Airwaves (1979-11)

Total Page:16

File Type:pdf, Size:1020Kb

Airwaves (1979-11) - AIRW\VES A Service of Continuing Education and Extension - l5il University of Minnesota, Duluth MARATHON SUCCESSFULI WDTH STAFF DISCUSS REASONS FOR PLEDGING 'O::r 0 r-t- 0 en "MA y I TAKE YOUR PLEDGE? TT O' 0 O' 0 'j 0, Ill ::r t-' $15,000! novembep . zz ;, records. Does anything stand this •••• I never thought any- that's what I did. I went out, I mean, I don't even body would ever do anything I home and studied, And when know what to ask you because ever done. You don't remember I got to where I figured I the list would be too long ·a Blues artist. Whose going could compete with him, he and it might begin to bore to do what I do? They give died, and they chose me to you, I don't know. Is there me this 700 pounds and I was write "The Death of Blind anything that stands out as walkin' around •.•• I didn't Boy Fuller". Interview: far as records or playing know what to do with it, JZ: But that gave you your with people? 'cause it was money that I never even dreamed of making introduction to Sonny and BM: Well, making my first 'cause it was a whole lot of you two •••• record with Pop Foster who's money. 700 pounds in England an old bass player who used at that time, 158, that's a BM: Well, I met Sonny after to be in Duke Ellington's lot of money, man, and they that. Fuller didn't die wth Brownie McGhee band •••. and I did a song come out with the sheet money right away. I drove the car called "Sportin' Life," and up from North Carolina to ·iike •••• and that's what your teeth, you got to stand and these guys sued me. The JZ: You used to sing at I did it because I wanted lawsuit is still pending. Chicago and New York, and I strike rallies and .•.••• the blues was. The blues is in line to pee. But we'd to preserve it because of a used to take him up, but I .double entendre speakin', all eat at the table and we letter I got from my mother. never was in a recording BM: Oh yeah everythin', I talkin' about one thing and shared the money that we And I wrote a song and I JZ: Let me ask you one more studio with him. And Sonny didn't care what it was. I meaning something else. But made and paid the rent and called it "A Letter From My thing, and I ••• If you don't didn't make any records with appreciated doing them. I , now you can come out and whatnot. Leadbelly came Mother", and somehow I didn't want to answer it you don't me behind •• ,first record we didn't ask people what it was tell it like it is. over and saw us one time and like the title. And I re- have to answer it, but I'd ever made was "Workin' Man's about, I'd just do it. said, "You all comin' to corded for a company there like to know exactly what's Blues", and we didn't start ) ' JZ: At that time there were live with me and Baby." He which opened up and I re- going on between Brownie :recording together until we JZ: Really? 'Guz I remember other cats around the scene calls his wife "Baby", corded for them, and I did McGhee and Sonny Terry. moved to New York. But the :readi?lfi that you sang out. who are the Woody Guthries, ,Martha. He says, "You all "Sportin' Life Blues" with thing that's wropg is we against, you know, fascism Pete Seegers, Josh White can come over and live with Pop Foster. It turned out BM: Me an' Sonny's never don't communicate. We never and oppression; and was it Junior's dad, and those kind us. I know you ain't gettin' to be a masterpiece. I've been partners. We've backed could communicate. This is more just the doin' the of people. the right food!" You know, got about 7 artists in Eng- up one another for the last what people don't understand, singin' or was it .•.•.•• pumpernickel bread and eggs land did that. What stands 4o years. It's not much to It's very hard when you're BM: Yeah we were all to- wasn't my bag but I was doin' out is I really thought I talk about. We' re both are an artist. You can't take a BM: Well, I wrote songs to gether. the best I could. He says created the music but it was individuals. He's not in my man out of his bag. Sonny that against the war and you don't have to pay any Duke Ellington's melody. bag and I'm not in his bag, plays what he wants to, and everything else, you know, I JZ: And you were living rent, but you can come over (big luagh) and we've just that •••• We if he don't play what he wants wrote songs. We didn't have with another cat who's a and live with me and when started playin' on the to play, he can't play, see. to write songs, we had songs. guy we play at the radio you make a little. money, give JZ: You haven't got a better streets together after Fuller And I'm the same way too, see. All blues is a protest. station all the time, and it to Baby and she'll cook man you could have stolen a died, A talent scout asked I'm not a ••• I'm not a That's why it's true. People you lived with him. His for us. melody from. could I, would I see if I musician, I'm an entertainer. think blues is •.