Hall of Fame inductees), replaced end of the sixties, they had enough clas Johnny Funches in i960. sics on Cadet/Chess - including “There Patience and camaraderie helped the Is,” “Always Together,” “I Can Sing a Dills stay the course. Starting out in the Rainbow/Love Is Blue” and brilliant Chicago suburb of Harvey, Illinois, in remakes of “Stay in My Comer” and “Oh, 1953, recording for Chess subsidiaries What a Night” (with a slight variation in Checker and Cadet and then Vee-Jay, the its title) - to make them R&B chart leg Dells had attained Hall of Fame merit by ends. -
1962 Monterey Jazz Festival Program Pages Concerning the Real
• • • • • I e, . SUNDAY EVENING, ·SEPT. 23 Early Starling Time al 7:15P.M. Sharp 1. DIZZY GILLESPIE and the Trummy Young MONTEREY BRA.SS Joe Darensbourg Billy Cronk ENSEMBLE Danny Barcelona Joe Morello 2. JEA.NNE LEE and Eugene Wright RA.N BLAKE Entr'acte In keeping with the Monterey Jazz Festival's policy of 4. JEA.NNE LEE and introducing new talent, this unusual duo is making its West coast debut at the Festival. RA.N BLA.KE Entr'acte 3. "THE REA.L A.MBA.SSA.DORS" (excerpts) An original musical production with music and lyrics 5. LOUIS ARMSTRONG by Dave and lola Brubeck, featuring .. • A.ND HIS A.LL-STA.RS Louis Armstron9 With ... Jewel Brown, vocal Carmen McRa, Trum.my Young, trombone and vocal Dave Brubeck Joe Darensbourg, clarinet Lambert, Hendricks and Billy Kyle, piano Bill Cronk, bass Yolande Danny Barcelona, drums with ... And ... Billy Kyle LOUIS ARMSTRONG WORLD PREMIERE OF DAVE AND lOLA BRUBECK'S original musical production ••THE REAL AMBASSADORS~~ starring LOUIS ARMSTRONG CARMEN McRAE DAVE BRUBECK LAMBERT, HENDRICKS & YOLANDE The theme of "The Real Ambassadors" is contained On dosing night of the Monterey Jazz Festival, Sun in the title. Louis Armstrong, Brubeck, Dizzy Gillespie day, September 23 (at 7: 15 p.m. sharp) , one of the - all of whom have made extensive and highly ac most ambitious and unusual programs ever presented claimed overseas tours under the auspices of the U. S. on any festival stage will be given its first public per- Department of State - are the "real ambassadors" formance. · representing America to foreign peoples. -
Sloane Sophisticated Lady
MARCH 2020—iSSue 215 YOUR Free guide To THe NYC JaZZ Scene nycJaZZrecord.COM CAROL SLOANE SOPHISTICATED LADY women in JaZZ Sue iS in memoriam Jimmy Heath kim brandee diedre JUNE clarke younger murray TySon on THe cover ERIC STEPHEN JACOBS / CAROL SLOANE E SOPHISTICATED LADY S J S T U D I by george kanzler O . C O M The mid 20th Century was a golden age for jazz singers, the lyric, because that’s what Carmen taught me. She propensities, was that he knew songs inside-out, chords especially women. Ella Fitzgerald, Sarah Vaughan, said tell the story, feel the tug in the heart.” and lyrics. She remembers when a young saxophonist Carmen McRae, Dinah Washington and a host of others A song she’s sung and recorded multiple times is came to their apartment and asked Rowles to write out were at or close to the zenith of their careers. It must cited as an example. “I’m nuts about ‘Prelude to A the changes to an Ellington ballad for him. “So Jimmy have been an especially daunting time for a young Kiss’,” she says of a song she’s loved since her teen did and then said he was also going to write out the singer to emerge on the scene. That’s just what Carol years. “Duke’s songs challenge you from the get-go, lyrics. And the kid said he didn’t need the lyrics, he Sloane did in her mid 20s, making a splash at the 1961 right there, etched in stone. You don’t have to change wasn’t going to be singing it. -
Biography and Film of His Life
Phil Upchurch 1 A prolific guitarist whose distinctively funky, blues-steeped jazz style has graced well over a thousand recordings across the popular music spectrum, the legendary Phil Upchurch has also recorded 27 albums of his own leadership, as well as movie soundtracks. Jazz enthusiasts love and respect Phil Upchurch for his singular approach to composition. In developing his sound, Phil demonstrates no allegiance to any of his contemporaries and is indisputably one of the best in his field. He goes from classical to jazz to contemporary funk as easy as walking from one room to another. He is also an amazing electric bassist. In honor of Upchurch’s instrumental mastery, D’Angelico Guitars is soon to release a Second Edition of his signature Phil Upchurch Guitar. Adding to his media profile is Phil’s newfound