Tandard. the Standard
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements for the degree of Master of Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney. -
Undercurrent (Blue Note)
Kenny Drew Undercurrent (Blue Note) Undercurrent Freddie Hubbard, trumpet; Hank Mobley, tenor sax; Kenny Drew, piano; Sam Jones, bass; Louis Hayes, drums. 1. Undercurrent (Kenny Drew) 7:16 Produced by ALFRED LION 2. Funk-Cosity (Kenny Drew) 8:25 Cover Photo by FRANCIS WOLFF 3. Lion's Den (Kenny Drew) 4:53 Cover Design by REID MILES 4. The Pot's On (Kenny Drew) 6:05 Recording by RUDY VAN GELDER 5. Groovin' The Blues (Kenny Drew) 6:19 Recorded on December 11, 1960, 6. Ballade (Kenny Drew) 5:29 Englewood Cliffs, NJ. The quintet that plays Kenny Drew's music here had never worked as a unit before the recording but the tremendous cohesion and spirit far outdistances many of today's permanent groups in the same genre. Of course, Sam Jones and Louis Hayes have been section mates in Cannonball Adderley's quintet since 1959 and this explains their hand-in- glove performance. With Drew, they combine to form a rhythm trio of unwavering beat and great strength. The two hornmen are on an inspired level throughout. Hank Mobley has developed into one of our most individual and compelling tenor saxophonists. His sound, big and virile, seems to assert his new confidence with every note. Mobley has crystallized his own style, mixing continuity of ideas, a fine sense of time and passion into a totality that grabs the listener and holds him from the opening phrase. Freddie Hubbard is a youngster but his accomplished playing makes it impossible to judge him solely from the standpoint of newcomer. This is not to say that he is not going to grow even further as a musician but that he has already reached a level of performance that takes some cats five more years to reach. -
Album Covers Through Jazz
SantiagoAlbum LaRochelle Covers Through Jazz Album covers are an essential part to music as nowadays almost any project or single alike will be accompanied by album artwork or some form of artistic direction. This is the reality we live with in today’s digital age but in the age of vinyl this artwork held even more power as the consumer would not only own a physical copy of the music but a 12’’ x 12’’ print of the artwork as well. In the 40’s vinyl was sold in brown paper sleeves with the artists’ name printed in black type. The implementation of artwork on these vinyl encasings coincided with years of progress to be made in the genre as a whole, creating a marriage between the two mediums that is visible in the fact that many of the most acclaimed jazz albums are considered to have the greatest album covers visually as well. One is not responsible for the other but rather, they each amplify and highlight each other, both aspects playing a role in the artistic, musical, and historical success of the album. From Capitol Records’ first artistic director, Alex Steinweiss, and his predecessor S. Neil Fujita, to all artists to be recruited by Blue Note Records’ founder, Alfred Lion, these artists laid the groundwork for the role art plays in music today. Time Out Sadamitsu "S. Neil" Fujita Recorded June 1959 Columbia Records Born in Hawaii to japanese immigrants, Fujita began studying art Dave Brubeck- piano Paul Desmond- alto sax at an early age through his boarding school. -
A Rhetorical Analysis of Selected Sermons by Sam Jones During His Emergence As a National Figure, 1872-1885
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1980 A Rhetorical Analysis of Selected Sermons by Sam Jones During His Emergence as a National Figure, 1872-1885. Herman Daniel Champion Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Champion, Herman Daniel Jr, "A Rhetorical Analysis of Selected Sermons by Sam Jones During His Emergence as a National Figure, 1872-1885." (1980). LSU Historical Dissertations and Theses. 3553. https://digitalcommons.lsu.edu/gradschool_disstheses/3553 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
SMITHSONIAN INSTITUTION the Medicine Bundles of Ihe Florida Seminole and the Green Corn Dance