•••• name was Huddie Ledbetter. could do something for Sonny. It's a hell of a thing to get JZ: Put it in the pot? BM: I got .••• well, the It wasn't me: I'm goin' in a musician. Difference be- JZ: Lookin' at your shirt BM: Oh, yeah I lived with thing about it was, I really another direction now, tween a nusician and an enter- right there man, what does Leadbelly for about 2 years BM: And I enjoyed it. He didn't know it, see I heaM 'cause ..... tainer is the musician plays it say? in N.Y. I met him in Wash- was a real nice man. I it in 1929 during the Depres- behind anybody who gives him ington. He was on the can't say anything about sion. It was called the JZ: You were fillin' in for a sheet, and tell you you're BM: "Blues is Truth" That's same concert as Paul Robe- Lead. He was underestimated "House Rent Party Blues", Blind Boy Fuller, right? wrong. all it is. See what I mean? son. by a lot of people, by peo- but there was no lyrics to But me, I feel what I play In every blues you can find ple that didn't know him. A it but it was a beautiful BM: I wasn't ••• hell no, and play what I feel, and so a touch of resentment; JZ: What did you get or lot of fictitious things tune. It lingered with me cuz he didn't do nothin' but does Sonny. I'm· an entertainer. you're talking about things, what happened during the wrote about him, and that I until 1 43 or somewhere along just blow the harp behind When we'd get off the stage, · how you've been treated ••••• time you lived with Lead- didn't like. If you know a there. I really thought I Fuller. I made records under you go your way and I'd go whiskey, women and money is, belly? man, you won't say things wrote that, man; that was my for my benefit; they called mine, See, I drink and you know, blues is based on. and if you don't know him, song. That was my music and me Blind Boy Fuller No. 2, smoke. I'm a party man, But that's not the only BM: He was absolutely •••. you'll do anything for a I wrote some lyrics to it which my daddy resented. But see. And he doesn't do thing they mean; that's He knew that we were, ••• gimmick. He was really good. called "Sportin' Life", And it wasn't a liability; it that. So I'm not gonna let crutches. We use them as We needed a little more He loved children and he soon as these records come was an asset, But people . my life go down the drain- -. ~,• crutches. Now you can say than we were getting there loved people, but he didn't out of these 5 artists in looked down there and found anything you want to. You 'cause we were living in a take no BULLSHIT from nobody. recorded I got a lawsuit Brownie McGhee in little JZ: I hope you keep on don't have to use them; you loft with all the folk And they talk about him against me. (laughs) I went bitty small letters (laughs~ going. can say THE THING. It's singers they called 'em, bein' .... "It's better to over there and they give me But I lived there because I come out to where you can such as Pete Seeger, and kill than to die." They al- 700 pounds.
Recommended publications
  • Bluesrock Vom Feinsten
    © Paul D. Bartsch, Halle (Saale), 2017 LIVERILLEN No. 03 Bluesrock vom Feinsten 00 Jingle + Begrüßung: 03:00 ➢ Und damit herzlich Willkommen zur dritten Sendung der LIVERILLEN hier auf Radio CORAX auf UKW 95,9 und weltweit im Netz – einen guten Tag wünscht Paul Bartsch! ➢ Wie stets gibt’s ausschließlich Konzertmitschnitte direkt von Vinyl, mit Knistern und Knacken > analoger Hörgenuss im digitalen Zeitalter! ➢ Heute lautet das Motto: Bluesrock vom Feinsten / ein Musikstil also, der ganz gegensätzliche Reaktionen hervorruft: Die Einen fühlen sich gelangweilt vom angeblich immer gleichen 12-Takt- Blues-Schema, und die anderen sind gerade von dieser zeitlosen Kraft und Urwüchsigkeit fasziniert! ➢ Ich persönlich gestehe, zu Letzteren zu gehören, zumal schon durch die jeweilige Spielweise der Protagonisten eine große Vielfalt entsteht, was auch die heutige Sendung mit ihren ausgewählten Liveaufnahmen sicher zeigen wird. ➢ Und da geht’s zunächst ganz tief in die Mottenkiste der populären Musik, ohne dass ich nun die Bluesgeschichte in Gänze aufrollen werde. Aber dieser schwarze Musiker ist nicht wegzudenken für das, was seit den 1960er Jahren dann als Bluesrock firmierte. Musiker wie Keith Richards, John Mayall oder auch Eric Clapton sind vor dieser Gitarre ehrfürchtig niedergekniet, auch wenn die wenigen erhaltenen Aufnahmen Jahrzehnte zuvor entstanden waren – die Rede ist von Robert Johnson, dem 1911 im US-Staat Mississippi geborenen Gitarristen, Sänger und Komponisten, der nach nur 27 Jahren verstarb – Giftmord? Syphilis? Todesursache offen – die Legenden ranken. Dazu gleich mehr – hier ist Robert Johnson, der King des schwarzen Delta-Blues, mit seiner Komposition „Love In Vain“ – ein ziemlich bitteres Liebeslied, live eingespielt bei einer Aufnahmesession im Jahr 1937: 01 Robert Johnson: Love In vain 05:00 ➢ Robert Johnson – an ihm ist wohl keiner der später und bis heute dem Blues verfallenen Musiker vorbeigekommen.
