Phil Woods / Tommy Flanagan / Red Mitchell

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Phil Woods / Tommy Flanagan / Red Mitchell

Phil Woods Three For All mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Three For All Country: Yugoslavia Released: 1985 MP3 version RAR size: 1209 mb FLAC version RAR size: 1280 mb WMA version RAR size: 1894 mb Rating: 4.5 Votes: 341 Other Formats: RA TTA AIFF ASF MPC AUD VOX Tracklist A1 Reets Neet 7:11 A2 It's Time To Emulate The Japanese 7:30 A3 Talking 4:32 B1 Three For All 6:35 B2 You're Me 5:38 B3 Goodbye Mr. Evans 7:47 Credits Bass – Red Mitchell Clarinet, Alto Saxophone – Phil Woods Piano – Tommy Flanagan Producer – Horst Weber, Matthias Winckelmann Notes Date: January 6th and 7th, 1981 Barcode and Other Identifiers Other (Rights Society): SOKOJ Other versions Category Artist Title (Format) Label Category Country Year Phil Woods / Phil Woods / Tommy Enja 3081 Tommy Flanagan / Flanagan / Red Mitchell - 3081 Germany 1981 Records Red Mitchell Three For All (LP, Album) Phil Woods / Tommy Phil Woods / Flanagan / Red Mitchell - Enja 3081 Tommy Flanagan / 3081 Germany 1981 Three For All (LP, Album, Records Red Mitchell Promo) Phil Woods / Phil Woods / Tommy Enja 3081 Tommy Flanagan / Flanagan / Red Mitchell - 3081 US 1981 Records Red Mitchell Three For All (LP, Album) Phil Woods / Phil Woods / Tommy Enja 28MJ 3049 Tommy Flanagan / Flanagan / Red Mitchell - 28MJ 3049 Japan 1981 Records Red Mitchell Three For All (LP, Album) Phil Woods / Phil Woods / Tommy Enja 3081 ST Tommy Flanagan / Flanagan / Red Mitchell - Records, 3081 ST Portugal 1981 Red Mitchell Three For All (LP, Album) Dargil Related Music albums to Three For All by Phil Woods Hank Jones + Tommy Flanagan - I'm All Smiles Tommy Flanagan - Let's Tommy Flanagan, Red Mitchell, Elvin Jones - Super-Session Coleman Hawkins, Tommy Flanagan - Coleman Hawkins & Tommy Flanagan Phil Woods, Gene Quill, Sahib Shihab, Hal Stein - Four Altos Tommy Flanagan And Hank Jones - Our Delights Tommy Woods - Too Young To Die / Little Lorraine Phil Woods - Rights Of Swing Michela Lombardi, Phil Woods - Sing & Play The Phil Woods Songbook Vol. 2 Benny Carter / Phil Woods - My Man Benny, My Man Phil.

