Blue Note Records 75Th Anniversary Vinyl Initiative

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BLUE NOTE RECORDS 75TH ANNIVERSARY VINYL INITIATIVE CANNONBALL ADDERLEY SOMETHIN’ ELSE ART BLAKEY A NIGHT AT BIRDLAND, VOL. 1 ART BLAKEY A NIGHT AT BIRDLAND, VOL. 2 ART BLAKEY FREE FOR ALL ART BLAKEY MOANIN’ ART BLAKEY MOSAIC TERENCE BLANCHARD FLOW BRIAN BLADE FELLOWSHIP PERCEPTUAL TINA BROOKS TRUE BLUE CLIFFORD BROWN MEMORIAL ALBUM KENNY BURRELL MIDNIGHT BLUE DONALD BYRD A NEW PERSPECTIVE DONALD BYRD AT THE HALF NOTE CAFÉ, VOL. 1 DONALD BYRD BLACK BYRD DON CHERRY COMPLETE COMMUNION SONNY CLARK COOL STRUTTIN’ SONNY CLARK LEAPIN’ AND LOPIN’ ORNETTE COLEMAN AT THE “GOLDEN CIRCLE” STOCKHOLM, VOL. 1 ORNETTE COLEMAN NEW YORK IS NOW! JOHN COLTRANE BLUE TRAIN MILES DAVIS VOL. 1 MILES DAVIS VOL. 2 ERIC DOLPHY OUT TO LUNCH LOU DONALDSON LUSH LIFE KENNY DORHAM AFRO-CUBAN KENNY DREW UNDERCURRENT KURT ELLING FLIRTING WITH TWILIGHT CURTIS FULLER THE OPENER ROBERT GLASPER DOUBLE BOOKED DEXTER GORDON GO DEXTER GORDON ONE FLIGHT UP DEXTER GORDON OUR MAN IN PARIS GRANT GREEN IDLE MOMENTS GRANT GREEN I WANT TO HOLD YOUR HAND GRANT GREEN STREET OF DREAMS HERBIE HANCOCK EMPYREAN ISLES HERBIE HANCOCK MAIDEN VOYAGE HERBIE HANCOCK SPEAK LIKE A CHILD HERBIE HANCOCK THE PRISONER STEFON HARRIS BLACK ACTION FIGURE JOE HENDERSON MODE FOR JOE JOE HENDERSON PAGE ONE JOE HENDERSON THE STATE OF THE TENOR – LIVE AT THE VILLAGE VANGUARD, VOL. 1 ANDREW HILL BLACK FIRE ANDREW HILL POINT OF DEPARTURE FREDDIE HUBBARD BLUE SPIRITS FREDDIE HUBBARD BREAKING POINT FREDDIE HUBBARD READY FOR FREDDIE BOBBY HUTCHERSON COMPONENTS BOBBY HUTCHERSON HAPPENINGS BOBBY HUTCHERSON TOTAL ECLIPSE ELVIN JONES THE ULTIMATE JOE LOVANO RUSH HOUR JOE LOVANO QUARTETS: LIVE AT THE VILLAGE VANGUARD MADLIB SHADES OF BLUE BOBBY MCFERRIN SPONTANEOUS INVENTIONS JACKIE MCLEAN CAPUCHIN SWING JACKIE MCLEAN LET FREEDOM RING MEDESKI MARTIN & WOOD COMBUSTICATION MEDESKI MARTIN & WOOD END OF THE WORLD PARTY HANK MOBLEY NO ROOM FOR SQUARES HANK MOBLEY SOUL STATION HANK MOBLEY THE TURNAROUND HANK MOBLEY WORKOUT GRACHAN MONCUR III EVOLUTION THELONIOUS MONK GENIUS OF MODERN MUSIC, VOL. 1 THELONIOUS MONK GENIUS OF MODERN MUSIC, VOL. 2 JASON MORAN SOUNDTRACK TO HUMAN MOTION LEE MORGAN CORNBREAD LEE MORGAN SEARCH FOR THE NEW LAND LEE MORGAN THE SIDEWINDER BUD POWELL THE AMAZING BUD POWELL, VOL. 1 BUD POWELL THE SCENE CHANGES: THE AMAZING BUD POWELL, VOL. 5 DIANNE REEVES I REMEMBER SONNY ROLLINS A NIGHT AT THE VILLAGE VANGUARD SONNY ROLLINS NEWK’S TIME SONNY ROLLINS VOL. 1 SONNY ROLLINS VOL. 2 JOHN SCOFIELD TIME ON MY HANDS WAYNE SHORTER ADAM’S APPLE WAYNE SHORTER JUJU