    [Show full text]
  • Jazz Workshop Dana Hall, Director Jazz Orchestra Thomas Matta, Director Jazz Ensemble Bob Lark, Director Program Jazz Workshop Dana Hall, Director
    Thursday, May 25, 2017 • 8:00 P.M. Jazz Workshop Dana Hall, director Jazz Orchestra Thomas Matta, director Jazz Ensemble Bob Lark, director DePaul Student Center 2250 North Sheffield Avenue • Chicago Thursday, May 25, 2017 • 8:00 P.M. DePaul Student Center JAZZ WORKSHOP Dana Hall, director JAZZ ORCHESTRA Thomas Matta, director JAZZ ENSEMBLE Bob Lark, director PROGRAM JAZZ WORKSHOP Dana Hall, director Dan Higgins A New Start Bob Meyer In The Moment Joel Adams Love Song Benjamin Phillips Little Warrior Dan Burke Living in the Existential Vacuum Sammy Galop and Peter DeRose; arr. Alex Blomarz Autumn Serenade Ben Voigt B’s Blues DEPAUL JAZZ ENSEMBLES • MAY 25, 2017 PROGRAM JAZZ ORCHESTRA Thomas Matta, director To be selected from the following: Bill Holman Told You So George and Ira Gershwin; arr. Ted Nash Our Love Is Here To Stay Matt Harris Cabeza De Carne Mike Crotty The Poet Jim McNeely Extra Credit Harry Warren & Al Dubin; arr. Frank Mantooth I Only Have Eyes For You Thelonius Monk; arr. Ryan Adamsons Epistophry JAZZ ENSEMBLE Bob Lark, director Juan Tizol & Duke Ellington; arr. John Wasson Caravan Bob Lark; arr. Chris Madsen Rum Point Phil Woods Randi Thomas Matta Another Shuffle DEPAUL JAZZ ENSEMBLES • MAY 25, 2017 PROGRAM Richard Rodgers & Lorenz Hart; arr. Thomas Matta It Never Entered My Mind Joseph Clark Blaze Sammy Mysels, Nelson Cogane & Dick Robertson; arr. Joseph Clark Yesterday’s Gardenias DEPAUL JAZZ ENSEMBLES • MAY 25, 2017 BIOGRAPHIES Drummer, composer, ethnomusicologist, and bandleader Dana Hall has been an important musician on the international music scene since 1992, after leaving aerospace engineering for a life in music.
    [Show full text]
  • Wavelength (December 1981)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ----­ Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson.
    [Show full text]
  • BLUES La Colonna Sonora Della Mia Anima … Ain’T Nothin’ but the Blues
    http://scrivi.10righedailibri.it/ leggi, scrivi e condividi le tue 10 righe dai libri http://www.10righedailibri.it GRANDI OPERE Salvatore Amara UN SALTO NEL BLUES La colonna sonora della mia Anima … ain’t nothin’ but the Blues CUEC Salvatore Amara Un salto nel Blues La colonna sonora della mia Anima … ain’t nothin’ but the Blues ISBN: 978-88-8467-960-4 © CUEC Editrice 2015 prima edizione dicembre 2015 Realizzazione editoriale CUEC Editrice by Sardegna Novamedia Soc. Coop. via Basilicata 57/59 09127 Cagliari www.cuec.eu [email protected] [email protected] Questo libro è realizzato in coproduzione CUEC Editrice/Salvatore Amara Senza il permesso scritto dell’Editore è vietata la riproduzione anche parziale, con qualsiasi mezzo effettuata, compresa la fotocopia, anche ad uso interno o didattico Realizzazione grafica Antonello De Cicco Stampa e legatura Arti Grafiche CDC Srl Città di Castello (PG) “Tutto il pensare che fate prima di iniziare un lavoro abbrevia il tempo che dovete spendere per eseguirlo” R.C. SMITH Dedico questo libro a Barbara Derosas, moglie, amica e amante, il Sole che illumina il mio mondo e riscalda il mio Cuore. Che occhi avrà Railgac Blues Che occhi avrà, il futuro, ora? “Le mie viscere sono marce. Che occhi avrà, ora, la storia? Viaggio in un treno verso il fiume. Avrà quegli occhi che aveva il vento, Nessuno sa gli accordi della mia chitarra. quel vento caldo che dall’Africa saliva Anch’io li ho dimenticati nel viaggio. nel canto degli schiavi, nel gospel, nel blues Sparsi nelle rotaie della città di Railgac.
