Jazzyyc Summer Festival
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Jazz Record
oCtober 2019—ISSUe 210 YO Ur Free GUide TO tHe NYC JaZZ sCene nyCJaZZreCord.Com BLAKEYART INDESTRUCTIBLE LEGACY david andrew akira DR. billy torn lamb sakata taylor on tHe Cover ART BLAKEY A INDESTRUCTIBLE LEGACY L A N N by russ musto A H I G I A N The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year. -
HOW DALE BARLOW BECAME a JAZZ MESSENGER by Eric Myers ______
HOW DALE BARLOW BECAME A JAZZ MESSENGER by Eric Myers _________________________________________________________ [This article first appeared in Jazzchord, Sep/Oct 1996.] ost students of Australian jazz can point to their favourite milestones, which had momentous implications for key musicians. In terms of the impact of Australian M jazz in the international arena, one might note the invitation issued by Harry Stein in Melbourne in early 1946 to Graeme Bell, asking him whether he’d like to take his band to Prague for the World Youth Festival. Or the invitation issued in 1954 by the owner of Klein’s jazz club in Detroit to Errol Buddle to take over the resident band (which included the pianist Tommy Flanagan). Or, perhaps more significantly, the subsequent invitation from another Detroit club owner Ed Sarkesian to Errol to provide a band of Australians for the Rouge Lounge (that band became the Australian Jazz Quartet). Errol Buddle (centre) at Klein’s, Detroit in 1953. Pepper Adams (baritone) is to the left. Barry Harris (piano) can just be seen to the right. Obscured behind Buddle is Elvin Jones (drums). Buddle’s invitation to take over the band at Klein’s led to a significant milestone in Australian jazz: the advent of the Australian Jazz Quartet. In this league is the invitation issued in 1989 by the drummer Art Blakey in New York to Dale Barlow to become a fulltime member of the Jazz Messengers. How did this come about? How was it that an Australian saxophonist - a white musician - was able to join a band which, for 35 years, had virtually defined hard-bop, and represented one of the pinnacles of achievement in black American jazz? In 1989 Dale Barlow had returned to New York on a whim. -
Lee Morgan Chronology 1956–1972 by Jeffery S
Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC). -
The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
Graduate Theses, Dissertations, and Problem Reports 2019 The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett Curtis Goods West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Goods, Emmett Curtis, "The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964)" (2019). Graduate Theses, Dissertations, and Problem Reports. 7464. https://researchrepository.wvu.edu/etd/7464 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. MARIAN McPARTLAND NEA Jazz Master (2000) Interviewee: Marian McPartland (March 20, 1918 – August 20, 2013) Interviewer: James Williams (March 8, 1951- July 20, 2004) Date: January 3–4, 1997, and May 26, 1998 Repository: Archives Center, National Museum of American History Description: Transcript, 178 pp. WILLIAMS: Today is January 3rd, nineteen hundred and ninety-seven, and we’re in the home of Marian McPartland in Port Washington, New York. This is an interview for the Smithsonian Institute Jazz Oral History Program. My name is James Williams, and Matt Watson is our sound engineer. All right, Marian, thank you very much for participating in this project, and for the record . McPARTLAND: Delighted. WILLIAMS: Great. And, for the record, would you please state your given name, date of birth, and your place of birth. McPARTLAND: Oh, God!, you have to have that. That’s terrible. WILLIAMS: [laughs] McPARTLAND: Margaret Marian McPartland. March 20th, 1918. There. Just don’t spread it around. Oh, and place of birth. Slough, Buckinghamshire, England. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 WILLIAMS: OK, so I’d like to, as we get some of your information for early childhood and family history, I’d like to have for the record as well the name of your parents and siblings and name, the number of siblings for that matter, and your location within the family chronologically. Let’s start with the names of your parents. -
