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European Journal of American Studies, 12-4
European journal of American studies 12-4 | 2017 Special Issue: Sound and Vision: Intermediality and American Music Electronic version URL: https://journals.openedition.org/ejas/12383 DOI: 10.4000/ejas.12383 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference European journal of American studies, 12-4 | 2017, “Special Issue: Sound and Vision: Intermediality and American Music” [Online], Online since 22 December 2017, connection on 08 July 2021. URL: https:// journals.openedition.org/ejas/12383; DOI: https://doi.org/10.4000/ejas.12383 This text was automatically generated on 8 July 2021. European Journal of American studies 1 TABLE OF CONTENTS Introduction. Sound and Vision: Intermediality and American Music Frank Mehring and Eric Redling Looking Hip on the Square: Jazz, Cover Art, and the Rise of Creativity Johannes Voelz Jazz Between the Lines: Sound Notation, Dances, and Stereotypes in Hergé’s Early Tintin Comics Lukas Etter The Power of Conformity: Music, Sound, and Vision in Back to the Future Marc Priewe Sound, Vision, and Embodied Performativity in Beyoncé Knowles’ Visual Album Lemonade (2016) Johanna Hartmann “Talking ’Bout My Generation”: Visual History Interviews—A Practitioner’s Report Wolfgang Lorenz European journal of American studies, 12-4 | 2017 2 Introduction. Sound and Vision: Intermediality and American Music Frank Mehring and Eric Redling 1 The medium of music represents a pioneering force of crossing boundaries on cultural, ethnic, racial, and national levels. Critics such as Wilfried Raussert and Reinhold Wagnleitner argue that music more than any other medium travels easily across borders, language barriers, and creates new cultural contact zones (Raussert 1). -
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. -
Clifford Brown/Sonny Rollins/Max Roach Quintet (Essential Jazz Classics, 4 Stars)
‘Complete Studio Recordings,’ Clifford Brown/Sonny Rollins/Max Roach Quintet (Essential Jazz Classics, 4 stars) ‘Saxophone Colossus,’ Sonny Rollins (Essential Jazz Classics, 4 stars) The first of these June 2 discs spotlighting the “100 Best Jazz Albums of All Time” was recorded in 1956 by trumpeter Clifford Brown, tenor saxophonist Sonny Rollins, drummer Max Roach, bassist George Morrow and pianist/arranger Richie Powell. These tracks made up two albums (Clifford Brown and Max Roach at Basin St. and Sonny Rollins Plus 4) comprising the entire recorded output of this fantastic group, due to the car accident 6/26/56 that took the life of Brown, Powell and Powell’s wife. The music is superb, with galloping tempos, melodic mastery, and superb soloing. Highlights include Roach’s inventive drumming, wonderful interplay between trumpet, sax and piano, the jaunty opener “Gertrude’s Bounce,” and a playful version of “Love is a Many Splendored Thing.” The second CD spotlights Sonny Rollins’ saxophone wizardry; and was recorded early June 1956. A second album, Work Time, recorded in 1955, is also included. Max Roach drums on both albums, with pianist Tommy Flanagan/bassist Doug Watkins on the Colossus tracks; and pianist Ray Bryant/bassist George Morrow on the Work Time tunes. Highlights include the calypso-flavored opener, “Saint Thomas,” Rollins’ homage to Chicago, “Strode Rode,” and the minor-key “Blue 7,” which features impressive solos from everyone, proving that Rollins’ sax playing is a marvel while his group doesn’t lag behind. Ricky Flake is a former punk rocker and music fan who lives in Biloxi. -
Benny Carter
