Company Epiphany Mp3, Flac, Wma

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Company Epiphany mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Epiphany Country: UK Released: 2001 Style: Free Improvisation MP3 version RAR size: 1478 mb FLAC version RAR size: 1462 mb WMA version RAR size: 1377 mb Rating: 4.1 Votes: 243 Other Formats: DXD DTS MP1 MP2 RA MIDI FLAC Tracklist Hide Credits Epiphany Epiphany Acoustic Guitar, Voice, Flute – Julie TippettsBass – Moto Yoshizawa*Electric Guitar, Acoustic Guitar – Derek BaileyElectric Guitar, Electronics [Live], 1-1 Percussion – Fred FrithGlass Harmonica, Performer [Analapos], Percussion 47:56 [Spring Gong], Flute [Kikkokikiriki] – Akio SuzukiHarp – Anne Le Baron*Piano – Keith Tippett, Ursula OppensTrombone – George LewisViolin, Electronics – Phil Wachsmann* Epiphanies First 2-1 15:19 Bass – Moto Yoshizawa*Piano – Ursula Oppens Second 2-2 Acoustic Guitar, Voice, Flute – Julie TippettsElectric Guitar, Acoustic Guitar – 8:09 Derek BaileyViolin, Electronics – Phil Wachsmann* Third Bass – Moto Yoshizawa*Electric Guitar, Acoustic Guitar – Derek BaileyElectric 2-3 Guitar, Electronics [Live], Percussion – Fred FrithGlass Harmonica, Performer 10:38 [Analapos], Percussion [Spring Gong], Flute [Kikkokikiriki] – Akio SuzukiTrombone – George Lewis Fourth Bass – Moto Yoshizawa*Glass Harmonica, Performer [Analapos], Percussion 2-4 9:00 [Spring Gong], Flute [Kikkokikiriki] – Akio SuzukiHarp – Anne Le Baron*Piano – Keith Tippett, Ursula OppensViolin, Electronics – Phil Wachsmann* Fifth Acoustic Guitar, Voice, Flute – Julie TippettsGlass Harmonica, Performer 2-5 [Analapos], Percussion [Spring Gong], Flute [Kikkokikiriki] – Akio SuzukiHarp – 6:12 Anne Le Baron*Piano – Keith Tippett, Ursula OppensTrombone – George LewisViolin, Electronics – Phil Wachsmann* Sixth Bass – Moto Yoshizawa*Electric Guitar, Acoustic Guitar – Derek BaileyGlass 2.6 18:18 Harmonica, Performer [Analapos], Percussion [Spring Gong], Flute [Kikkokikiriki] – Akio Suzuki Companies, etc. Phonographic Copyright (p) – Incus Records Copyright (c) – Incus Records Credits Design – Karen Brookman Liner Notes – Derek Bailey Producer [Production By] – Derek Bailey, Evan Parker Recorded By – Jean-Marc Foussat Notes Recorded between June 29 and July 3, 1982 in London during Company Week. Financial Assistance by The Arts Council of Great Britain. Other versions Category Artist Title (Format) Label Category Country Year INCUS 46/47 Company Epiphany (2xLP, Album) Incus INCUS 46/47 UK 1982 Related Music albums to Epiphany by Company X-Darawish - Una Ratsa Mia Fatsa Akio Suzuki - either/OAR Editions 2014 Julie Driscoll - 1969 Herry Ansker - Images The Brook Lee Catastrophe - The Weight Of Waiting Derek Webb - The Ringing Bell Rita Coolidge - Behind The Memories Sarah Hepburn - Stars & Haze Jersey Julie - Kickin' Chicken & Live At Marty's Simon Hopper - Daffodils.