second career as a fresh face for television advertising. Phil's most recent on-camera commercials have been Secured Horizon, "AARP," Tropicana and Verizon Wireless. He also has had, Cameo filmappearances in, “His Eyes Are Watching God” and White Men Can’t Jump” to name a few. Phil Upchurch has been a prominent figure in the blues, soul, R&B and jazz circles for more than 50 years. In addition to his work with the legendary Jimmy Smith, Upchurch has performed and recorded, in the United States and internationally, with some of the music industry’s biggest names. His talents have teamed him with musical legends such as Quincy Jones, Bob Dylan, Julio Iglesias, Ray Charles, Ramsey Lewis, Carmen McRae, George Benson, Donny Hathaway, Chaka Khan, Michael Jackson, Carmen McRae, Marlena Shaw, Eddie Harris, Brother Jack McDuff, Joe Williams, Stan Getz, Cannonball Adderley, Herbie Hancock, Grover Washington, Jr. -
Carmen Mcrae Collection of Musical Arrangements and Other Materials
Carmen McRae Collection of Musical Arrangements and Other Materials Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2013 Revised 2017 February Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu013004 LC Online Catalog record: http://lccn.loc.gov/2012563814 Processed by the Music Division of the Library of Congress Collection Summary Title: Carmen McRae Collection of Musical Arrangements and Other Materials Span Dates: 1931-1993 Bulk Dates: (bulk 1950s-1970s) Call No.: ML31.M32 Creator: McRae, Carmen Extent: approximately 1,000 items ; 47 containers ; 20 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: Carmen Mercedes McRae (1920-1994) was an American jazz vocalist, pianist, composer, and recording artist. The papers chiefly contain musical arrangements and lead sheets for approximately 800 songs. While many of the arrangements include both full scores and parts, the majority are lead sheets or parts used for her small group performances. The papers also include a small amount of correspondence, photographs, song lists, program notes, and promotional materials. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Boland, Francy. Burns, Ralph. Carter, Benny. Clayton, John, 1952- Di Novi, Gene. Holman, Bill. Jones, Jimmy, 1918-1982. Jones, Thad. -
Let's Talk Dusty! the Ultimate Forum for Dusty Springfield Fans
Let's Talk Dusty! The Ultimate Forum for Dusty Springfield Fans http://www.dustyspringfield.org.uk/forum/ Soulful Strut / Am I The Same Girl http://www.dustyspringfield.org.uk/forum/viewtopic.php?f=8&t=4385 Soulful Strut / Am I The Same Girl Page 1 of 1 by jeffery Posted: Mon Nov 12, 2012 7:22 am Somewhere in conversation I've heard that Dusty came up with the lyrics to Soulful Strut making it Am I The Same Girl. But in Paul Howes CDS it is said that Dusty's version was recorded before Barbra Acklin's, but released after that one. And no indication that Dusty penned the lyrics. I'm a little confused, and wonder is there any referance to confirm the song's origin of lyrics to Dusty ? Re: Soulful Strut / Am I The Same Girl by Brian Posted: Mon Nov 12, 2012 8:42 am The song was written by Eugene Record (producer of many hits for The Chi-lites) along with Sonny Sanders. It was first recorded by Barbara Acklin (who was Eugene's wife) in September 1968 but not issued immediately. The producer George Davis took the track, removed Barbara's voice and replaced it with a piano solo by Floyd Morris. It was issued in the USA in November 68 going on to reach the US top 3 pop. It was a number onerecord in Canada. It was credited to Young Holt Unlimited (which in fact were the session musicians). Barbara's version was then issued in February 1969, but only reached number 79 in the US pop chart (it did better in the R&B charts). -
Bio the Clayton Brothers John and Jeff Clayton Prove Conclusively, That
Bio The Clayton Brothers John and Jeff Clayton prove conclusively, that while blood may be thicker than water, it can also carry an unimpeded flow of pure creativity. The Clayton Brothers Quartet was originally founded in 1977, and while their paths would sometimes diverge, the brothers continued to share a common musical vision that would draw them back together. Their latest CD, Back In The Swing of Things (Hyena) demonstrates their unique musical vision and swing. That CD as well as Expressions and Siblingity (Qwest) are bristling with surprises, delights and the kind of musical telepathy that could only come from tuned in siblings. The brothers place a strong emphasis