WAYNE SHORTER NIGHT DREAMER WAYNE SHORTER SPEAK NO EVIL HORACE SILVER BLOWIN’ THE BLUES AWAY HORACE SILVER CAPE VERDEAN BLUES HORACE SILVER HORACE SILVER AND THE JAZZ MESSENGERS HORACE SILVER SONG FOR MY FATHER JIMMY SMITH BACK AT THE CHICKEN SHACK JIMMY SMITH MIDNIGHT SPECIAL CECIL TAYLOR CONQUISTADOR! CECIL TAYLOR UNIT STRUCTURES THE THREE SOUNDS OUT OF THIS WORLD STANLEY TURRENTINE THAT’S WHERE IT’S AT MCCOY TYNER EXPANSIONS MCCOY TYNER THE REAL MCCOY MCCOY TYNER TIME FOR TYNER ANTHONY WILLIAMS SPRING CASSANDRA WILSON NEW MOON DAUGHTER CASSANDRA WILSON TRAVELING MILES LARRY YOUNG UNITY .

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Tenor Saxophone Mouthpiece When
MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter,
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Queen of the Blues © Photos AP/Wideworld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105 ETF 46 56 2/13/03 2:15 PM Page 47
03-0105_ETF_46_56 2/13/03 2:15 PM Page 46 J Queen of the Blues © Photos AP/WideWorld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105_ETF_46_56 2/13/03 2:15 PM Page 47 thethe by Kent S. Markle RedRed HotHot BluesBlues AZZ MUSIC HAS OFTEN BEEN CALLED THE ONLY ART FORM J to originate in the United States, yet blues music arose right beside jazz. In fact, the two styles have many parallels. Both were created by African- Americans in the southern United States in the latter part of the 19th century and spread from there in the early decades of the 20th century; both contain the sad sounding “blue note,” which is the bending of a particular note a quar- ter or half tone; and both feature syncopation and improvisation. Blues and jazz have had huge influences on American popular music. In fact, many key elements we hear in pop, soul, rhythm and blues, and rock and roll (opposite) Dinah Washington have their beginnings in blues music. A careful study of the blues can contribute © AP/WideWorld Photos to a greater understanding of these other musical genres. Though never the Born in 1924 as Ruth Lee Jones, she took the stage name Dinah Washington and was later known leader in music sales, blues music has retained a significant presence, not only in as the “Queen of the Blues.” She began with singing gospel music concerts and festivals throughout the United States but also in our daily lives. in Chicago and was later famous for her ability to sing any style Nowadays, we can hear the sound of the blues in unexpected places, from the music with a brilliant sense of tim- ing and drama and perfect enun- warm warble of an amplified harmonica on a television commercial to the sad ciation.