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Acdsee Proprint
BULK RATE U.S. POSTAGE PAID Permit N9.2419 lPE lPITClHl K.C., Mo. FREE ALL THE MUSE TI:AT FITS THE PITCH ISSUE NO. 10 JULY -AUGUST 1981 LeRoi, John CaIe, Stones, Blues, 3 Friends, Musso. Give the gift of music. OIfCharlie Parleer + PAGE 2 THE PENN:Y PITCH mJTU:li:~u-:~u"nU:lmmr;unmmmrnmmrnmmnunrnnlmnunPlIiunnunr'mlnll1urunnllmn broke. Their studio is above the Tomorrow studio. In conclusion, I l;'lish Wendy luck, because l~l~ lPIITC~1 I don't believe in legislating morals. Peace, love, dope, is from the Sex Machine a.k.a. (Dean, Dean) p.S. Put some more records in the $4.49 RELIGIOUS NAPOLEON group! 4128 BROADWAY KANSAS CITY, MISSOURI 64111 Dear Warren: (Dear Sex Machine: Titles are being added to (816) 561-1580 I recently came across something the $4.49 list each month. And at the Moon I thought you might "Religion light Madness Sale (July 17), these records is excellent stuff keeping common will be $3.99! Also, it's good to learn that people quiet." --Napoleon Bonaparte the spirit of t_he late Chet Huntley still can Editor ..............• Charles Chance, Jr. (1769-1821). Keep up the good work. cup of coffee, even one vibrated Assistant Editors ...•. Rev. Frizzell Howard Drake Jay '"lctHUO':V_L,LJLe Canyon, Texas LOVE FINDS LeROI Contributing Writers and Illustrators: (Dear Mr. Drake: I think Warren would Dear Warren: Milton Morris, Sid Musso, DaVINK, Julia join us in saying, "Religion is like This is really a letter to Donk, Richard Van Cleave, Jim poultry-- you gotta pluck it and fry it LeRoi.
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New Mexico Daily Lobo, Volume 078, No 41, 10/21/1974." 78, 41 (1974)
University of New Mexico UNM Digital Repository 1974 The aiD ly Lobo 1971 - 1980 10-21-1974 New Mexico Daily Lobo, Volume 078, No 41, 10/ 21/1974 University of New Mexico Follow this and additional works at: https://digitalrepository.unm.edu/daily_lobo_1974 Recommended Citation University of New Mexico. "New Mexico Daily Lobo, Volume 078, No 41, 10/21/1974." 78, 41 (1974). https://digitalrepository.unm.edu/daily_lobo_1974/121 This Newspaper is brought to you for free and open access by the The aiD ly Lobo 1971 - 1980 at UNM Digital Repository. It has been accepted for inclusion in 1974 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. .. ... a ' ~- ........ .. .. ....rift_..,.,.~·· -··. ( ' u! c: ~· -StudY ' '.· Talk OfFtJ.iqg.lJnfon By SARAH SEIDMAN organize· the fiut. m.e.eti:ng · aren't ·gift.," they're work and we . : ., .1\bou t 20 work-study and '11UU'Iday, said, ••The P.roblem ii . &bould be .re11pected u workers," ':..part··ti me student workers that students aJe cloing:hard WQllk .be Pid. .. · ·. conc:e.med with their low wages and aren't getting paid fnoulilb foi Co-organi~r Geoff Beckett said . are trying to form an independent 'it." . ·. that most campu.atudent workeis :atudent Workers Union at UNM. "We ·ne!'d an oJ~anization that would object to the dues required ·. ·Michael-· Hersh,. who hela:ted will protect oua: rilhtl •.. jobl by Ute nation4111aoor unions, "so we'd "like to organize an · H ·· A. J independ,ent union of our own." <>\N o ·· ·· em pen ·.-_· po -Qgy.