    [Show full text]
  • The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
    04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS
    [Show full text]
  • Arizona 500 2021 Final List of Songs
    ARIZONA 500 2021 FINAL LIST OF SONGS # SONG ARTIST Run Time 1 SWEET EMOTION AEROSMITH 4:20 2 YOU SHOOK ME ALL NIGHT LONG AC/DC 3:28 3 BOHEMIAN RHAPSODY QUEEN 5:49 4 KASHMIR LED ZEPPELIN 8:23 5 I LOVE ROCK N' ROLL JOAN JETT AND THE BLACKHEARTS 2:52 6 HAVE YOU EVER SEEN THE RAIN? CREEDENCE CLEARWATER REVIVAL 2:34 7 THE HAPPIEST DAYS OF OUR LIVES/ANOTHER BRICK IN THE WALL PART TWO ANOTHER BRICK IN THE WALL PART TWO 5:35 8 WELCOME TO THE JUNGLE GUNS N' ROSES 4:23 9 ERUPTION/YOU REALLY GOT ME VAN HALEN 4:15 10 DREAMS FLEETWOOD MAC 4:10 11 CRAZY TRAIN OZZY OSBOURNE 4:42 12 MORE THAN A FEELING BOSTON 4:40 13 CARRY ON WAYWARD SON KANSAS 5:17 14 TAKE IT EASY EAGLES 3:25 15 PARANOID BLACK SABBATH 2:44 16 DON'T STOP BELIEVIN' JOURNEY 4:08 17 SWEET HOME ALABAMA LYNYRD SKYNYRD 4:38 18 STAIRWAY TO HEAVEN LED ZEPPELIN 7:58 19 ROCK YOU LIKE A HURRICANE SCORPIONS 4:09 20 WE WILL ROCK YOU/WE ARE THE CHAMPIONS QUEEN 4:58 21 IN THE AIR TONIGHT PHIL COLLINS 5:21 22 LIVE AND LET DIE PAUL MCCARTNEY AND WINGS 2:58 23 HIGHWAY TO HELL AC/DC 3:26 24 DREAM ON AEROSMITH 4:21 25 EDGE OF SEVENTEEN STEVIE NICKS 5:16 26 BLACK DOG LED ZEPPELIN 4:49 27 THE JOKER STEVE MILLER BAND 4:22 28 WHITE WEDDING BILLY IDOL 4:03 29 SYMPATHY FOR THE DEVIL ROLLING STONES 6:21 30 WALK THIS WAY AEROSMITH 3:34 31 HEARTBREAKER PAT BENATAR 3:25 32 COME TOGETHER BEATLES 4:06 33 BAD COMPANY BAD COMPANY 4:32 34 SWEET CHILD O' MINE GUNS N' ROSES 5:50 35 I WANT YOU TO WANT ME CHEAP TRICK 3:33 36 BARRACUDA HEART 4:20 37 COMFORTABLY NUMB PINK FLOYD 6:14 38 IMMIGRANT SONG LED ZEPPELIN 2:20 39 THE
    [Show full text]
  • Montclair State University Jazz Ensemble with Mike Lee, Guest Soloist
    Montclair State University Jazz Ensemble With Mike Lee, Guest Soloist Oscar Perez, Director Cali Music Live Sunday, May 23rd, 2021 3:00 pm Exactly Like You Jimmy McHugh arr. by Dennis Mackrel Black Narcissus Joe Henderson arr. by Bob Belden Guest Soloist, Mike Lee Alter Ego James Williams arr. by Eddie Allen Finya Wulo Michael Phillip Mossman Dolphin Dance Herbie Hancock arr. by Bob Mintzer PERSONNEL Oscar Perez, Director Mike Lee, Guest Soloist Nicolas Martin, Alto 1 Stephan Schwarz, Alto 2 Allan Romero Tenor Sax 1 Bella Rochford, Tenor Sax 2 Sabrina Isaac, Baritone Sax Shanyse Strickland, Flute/French Horn Deshaun Hinson, Trumpet 1 Gavin Ard, Trumpet 2 Justina Carandola, Trumpet 3 David Long, Trumpet 4 Vito Cakaroglu, Trombone 1 Martin Pyda, Trombone 2 Dan Harkins, Trombone 3 Matthew Veal, Bass Trombone Derick Campos, Guitar Pierce Sparncroft, Vibraphone Tia Mae Frostrom, Piano Senny Raines, Bass Zack Perez, Drums MSU Jazz Ensemble