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Spring 2003 Issue (PDF)
N O T E S F R O M ZAMIR SPRING 2003 THE M AGAZINE OF THE Z AMIR C HORALE The Food of Italian Jews, page 27 OF B OSTON Zamir’s Mission to Israel, page 31 The Jews of Italy: A Paper Symposium MUSICA EBRAICA In 1622 the Venetian rabbi Leon Modena wrote, “No longer will arrogant opponents heap scorn on the Hebrew folk. They will see that it too pos- sesses talent, the equal of the best endowed.” What kind of scorn had Modena experienced? In 1611 Thomas Coryat published a book about his impressions of Venice. He referred to the sing- ing in the synagogue as “exceeding loud yelling, indecent roar- ing, and as it were a beastly bellowing.” What was the basis for Modena’s optimism? “There has arisen in Israel, thank God, a very talented man, versed in the singer’s skill, who has performed music before princes, yea, dukes and nobles. He set the words of the psalms to music or- ganized in harmony, designating them for joyous song before the Ark.” Salamone Rossi, That man was the Jewish composer Salamone Rossi, who, the Mystery Man of Jewish Art Music Composers in 1622, produced the first book of its kind: a stunning setting by Don Harrán 5 of the synagogue service. “He is more talented than any other Rabbis, Politics, and Music: man, not only those of our own people, for he has been com- Leon Modena and Salamone Rossi pared with, and considered the equal of, many of the famous by Howard Tzvi Adelman 8 men of yesterday among the families of the earth.” Lord & Tailor: As we listen to Rossi’s music we become aware of the ex- Fashioning Images of Jews in Renaissance Italy traordinary accomplishments of the Jews in Renaissance Italy. -
December 1984
MODERN DRUMMER VOL. 8, NO. 12 Cover Photo by Layne Murdock CONTENTS FEATURES TERRY BOZZIO Although his work with such artists as Frank Zappa, the Brecker Brothers, and UK established Terry Bozzio's reputation as a fine drummer, his work with Missing Persons has revealed that there is more to Bozzio than was demonstrated in those other situations. Here, he talks about the hard work that went into starting his own band, explains his feelings that drummers should be more visible, and details his self-designed electronic drumset. by Rick Mattingly 8 OMAR HAKIM The fact that Weather Report and David Bowie have been sharing the same drummer says a lot about Omar Hakim's versatility, especially when one considers the wide range of styles that each of those situations encompasses. But Hakim's background prepared him well for the many diverse musical settings he has encountered, and he recounts that background in this amiable discussion of his life and career. by Robin Tolleson 14 INSIDE CALATO by Rick Van Horn 18 IAN PAICE The drummer for Deep Purple reminisces about the group's formation, discusses the band's reunion after an eight-year breakup, and describes Deep Purple's effect on today's music. He also talks about his experiences as the drummer for Whitesnake and Gary Moore, and explains the differences in playing with a guitar-oriented versus a vocal-oriented band. by Robyn Flans 22 TRISTAN FRY Modest Virtuoso by Simon Goodwin 26 DRIVER'S SEAT COLUMNS Phrasing With A Big Band PROFILES by Mark Hurley 112 PORTRAITS EDUCATION JAZZ DRUMMERS WORKSHOP Allen Herman New Concepts For Improved by Don Perman 30 THE MUSICAL DRUMMER Performance Chord Changes—Part 2 by Laura Metallo, Ph.D. -
Ecg1151 EJF2017 FINAL.Indd
14-23 July 2017 edinburghjazzfestival.com Welcome to our 2017 Festival. Blues from America For ten summer days Edinburgh will be Hamilton Loomis - p17 alive with uplifting music. years from the fi rst jazz recordings, we celebrate the Centenary of Jazz with a 100range of unique performances and special events. Jazz has been intertwined with blues since its origins and our blues programme, delves into the history of the music and showcases the musicians who are updating the tradition. Across both idioms and those around and in-between, this year’s programme off ers styles for all tastes – from bop to boogie to blues-rock; and from samba to swing to soul. International acts rub shoulders with homegrown talent and rising stars. Check out your favourites, of course, but we encourage you to get into the spirit of the Festival and try something new – you’re likely to discover a hidden gem! There are strong themes running through the programme: Jazz 100 marks the Centenary of jazz with a host of historic concerts Scottish Jazz Expo celebrates Scottish musicians take on that history, new Scottish bands and collaborations The Sound of New Orleans New Orleans comes to Edinburgh as we feature a host of musicians from the Soul Brass Band - p25 birthplace of jazz Cross The Tracks crosses the boundaries between jazz and contemporary urban music. And let yourself be transported by another Festival star – our venues! Dance under the magic mirrors of a grandiose cabaret tent located at the foot of Edinburgh Castle; enjoy the sumptuous surroundings and acoustics of Festival Theatre; get a great listening experience in the newly refurbished Rose Theatre, or drop in to the Traverse Café Bar - turned hip jazz joint. -