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Julie Driscoll, Brian Auger & the Trinity Streetnoise Mp3
Julie Driscoll, Brian Auger & The Trinity Streetnoise mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Pop Album: Streetnoise Country: Andorra Released: 2002 Style: Folk Rock, Rhythm & Blues, Prog Rock MP3 version RAR size: 1492 mb FLAC version RAR size: 1917 mb WMA version RAR size: 1852 mb Rating: 4.2 Votes: 562 Other Formats: AU DTS VOX MP2 DXD XM AC3 Tracklist 1 Tropic Of Capricorn 5:29 2 Czechoslovakia 6:19 3 Take Me To The Water 4:16 4 A Word About Clour 1:36 5 Light My Fire 4:20 6 Indian Rope Man 3:21 7 When I Was Young 7:02 8 Flesh Failures (Let The Sunshine In) 3:02 9 Ellis Island 4:08 10 In Search Of The Sun 4:21 11 Finally Found You Out 4:10 12 Looking In The Eye Of The World 5:01 13 Vauxhall To Lambeth Bridge 6:30 14 All Blues 5:40 15 I've Got A Life 4:26 16 Save The Country 3:55 Companies, etc. Phonographic Copyright (p) – Disconforme SL Copyright (c) – Disconforme SL Recorded At – Advision Studios Credits Acoustic Guitar, Vocals, Bass – Dave Ambrose* Drums, Percussion – Clive Thacker Organ, Piano, Electric Piano, Vocals – Brian Auger Producer – Giorgio Gomelsky Vocals, Acoustic Guitar – Julie Driscoll Notes Recorded at Advision Studios,London 1969. Comes with 8-page fold-out insert with original liner notes as well as 1998 liner notes by Jordi Soley, plus credits. ℗© 2002 by Disconforme Made in Spain Barcode and Other Identifiers Barcode: 8 436006 493218 Other versions Category Artist Title (Format) Label Category Country Year Julie Driscoll, Brian Julie Driscoll, Auger & The Trinity - 608005/6 Brian Auger & Marmalade
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Julie Driscoll, Brian Auger & the Trinity Jools Mp3, Flac
Julie Driscoll, Brian Auger & The Trinity Jools mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Jools Country: Australia Released: 1982 MP3 version RAR size: 1452 mb FLAC version RAR size: 1994 mb WMA version RAR size: 1672 mb Rating: 4.4 Votes: 933 Other Formats: AUD AC3 DTS XM AAC MIDI DXD Tracklist A1 Tramp A2 Why (Am I Treated So Bad) A3 A Kind Of Love In A4 Break It Up A5 Season Of The Witch B1 In And Out B2 Isola Natale B3 Black Cat B4 Lament For Miss Backer B5 Goodbye Jungle Telegraph Other versions Category Artist Title (Format) Label Category Country Year Brian Auger, Julie Open (LP, Album, 607002 Driscoll And The Marmalade 607002 UK 1967 Mono, Upt) Trinity* Brian Auger, Julie Open (CD, Album, Ghostown QSCD 4029 Driscoll And The QSCD 4029 US 2004 RE, RM) Records Trinity* Brian Auger, Julie SLIR 22.014 Driscoll And The Open (LP, Album) Ricordi SLIR 22.014 Italy 1967 Trinity* Brian Auger, Julie Open (Cass, 914 554 Driscoll And The Polydor 914 554 Germany 1967 Album) Trinity* Julie Driscoll, Brian Open (CD, Album, One Way OW 30641 OW 30641 US 1994 Auger & The Trinity RE) Records Related Music albums to Jools by Julie Driscoll, Brian Auger & The Trinity Julie Driscoll & Brian Auger - Julie Driscoll & Brian Auger The Crazy World Of Arthur Brown / Julie Driscoll And The Brian Auger Trinity - Fire / This Wheel's On Fire Brian Auger And The Trinity - Mod Jazz Years Featuring Jullie Driscoll Various - Common Originals Julie Driscoll Brian Auger And The Trinity - Julie Driscoll - Brian Auger And The Trinity Julie Driscoll - Julie Driscoll The Brian Auger Trinity - What You Gonna Do? (¿Que Vas A Hacer?) Brian Auger & The Trinity - What You Gonna Do? Julie Driscoll, Brian Auger & The Trinity - Streetnoise Brian Auger & The Trinity - Black Cat / In And Out Julie Driscoll, Brian Auger & The Trinity - Take Me To The Water / Let The Sunshine In Various - Pop Party!.