on sharing what it is they know. They are dedicated jazz educators. In the fall 2004, The Clayton Brothers were featured on the cover of JazzTimes' Education Resource Guide, naming them jazz educators for the year. John Clayton served as the Artistic Director of Jazz for the Los Angeles Philharmonic from 1998 through 2001. A seven time Grammy nominated artist, John gained prominence as a bassist in both the jazz and classical fields. His serious study of the double bass began at age 16 under the tutelage of Ray Brown. He held the principal bass chair in the Amsterdam Philharmonic Orchestra for more than five years. He is a composer/arranger/conductor, who counts among his mentors Robert Farnon, Count Basie, Johnny Mandel, Henry Mancini, and Quincy Jones. He has written and arranged music for Milt Jackson, Nancy Wilson, Ray Brown, Regina Carter, McCoy Tyner, Carmen McRae, Quincy Jones, Diana Krall, Kurt Elling Dee Dee Bridgewater (including her Grammy award winning CD, Dear Ella (Verve), Gladys Knight, Natalie Cole, and many others. -
Friday, October 13, 2017 @BLUEWHALE
Angel City Jazz Festival The tenth annual Angel City Jazz Festival continues its tradition of Criss Cross (featuring Donny McCaslin and Dan Weiss); and Elliott being Los Angeles’ most adventurous modern jazz celebration. This Sharp playing Monk in a solo guitar performance for the closing night year’s theme celebrates the centennial of Thelonious Sphere Monk of the festival. In addition, Dwight Trible is curating a Monk-themed (born October 10, 1917). A very innovative individual and creative double-bill at The World Stage with James Leary’s Bassed (six force throughout his career as both a pianist and a composer, many basses and a drummer) premiering original arrangements of Monk’s of Monk’s songs (best-known of which is “’Round Midnight”), while music, and Dwight Trible’s band ‘Cosmic Vibrations’ with special way ahead of their time when they were introduced in the 1940s and guest award-winning actor Roger Guenveur Smith adding a bit of ‘50s, have since become jazz standards. His unique piano style has abstract storytelling based on Monk’s life and career. also been very influential while being impossible to duplicate. As is always the case at the Angels City Jazz Festival, there is much Rather than merely recreating Monk’s classic recordings, many much more. You can find full details about all of the performances of the performers at this year’s Angel City Jazz Festival will be listed within this program. paying tribute to the musical genius in their own unique way. The special opening night concert at the Ford Theatres features Dee We hope you’ll enjoy our musical presentations and we’d like to Dee Bridgewater’s “Afro-Cuban Dream” — her interpretation of invite you to support our programming efforts through our non- Carmen McCrae’s famous Carmen Sings Monk album — under the profit organization Angel City Arts. -
TELEVISION Part I of a Survey, by Leonard Feather
::3 TELEVISION Part I Of A Survey, By Leonard Feather FOR THE RECORD—and in the interests of enlightening Another one-shot special was Duke Ellington Swings posterity and giving credit that is seldom acknowledged— through Japan, a segment of the Columbia Broadcasting it should be said that the last few weeks of 1964 and the System's Twentieth Century series, seen just before Christ• first couple of months of 1965 were a fruitful period for mas. television jazz. In contrast with the Condon show, which could have The skeptic may reply: "Yeah? I didn't see Miles take said in a half-hour all it had to say, this was squeezed into over The Lawrence Welk Show." 30 minutes when it could well have run twice as long. Its But in assessing the manner and extent of the use of brevity was the only thing wrong with it; in almost every jazz in this medium it is reasonable to take certain facts other respect it was one of the best shows of its kind ever into consideration. One is that the prime-time evening screened. television program, for the most part, is aimed at securing Produced by Isaac Kleinerman and admirably written the attention of as many as possible of the 192,000,000 by Jack Beck, this was the story of a band on tour. It potential viewers in the United States. did not purport to be a program of music, though there Another is the inescapable logic of the argument that were enough extended excerpts from concerts to give it music per se is not visual, and that classical music, pop meaning on this level also.