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The Blues Blue
03-0105_ETF_46_56 2/13/03 2:15 PM Page 56 A grammatical Conundrum the blues Using “blue” and “the blues” Glossary to denote sadness is not recent BACKBEAT—a rhythmic emphasis on the second and fourth beats of a measure. English slang. The word blue BAR—a musical measure, which is a repeated rhythmic pattern of several beats, usually four quarter notes (4/4) for the blues. The blues usually has twelve bars per was associated with sadness verse. and melancholia in Eliza- BLUE NOTE—the slight lowering downward, usually of the third or seventh notes, of a major scale. Some blues musicians, especially singers, guitarists and bethan England. The Ameri- harmonica players, bend notes upward to reach the blue note. can writer Washington Irving CHOPS—the various patterns that a musician plays, including basic scales. When blues musicians get together for jam sessions, players of the same instrument used the term the blues in sometimes engage in musical duels in front of a rhythm section to see who has the “hottest chops” (plays best). 1807. Grammatically speak- CHORD—a combination of notes played at the same time. ing, however, the term the CHORD PROGRESSION—the use of a series of chords over a song verse that is repeated for each verse. blues is a conundrum: should FIELD HOLLERS—songs that African-Americans sang as they worked, first as it be treated grammatically slaves, then as freed laborers, in which the workers would sing a phrase in response to a line sung by the song leader. as a singular or plural noun? GOSPEL MUSIC—a style of religious music heard in some black churches that The Merriam-Webster una- contains call-and-response arrangements similar to field hollers.
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Bobby Hutcherson, Vibraphonist with Coloristic Range of Sound, Dies at 75
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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.
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Downloaded on 2017-02-12T05:11:38Z Table of Contents
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Cork Open Research Archive Title Diverse heritage: exploring literary identity in the American Southwest Author(s) Costello, Lisa Publication date 2013 Original citation Costello, L. 2013. Diverse heritage: exploring literary identity in the American Southwest. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2013, Lisa Costello http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information No embargo required Item downloaded http://hdl.handle.net/10468/1155 from Downloaded on 2017-02-12T05:11:38Z Table of Contents Page Introduction The Spirit of Place: Writing New Mexico........................................................................ 2 Chapter One Oliver La Farge: Prefiguring a Borderlands Paradigm ………………………………… 28 Chapter Two ‘A once and future Eden’: Mabel Dodge Luhan’s Southwest …………………......... 62 Chapter Three Opera Singers, Professors and Archbishops: A New Perspective on Willa Cather’s Southwestern Trilogy…………………………………………………… 91 Chapter Four Beyond Borders: Leslie Marmon Silko’s Re-appropriation of Southwestern Spaces ...... 122 Chapter Five Re-telling and Re-interpreting from Colonised Spaces: Simon Ortiz’s Revision of Southwestern Literary Identity……………………………………………………………………………… 155 Conclusion…………………………………………………………………………. 185 Works Cited…………………………………………………………………………. 193 1 Introduction The Spirit of Place: Writing New Mexico In her landmark text The American Rhythm, published in 1923, Mary Austin analysed the emergence and development of cultural forms in America and presented poetry as an organic entity, one which stemmed from and was irrevocably influenced by close contact with the natural landscape. Analysing the close connection Native Americans shared with the natural environment Austin hailed her reinterpretation of poetic verse as “the very pulse of emerging American consciousness” (11).
