Cecil Taylor Olu Iwa Mp3, Flac, Wma

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Cecil Taylor Olu Iwa mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Olu Iwa Country: Italy Style: Avant-garde Jazz MP3 version RAR size: 1911 mb FLAC version RAR size: 1220 mb WMA version RAR size: 1327 mb Rating: 4.9 Votes: 320 Other Formats: AHX AA AU AAC AUD XM MOD Tracklist Hide Credits B Ee Ba Nganga Ban'a Eee! 1 Tenor Saxophone – Frank WrightTenor Saxophone, Tárogató – Peter BrötzmannTrombone – 48:21 Earl Mcintyre 2 Olu Iwa 27:09 Companies, etc. Phonographic Copyright (p) – Soul Note Copyright (c) – Soul Note Made By – www.imsgroup.it Published By – Unit Core Music Corp. Recorded At – Akademie der Künste, Berlin Mastered At – PhonoComp Credits Artwork [Cover Art] – Xerios Bass – William Parker Drums – Steve Mccall Engineer [Mastering] – Gennaro Carone Engineer [Recording] – Jost Gebers Ensemble – Cecil Taylor Quartet* (tracks: 2), Cecil Taylor Unit* (tracks: 1) Liner Notes – Art Lange Percussion, Marimba – Thurman Barker Photography By [Cover] – Elena Carminati Piano, Composed By – Cecil Taylor Producer – Giovanni Bonandrini Notes Track #1 recorded on April 12, 1986; track #2 recorded on April 11, 1986. Recorded live during the "Workshop Freie Musik 1986" - a festival of Improvised Music since 1969, organized and produced by FMP/Free Music Production-at the Academy of Arts, Berlin, Germany. Liner notes dated to October 1993 Mastered at PhonoComp, Tribiano - Milano. © 1994 Soul Note ℗ 1994 Soul Note "This record is dedicated to the memory of Jimmy Lyons". Barcode and Other Identifiers Barcode: 02731211392 Matrix / Runout: www.imsgroup.it 121139-2 Mastering SID Code: none Mould SID Code: IFPI 2531 Rights Society: BMI Rights Society: S.I.A.E. Other versions Category Artist Title (Format) Label Category Country Year 121139-2, 121 Cecil Olu Iwa (CD, Soul Note, 121139-2, 121 Italy 1994 139-2 Taylor Album) Soul Note 139-2 121139-2, 121 Cecil Olu Iwa (CD, Soul Note, 121139-2, 121 Italy 1994 139-2 Taylor Album) Soul Note 139-2 Comments about Olu Iwa - Cecil Taylor Brazil the cd with black surface is from the second edition - the first cd edition had an orange surface Related Music albums to Olu Iwa by Cecil Taylor Cecil Taylor Jazz Unit - Nefertiti, The Beautiful One Has Come Cecil Taylor - For Olim Cecil Taylor - Looking (Berlin Version) Solo Cecil Taylor - Fly! Fly! Fly! Fly! Fly! Cecil Taylor - One Too Many Salty Swift And Not Goodbye The Cecil Taylor Unit - Nicaragua: No Pasaran - Willisau 83 Live Cecil Taylor & Günter Sommer - Riobec Cecil Taylor - Unit Structures.

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Diplomarbeit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit Das scape jazzistique. Improvisationen in einem globalen Feld. Verfasserin ODER Verfasser Philipp Schmickl angestrebter akademischer Grad Magister Wien, 2010 Studienkennzahl lt. Studienblatt: A 307 Studienrichtung lt. Studienblatt: Betreuerin / Betreuer: Dr. Wolfang Kraus 1 2 Meinen Eltern, ohne deren Unterstützung ich diese Arbeit nicht hätte schreiben können sowie Nadine, meiner freundschaftlichen Freundin 3 4 Zwei Musiker treffen sich in New York am Flughafen. Fragt der eine den anderen: - Wo ﬂiegst du hin? Sagt der andere: - Nach Wien. - Wo ist das? - In der Nähe von Nickelsdorf. Wahre oder erfundene Geschichte They say that history repeats itself, ..., they say that history repeats itself, repeats itself. But history is his story, is not my story, what’s your story? Sun Ra, A Joyful Noise “Quick, hide the computers and the VCR, the anthropologists are coming!” u. a. in George Lewis, Changing with the Times, CD 5 6 Inhalt Einleitung 11 Teil 1 - Einführung ins champ jazzistique 14 Einführung in le champ jazzistique 15 [Punkt] 1 17 [Punkt] 2 18 [Punkt] 3 19 [Punkt] 4 20 [Punkt] 5 21 [Punkt] 6 22 [Punkt] 7 23 [Punkt] 8 24 [Punkt] 9 25 [Punkt] 10 25 [Punkt] 11 26 [Punkt] 12 26 Globalisierung 28 Emanzipation 29 Individualismus/eigener Klang/Körper 31 Platten/Plattensammlung 32 Geschichten über Geschichte 33 Improvisation 35 Teil 2 - Methode und Feld 37 Eigene Position im Feld 38 Meine Position ... 38 ... im Feld 39 7 Methode 40 Grounded Theory 40 Interviews 44 Datenhierarchie 45 Durchführung 47 Interviews 47 Zum Ablauf der Interviews 48 Daten hören und Transkribieren 49 Teil 3 - Das scape jazzistique 51 Globalisierung 52 the scape and its anchors 52 Wege der Verbreitung - Gittin’ to know y’all 53 ..