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Brian Auger Master Clinic and Master
2006/2007 Master Clinics and Master Performances Brian Auger Brian Auger’s Oblivion Express “Brian Auger is one of the best B-3 artists I have ever heard in my life. His technique is awesome and the amount of energy he generates is unparalleled and relentless. He is a tremendous talent with a wonderfully warm and compassionate personality, a combination that is hard to beat. He deserves all the accolades.” -Herbie Hancock “Auger continues to prove himself as a consummate performer, deeply rooted in jazz and always packing a powerful groove. His sold- out performance at the 2004 Tri-C JazzFest was one of The legendary Brian Auger’s Oblivion Express has the highlights of the festival." Terri Pontremoli, returned. The famed B3 and keyboard player, has Executive Director – Tri-C created a distinct voice that combines jazz, rock, soul JazzFest Cleveland and funk, that is clearly recognizable to his millions of “Auger and Oblivion Express fans. With over 20 recordings to his name and lengthy are giving American stints on the RCA and Warner Bros. labels, Brian audiences a taste of the organ-heavy soul-funk that a Auger has accumulated a Grammy Nomination, 10 growing number of albums charting in Billboards Hot 100, a #1 single, and musicians and collectors have been digging into for the title of “The Godfather of Acid Jazz”. Brian’s bands years.” over the years have featured Rod Stewart, Long John John Adamian Baldry, Julie Driscoll and even Jimi Hendrix. In addition Hartford Advocate Brian has recorded with great luminaries as The Yardbirds, Eric Clapton, Van Morrison, Eric Burdon and Down To The Bone.
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Brian Auger´S Oblivion Express Feat. Alex Ligertwood
Brian Auger´s Oblivion Express feat. Alex Ligertwood Alex Ligertwood (li.) und Brian Auger (re.) „Brian Auger (* 18. Juli 1939 in London) ist einer der profiliertesten Jazz- und Rock-Keyboarder der Gegenwart. Für seine Millionen Fans ist der einzigartige Sound, der seine Wurzeln im Jazz, Rock, Soul und Funk hat, ein unverkennbares Markenzeichen des berühmten Hammond - und Keyboard -Spielers. Schon früh erhielt Auger Klavierunterricht. 1962 formierte er sein Brian Auger Trio mit Rick Laird und Schlagzeuger Phil Kinorra als zunächst reine Jazzcombo. 1965 gründete er zusammen mit Rod Stewart, Julie Driscoll und John Baldry die Gruppe The Steampacket. Nachdem Rod Stewart und John Baldry die Gruppe verlassen hatten, gründete Auger mit Julie Driscoll die Gruppe Trinity. In dieser Besetzung hatte die Band mehrere Single-Hits (Road ToCairo, This Wheel's on Fire, Season Of The Witch) und brachte das viel beachtete Doppelalbum „Streetnoise“ (1969) heraus. Nachdem Driscoll 1969 Trinity verließ, besetzte Auger die Gruppe um (mit Gary Boyle), doch konnte er nicht mehr an die Erfolge der späten 1960er Jahre anknüpfen und löste Trinity 1970 auf. Auch mit seiner anschließend gegründeten Band Oblivion Express hatte Auger zunächst keinen übermäßigen Erfolg. Seit dem Album „CloserToIt“ (1973), das es in die Charts schaffte, festigte sich der Gruppenstil zu einer groove-betonten Mischung aus rhythmischen Elementen des R&B und Funk und harmonischen und melodischen Elementen des Jazz. Brian Auger trat auch mit Klaus Doldinger, Alexis Korner, Pete York, Eric Burdon und anderen Größen der populären Musik auf. 1974 zog Auger in die USA, wo er weiter Alben aufnahm. In den USA bekam er wieder Kontakt zu Julie Tippetts-Driscoll.
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Une Discographie De Robert Wyatt
Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H.