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron. -
The Golden Triangle 0
TheUCS n Diego / Volume 48, Number 4 / Thursday, January 13, 1983 The ~I fi" It :::> i " c Golden ~ 1\ ;z g; fi D : 0 Il Triangle II 11 II 11 ~ II \1 ~ il 11 Ie 11 U P il 1\ ~, ~ H" il ~ ~ ]1 ii ]l' \\ h 11 Ii 11 b 11 il 11 "\\ ~ U 11 if 11 ~~ P 11 Ii 11 11 II n "~ J/ it 1\ \\ Local developers send a message to UCSD By EILEEN MO RRIS and STEVE STOY ANOW Staff Writers "There's nothing on a UCSD. are not in the best and High way 52 on the south. - Lake at La Jolla Village. question the traffic \'olume railroad track here," Jim Hare interest of the university. He Developers have" named the 120 acres of residential units intenSl\-e de\"elopment would told six new members of the stresses that the realiza tion of area "the Golden Triangle," surrounding a 9 acre lake at bring (for example, La Jolla U n ivers it y Communit y these developments w ill because of its money-making Nobel and TO\\ ne Center Village Dr. currentl} handles Planning Group Tuesday constitute a betrayal by the potential, a potential. they Drive around 32,000 cars per day night. Hare, a community city of San Diego of an claim, that commercial and - Plaza at La Jolla Village. a With dewlopmem. the \"Illume planner for the city of an agreement entered into with industrial development would commercial residential pro would Increase to around Diego , was referring to the the university in 1959, to the serve better than exclusivelv ject at the northeast corner of 65.000 per day). -
The Jazz Messengers
The Jazz Messengers Steven Criado 2 décembre 2020 1 Introduction 1.1 Écoutes du 2 décembre 2020 — The Freedom Rider - Art Blakey & The Jazz Messengers (The Freedom Rider, enregistré en 61, sorti en 64) — United - Art Blakey & The Jazz Messengers (Roots & Herbs, enregistré en 61 pendant les sessions de Freedom Rider, sorti en 70) — Mr. Jin - Art Blakey & The Jazz Messengers (Indestructible, 1964) — I’m Not So Sure - Art Blakey & The Jazz Messengers (Anthenagin, 1973), écouter aussi la version de Roy Hargrove (Earfood, 2008) — Live des Jazz Messengers de 1974 au studio 104 de la Maison de la Radio (lien ci-dessous) — Witch Hunt - Art Blakey & The Jazz Messengers (Album of the Year, 1981) 2 Freedom riders — arrêt de la cour suprême qui interdit la ségrégation dans les transports, en contradiction avec la loi Jim Crow issue du code noir appliquée dans les états du sud — des militants prennent les bus inter-états en 61, un premier bus partant de Wahsington à la Nouvelle-Orléan, est arrêté dans l’Alabama, à Anniston. Pneu crevé, incendie provoqué par la foule, les militants qui s’échappent du bus sont battus, les blessés ont du quitter l’hôpital par crainte de représailles — l’enregistrement de l’album d’Art Blakey à lieu 3 semaines après 1 3 ANNÉES 70 ET 80 DES MESSENGERS 2 — civil right movement, mouvement des droits civiques formé dans les années 50 rassemblant toutes les organisations noires (N.A.A.C.P, Urban League, S.N.C.C., le C.O.R.E., S.C.L.C), poursuit la lutte contre la ségrégation raciale dans la loi américaine, accès à l’éducation, -
Smart Nation Act PDF for Web.Pdf
Robert Steele deserves our admiration and our focused attention for bringing the idea of open source information to the fore. His passion to serve the nation by developing this new approach to better understanding the conditions and circumstances we are faced with daily - is exemplary. Steele's advocacy and efforts have led the way toward an enlightened and informed public. We all owe him a debt of gratitude for the sacrifices he has made to drag us - kicking and screaming - into the modern information age. Patrick Hughes, LTGEN, USA (Ret) THE SMART NATION ACT: Public Intelligence in the Public Interest Foreword by Congressman Rob Simmons (R-CT-02) Sponsor, The Smart Nation Act Robert David Steele (Vivas) MA, MPA, NWC, USMC, CIA, OSS OSS International Press Oakton, Virginia Copyleft © by OSS.Net, Inc. All revenue rights reserved. May be translated and shared without asking permission. One copy of each translation should be provided in electronic