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Cecil Taylor 3 Phasis Mp3, Flac, Wma
Cecil Taylor 3 Phasis mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: 3 Phasis Country: US Released: 1979 Style: Free Jazz, Avantgarde, Free Improvisation MP3 version RAR size: 1205 mb FLAC version RAR size: 1983 mb WMA version RAR size: 1218 mb Rating: 4.9 Votes: 556 Other Formats: AHX MMF AC3 DXD MP4 XM MP2 Tracklist A Side One 28:22 B Side Two 28:50 Companies, etc. Phonographic Copyright (p) – Recorded Anthology Of American Music, Inc. Copyright (c) – Recorded Anthology Of American Music, Inc. Recorded At – Columbia Recording Studios Mastered At – Sterling Sound Credits Alto Saxophone – Jimmy Lyons Artwork [Cover Art] – Paul Jenkins Bass – Sirone Design [Cover] – Michael Sonino Drums – Ronald Shannon Jackson Engineer [Assistant Recording] – Ken Robertson Engineer [Recording, Editing, And Mixing] – Don Puluse Mastered By – Ted Jensen Photography By – Marc Brasz Piano – Cecil Taylor Producer – Sam Parkins Trumpet – Raphé Malik* Violin – Ramsey Ameen Notes Recorded in April 1978 at Columbia Recording Studios, 30th Street, New York, NY. Other versions Category Artist Title (Format) Label Category Country Year New World 80303-2, NW Cecil 3 Phasis (CD, 80303-2, NW Records, New US 1996 303-2 Taylor Album, RE) 303-2 World Records Cecil 3 Phasis (CD, New World NW 303-2 NW 303-2 US Unknown Taylor Album, RE) Records Related Music albums to 3 Phasis by Cecil Taylor Jazz Cecil Taylor - Innovations Jazz Cecil Taylor - Great Paris Concert «2» Rock dt's - Widow Of An All-American Jazz Cecil Taylor Unit - Akisakila - Cecil Taylor Unit In Japan Jazz Cecil Taylor / Buell Neidlinger - New York City R&B Jazz Cecil Taylor - Conquistador! Jazz Cecil Taylor - The World Of Cecil Taylor Jazz Cecil Taylor - Buell Neidlinger - New York City R&B Jazz Cecil Taylor Trio And Quintet - Love For Sale Jazz Cecil Taylor / Charles Tolliver / Grachan Moncur / Archie Shepp - The New Breed.
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City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Lockett, P.W. (1988). Improvising pianists : aspects of keyboard technique and musical structure in free jazz - 1955-1980. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/8259/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] IMPROVISING PIANISTS: ASPECTS OF KEYBOARD TECHNIQUE AND MUSICAL STRUCTURE IN FREE JAll - 1955-1980. Submitted by Mark Peter Wyatt Lockett as a thesis for the degree of Doctor of Philosophy The City University Department of Music May 1988 TABLE OF CONTENTS Page No I List of Figures 3 IIListofRecordings............,........ S III Acknowledgements .. ..... .. .. 9 IV Abstract .. .......... 10 V Text. Chapter 1 .........e.e......... 12 Chapter 2 tee.. see..... S S S 55 Chapter 3 107 Chapter 4 ..................... 161 Chapter 5 ••SS•SSSS....SS•...SS 212 Chapter 6 SS• SSSs•• S•• SS SS S S 249 Chapter 7 eS.S....SS....S...e.
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The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.