Nuevo Flamenco: Re-Imagining Flamenco in Post-Dictatorship Spain
Nuevo Flamenco: Re-imagining Flamenco in Post-dictatorship Spain Xavier Moreno Peracaula Submitted in fulfilment of the degree of PhD Newcastle University March 2016 ii Contents Abstract iv Acknowledgements v Introduction 1 Chapter One The Gitano Atlantic: the Impact of Flamenco in Modal Jazz and its Reciprocal Influence in the Origins of Nuevo Flamenco 21 Introduction 22 Making Sketches: Flamenco and Modal Jazz 29 Atlantic Crossings: A Signifyin(g) Echo 57 Conclusions 77 Notes 81 Chapter Two ‘Gitano Americano’: Nuevo Flamenco and the Re-imagining of Gitano Identity 89 Introduction 90 Flamenco’s Racial Imagination 94 The Gitano Stereotype and its Ambivalence 114 Hyphenated Identity: the Logic of Splitting and Doubling 123 Conclusions 144 Notes 151 Chapter Three Flamenco Universal: Circulating the Authentic 158 Introduction 159 Authentic Flamenco, that Old Commodity 162 The Advent of Nuevo Flamenco: Within and Without Tradition 184 Mimetic Sounds 205 Conclusions 220 Notes 224 Conclusions 232 List of Tracks on Accompanying CD 254 Bibliography 255 Discography 270 iii Abstract This thesis is concerned with the study of nuevo flamenco (new flamenco) as a genre characterised by the incorporation within flamenco of elements from music genres of the African-American musical traditions. A great deal of emphasis is placed on purity and its loss, relating nuevo flamenco with the whole history of flamenco and its discourses, as well as tracing its relationship to other musical genres, mainly jazz. While centred on the process of fusion and crossover it also explores through music the characteristics and implications that nuevo flamenco and its discourses have impinged on related issues as Gypsy identity and cultural authenticity. -
Drummerissue
APRIL 2016—ISSUE 168 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM drumMER issue BILLYBILLY COBHAMCOBHAM DRUMDRUM SPECTRUMSPECTRUM DAVE CHAD BERNARD DONALD WECKL TAYLOR PURDIE BAILEY Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2016—ISSUE 168 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Dave Weckl 6 by ken micallef [email protected] Andrey Henkin: [email protected] Artist Feature : Chad Taylor 7 by ken waxman General Inquiries: [email protected] On The Cover : Billy Cobham 8 by john pietaro Advertising: [email protected] Encore : Bernard Purdie by russ musto Editorial: 10 [email protected] Calendar: Lest We Forget : Donald Bailey 10 by donald elfman [email protected] VOXNews: LAbel Spotlight : Amulet by mark keresman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above FESTIVAL REPORT or email [email protected] 13 Staff Writers CD Reviews 14 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Miscellany 36 Ken Dryden, Donald Elfman, Philip Freeman, Kurt Gottschalk, Event Calendar Tom Greenland, Anders Griffen, 38 Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, As we head into spring, there is a bounce in our step. -
The Spell of Live Performance
The Spell of Live Performance: HD Opera and Liveness Today by Mihaela Irina A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2016 Mihaela Irina ABSTRACT This thesis looks at HD opera events, with the purpose of revealing how they reshape our understanding and usage of the concept of liveness. The popularity of The Met: Live in HD series in the last decade inspired other art companies (theatre, ballet, and even museums) to follow the same model and broadcast live in movie theatres. Together they seem to have shifted both our understanding of, and attitude towards, liveness. The discussion about liveness in the last century has revolved around the distinction between live and recorded, and around the co-dependent opposition between original and copy. Recently, liveness and the discourse about it have been influenced by a now blurry distinction between live and recorded, and by the emergence of online media. The emergence of HD events, which reposition liveness in a rediscovered environment – the movie theatre –, brings liveness to a new theoretical impasse, which I am tackling in my thesis. My investigation follows liveness through the lens of the long debated relationship between classical music and technology. I approach this relationship by having a close look at the production and reception of live broadcast events, starting with the radio in the 1920s, and focusing on HD opera as a new medium. Furthermore, I identify trends in how liveness is constructed, evaluated and perceived, taking into account the fact that over the decades, the understanding of liveness evolved with media usage, and also within its cultural and social context. -