Benny Carter Bennett Lester Carter (August 8, 1907 – July 12, 2003) was an American jazz alto saxophonist, trumpeter, composer, arranger, and bandleader. He was a major figure in jazz from the 1930s to the 1990s, and was recognised as such by other jazz musicians who called him King. As a youth, Carter lived in Harlem around the corner from Bubber Miley who was Duke Ellington's star trumpeter. Carter was inspired by Miley and bought a trumpet, but when he found he couldn't play like Miley he traded the trumpet in for a saxophone. Carter began playing professionally at 15. He first recorded in 1928 and formed his first big band the following year. He played with Fletcher Henderson in 1930 and 1931, then briefly led McKinney's Cotton Pickers before returning to lead his own band in 1932. He also arranged for Henderson and Duke Ellington during these years and wrote two hits, "Blues in My Heart" and "When Lights are Low." By the early 1930s he and Johnny Hodges were considered the leading alto players of the day. Carter also quickly became a leading trumpet soloist, having rediscovered the instrument. He recorded extensively on trumpet in the 1930s. In 1935 he moved to Europe, where he became staff arranger for the British Broadcasting Corporation dance orchestra and made several records. He returned to the United States in 1938 and led a big band and sextet before moving to Los Angeles in 1943 to write for movie studios. Carter continued writing and performing into his 90s. He arranged for Louis Armstrong, Ray Charles, Ella Fitzgerald, Peggy Lee, and Sarah Vaughan, among many others. -
Iii E. the Jazz Component: the Fantasy Collection
III E. THE JAZZ COMPONENT: THE FANTASY COLLECTION III E1. The LPs For many serious researchers into the changes and developments in jazz during the late 1940s and the early 1950s it is the LP albums which are part of the collection that will be of major interest. In particular Bill Belmont, as he assembled the Fantasy collection for the Archives, was able to locate a selection of the earliest 10” Prestige LPs which had been almost forgotten in the Fantasy warehouse. It should be emphasised, however, that these are not the original Prestige releases, which now sell for thousands of dollars on the collector’s market. To satisfy a small core of serious jazz enthusiasts, most of them in Japan, Fantasy manufactured facsimiles of many of the most important LPs in their catalog. Although the new albums are imprinted with an inconspicuous notice “Manufactured from master owned by Fantasy, Inc.” they are in every other respect identical with the originals. They are an invaluable time capsule of this crucial period of jazz’s development - and in their often primitive albums covers and minimal presentation they suggest the marginal nature of jazz as this period began. Also, in their LP format the modern listener has an insight into the programming concepts that led to the presentation of the material on the LP’s two sides. THE PRESTIGE 10”ALBUMS These have been reproduced with the original one color covers and - in the beginning - simply catalog listings on the back of the cover. The album notes, generally by Ira Gitler, begin after the first few examples. -
TESI Per Alessio Riccio Copia.Compressed
CAPITOLO 1 Introduzione L’idea che la batteria, il mio strumento, potesse non essere semplicemente concepita come scatola ritmica e dunque non inglobata in un contesto melodico, è da sempre stata per me fonte d’ispirazione, continue ricerche e lavoro da che ho memoria. Attraverso uno studio ben preciso e mirato sui personaggi che hanno aperto la strada in tal senso, ponendo in evidenza le peculiarità e le potenzialità che questo strumento può offrire, ho potuto svolgere la mia tesi su due livelli: in ambito teorico, ho parlato di “Batteria melodica” attraverso ricerche e informazioni di tutti coloro che in qualche modo hanno concepito sia il fraseggio che l’accompagnamento, riferendosi all’aspetto melodico; in ambito pratico, con l’aiuto di un artigiano, ho costruito un set originale e ben preciso, con delle caratteristiche molto particolari, le cui peculiarità sono: la nota caratteristica per ogni tamburo, riduzione di armonici non desiderati e l’esaltazione dell’aspetto melodico. La batteria costruita in tal senso permette all'occorrenza di unirsi ai fraseggi degli altri strumenti solistici e non, entrando