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Andrew Cyrille Did It the Way He Did
so important to so many drummers? InterviewInterview AC: Joe was a very charismatic personality. He was somebody that was very beguiling. He was another showman, and he would do certain things, and you would try to figure out why he Andrew Cyrille did it the way he did. But the thing about Joe was that his musicianship was at such a high Interview & Photo by Ken Weiss caliber and he had such high intellect. He knew how to play certain things — we call them rudi- ments — in a particular way, so that they would schul are no slouches. It’s a great compliment come up representing the music he was playing Hear Andrew Cyrille with Andy Milne that he wrote that and I’ve been aware of it. I so exactly. He was a heavy point of light within Monday, August 26, 7:30pm & 9:30pm accept the praise but I don’t necessarily agree. a certain period of this music. He used to take Dizzy’s Club Coca Cola All music is based on mathematics and I don’t me to sessions with Stan Getz, Bud Powell and Jazz At Lincoln Center, 60th & Broadway, NYC know that my mathematics is better than anyone Miles Davis and my tongue would be hanging www.jalc.org/dizzys else’s. A lot of times I hear drummers play and I out just checking them out. I remember one time, say, ‘How come I couldn’t think of that?’ and Gary Bartz always teases me about this, he and I were at Julliard and we’d go down and Andrew Cyrille (November 10, 1939) grew up in JI: The critics have been impressed that you’ve listen at the old clubs — like the original Bird- Brooklyn to become one of the preeminent free studied the great past drum masters such as Baby land.
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In the Break: the Aesthetics of the Black Radical Tradition
In the Break This page intentionally left blank In the Break The Aesthetics of the Black Radical Tradition Fred Moten University of Minnesota Press Minneapolis • London Copyright 2003 by the Regents of the University of Minnesota Portions of chapter 1 were originally published as “Voices/Forces: Migration, Surplus, and the Black Avant-Garde,” in Writing Aloud: The Sonics of Language, edited by Brandon LaBelle and Christof Migone (Los Angeles: Errant Bodies Press, 2001); reprinted by permission of Errant Bodies Press. Portions of chapter 1 also appeared as “Sound in Florescence: Cecil Taylor Floating Garden,” in Sound States: Innovative Poetics and Acoustical Technologies, edited by Adalaide Morris (Chapel Hill: University of North Carolina Press, 1998); copyright 1998 by the University of North Carolina Press; reprinted by permission of the University of North Carolina Press. An earlier version of chapter 2 appeared as “From Ensemble to Improvisation,” in Hambone 16 (Fall 2002); reprinted by permission of Hambone. An earlier version of chapter 3 appeared as “Black Mo’nin’ in the Sound of the Photograph,” in Loss, edited by David Kazanjian and David Eng (Berkeley: University of California Press, 2002); copyright 2002 by the Regents of the University of California; reprinted by permission of the University of California Press. Translated poetry by Antonin Artaud in chapter 1 originally appeared in WatchWends and Rack Screams: Works from the Final Period, edited and translated by Clayton Eshleman and Bernard Bador (Boston: Exact Change, 1995); reprinted courtesy of Exact Change. Lush Life, by Billy Strayhorn, copyright 1949 (renewed) by Music Sales Corporation (ASCAP) and Tempo Music Corporation (BMI); all rights administered by Music Sales Corporation (ASCAP); international copyright secured; all rights reserved; reprinted by permission.
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Cecil Taylor, Piano Jimmy Lyons, Alto Saxophone Raph
CECIL TAYLOR, PIANO JIMMY LYONS, ALTO SAXOPHONE RAPH. MALIK, TRUMPET RAMSEY AMEEN, VIOLIN SIRONE, BASS RONALD SHANNON JACKSON, DRUMS CECILTAYLOR New World Records 80303-2 THE MUSIC OF CECIL TAYLOR by Gary Giddins More than any one else in contemporary music, Cecil Taylor has successfully reconciled the traditions of jazz and the academy. To no one's surprise, least of all his own, the accomplishment is not universally celebrated. The classical avant-garde views it with the suspicion it turns on all jazz-related developments, while the jazz traditionalists are disaffected by Taylor's abandonment of swing orthodoxies. Yet the achievement is unmistakable: Taylor's music gives emotional satisfaction; it enlarges the language and potential of musical expression; it makes us hear deeper and better. After two decades of uncompromising dedication, Taylor has earned a passionate international following. His art remains difficult for the novitiate to grasp, but time has proved that those difficulties are not insurmountable. To understand the impact of Taylor's innovations, it is useful to recall the state of American music in the nineteen- fifties, when his influence was first felt. At the time of his debut recording in 1955, the structure of a jazz performance was rigidly codified. Jazz improvisation and composition were based on a cyclical form—that is, the soloist and the composer worked with a predetermined structure, usually the twelve-bar blues or the thirty-two-bar popular song, which served as a harmonic and rhythmic pattern to be repeated over and over for the duration of a performance. Each cycle, or chorus, had the same harmonic progression and number of measures; the melodies had to conform to the harmonic outline, and the rhythms to the time signature.