Bio The MONTCLAIR STATE UNIVERSITY JAZZ ENSEMBLE is in its first year under the direction of new Jazz Studies coordinator Oscar Perez and is honored to present a varied program of music from James Williams, Herbie Hancock, Michael Phillip Mossman, and Joe Henderson. We are also proud to present saxophone faculty and guest soloist Mike Lee. The group was founded and directed for twenty-two years by Dr. Jeffrey Kunkel, who retired from full-time teaching in August. The MSUJE, which is comprised of majors in Jazz Studies as well as other music majors (and even the occasional non-music major!), is dedicated to the performance of music representative of contemporary literature composed for the large jazz ensemble, as well as music of historical importance to the genre, with each semester focusing on the music of one composer or arranger.
    [Show full text]
  • Life in the Queensborough Township: Data Recovery at Hannah's Quarter
    Life in the Queensborough Township: Data Recovery at Hannah’s Quarter, Site 9Jf195, Jefferson County, Georgia Front Cover: Hannah Tartan and Hannah Family Badge Life in the Queensborough Township: Data Recovery at Hannah’s Quarter, Site 9Jf195, Jefferson County, Georgia GDOT Project FLF-540(28); PI Number 222295 By Daniel T. Elliott and Rita F. Elliott with contributions by Linda Scott Cummings, Susan Scott Jackson, Andrea Shea, and Debra J. Wells Prepared for: Earth Tech 701 Corporation Center Drive, Suite 475 Raleigh, North Carolina 27607-5074 and Georgia Department of Transportation Office of Environment/Location 3993 Aviation Circle Atlanta, Georgia 30336-1593 Prepared by: Southern Research, Historic Preservation Consultants, Inc. P.O. Box 250 Ellerslie, Georgia 31807 Principal Investigator, Daniel T. Elliott _________________________________ April 2002 Abstract Archaeological data recovery at the Hannah’s Quarter site (9Jf195) in rural Jefferson County, Georgia was conducted by Southern Research Historic Preservation Consultants in 2001. This project was performed for the Georgia Department of Transportation through a contract with Earth Tech in Raleigh, NC as Section 106 compliance in advance of the Fall Line Freeway construction. The archaeological study uncovered a small residential compound from the late eighteenth through early nineteenth centuries. Three dwelling loci and one possible outbuilding locus were delineated. The occupation at this site was evidenced by a series of cultural features, including pits, posts, and cellars and extremely sparse material culture evidence. The settlement began as part of the Queensborough Township, which was populated by Scots-Irish Presbyterians from northern Ireland from about 1768 to 1772. William Hannah was identified as a strong candidate for being the original owner of the property at 9Jf195.