inoltre armonicamente nelle strutture dell’accompagnamento. Nei suoi spazi solistici, quando chiamata ad esprimersi singolarmente, può offrire l’apertura verso una gamma ampissima di colori e sfumature più o meno dettagliate. Forte di questi principi e certo delle potenzialità nascoste di questo progetto, basato su ricerca e sperimentazione, nasce “La batteria melodica”, che consiste, in definitiva, nella costruzione di un particolare drumset che prevede l’ampliamento di un set tradizionale Jazz, costituito generalmente da tre pezzi (cassa, timpano, tom) attraverso la progettazione di ulteriori 12 tamburi appositamente studiati con diametri e profondità variabili in base alla nota scelta ed accordati cromaticamente seguendo il range di un’ottava del pianoforte (12 semitoni). -
演奏者(アルファベット) タイトル名 Anita O'day Anita Sings The
演奏者(アルファベット) タイトル名 1 AL COHN COHN ON THE SAXOPHONE 2 ANDY LAVERNE TRIO CAPTAIN VIDEO 3 ANITA O'DAY ANITA SINGS THE MOST 4 ART BLAKEY LES LIAISONS DANGEREUESES 5 ART BLAKEY CARAVAN 6 ART BLAKEY olympia concert 7 ART BLAKEY AND THE JAZZ MESSENGERS A NIGHT IN TUNISIA 8 ART BLAKEY QUINTET A NIGHT AT BIRDLAND 9 ART FARMER 0b 10 ART FARMER MODERN ART 11 ART FARMER and BENNY GOLSON Meet The Jazztet 12 ART FARMER QUINTET The Time And The Place 13 ART TATUM, ERROLL GARNER GIANTS OF THE PIANO 14 BARNEY KESSEL EASY LIKE 15 BARNEY KESSEL to swing or not to swing 16 BARRY HARRIS TRIO Magnificent ! 17 BENNY CARTER AUTUMN LEAVES 18 BENNY GOODMAN BENNY IN BRUSSELS 19 BENNY GOODMAN TRIO PLAYS FOR THE FLETCHER HENDERSON FUND 20 BEST COAST JAZZ BEST COAST JAZZ 21 BETTY CARTER AND RAY BRYANT MEET BETTY CARTER AND RAY BRYANT 22 BILL EVANS & JIM HALL BILL EVANS & JIM HALL UNDERCURRENT 23 BILL EVANS TRIO Sunday at the Village Vangard 24 BILL REINHARDT'S JAZZ LTD 25 BLUE MITCHELL BLUE'S MOODS 26 BOB JAMES AND EARL KLUGH ONE ON ONE 27 BOBBY BLAND DREAMER 28 BOBBY TIMMONS THIS HERE IS BOBBY TIMMONS 29 BRILLIANT CORNERS THELONIOUS MONK 30 BUD POWELL SWINGIN WITH BUD 31 BUD POWELL CLEOPATRA'S DREAM 32 BUD POWELL THE AMAZING BUD POWELL 33 BUD POWELL bud! 34 BUD POWELL THE AMAZING BUD POWELL 35 BUD POWELL THE AMAZING BUD POWELL 36 BUD POWELL THE BUD POWER TRIO 37 BUD POWELL THE AMAZING BUD POWELL 38 BUDDY RICH BUDDY RICH/CLSS OF’78 39 CANNONBALL ADDERLEY SOMETHIN' ELSE 40 CANNONBALL ADDERLEY BIG MAN 41 CANNONBALL ADDERLEY アット・シェリーズ・マン・ホール 42 CANNONBALL ADDERLEY Lovers 43 CANNONBALL ADDERLEY LIVE 44 CANNONBALL ADDERLEY SAN FRANCISCO 45 CHARLES MINGUS CHARLES MINGUS PRESENTS CHARLES MINGUS 46 CHARLIE MARIANO CHARLIE MARIANO 47 CHARLIE PARKER THE COMPLETE CHARLIE PARKER 48 CHARLIE PARKER BIRD IS FREE 49 CHARLIE PARKER CHARLIE PARKER PLAYS COLE PORTER 50 CHARLIE PARKER APRIL IN PARIS 51 CHARLIE PARKER BIRD SYMBOLS 52 CHARLIE PARKER bird and diz 53 CHARLIE PARKER THE HAPPY BIRD 54 CHARLIE PARKER CHARLIE PARKER ON SAVOY VOL. -
Title Format Released (Jerry Bergonzi/Bobby Watson/Victor Lewis) Together Again for the First Time CD 1997 ???? ????? CD 1990 4
Title Format Released (Jerry Bergonzi/Bobby Watson/Victor Lewis) Together Again For The First Time CD 1997 ???? ????? CD 1990 4 Giants Of Swing 4 Giants Of Swing CD 1977 Abate, Greg It'S Christmastime CD 1995 Monsters In The Night CD 2005 Evolution CD 2002 Straight Ahead CD 2006 Bop City: Live At Birdland CD 2006 Abate, Greg Quintet Horace Is Here CD 2004 Bop Lives CD 1996 Adams, George & Don Pullen Don't Lose Control CD 1979 Adams, Greg Midnight Morning CD 2002 Adams, Pepper 10 to 4 at the 5-Spot CD 1958 Adderley, Cannonball The Poll Winners: Volume 4 CD 1960 The Cannonball Adderley Quintet In San Francisco [Live] [Bonus Track] CD 1959 Adderley, Cannonball With Bill Evans Know What I Mean? CD 1961 Adderley, Nat Work Song CD 1990 Ade & His African Beats, King Sunny Juju Music CD 1982 Aggregation, The Groove’s Mood CD 2008 Akiyoshi, Toshiko Desert Lady/Fantasy CD 1993 Live at Maybeck Recital Hall: Volume 36 CD 1994 Finesse CD 1978 Alaadeen and the deans of swing Aladeen And The Deans Of Swing Plays Blues For RC And Josephine, Too CD 1995 Alaadeen, Ahmad New Africa Suite CD 2005 Time Through The Ages CD 1987 Page 1 of 79 Title Format Released Albany, Joe The Right Combination CD 1957 Alden, Howard & Jack Lesberg No Amps Allowed CD 1988 Alexander, Eric Solid CD 1998 Alexander, Monty Goin' Yard CD 2001 Jamboree CD 1998 Ray Brown Trio - Ray Brown Monty Alexander Russell Malone (Disc 2-2) CD 2002 Reunion in Europe CD 1984 Ray Brown Monty Alexander Russell Malone (Disc 1) CD 2002 My America CD 2002 Monty Meets Sly And Robbie CD 2000 Stir It -
