Biographical Description for the Historymakers® Video Oral History with Herbie Hancock
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THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography………………………………………………………………………………. -
National Arts Awards Monday, October 19, 2015
2015 Americans for the Arts National Arts Awards Monday, October 19, 2015 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Musical Director, Jake Goldbas Philanthropy in the Arts Award Legacy Award Joan and Irwin Jacobs Maria Arena Bell Presented by Christopher Ashley Presented by Jeff Koons Outstanding Contributions to the Arts Award Young Artist Award Herbie Hancock Lady Gaga 1 Presented by Paul Simon Presented by Klaus Biesenbach Arts Education Award Carolyn Clark Powers Alice Walton Lifetime Achievement Award Presented by Agnes Gund Sophia Loren Presented by Rob Marshall Dinner Closing Remarks Remarks by Robert L. Lynch and Abel Lopez, Chair, introduction of Carolyn Clark Powers Americans for the Arts Board of Directors and Robert L. Lynch Remarks by Carolyn Clark Powers Chair, National Arts Awards Greetings from the Board Chair and President Welcome to the 2015 National Arts Awards as Americans for the Arts celebrates its 55th year of advancing the arts and arts education throughout the nation. This year marks another milestone as it is also the 50th anniversary of President Johnson’s signing of the act that created America’s two federal cultural agencies: the National Endowment for the Arts and the National Endowment for the Humanities. Americans for the Arts was there behind the scenes at the beginning and continues as the chief advocate for federal, state, and local support for the arts including the annual NEA budget. Each year with your help we make the case for the funding that fuels creativity and innovation in communities across the United States. -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
Jazz Music and Social Protest
Vol. 5(1), pp. 1-5, March, 2015 DOI: 10.5897/JMD2014.0030 Article Number: 5AEAC5251488 ISSN 2360-8579 Journal of Music and Dance Copyright © 2015 Author(s) retain the copyright of this article http://www.academicjournals.org/JMD Full Length Research Paper Playing out loud: Jazz music and social protest Ricardo Nuno Futre Pinheiro Universidade Lusíada de Lisboa, Portugal. Received 4 September, 2014; Accepted 9 March, 2015 This article addresses the historical relationship between jazz music and political commentary. Departing from the analysis of historical recordings and bibliography, this work will examine the circumstances in which jazz musicians assumed attitudes of political and social protest through music. These attitudes resulted in the establishment of a close bond between some jazz musicians and the Civil Rights Movement in the 1950s and 1960s; the conceptual framing of the free jazz movement that emerged in the late 1950s and early 60s; the use on non-western musical influences by musicians such as John Coltrane; the rejection of the “entertainer” stereotype in the bebop era in the 1940s; and the ideas behind representing through music the African-American experience in the period of the Harlem Renaissance, in the 1920’s. Key words: Politics, jazz, protest, freedom, activism. INTRODUCTION Music incorporates multiple meanings 1 shaped by the supremacy that prevailed in the United States and the principles that regulate musical concepts, processes and colonial world3. products. Over the years, jazz music has carried numerous “messages” containing many attitudes and principles, playing a crucial role as an instrument of Civil rights and political messages dissemination of political viewpoints. -
Concert: Ithaca College Jazz Workshop Tuesday-Thursday Jazz Lab