SMITHSONIAN INSTITUTION Bureau of American Ethnology Bulletin 151 Anthropological Papers, No. 35 The Medicine Bundles of ihe Florida Seminole and the Green Corn Dance By LOUIS CAPRON 155 CONTENTS PAGE Introduction 159 The Florida Seminole 160 Mode of living 161 The Medicine Bundles 162 The Medicine 163 The Rattlesnake and the Horned Owl 164 How the Medicine came (Cow Creek version) 165 How the Medicine came (Miccosuki version) 166 African animals 166 One original Bundle 167 The horn of the Snake King 168 Power in War Medicine 168 The Boss Stone 169 War rattles.- 170 How the Medicine is kept 171 New Medicine 171 Other Medicine 172 Religion 172 The Green Corn Dance 175 The dance ground 182 Helpers with the Medicine 183 Tin-can rattles 184 The dances. 186 Picnic Day 188 Court Day 188 The Medicine Bundle 190 Scratching the boys 191 The Feather Dance 193 The Black Drinks 195 Crime and the Court 196 State of the nation 198 Court Day afternoon 198 The last nightl 200 The Big Pot Drink 202 Dance all night 202 The scene at midnight 204 The final morning 205 The scratching 206 Explanation of plates 208 157 158 BUREAU OF AMERICAN ETHNOLOGY [Bulu 151J ILLUSTRATIONS PLATES PAGE 7. Typical Seminole village 210 8. Two Seminole Medicine Men. Left: Ingraham Billy, Medicine Man of the Tamiami Trail Seminole. Right: Sam Jones, long-time Medicine Man of the Cow Creek Seminole 210 9. Two Seminole Medicine Men. Left: John Osceola, Big Cypress Medi- cine Man at the 1949 Green Corn Dance. Right: Josie Billy, former Medicine Man of the Tamiami Trail Seminole 210 10. -
Chicago Jazz Festival Spotlights Hometown
NOVEMBER 2017 VOLUME 84 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Hawkins Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Kevin R. Maher 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, -
The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
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. Keith Jackson, DMA, Committee Chair Constinia Charbonnette, EDD David Taddie, Ph.D. Michael Vercelli, DMA Mitchell Arnold, DMA Music Morgantown, West Virginia 2019 Keywords: Hard Bop, Trombone, Jazz, Jazz Improvisation Copyright 2019 Emmett C. Goods The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964). Emmett C. Goods This dissertation examines the improvisational stylings of Curtis Fuller, Locksley “Slide” Hampton, Julian Priester and Grachan Moncur III from 1955 through 1964. In part one of this study, each musician is presented through their improvisational connections to J.J. Johnson, the leading trombonist of the Bebop era. His improvisational signatures are then traced through to the musical innovations of the Hard-Bop Trombone Era. Source material for this part of the study includes published books, dissertations, articles, online sources, discographies and personal interviews. Part two of this paper analyzes selected solos from each of the four subjects to identify the defining characteristics of the Hard-Bop Trombone Era. Evidence for these claims is bolstered by interviews conducted with the four men and their protégés. In a third and final part, a discography has been compiled for each artists during the defined era. Through historical analysis of these four artists’ music and recording of first-hand accounts from the artists themselves, this document attempts to properly contextualize the Hard-Bop Trombone Era as unique and important to the further development of the jazz trombone. -
John Eckert Musician
John Eckert Musician John Eckert is one of the busiest freelance trumpet players on the East Coast. He can play it all: jazz, latin, pop, classical, even opera. John juggles his engagements, often working one or two recording or rehearsal sessions during a day followed by a bebop big-band gig or an evening at the Carlyle with Bobby Short later that same night. John has played on concert stages worldwide as well as in orchestra pits of operas and Broadway shows. He is equally comfortable in the lead trumpet chair of a big band or small jazz ensemble, and enjoys playing all types of music with all kinds of musicians. "The variety just presents itself," says John, explaining how he can play Benny Goodman or Stan Kenton arrangements one day, then work with the Simon & Garfunkle Reunion Band, the Smithsonian Jazz Orchestra, Deodato's 2001 Orchestra, or the Metropolitan Opera Orchestra the next. "1 remember liking music at an early age, maybe 3 or 4," John recalls. A child ofthe 1940s, he grew up in New Jersey. "We had a piano and my mother played a little, but I was always whistling and singing songs 1 heard on the radio." At the age often John began studying trumpet and playing in the grade school band. A few years later when his sister, influenced by her trumpet-playing boyfriend, began bringing home jazz records, the sounds ofChet Baker, Shorty Rogers, and other proponents of the West Coast jazz sound caught his attention. By his second year in high school, he and some friends had formed a small jazz ensemble and began playing weddings and other parties. -
JTM1711 Insidecombo 170920.Indd