RED DAYS Popular Music and the English Counterculture 1965-1975
Minor Compositions Open Access Statement – Please Read This book is open access. This work is not simply an electronic book; it is the open access version of a work that exists in a number of forms, the traditional printed form being one of them. All Minor Compositions publications are placed for free, in their entirety, on the web. This is because the free and autonomous sharing of knowledges and experiences is important, especially at a time when the restructuring and increased centralization of book distribution makes it difficult (and expensive) to distribute radical texts effectively. The free posting of these texts does not mean that the necessary energy and labor to produce them is no longer there. One can think of buying physical copies not as the purchase of commodities, but as a form of support or solidarity for an approach to knowledge production and engaged research (particularly when purchasing directly from the publisher). The open access nature of this publication means that you can: • read and store this document free of charge • distribute it for personal use free of charge • print sections of the work for personal use • read or perform parts of the work in a context where no financial transactions take place However, it is against the purposes of Minor Compositions open access approach to: • gain financially from the work • sell the work or seek monies in relation to the distribution of the work • use the work in any commercial activity of any kind • profit a third party indirectly via use or distribution of the work • distribute in or through a commercial body (with the exception of academic usage within educational institutions) The intent of Minor Compositions as a project is that any surpluses generated from the use of collectively produced literature are intended to return to further the development and production of further publications and writing: that which comes from the commons will be used to keep cultivating those commons. -
NOTE 504P.; for Part 2, See PS 017 388. PUB TYPE Legal/Legislative/Regulatory Materials (090)
DOCUMENT RESUME ED 295 735 PS 017 387 TITLE Parental and Medical Leave Act of 1987. Hearings on S.249 To Grant Employees Parental and Temporary Medical Leave under Certain Circumstances, and for Other Purposes, before the Subcommittee on Children, Family, Drugs and Alcoholism of the Committee on Labor and Human Resources. United States Senate, One Hundredth Congress, First Session. Part 1 (Washington, D.C., February 19 and April 23, 1987; Boston, Massachusetts, June 15, 1987). INSTITUTION Congress of the U.S., Washington, D.C. Senate Committee on Labor and Human Resources. REPORT NO Senate-Hrg-100-438-Pt-1 PUB DATE 88 NOTE 504p.; For Part 2, see PS 017 388. PUB TYPE Legal/Legislative/Regulatory Materials (090) EDRS PRICE MF02/PC21 Plus Postage. DESCRIPTORS Adoption; Birth; Cost Estimates; Diseases; Economic Factors; *Employed Parents; *Employee Attitudes; *Employer Attitudes; *Employment Practices; *Family Problems; Federal Government; Federal Legislation; *Fringe Benefits; Government Role; Hearings; National Surveys; State Legislation; State Programs IDENTIFIERS *Employment Security; Mandatory Programs ABSTRACT Hearings were held in Massachusetts and Washington, D.C., to receive testimony concerning the Parental and Medical Leave Act of 1987, a bill intended to promote the economic security of many families by providing for job-protected leave for parents upon the birth, adoption, or serious illness of a child, and temporary medical leave when a child's serious illness prevents a parent from working. Testimony concerned: (1) negative -