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 12-5-2003 Concert: Ithaca College Jazz Workshop Tuesday-Thursday Jazz Lab Steve Brown Steve Wilson Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Tuesday-Thursday Jazz Lab; Brown, Steve; and Wilson, Steve, "Concert: Ithaca College Jazz Workshop" (2003). All Concert & Recital Programs. 2900. https://digitalcommons.ithaca.edu/music_programs/2900 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. ITHACA COLLEGE JAZZ WORKSHOP Tuesday-Thursday Jazz Lab Steve Brown, musical director Steve Wilson, guest saxophone soloist Mean What You Say Thad Jones Rhythm-A-Ning Thelonious Monk Arr. Ryan Socrates Jessica's Day Quincy Jones The Dolphin Luis Eca Arr. Ray Brown Fantasy in "D" Cedar Walton Arr. Rufus Reid INTERMISSION There Will Never Be Another You Warren/Gordon Arr. Ray Brown Lisa Victor Feldman Arr. Yvonne Darancou A Joyful Noise Steve Wilson A Penthouse Dawn Oliver Nelson Willow Weep For Me AnnRonell Arr. Phil Woods Ford Hall Friday, December 5, 2003 8:15 p.m. Called by the Palm Beach Post "flawless, gifted with fabulous technique and a first-rate sense of what's musical," Steve Wilson has performed and recorded with the greatest names in jazz. A sampling of the musicians he has worked with includes Chick Corea, Dave Holland, Dianne Reeves, O.T.B., Donald Brown, Billy Childs, Don Byron, Bill Stewart, James Williams, and Mulgrew Miller. -
Imagine Project-'Writing-To-Heal' Lessons
Imagine Project-‘Writing-to-Heal’ Lessons - Daily Lesson Plan Teacher: Grade: 6th- Subject: Language Arts, Social Studies, Homeroom, 12th Social-Emotional Learning, Various Electives, etc. Unit Title: Unit 1 Date of Lesson: Common Core Standards Used W.8.3.3: Reading, Writing and Communicating-Standard 3.3 Writing and Composition-Write engaging real or imagined (Eighth Grade Standards used, but narratives effectively using techniques such as relevant and sufficient descriptive details, sensory language, logical pacing applies to multiple content area and dialogue to detail actions and to develop and reflect on experiences and events. standards for grades 6th-12th) CH.8.3.2. & 4.5 Comprehensive Health Eighth Grade, Standard 4. Prevention and Risk Management 4.5. Demonstrate ways to advocate for a positive, respectful school and community environment that supports pro-social behavior. 3.2 Analyze internal and external factors that influence mental and emotional health. Objective (or Content Language Objective) SWBAT write an original journal entry from processing trauma/life difficulty using a seven step writing process. Texts Needed Printed version of the student journals, sample stories attached or stories from the book/website, The Imagine Project: Stories of Courage, Hope and Love (www.theimagineproject.com), YouTube video examples, YouTube song references. Materials Needed Extra paper, pen or pencils, balloons and sharpies (both optional) Agenda Item + Time Description of Task (Consider depth of knowledge) Do Now: • What are three things you do when you are feeling negative emotions (anger, Time: 8 minutes sadness, lonely, etc.) to help you feel better? • Can been done as a ‘quick-write’, Think-Pair-Share, group discussion, small group discussion, etc. -
A Journal for Contemporary Music (1971-1988)
Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Reynolds, Lyndon. 1975. ‘Miles et Alia’. Contact, 11. pp. 23-26. ISSN 0308-5066. ! [I] LYNDON REYNOLDS Ill Miles et Alia The list of musicians who have played with Miles Davis since 1966 contains a remarkable number of big names, including Wayne Shorter, Herbie Hancock, Tony Williams, Chick Corea, Joe Zawinul, Jack de Johnette, Dave Hol l and, John McLaughlin and Miroslav Vitous. All of these have worked success fully without Miles, and most have made a name for themselves whilst or since working with him. Who can say whether this is due to the limelight given them by playing alongside , Miles, the musical rewards of working with him, or Miles's talent-spotting abili- ties? Presumably the truth is a mixture of all these. What does Miles's music owe to the creative personalities of the musicians working with him? This question is unanswerable in practice, for one cannot quan- tify individual responsibility for a group product - assuming that is what Miles's music is. It is obvious that he has chosen very creative musicians with which to work, and yet there has often been an absence of conspicuous, individual, free solo playing in his music since about 1967. It would appear that Miles can absorb musical influences without losing his balance. What we find then, is a nexus of interacting musicians, centring on Miles; that is, musicians who not only play together in various other combinations, but influence each other as well. Even if the web could be disentangled (I know not how, save with a God's-eye-view), a systematic review of all the music that lies within it would be a task both vast and boring. -