SJM September 2020
September 2020 A brand-new podcast about Brighton’s vibrant jazz scene Listen now on any podcast app or visit brightonjazzsafari.com 4 Simon Spillett: 16 Big Band Scene RIP Peter King 18 Live Stream Reviews 7 Jazz News 8 A Tribute to Gerry Higgins 22 Album Reviews 11 Jazz Essentials 33 Listings 12 Interview: Sultan Stevenson 36 Pete Recommends... Click on the blue SJM logo at the bottom of Cover: Sultan Stevenson by Lisa Wormsley each page to return This Page: Harry Pope performing with Jackson Mathod by Lisa Wormsley to the contents page. Simon Spillett Peter King, Rest In Peace In honour of saxophonist Peter one of the finest musicians Great King, who passed away on 23rd Britain has ever produced - in any August, we print an appreciation of idiom. him written last year. I first heard Peter play in, I guess, the very late 1980s. BBC-2 screened At the risk of prompting hours of a concert by Stan Tracey's big band debate, for my money the man in the from the Bath festival. Seated in a foreground of this photograph is saxophone section also including undoubtedly 'The Greatest Alto Tony Coe and Art Themen, the forty- Saxophonist (currently) in Jazz'. something Peter was Period. You may disagree, as indeed undemonstrative, his alto thrust he himself might do too. After all, his squarely out front, his eyes rarely world-class musical gifts go hand-in- showing any sort of reaction to his hand with a persona at once self- fellow players. But it was his own effacing and naturally modest. -
Wait for the Chord: an Interview with Scott Hamilton
Wait for the Chord: An Interview with Scott Hamilton JM: Scott, in all truthfulness, you're one of our most contemporary links to the great heritage of the tenor saxophone and, also, of that whole tradition at the heart of what I call the jazz archive. If you were to think out loud about the way you've carved your own identity in the middle of that tradition, how would you talk about that? SH: Oh, that's tough. I would think that the main thing is, there isn't very much to talk about because, I mean, if anything has happened right for me, it's been sort of organic, you know ... to ignore the idea of style and just work toward the same sort of things that everybody else is working toward. Do you know what I mean? JM: Sure. SH: What are you gonna do? I have to spend most of my time ignoring the fact that I'm playing traditional so that I can concentrate on the things that are important. The language [of traditional jazz] is just something that I fell into. I'm happy I did. I'm comfortable with it, and I wouldn't be comfortable boundary 2 22:2, 1995. Copyright r 1995 by Duke University Press. CCC 0190-3659 95/$1.50. 208 boundary 2 / Summer 1995 doing something else. I figured out a long time ago that it wouldn't really be me if I were doing something else. But at the same time, you know, it's a difficult stance to defend if you're talking to somebody very concerned with style. -
Discographie
CHRISTIAN SCHOLZ UNTERSUCHUNGEN ZUR GESCHICHTE UND TYPOLOGIE DER LAUTPOESIE Teil III Discographie GERTRAUD SCHOLZ VERLAG OBERMICHELBACH (C) Copyright Gertraud Scholz Verlag, Obermichelbach 1989 ISBN 3-925599-04-5 (Gesamtwerk) 3-925599-01-0 (Teil I) 3-925599-02-9 (Teil II) 3-925599-03-7 (Teil III) [849] INHALTSVERZEICHNIS I. PRIMÄRLITERATUR 389 [850] 1. ANTHOLOGIEN 389 [850] 2. VORFORMEN 395 [865] 3. AUTOREN 395 [866] II. SEKUNDÄRLITERATUR 439 [972] III. HÖRSPIELE 452 [1010] ANHANG 460 [1028] IV. VOKALKOMPOSITIONEN 460 [1029] V. NACHWORT 471 [1060] [850] I. PRIMÄRLITERATUR 1. ANTHOLOGIEN Absolut CD # 1. New Music Canada. A salute to Canadian composers and performers from coast to coast. Ed. by David LL Laskin. Beilage in: Ear Magazine. New York o. J., o. Angabe der Nummer. Beiträge von Hildegard Westerkamp u. a. CD Absolut CD # 2. The Japanese Perspective. Ed. by David LL Laskin. Special Guest Editor: Toshie Kakinuma. Beilage in: Ear Magazine. New York o. J., o. Angabe der Nummer. Beiträge von Yamatsuka Eye & John Zorn, Ushio Torikai u. a. CD Absolut CD # 3. Improvisation/Composition. Beilage in: Ear Magazine. New York o. J., o. Angabe der Nummer. Beiträge von David Moss, Joan La Barbara u. a. CD The Aerial. A Journal in Sound. Santa Fe, NM, USA: Nonsequitur Foundation 1990, Nr. 1, Winter 1990. AER 1990/1. Mit Beiträgen von David Moss, Malcolm Goldstein, Floating Concrete Octopus, Richard Kostelanetz u. a. CD The Aerial. Santa Fe, NM, USA: Nonsequitur 1990, Nr. 2, Spring 1990. AER 1990/2. Mit Beiträgen von Jin Hi Kim, Annea Lockwood, Hildegard Westerkamp u. a. CD The Aerial. -
Five Performance Etudes for Jazz Piano