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Brian Auger & the Trinity & Julie Driscoll
a division of BRIAN AUGER & THE TRINITY & JULIE DRISCOLL “The Mod Years” Elisabeth Richter Hildesheimer Straße 83 30169 Hannover GERMANY Tel.: 0049‐511‐806916‐16 Fax: 0049‐511‐806916‐29 Cell: 0049‐177‐7218403 elisabeth.richter@mig‐music.de www.mig‐music.de Release: 24.06.2010 CD Kat. Nr.: MIG 00492 Format: 1 CD Jewel Genre: Rock Brian Auger talks about “The Mod Years” It was in April-May 1965, when Long John Baldry saw me playing in the Manchester club “The Twisted Wheel”. Baldry was already a famous name at that time. He even had his own hour a division of on television, so big deal. I was called to a meeting the following week with John, his manager and agent. John’s Hoochie Coochie Men were breaking up. It was suggested that my trio, the Trinity with bassist Rickey Brown and drummer Mickey Waller would become the rhythm section of the new band. I added Vic Briggs, John wanted his protégé Rod Stewart to sing with us. I suggested adding singer Julie Driscoll, who at that time was working in my manager’s office but waiting to start a career with a band. The Steampacket were a tremendous success live and went on to be called the first Supergroup. I arranged and interpreted stuff for everybody in the band. Because of arguments as what label to record for, we missed recording our own album. After the breakup, Baldry changed the band into The Shotgun Express and The Brotherhood, with Elton John at the piano. This anthology compiles tunes from before 1966.
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KC and the SUNSHINE BAND Followed by Fireworks September 5 • 7:00 PM
KC AND THE SUNSHINE BAND FOLLOWed BY FIREWORks September 5 • 7:00 PM he music of KC AND THE SUNSHINE BAND has remained widely popular throughout a 40 year career, something few bands can claim. Hits like “Shake Your Booty” and “That’s the TWay (I Like It)” secured their spot in pop history and earned them 10 Grammy nominations, three Grammy Awards and an American Music Award. Harry Wayne Casey – KC for short – developed a unique sound blending R&B and Funk with some Latin percussion grooves that became one of the most progressive sounds of the 70’s. For the first time in a decade the band has released a new album,Feeling You! The 60’s, a tribute to the music that influenced H.W. Casey as a LUCY WOODWARD: Opening for young man. It was the conflict, political movements, innocence and free KC AND THE SUNSHINE BAND love that inspired the creation of Dance Revolution and Casey’s need to LUCY WOODWARD is an award winning create “something that would make people forget their problems and be songwriter who has written and recorded happy,” he remembers. Feeling You! The 60’sis one of a two part project songs for several soundtracks. Songwriters featuring covers of songs from legends like Bob Dylan, The Kinks, Ben E. Monthly said Lucy brings a “sultry intensity King, The Righteous Brothers, Aaron Neville and more.Don’t miss out on and scorching sensuality” to her bluesy jazz/ what will surely be the dance party of the summer! pop performances – “a jaw-dropping listening experience.” 19th AnnuaL JAZZFest & Taste OF the Lake • SEPteMbeR 19 • 4:00-10:00 pm DIANE SCHUUR • 6:30 pm egarded as one of contemporary jazz’s leading vocalists, DIANE SCHUUR is as eclectic as she is talented.
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Women in Rock OLLI Berkeley Course Material
Syllabus for Women in Rock: From the 1950s to the 1980s Instructor: Richie Unterberger, [email protected] OLLI Berkeley Week One: Women in Rock: The Early Years and The Girl Groups In the 1950s, rhythm and blues singers like Ruth Brown and LaVern Baker have some of the first rock’n’roll hits; Wanda Jackson and the Collins Kids are top rockabilly acts; and Brenda Lee becomes the first woman rock superstar. As New York’s Brill Building becomes established as the top place for rock publishers, women like Carole King, Cynthia Weil, and Ellie Greenwich become some of pop-rock’s most successful songwriters. Girl groups like the Shirelles, the Crystals, the Ronettes, the Chiffons, and the Cookies have numerous hits in the early 1960s, forming one of the major trends in rock of the period. In the early 1960s, some of the most R&B-oriented girl groups become some of the first soul stars, especially for Motown Records, with the Marvelettes, Martha & the Vandellas, the Supremes, and Mary Wells. Week Two: Women in Soul and British Rock Women soul singers emerge throughout the country, some of them more pop-oriented (Maxine Brown, Dionne Warwick), some of them earthier (Carla Thomas, Irma Thomas, Etta James). Aretha Franklin is anointed the Queen of Soul after moving to Atlantic Records and adopting a tougher, more spiritual sound. Other women soul singers with a forceful style emerge and increase in popularity, like Gladys Knight, Nina Simone, and the Staple Singers. Although all-male guitar bands dominate the British Invasion, a good number of women singers also make an impact both in their native UK and in the US.