CC Festival Activities 2015 Scotland
CC Festival Activities 2015 Scotland Title of event ‘Our Place in Time’ Exhibition – official opening Summary of event Exhibition of photos depicting a timeline of Wester Hailes and its development, featuring archive photos through to modern day. ‘Our Place In Time’ represents a partnership between community organisations, universities, and research institutions that harnesses and develops new technology and social media to explore the past, present, and possible future in a neighbourhood. Dates and times of event Monday 15th June, 1pm – 2pm Details of the venue Wester Hailes Healthy Living Centre 30 Harvesters Way Edinburgh EH14 3JF Website/social media info Our Place in Time Blog Wester Hailes Facebook page Title of event Postcards from Culter Summary of event This two-week event will provide a visual exploration of the intertwining of place, participation and culture in Peterculter, a suburban village on the edge of Aberdeen, which is one of the cultural ecosystem case studies in the Understanding Everyday Participation – Articulating Cultural Values (UEP) project (http://www.everydayparticipation.org). A series of photography workshops and sensory interventions will result in the creation of postcards series exploring the community’s sense of place. This project is co-produced by researchers from the UEP project and community partner institutions including Culter Mills Social Club, Culter Village Hall and Culter Heritage Centre. Between June 15th and June 21st the local community and visitors to Culter are invited to contribute their postcards to the project in person at Culter Village Hall or online at our website. Ten winning postcards chosen by the community will be announced at a celebration event on Wednesday 24th June, and will be printed and sold in aid of village causes. -
John Scott Obit
John N. Scott (February 25, 1939—February 20, 2020) From Lexington, IL, John was with our class our first three years (1957- 60). The following three years (1960-63) he studied jazz music at the Berklee College of Music in Boston and was a professional jazz trumpeter in combos in that city. Our sophomore year, John and I lived in separate rooms in the Gates basement, and Herbie Hancock ’60 frequently came over from Clark Hall to John’s room to listen to jazz LPs on his HiFi set. When Miles Davis LPs were played, John jammed along on his own trumpet while Herbie sans piano listened and hummed. (How amazing that only a few years later Herbie was a member of the Miles Davis Quintet, 1963-68.) In the spring of our junior year, John played the trumpet in the Herbie Hancock Quintet on campus with Herbie, piano; Bob Taylor ’63, trombone; Phil Balick ’63, bass; and Steve Hecht ’62, drums. According to the S&B (the student newspaper), the group’s music included three pieces written by John plus three others by John and Herbie together with “the bulk of the credit” for the latter belonging to Hancock. Two of the Hancock-Scott tunes—“Portrait of Miles” [Davis] and “Griffin”--had been well received in “the Chicago jazz world” by 1960 with “Portrait of Miles” being played on the road by a group led by the well-known drummer, Philly Joe Jones. The S&B article also said, “Scott aspires to writing as well as playing jazz,” as he “is a serious student of jazz, and his one ambition is to play it” with those skills to be enhanced by his attending Berklee (‘Cool’ Five Play Oldies, Moderns, S&B, April 22, 1960). -
Herbie Hancock
HERBIE HANCOCK The Warner Bros.-Years 1969-1972 3-CD-Set mit Bonustracks VÖ: 18. Juli 2014 „Herbie war die nächste Stufe nach Bud Powell und Thelonius Monk, und ich habe noch niemanden gehört, der sein Nachfolger sein könnte.“ Mit diesem großen, aber zweifellos gerechtfertigten Lob charakterisierte Miles Davis, der Gigant des Jazz, seinen Musikerkollegen HERBIE HANCOCK in seiner Autobiografie „Miles“. Und tatsächlich gehört HERBIE HANCOCK, dessen Debüt-Album Takin‘ Off im Jahre 1962 erschien, zu den großen Ikonen des Jazz. Wie kaum ein Zweiter eröffnete er dem Jazz die Türen in völlig neue Bereiche, während er einen charakteristischen, unverwechselbaren eigenen Klang entwickelte. Doch auch nach einer fünf Dekaden währenden Karriere, in denen HANCOCK 14(!) Grammys gewann, überrascht er sein Publikum auch heute noch. Es gibt nur sehr wenige Musiker, die einen so starken Einfluss auf akustischen oder elektrischen Jazz und sogar den R&B ausübten wie HERBIE HANCOCK. The Warner Bros.