form to address below. This permission extends to the previous books also. This book and others in the series are available at quantity discounts for group or class distribution. Books come 20 to the box. Please communicate with the publisher. OSS International Press is the book-publishing arm of OSS.Net, Inc., publisher of Proceedings of the Global Information Forum (annual), OSS Notices (occasional series), and the ten-book series ON INTELLIGENCE. Visit www.oss.net. Published by OSS International Press (OSS) September 2006 Post Office Box 369 Oakton, Virginia 22124 USA (703) 242-1700 Facsimile (703) 242-1711 Email [email protected], Web: www.oss.net Cover graphic: The view of Africa, Antarctica, the Indian and Atlantic Oceana from 23,000 miles out in space as the last Apollo flight coasted to the moon, December 1972. -
Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events. -
How Sonny Defeated the Dragon in His Six-Decade Career, Legendary Saxophonist Sonny Rollins Has Claimed Many a Triumph
How Sonny Defeated the Dragon In his six-decade career, legendary saxophonist Sonny Rollins has claimed many a triumph. But his greatest may have come during a quiet period in Chicago By Neil Tesser (Chicago Reader) A decade ago, on September 9, 1998, the YMCA building at 3763 S. Wabash became an official Chicago landmark. Completed in 1913, it gained an annex in 1945, and today it remains a hub of neighborhood activity. Stately on its quiet and well-kept Bronzeville block, it bears a plaque describing it as “an important center of community life” that offered housing and job training for “new arrivals from the South during the ‘Great Migration’ of African-Americans in the first decades of the 20th century.” In a perfect world, there would be a second plaque below it: “Sonny Rollins slept here.” Another such plaque might adorn the considerably less well-kept Central Arms Hotel at 520 E. 47th, just east of Vincennes. Still another could mark an empty lot on the 300 block of East Garfield, where the Rhumboogie Club once stood, but it wouldn’t say anything about sleeping: Rollins played at the Rhumboogie with the man who would become Sun Ra, and nobody slept with Sun Ra around. In 1955 Rollins was already a veteran of studio groups led by Miles Davis and Thelonious Monk, and he would soon be acclaimed as the outstanding tenor saxophone voice of his generation. But for most of that year he lived in obscurity on Chicago’s south side, working menial jobs and barely gigging. -
Smash Hits Volume 30
FORTNIGHTLY 30p January 24-February 6 1980 r Words to the TOP SINGLES >«« ' including Someone's Looking Mama'^Biv Spirits Having Flown 'm$ m iniM By Styx on A&M Records Babe, I'm leaving I must be on my way The time is drawing near My train is going I see it in your eyes The love, the need, your tears But I'll be lonely without you And I'll need your love to see me through So please believe me My heart is in your hand I'll be missing you ('Cause) You know it's you, babe Whenever I get weary And I've had enough Feel like giving up You know it's you, babe Giving me the courage And the strength I need Please believe that it's true Babe, I love you Repeat last verse Babe, I'm leaving I'll say it once again And somehow try to smile I know the feeling we're trying to forget If only for a while 'Cause I'll be lonely without you And I'll need your love to see me through So please believe me My heart is in your hands 'Cause I'll be missing you Babe I love you Babe, I love you, ooh, babe Words artd music by D. De Young. Reproduced by permission Stygian Songs. Young blood, where you going now? Young blood, where you going now? I didn't mind it when you left me, honey But I miss you, ain't it the truth? phone I haven't given up hanging on the But all I hear is the proof Chorus Oh another night and I'm thinking what's going wrong? You say you love me but does love take this long? Rebel, all these dreams are broken Rebel, let me solve them Stop your running away Young blood, ooh tell me, where you going now? Young blood, ooh tell me, where you going now? It's never-never, we're fools forever Turning gold in our hands There's no magic.