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Brian Auger Und Alex Ligertwood
Brian Auger, 'The Godfather of Acid Jazz' und Alex Ligertwood, die Stimme von Santana! Es ist Funk, es ist Jazz, es ist Fusion, es ist Rock... es ist alles... und es ist unglaublich beeindruckend!!! BRIAN AUGER ist einer der profiliertesten Jazz- und Rock-Keyboarder der Gegenwart. Für seine Millionen Fans ist der einzigartige Sound, der seine Wurzeln im Jazz, Rock, Soul und Funk hat, ein unverkennbares Markenzeichen des berühmten Hammond - und Keyboard -Spielers. Mit über 20 Alben und langjähriger Zusammenarbeit mit RCA und Warner Bros., brachte es Brian Auger zu Grammy Nominierungen, 10 Top 100 Platzierungen in den US Billboard Charts, einer #1 Single und nicht zuletzt den Titel als "Godfather of Acid Jazz". In seinen Projekten spielte er unter anderem mit Eric Burdon, Rod Stewart, Long John Baldry, Julie Driscoll und sogar Jimi Hendrix. Außerdem ist er auf Platten von Künstlern wie the Yardbirds, Eric Clapton, Van Morrison, Eric Burdon und Down to the Bone zu hören. 2001: GRAMMY NOMINATION FOR "BEST CONTEMPORARY JAZZ ALBUM" 2007: 'CERTIFICATE OF SPECIAL CONGRESSIONAL RECOGNITION' FROM THE US HOUSE OF REPRESENTATIVES 2013: 'WALK OF FAME' Wien 2014: 'HAMMOND HALL OF FAME' USA 2014: 'HUNGARIAN HALL OF FAME' Budapest ALEX LIGERTWOOD'S Stimme ist der ganzen Welt als Stimme von Santana bekannt! 16 Jahre tourte der schottische Rocksänger mit Carlos Santana und spielte mehrere Alben mit ihm ein (die allesamt Top-40 Hits wurden). Bereits davor, in den 60ern, spielte Alex Ligertwood mit Jeff Beck und Maggie Bell in deren Band; - und schon in den 70ern für mehrere Jahre mit Brian Auger's Oblivion Express!!! Diese beiden Ausnahmetalente, Brian Auger, den Hammond-Guru, und Alexander Ligertwood, den herausragenden Sänger und Gitarristen gemeinsam auf der Bühne präsentieren zu dürfen, ist uns eine besondere Ehre! Lassen Sie sich die Gelegenheit nicht entgehen! Brian Auger - geliebt und gefeiert von der gesamten Musikwelt, von Herbie Hancock bis Mose Allison und von den Brand New Heavies bis zu den Beastie Boys.
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© 2010 Brian Matthew Felix
© 2010 Brian Matthew Felix ROCK BECOMES JAZZ: INTERPRETATIONS OF POPULAR MUSIC BY IMPROVISING ARTISTS IN THE 1960s BY BRIAN MATTHEW FELIX THESIS Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Jazz Performance in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Associate Professor John “Chip” Stephens, Chair Associate Professor Gabriel Solis, Director of Research Professor Jim Pugh Associate Professor Erik Lund ABSTRACT The advent of rock and roll changed the jazz world’s relationship to itself and its musical public. The popularity of jazz, in decline since the rise of bebop in the mid-1940s, was further eroded by rock and roll’s rise to prominence in the mid-1950s. By the mid-1960s, the jazz world seemed to be faced with a choice: adapt to accommodate the burgeoning new genre or risk fading further into popular irrelevance. Many jazz artists chose to ignore rock, oftentimes viewing it as a simple-minded pursuit dominated by white artists stealing from black musicians. Other artists, though, chose to engage with the new music and bring it into the jazz world by interpreting rock repertoire. In a way, this trend was no different than the time-honored jazz tradition of interpreting contemporary popular songs. Interpreting rock songs and incorporating them into their repertoire was different, though, because of the many prejudices that jazz musicians held toward rock music and the relative simplicity of rock’s musical attributes. This paper is dedicated to the in-depth study of jazz versions of rock music in the 1960s.
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