    [Show full text]
  • 100 Years: a Century of Song 1970S
    100 Years: A Century of Song 1970s Page 130 | 100 Years: A Century of song 1970 25 Or 6 To 4 Everything Is Beautiful Lady D’Arbanville Chicago Ray Stevens Cat Stevens Abraham, Martin And John Farewell Is A Lonely Sound Leavin’ On A Jet Plane Marvin Gaye Jimmy Ruffin Peter Paul & Mary Ain’t No Mountain Gimme Dat Ding Let It Be High Enough The Pipkins The Beatles Diana Ross Give Me Just A Let’s Work Together All I Have To Do Is Dream Little More Time Canned Heat Bobbie Gentry Chairmen Of The Board Lola & Glen Campbell Goodbye Sam Hello The Kinks All Kinds Of Everything Samantha Love Grows (Where Dana Cliff Richard My Rosemary Grows) All Right Now Groovin’ With Mr Bloe Edison Lighthouse Free Mr Bloe Love Is Life Back Home Honey Come Back Hot Chocolate England World Cup Squad Glen Campbell Love Like A Man Ball Of Confusion House Of The Rising Sun Ten Years After (That’s What The Frijid Pink Love Of The World Is Today) I Don’t Believe In If Anymore Common People The Temptations Roger Whittaker Nicky Thomas Band Of Gold I Hear You Knocking Make It With You Freda Payne Dave Edmunds Bread Big Yellow Taxi I Want You Back Mama Told Me Joni Mitchell The Jackson Five (Not To Come) Black Night Three Dog Night I’ll Say Forever My Love Deep Purple Jimmy Ruffin Me And My Life Bridge Over Troubled Water The Tremeloes In The Summertime Simon & Garfunkel Mungo Jerry Melting Pot Can’t Help Falling In Love Blue Mink Indian Reservation Andy Williams Don Fardon Montego Bay Close To You Bobby Bloom Instant Karma The Carpenters John Lennon & Yoko Ono With My
    [Show full text]
  • 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”.
    [Show full text]
  • Impex Records and Audio International Announce the Resurrection of an American Classic
    Impex Records and Audio International Announce the Resurrection of an American Classic “When Johnny Cash comes on the radio, no one changes the station. It’s a voice, a name with a soul that cuts across all boundaries and it’s a voice we all believe. Yours is a voice that speaks for the saints and the sinners – it’s like branch water for the soul. Long may you sing out. Loud.” – Tom Waits audio int‘l p. o. box 560 229 60407 frankfurt/m. germany www.audio-intl.com Catalog: IMP 6008 Format: 180-gram LP tel: 49-69-503570 mobile: 49-170-8565465 Available Spring 2011 fax: 49-69-504733 To order/preorder, please contact your favorite audiophile dealer. Jennifer Warnes, Famous Blue Raincoat. Shout-Cisco (three 200g 45rpm LPs). Joan Baez, In Concert. Vanguard-Cisco (180g LP). The 20th Anniversary reissue of Warnes’ stunning Now-iconic performances, recorded live at college renditions from the songbook of Leonard Cohen. concerts throughout 1961-62. The Cisco 45 rpm LPs define the state of the art in vinyl playback. Holly Cole, Temptation. Classic Records (LP). The distinctive Canadian songstress and her loyal Jennifer Warnes, The Hunter. combo in smoky, jazz-fired takes on the songs of Private-Cisco (200g LP). Tom Waits. Warnes’ post-Famous Blue Raincoat release that also showcases her own vivid songwriting talents in an Crosby, Stills, Nash & Young, Déjá Vu. exquisite performance and recording. Atlantic-Classic (200g LP). A classic: Great songs, great performances, Doc Watson, Home Again. Vanguard-Cisco great sound. The best country guitar-picker of his day plays folk ballads, bluegrass, and gospel classics.
    [Show full text]
  • GIVING a JAZZ RECORD AS a GIFT by Eric Myers National Times, December 7, 1980 ______
    GIVING A JAZZ RECORD AS A GIFT by Eric Myers National Times, December 7, 1980 ______________________________________________________________ The National Times opera critic JOHN CARMODY, Sydney Morning Herald jazz critic ERIC MYERS and rock writer SHANE NICHOLS prepared this guide to records most likely to be gratefully received. They cover a range of tastes and should be available. ______________________________________________________________ f you are buying a jazz record as a gift, you should determine the style preferred. There are so many different, although related, idioms I congregating under the banner of "jazz" that it is rarely possible, these days, to buy a "jazz" album that suits all tastes. Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). If the recipient likes big band jazz, you could do no better than the three-record set Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). This was a performance at the Crystal Ballroom, Fargo, North Dakota, on 1 November 7, 1940. Many critics believe, with some justice, that this particular line-up of musicians was the greatest that Ellington ever assembled. This was a special performance - the first night Ray Nance played in the trumpet section, having just replaced Cootie Williams, who had left to join Benny Goodman. Rex Stewart is also in the section. The saxophones include Barney Bigard (clarinet), Johnny Hodges (alto) and Ben Webster (tenor) among others; Tricky Sam Nanton and Lawrence Brown are among the trombones; and the great Jimmy Blanton is on bass. It is a distinguished line-up, and the band roars through the Ellington repertoire with all the qualities that made it the greatest big band in jazz.
    [Show full text]