Sonny Rollins | Saxophone Colossus
Sonny Rollins | Saxophone Colossus http://www.allaboutjazz.com/php/article.php?id=34109 NEWSAllBarcelonaEnter#Jazzlives:HotFollowMY | About AAJ& theThe Cool:AAJ Member Jazz NonesuchBeatlesInternational on A40 TwitterTwitter!LaunchesSeeksHas Years Benefits 14-CDGone Records InternsCampaignof Jazz Listening Mobile!Giveaway- Sign "BillFestivalStudies upby FrisellParty/Album Today!ListenersContest! at2009 NEC- of Sign In | I'm New Here AUDIO Search ARTICLES & CALENDAR GUIDES PEOPLE CONTACT MORE VIDEO Saxophone Colossus (11) JAZZ NEAR YOU Sonny Rollins | Essential Jazz Classics (2009) By Eric J. Iannelli Comments Bass drum. High hat. A primal, hollow beat in triple succession. The sequence repeats, increasingly accentuated with quick rim shot bursts and precision hits to the tom. What's near you? 6 Then, stage set, the sax leaps in. A bright Caribbean calypso melody, its refrain only twelve notes long. Its vibrancy and simplicity give it an instantaneous appeal—fitting, given the song's SHOWCASE ADS roots in a nursery rhyme native to the Virgin Islands. Starry This, of course, is the familiar beginning of the Night Saxophone Colossus recording of "St. Thomas," Sonny Jackie Allen Rollins' signature tune and, along with Miles Davis' "So What," one of the most immediately recognizable Positootly! compositions—even among those who wouldn't call John themselves fans of the genre—in the entire repertoire of Beasley instrumental jazz. The Justin Saxophone Colossus was cut just four days before the Rothberg death of Clifford Brown, in whose outfit Rollins, following Trio stints with Davis, Bud Powell, and Thelonious Monk, had The Justin been playing until that point, and whose co-leader, Max Rothberg Roach, is the one delivering that memorable drum intro Trio on "St. -
RUPTURING the DIALECTIC the Struggle Against Work, Money, and Financialization
RUPTURING THE DIALECTIC The Struggle against Work, Money, and Financialization Harry Cleaver RUPTURING THE DIALECTIC The Struggle against Work, Money, and Financialization Rupturing the Dialectic: The Struggle against Work, Money, and Financialization © 2017 Harry Cleaver This edition © 2017 AK Press (Chico, Oakland, Edinburgh, Baltimore) ISBN: 978-1-84935-270-3 E-ISBN: 978-1-84935-271-0 Library of Congress Control Number: 2016954842 AK Press AK Press 370 Ryan Ave. #100 33 Tower St. Chico, CA 95973 Edinburgh EH6 7BN USA Scotland www.akpress.org www.akuk.com [email protected] [email protected] The above addresses would be delighted to provide you with the latest AK Press distribution catalog, which features books, pamphlets, zines, and stylish apparel published and/or distributed by AK Press. Alterna- tively, visit our websites for the complete catalog, latest news, and secure ordering. Cover design by Kate Khatib / Owl Grammar Press. Exit icon by Rediffusion from the Noun Project. Printed in the USA on acid-free, recycled paper. TABLE OF CONTENTS Preface 1 Introduction 15 PART I: On the Usefulness of Marx’s Labor Theory of Value 29 Why and How Economists Got Rid of the Labor Theory of Value 31 Why and How Some Marxists Abandoned the Labor Theory of Value 39 The Substance of Value: Abstract Labor or Work as Social Control 71 Can Value be Measured? 87 Exchange and Money as the Form of Value 107 PART II: Decoding Finance, Financial Crisis, and Financialization 143 Decoding Finance and Financial Crisis 145 Decoding Financialization 181 PART III: Potential Strategies and Tactics for Rupturing the Dialectics of Money 227 Reforms and Revolution 235 Our Use of Money 243 Restricting the Need for Money 255 Conclusion 265 Bibliography 291 Index 309 PREFACE My objective with this book is to share some thoughts.