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Dexter Gordon Doin' All Right + A Swingin' Affair mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Doin' All Right + A Swingin' Affair Country: Europe Released: 2013 Style: Hard Bop, Post Bop MP3 version RAR size: 1122 mb FLAC version RAR size: 1983 mb WMA version RAR size: 1754 mb Rating: 4.3 Votes: 382 Other Formats: MPC VOX ASF MMF FLAC DTS MP2 Tracklist Doin' Allright 1-1 I Was Doing All Right 1-2 You've Changed 1-3 For Regulars Only 1-4 Society Red 1-5 It's You Or No One 1-6 I Want More 1-7 For Regulars Only (alt Take) A Swingin' Affair 2-1 Soy Califa 2-2 Don't Explain 2-3 You Stepped Out Of A Dream 2-4 Tha Backbone 2-5 (It Will Have To Do) Until The Real Thing Comes Along 2-6 McSplivens Companies, etc. Phonographic Copyright (p) – Universal International Music B.V. Copyright (c) – Universal International Music B.V. Credits Producer – Alfred Lion (tracks: 1-1 to 1-7, 2-1 to 2-6) Reissue Producer – Michael Cuscuna (tracks: 1-1 to 1-7, 2-1 to 2-6) Remastered By – Rudy Van Gelder (tracks: 1-1 to 1-7, 2-1 to 2-6) Notes ©+℗ 2013 Universal International Music B.V. ALBUM 1: Doin' Allright - Label code: 00724359650425 - Original Album Label: Blue Note 96503 - Recorded on May 6, 1961 by Rudy Van Gelder - Tracks 1-6, 1-7 not part of original LP - Remastered in 2003 by Rudy Van Gelder - ©+℗ 2004 Blue Note Records ALBUM 2: Swingin' Affair - Label code: 00077778413325 - Original Album Label: Blue Note 84133 - Remasterd in 2005 by Rudy Van Gelder - ©+℗ 2006 Blue Note Records Barcode and Other Identifiers Barcode: 0600753471142 Rights Society: BIEM/SDRM Label Code: LC 01846 Matrix / Runout (CD1): 07243 596 504-2 01 + 53412723 Mastering SID Code (CD1): IFPI LV27 Mould SID Code (CD1): IFPI 0139 Matrix / Runout (CD2): 00777 784 133-2 01 * 53412693 Mastering SID Code (CD2): IFPI LV26 Mould SID Code (CD2): IFPI 0120 Related Music albums to Doin' All Right + A Swingin' Affair by Dexter Gordon 1.
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The Jazz Record
oCtober 2019—ISSUe 210 YO Ur Free GUide TO tHe NYC JaZZ sCene nyCJaZZreCord.Com BLAKEYART INDESTRUCTIBLE LEGACY david andrew akira DR. billy torn lamb sakata taylor on tHe Cover ART BLAKEY A INDESTRUCTIBLE LEGACY L A N N by russ musto A H I G I A N The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year.
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JUBILEE EDITION to His Artistic Choice
WINTE R&WINTER JthUe fBirsIt L30EyE earsE1D98I5 T–I2O01N 5 SOUND JOURNEYS 30 Years of Music Recordings by Stefan Winter It is a kind of stage anniversary behind the scenes: 30 years ago Stefan Winter founds the JMT (Jazz Music Today) label and records the debut production of the young saxo - STEFAN WINTER AND MARIKO TAKAHASHI phonist Steve Coleman . The starting point is the new Afro-American conception M-Base . The protagonists of this movement are Cassandra Wilson (vocals), Geri Allen (piano), Robin Eubanks (trombone), Greg Osby and Gary Thomas (sax ophones). In antithesis to this artistic movement Winter do cu ments the development of the young jazz avant- garde and produces path-breaking recordings with Tim Berne (saxophone), Hank Roberts (cello), Django Bates (piano), Joey Baron (drums), Marc Ducret (guitar) and the ensemble Miniature . After 1995 his working method changes fundamentally from a documentarist to a sound director. This is the actual beginning of WINTER&WINTER. Together with Mariko Takahashi he dares to implement a new label concept. At the end of the 80s, Stefan Winter and Mariko Takahashi meet in Japan. Under the direction of Mariko Takahashi the festival »Taboo-Lu« is initiated in Ginza in Tokyo (Japan), a notable presentation with live concerts, an art exhibition and recordings. With »Taboo-Lu« the idea of and for WINTER&WINTER is quasi anticipated: Border crossing becomes a programme. Art and music cooperate together, contemporary meets tradition, composition improvisation. Mariko Takahashi and Stefan Winter want to open the way with unconventional recordings and works for fantastic and new experiences. Stefan Winter has the vision to produce classical masterpieces in radical new interpretations.
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Sonny Clark: Melody and Melancholy
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