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The Avant-Garde 15
CURRENT A HEAD ■ 407 ORNETTE COLEMAN lonely woman CECIL TAYLOR bulbs CECIL TAYLOR willisau concert, part 3 ALBERT AYLER ghosts DAVID MURRAY el matador THE AVANT-GARDE 15 Forward March T e word “avant-garde” originated in the French military to denote the advanced guard: troops sent ahead of the regular army to scout unknown territory. In English, the word was adapted to describe innovative composers, writers, painters, and other artists whose work was so pioneering that it was believed to be in the vanguard of contemporary thinking. Avant-gardism represented a movement to liberate artists from the restraints of tradition, and it often went hand-in-hand with progressive social thinking. T ose who championed avant-garde art tended to applaud social change. T ose who criticized it for rejecting prevailing standards couched their dismay in warnings against moral laxity or political anarchy. In the end, however, all art, traditional or avant-garde, must stand on its merit, inde- pendent of historic inﬂ uences. T e art that outrages one generation often becomes the tradition and homework assignments of the next: the paintings of Paul Cézanne and Pablo Picasso, music of Gustav Mahler and Claude Debussy, and writings of Marcel Proust and James Joyce were all initially considered avant-garde. Two especially promi- nent twentieth-century avant-garde movements gathered steam in the decades follow- ing the world wars, and jazz was vital to both. Sonny Rollins combined the harmonic progressions of bop with the freedom of the avant-garde and sustained an international following. He appeared with percussionist Victor See Yuen and trombonist Clifton © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM Anderson at a stadium in Louisiana, 1995.
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Stephen Spender: Aspects of the Quest for Reality
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1970 Stephen Spender: Aspects of the Quest for Reality Marion King Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation King, Marion, "Stephen Spender: Aspects of the Quest for Reality" (1970). Dissertations. 1032. https://ecommons.luc.edu/luc_diss/1032 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © Marion. King STEPHEN SP&NDER: ASPECTS OF THE QU&ST FOR REALITY By Marion King A Dissertation Submitted to the Faculty of the Graduate School of Loyol~ University in Partial Fulfillment of the Requirements for the Degree ot Doctor of Philosophy June ,._, ~ : ·" t~.·,-11;.·~,,.,~__. .. ..,.....-··· 1970 ACKNOWLEDGEMENTS Deep gratitude goes to Dr. Joseph J. Wol££ £or his kindness and encouragement in the preparation of this dissertation, and to Miss Rita Clarkson £or making the writing or it possible. iii TABLE OF CONTENTS Chapter Page I. ANTECEDENTS. • • • • • • • • • • • • • • • • • • 1 II. THE EGO. • • • • .. • • • • • • • • • • • • • • • '' III. LOVE .. • • • • • • • • • • • • • • • • • • • • • 116 IV. THE WORLD OUTSIDE. • • • • • • • • • 147 v. CONCLUSION • • • • • • • • • • • • • • • • • • 190 SELECTED BIBLIOGRAPHY. • • • • • • • • • • • • J.96 iv CHAPTER I ANTECEDS£NTS The roots ot w. a. Yeats reach far back into lreland•s legendary past; T. s. Eliot'• mind is drawn to ancient fertility cults, to medieval conflicts between the realms of God and Caesars in the poetry ot w.
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9783540921943.Pdf
Computational Music Science Series Editors Guerino B. Mazzola Moreno Andreatta Guerino B. Mazzola • Paul B. Cherlin In Collaboration with Mathias Rissi and Nathan Kennedy Flow, Gesture, and Spaces in Free Jazz Towards a Theory of Collaboration Prof. Dr. Guerino B. Mazzola Paul B. Cherlin 164 Ferguson Hall University of Minnesota, Twin Cities Minneapolis MN 55455 Dept. Philosophy USA 271 19th Avenue South [email protected] Minneapolis MN 55455 831 Heller Hall USA ISBN: 978-3-540-92194-3 e-ISBN: 978-3-540-92195-0 Library of Congress Control Number: 2008941078 ACM Computing Classification (1998): H.5.5, J.5, E.1, F.2, F.4 c 2009 Springer-Verlag Berlin Heidelberg This work is subject to copyright. All rights are reserved, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilm or in any other way, and storage in data banks. Duplication of this publication or parts thereof is permitted only under the provisions of the German Copyright Law of September 9, 1965, in its current version, and permission for use must always be obtained from Springer. Violations are liable for prosecution under the German Copyright Law. The use of general descriptive names, registered names, trademarks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. Cover design: WMXDesign GmbH, Heidelberg Printed on acid-free paper 987654321 springer.com Für Christina, die immer alles gibt Preface Let’s try to play the music and not the background.
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Occasions of Cecil Taylor's Poetry
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