FIVE PERFORMANCE ETUDES FOR JAZZ PIANO ADREAN FARRUGIA A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO OCTOBER 2020 © ADREAN FARRUGIA, 2020 Abstract There are currently numerous texts and publications which outline the fundamental concepts which are relevant to the study and performance of jazz piano. However, there is a smaller body of work that clearly demonstrates the practical real-world application of these fundamental concepts. This thesis presents a collection of five performance etudes for jazz piano which encompass a number of concepts and approaches which are fundamental to the study of jazz piano, while also, as performance relevant pieces, illustrate the practical application of these approaches and concepts. The relevance of the concepts and approaches covered is justified by providing examples of their use on recordings by historically significant pianists. These Five Performance Etudes for Jazz Piano are based of the practical application of relevant styles and concepts spanning the 1940s to the 1960s – the period of jazz which cultivated the greatest number of musical tools still used today. ii Acknowledgements I would like to thank Professors Al Henderson and Sundar Viswanathan for their guidance and assistance during the process of creating this thesis. In particular, the guidance of my primary advisor Al Henderson was greatly appreciated -- his willingness to be of assistance and his insights during the process went far beyond the basic requirements of his role. I would also like to acknowledge professors Barry Elmes, Jay Rahn, and Michael Coghlan, with whom I fulfilled the course requirements of this degree. -
Thelonious Monk Timeline
Thelonious Monk Timeline 1917. Thelonious Monk was born on October 10, 1917 in Rocky Mount, North Carolina. His badly written birth certificate misspelled his first name as "Thelious" or "Thelius". It also did not list his middle name, taken from his maternal grandfather, Sphere Batts. 1921. When he was just four, his parents, Barbara and Thelonious, Sr., moved to 2 43 West 63rd Street, in Manhattan, New York City, where he would spend the next five decades of his life. 1928. Monk began studying classical piano when he was eleven but had already shown some aptitude for the instrument. "I learned how to read before I took lessons," he later recalled. "You know, watching my sister practice her lessons over her shoulder." 1930. By the time Monk was thirteen, he had won the weekly amateur competition at the Apollo Theater so many times that the management banned him from reentering the contest. 1934. At age seventeen, Monk dropped out of the esteemed Stuyvesant High School to pursue his music career. He toured with the socalled "Texas Warhorse," an evangelist and faith healer, before assembling a quartet of his own. Although it was typical to play for a big band at this time, Monk preferred a more intimate work dynamic that would allow him to experiment with his sound. 1941. At age twenty four, Monk began working at Minton's Playhouse in Harlem, where he joined the house band and helped develop the school of jazz known as bebop. Alongside Charlie Parker and Dizzy Gillespie, he explored the fast, jarring, and often improvised styles that would later become synonymous with modern jazz. -
Jazz-Pianister I 50'Erne
Jazz-pianister i 50’erne, side 1 Monk, Thelonious (Sphere) (b Rocky Mount, NC, 10 Oct 1917; d Englewood, NJ, 17 Feb 1982). American jazz pianist and composer. Although he remained long misunderstood and little known, both his playing and his compositions had a formative influence on modern jazz. 1. Life. When Monk was four his family moved to New York. In the early 1940s he became house pianist at Minton’s Playhouse in Harlem, where he helped to formulate the emerging bop style. In 1944 he recorded with the Coleman Hawkins Quartet, and in the same year his collaboration with Cootie Williams and lyricist Bernie Hanighen, the well-known tune ’Round Midnight (also known as Round about Midnight), was recorded by Williams (Hit). By this time Monk was playing at the Spotlite on 52nd Street with Dizzy Gillespie’s orchestra. Between 1947 and 1952 he made recordings for Blue Note: Evidence, Criss Cross and a bizarre arrangement of Carolina Moon (1952, BN) are regarded as the first characteristic works of his output, along with the recordings he made as a sideman for Charlie Parker in 1950, which included Bloomdido and My Melancholy Baby (both 1950, Mer./Clef). [not available online] In 1952 Monk acquired a contract from Prestige Records, with which he remained associated for three years. Although this was perhaps the leanest period in his career in terms of live performances, in October 1954 he recorded an album with Sonny Rollins and, in a memorable session with the Miles Davis All Stars on Christmas Eve, he gave perhaps his finest solo performance on Bags’ Groove (1954, Prst.).