-Years 1969-1972 besteht aus drei legendären Alben die sich allesamt um die Entstehung seiner Mwandishi Band gruppieren, mit der HERBIE HANCOCK völlig neue Wege beschritt. Auf dem Mwandishi-Album von 1971 trennte sich HANCOCK von den üblichen Jazz-Idiomen und entwickelte einen vollkommen neuen Sound, der mit neuer Technologie und neuem Ansatz entstand, indem es Beat, Abstraktion und Afrikanische Einflüsse miteinander verband, Überdies zeichnet sich das Album durch eine kollektivistische Herangehensweise unter einem stabilen Band-Leader aus. Genau genommen führte HANCOCK auf dem Album seine Experimente weiter, die er auf Miles Davis‘ Album A Silent Way (1969) begonnen hatte. Diese vertiefte er zunächst auf seinem frühen Fusion- Album Fat Albert Rotunda (1969), das einen radikalen Schnitt setzte und als erstes Album eines Jazz-Musikers Jazz mit Soul verknüpfte. -
The History and Development of Jazz Piano : a New Perspective for Educators
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1975 The history and development of jazz piano : a new perspective for educators. Billy Taylor University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Taylor, Billy, "The history and development of jazz piano : a new perspective for educators." (1975). Doctoral Dissertations 1896 - February 2014. 3017. https://scholarworks.umass.edu/dissertations_1/3017 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. / DATE DUE .1111 i UNIVERSITY OF MASSACHUSETTS LIBRARY LD 3234 ^/'267 1975 T247 THE HISTORY AND DEVELOPMENT OF JAZZ PIANO A NEW PERSPECTIVE FOR EDUCATORS A Dissertation Presented By William E. Taylor Submitted to the Graduate School of the University of Massachusetts in partial fulfil Iment of the requirements for the degree DOCTOR OF EDUCATION August 1975 Education in the Arts and Humanities (c) wnii aJ' THE HISTORY AND DEVELOPMENT OF JAZZ PIANO: A NEW PERSPECTIVE FOR EDUCATORS A Dissertation By William E. Taylor Approved as to style and content by: Dr. Mary H. Beaven, Chairperson of Committee Dr, Frederick Till is. Member Dr. Roland Wiggins, Member Dr. Louis Fischer, Acting Dean School of Education August 1975 . ABSTRACT OF DISSERTATION THE HISTORY AND DEVELOPMENT OF JAZZ PIANO; A NEW PERSPECTIVE FOR EDUCATORS (AUGUST 1975) William E. Taylor, B.S. Virginia State College Directed by: Dr. -
Herbie Hancock: Possibilities Free
FREE HERBIE HANCOCK: POSSIBILITIES PDF Herbie Hancock,Lisa Dickey | 346 pages | 27 Nov 2014 | Penguin Putnam Inc | 9780670014712 | English | New York, United States Possibilities by Herbie Hancock on Apple Music More Images. Please enable Javascript to take full advantage of our site features. Edit Master Release. Herbie Hancock Keyboards, Piano, Producer. Jack Rovner Executive-Producer, Management. Ken Levitan Executive-Producer, Management. Brian McCullough 2 Herbie Hancock: Possibilities. Melinda Murphy Coordinator. Steve Jordan Drums. Michael Bearden Keyboards. Ted Jensen Mastered By. Bassy Bob Brockmann Mixed By. Yaron Fuchs Mixed By. Cyro Baptista Percussion. Douglas Biro Photography By. Jon Fine Photography Herbie Hancock: Possibilities. Alan Mintz Producer. Jessica Hancock Producer. JoAnn Tominaga Producer. Add Review. Add all to Wantlist Remove all from Wantlist. Have: Want: Avg Rating: 4. Joutes by Titi-Panzer. DKG best 20 listened most by geogjazz. DKG s top 20 by geogjazz. Hear No Evil by Jealous. Best by Dubai-Bunnies. Gaucho by dindomartinez. Rolling Stone by indy WOM by indy Stitched Up. A Song For You. Hush, Hush, Hush. Sister Moon. When Love Comes To Town. Don't Explain. Gelo Na Montanha - 1st Movement. Sell This Version. Hear Music. Hancock Music. Verve Records Herbie Hancock: PossibilitiesSony Music 2. Warner Music Group. Not On Label. Herbie Hancock: Possibilities on Apple Books Uh-oh, it looks like your Internet Explorer is out of date. For a better shopping experience, please upgrade now. Javascript is not enabled in your browser. Enabling JavaScript in your browser will allow you to experience all the features of our site. Learn how to enable JavaScript on your browser.