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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.
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Schlitten, Don African & African American Studies Department
Fordham University Masthead Logo DigitalResearch@Fordham Oral Histories Bronx African American History Project 7-13-2006 Schlitten, Don African & African American Studies Department. Don Schlitten Fordham University Follow this and additional works at: https://fordham.bepress.com/baahp_oralhist Part of the African American Studies Commons Recommended Citation Schlitten, Don. Interview with the Bronx African American History Project. BAAHP Digital Archive at Fordham University. This Interview is brought to you for free and open access by the Bronx African American History Project at DigitalResearch@Fordham. It has been accepted for inclusion in Oral Histories by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. Interviewer: Maxine Gordon Interviewee: Don Schlitten July 13, 2006 Page 1 Maxine Gordon (MG): This is interview 179 for the Bronx African History Project, Maxine Gordon interviewing Don Schlitten in his home in Kingsbridge, which is in the Bronx. So thank you very much, I had to put that on the interview. Are you born in the Bronx? Don Schlitten (DS): Born in the Bronx, Bronx Maternity Hospital. I’ve been in the Bronx my entire life and various places. But for 33 years I’ve always lived in the Bronx. MG: And where did you go to school? DS: In the Bronx. [laughs] P.S. 26. MG: Oh good, where’s that. DS: Junior high school eighty - - P.S. 26 was on West Bernside and West of University Avenue. It’s probably a prison now or something [laughs]. Then I went to Junior High School 82 which was on McClellan Road and Tremont Avenue.
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Harlem Speaks by Andy Vélez a SPECIAL SERIES HONORING HARLEM HEROES Recorded in 1959, Giant Steps Became John Coltrane’S First Genuinely Iconic Album
visitors center: OPEN M-F 10 AM - 4 PM 104 E. 126th Street, #2C, New York, NY 10035 (Take the 2/3/4/5/6 train) WWW.JMIH.ORG THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS Giant Steps Unison Tommy Flanagan George Mraz/Zoe (Enja) Rahman (Cube-Metier) Harlem Speaks by Andy Vélez A SPECIAL SERIES HONORING HARLEM HEROES Recorded in 1959, Giant Steps became John Coltrane’s first genuinely iconic album. Pianist Tommy Flanagan was among the players on the recording, which was 10/31 David Amram notable stylistically for a movement away from chordal Multi-instrumentalist/ composer/ author jazz. This reissue of Flanagan’s 1982 Giant Steps is an homage to Coltrane, repeating several of the tracks while adding “Central Park West”. During the ‘80s, Photo copyright Richard Conde. THE NATIONAL JAZZ MUSEUM IN HARLEM 104 EAST 126TH STREET, SUITE 2C DONATION SUGGESTED 6:30 - 8:30PM FOR MORE INFORMATION: 212-348-8300 Flanagan favored trios and frequently played with Czech-born bassist George Mraz. Theirs was a felicitous coming together as evident here and recalled fondly by denizens of Bradley’s, a long-gone-but-not-forgotten Village jazz spot where they appeared frequently. Flanagan is notably more confident with what had been a new idiom the first time around. That sureness of technical facility is evident from the first note to the last and the same is true for Mraz. By this time the latter had become one of the most dependable of October 4: FFEAR rhythm men. Together they are as close as pages in a $18 ADVANCE $20 AT DOOR book on a funky “Cousin Mary”.
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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.
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Eclypso Tommy Flanagan Solo
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Kenny Burrell
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How to Incorporate Bebop Into Your Improvisation by Austin Vickrey Discussion Topics
How to Incorporate Bebop into Your Improvisation By Austin Vickrey Discussion Topics • Bebop Characteristics & Style • Scales & Arpeggios • Exercises & Patterns • Articulations & Accents • Listening Bebop Characteristics & Style • Developed in the early to mid 1940’s • Medium to fast tempos • Rapid chord progressions / changes • Instrumental “virtuosity” • Simple to complex harmony - altered chords / substitutions • Dominant syncopation of rhythms • New melodies over existing chord changes - Contrafacts Scales & Arpeggios • Scales and arpeggios are the building blocks for harmony • Use of the half-step interval and rapid arpeggiation are characteristic of bebop playing • Because bebop is often played at a fast tempo with rapidly changing chords, it’s crucial to practice your scales and arpeggios in ALL KEYS! Scales & Arpeggios • Scales you should be familiar with: • Major Scale - Pentatonic: 1, 2, 3, 5, 6 • Minor Scales - Pentatonic: 1, b3, 4, 5, b7; Natural Minor, Dorian Minor, Harmonic Minor, Melodic Minor • Dominant Scales - Mixolydian Mode, Bebop Scales, 5th Mode of Harmonic Minor (V7b9), Altered Dominant / Diminished Whole Tone (V7alt, b9#9b13), Dominant Diminished / Diminished starting with a half step (V7b9#9 with #11, 13) • Half-diminished scale - min7b5 (7th mode of major scale) • Diminished Scale - Starting with a whole step (WHWHWHWH) Scales & Arpeggios • Chords and Arpeggios to work in all keys: • Major triad, Maj6/9, Maj7, Maj9, Maj9#11 • Minor triad, m6/9, m7, m9, m11, minMaj7 • Dominant 7ths • Natural extensions - 9th, 13th
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For Additional Information Contact the Archives Center at 202.633.3270 Or
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. HANK JONES NEA Jazz Master (1989) Interviewee: Hank Jones (July 31, 1918 – May 16, 2010) Interviewer: Bill Brower Date: November 26-27, 2004 Repository: Archives Center, National Museum of American History Description: Transcript, pp. 134 Hank Jones: I was over there for about two and a half weeks doing a promotional tour. I had done a couple of CDs; one was with my brother Elvin and Richard Davis, the bass player. They made – – I think they made two releases from that date. And I did another date with Jack DeJohnette and John Patitucci. But, these two albums were the objects of the promotion. I mean, they promote very, very heavily everyday. I must have had 40 interviews and about 30 record signings at the record shops, plus all of the recording. We did seven concerts and people inevitably want the records, CDs of the concert for us to sign. I have a trio over there, with Jimmy Cobb and John Fink. It was called, “The Great Jazz Trio.” It was not my name, but the Japanese have special names for everything, you know? That's only one in a series of tree others which he called the great jazz trio. The first one was Ron Carter, Tony Williams and myself. But, there had been a succession of different changes in personnel. It changed about six times. The current one was Jimmy Cobb and Dave Fink--Oh, the cookies have arrived and not a minute too soon.
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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.
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New Jazz Label Discography
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Donald Byrd House of Byrd Mp3, Flac, Wma
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“The Incredible Jazz Guitar of Wes Montgomery”— Wes Montgomery (1960) Added to the National Registry: 2016 Essay by Maristella Feustle (guest post)* Album cover Original label Wes Montgomery “The Incredible Jazz Guitar of Wes Montgomery” was the breakthrough recording that brought Wes Montgomery (1923-1968) to the attention of a wider audience and kept him there. Critically acclaimed in the year of its release, with a five-star review by Ira Gitler in “DownBeat” magazine, the album has remained a landmark recording in the history of jazz guitar, and one of timeless artistry. It is noteworthy for its creativity, its impact in securing Montgomery’s place among legendary jazz guitarists, and for its enduring inspiration to musicians and listeners. Recorded January 28 and 30, 1960 in New York City, at the storied Reeves Sound Studios, the album was one of many Riverside titles which featured Montgomery as a leader or a sideman between 1959 and 1963, and part of several Riverside sessions that included Montgomery that were made during that week. Those sessions resulted in Nat Adderley’s “Work Song” and “The Incredible Jazz Guitar of Wes Montgomery,” both of which were produced by Orrin Keepnews. Only months earlier, Nat’s brother, Julian “Cannonball” Adderley had brought Montgomery to Keepnews’ attention after hearing him in Montgomery’s hometown of Indianapolis. While Montgomery’s debut album for Riverside and Keepnews, “The Wes Montgomery Trio” heralded “a dynamic new sound,” it was “The Incredible Jazz Guitar” with which that new sound became a permanent fixture of jazz guitar. The album itself is a study in versatility, as Montgomery excels equally on up-tempo tunes, blues, ballads, jazz waltz, and medium swing, with the support of Tommy Flanagan on piano, Percy Heath on bass, and Albert Heath on drums.
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