On May 31, drummer Louis Hayes celebrated his 80th birthday and a new album at Dizzy’s Club Coca-Cola in New York, surrounded by friends, collaborators and acolytes, including drummers Michael Carvin, Nasheet Waits and Eric McPherson, and trumpeters Jimmy Owens and Jeremy Pelt, the latter of whom sat in. Another presence loomed large: pianist-composer Horace Silver, the subject of Hayes’ recent Blue Note debut, Serenade for Horace, a heartfelt tribute to the man who gave Hayes his start in 1956 with “Señor Blues.” It was the beginning of a three-year col- laboration that helped codify both hard bop and the Rudy Van Gelder sound over five albums. Hayes left Silver in 1959 to join the Cannonball Adderley Quintet, but the two re- mained close until the hard-bop progenitor’s passing in 2014. Stints followed with Oscar Peterson, the Louis Hayes-Woody Shaw Quintet, Stan Getz, McCoy Tyner and the Can- nonball Legacy Band, which Hayes leads. Throughout his career he’s solidified a place as one of jazz’s most soulfully swinging drummers, and become a cornerstone of the legacy of Detroit-born percussionists that includes Elvin Jones, Roy Brooks, Frank Gant and Oliver Jackson, and extends forward to Gerald Cleaver. At Dizzy’s, Hayes used his hyper-responsive left hand to goose the soloists in his sextet while keeping the fugitive spirit alive with his right on the ride cymbal. His approach seemed to declare the ensemble’s m.o., which balanced rhythmic ferocity and harmonic adventurousness with a reverence for the Silver sprezzatura. -
Life and Sayings of Sam P. Jones: a Minister of the Gospel
Life and Sayings of Sam P. Jones: A Minister of the Gospel The Only Authorized and Authentic Work By his wife Assisted by Rev. Walt Holcomb, a Co-worker of Mr. Jones Copyright © 1907 BOOK FOUR SOME OF HIS SAYINGS CHAPTER THIRTY-FIVE SAYINGS OF SAM P. JONES “Our church don’t forbid dancing,” exclaims one. Which is your church? All of the grand churches of the land are outspoken against it. If any church sanctioned dancing I would not stay in the little thing long enough to get my hat — I would run out bareheaded. I wouldn’t give the spirit of the old negro woman down South for all of the alleged faith of some Christians. She was coming down the street with a big basket of clothes, singing happily as a lark, when a citizen said to her: “Good morning, aunty; you seem to be happy as a lark this morning.” “Well,” said she, “I is, boss.” “Have you any money laid up?” “No, boss, I hasn’t.” “Have you a home?” “No, boss.” “Well, how do you live?” “I washes fur it,” said she. “The Lord is my shepherd and I ain’t g’wine to want.” “Now is the accepted time; now is the day of salvation.” When God’s dinner-bell rings all you want is an appetite, and you can walk in and there’s a place for you. I despise to see a man who knows more than everybody else in the community, and who does not know enough to behave himself. -
Perry Meridian Seventh Graders Sam Jones and Dalton Martin Look to Bring National Title to Indiana Team at FBU Championship Page 5
Guitars Plus page 3 • Beech Grove Marketplace pages 12-13 • Balanced Eating page 17 Serving the Southside Since 1928 Gridiron Grit Perry Meridian seventh graders Sam Jones and Dalton Martin look to bring national title to Indiana team at FBU championship page 5 From left, Dalton Martin and Sam Jones Photo by Nicole Davis and Photo Illustration by Carey Germana ss-times.com December 26, 2013 FREE JAN. PAY THE DAY 1-31 JOIN EARLY TO SAVE MORE! YOUR JOIN FEE = THE DATE! FREE Wellness Coaching No Contracts FREE Group Exercise Personal Training Classes & Pilates FREE Child Watch Youth and Adult Swim & Sports NEW YEAR. NEW YOU. BETTER TOGETHER! The YMCA of Greater Indianapolis - 11 Locations to Serve You, including: THE BAXTER YMCA 7900 S. Shelby Street * 317.881.9347 * www.OurCauseIsYou.org The Southside Times COMMUNITY ss-times.com • December 26, 2013 3 Beech Grove’s John Johnson runs a “music Contact the Editor Have any news tips? Guitars Plus store without the music store prices” Want to submit a calendar event? FEATURE Have a photograph to share? Call Nicole John Johnson knew that when he retired he didn’t want to sit around all Davis at 300-8782 day, doing nothing. Always having loved music and playing with the instru- or email her at ments, Johnson said he planned on opening Guitars Plus in Beech Grove ndavis@ss-times. right after his retirement in January 2013. The shop opened off Main Street com. Remember, in February 2013, sharing the building with Accurate PC Inc. our news deadlines “I am the music store without the music store prices,” Johnson said.