DOCSLIB.ORG

DAVID N. BAKER's MODERN JAZZ SERIE IMPROVISATIOF{AI PATTERNS Rhe BLUES

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DAVID N. BAKER's MODERN JAZZ SERIE IMPROVISATIOF{AI PATTERNS Rhe BLUES DAVID N. BAKER'S MODERN JAZZ SERIE IMPROVISATIOF{AI PATTERNS rHE BLUES FOR ALt TREBLE CIEF INSTRUMENTS ,t A, mauro grossi musicista I7-) ty'ia Yl cji Salvrano. rr , f/124 Uvomo - ltatia Tel. e Fax 0586 ffig7äg - Celt. 328 2298912 CHARLES COLIN - 315 West 53rd St., New York, N.Y. 10019 t -a,i PREEACE "lmprovisational Patterns: The Blues" is a part of a series books predicated of pattern on the belief that while certain patterns seem to transcend eras and styles, the greater. bgdy of materials is high specificity with regard .improvisafional of to its timeänd ptacä within the jazzcontinuum. Unlike : the subjects of the other books in a this series "The Beb;;-dr;;öiles t, z -a and 3) and "Contemporary Patterns,"the i blues ir trrti a music which does i, indeed transcend eras and .dt styles and it is this p"ruu"riu", ubiquitous and universal quality which is addressed in this book. I 4if il @.Copyright 1980 _ by CFARLES COLIN, 315 W.53rd St., New york, N.y. 10019 International Copyright Securäri Made in U.S.A. AI Rights Reserved t_ TABLE OF CONTEIITTS t_ Scale Syllabus.... ..........4 t_ Chapter l. The Blues: An Essay. ........6 The Performers... ..........8 Boogie Woogie .......9 t_ Discography .........9 Chapter ll. Some Suggestions for Using This Book. .......14 FurtherSuggestedStudy. ....1,4 t_ SignalsintheBlues .........15 Chapter III. Blues Patterns.... .........16 t_ Chapter lV. (1) Some Model Solos Based on Various Sets of Blues Changes. .26 (2) Some Model Solos Making Exclusive Use of Specific Scales. .46 l_ WholeTone.. ......46 Diminished ........47 Diminished Whole Tone. .49 Lydian Dominant. .. ...50 l-- TthScales .........52 Pentatonics and 4ths. .53 Blues Scales .......59 (3) 16BarBlues .....63 (4) BlueswithBridges .......66 t_ (5) Variations on Minor Blues Changes .......77 t_. Chapter V. Some Popular Boogie Woogie Patterns . ...75 Chapter Vl. Some Common Riffs and Backgrounds l_ to be Used as Models . ..80 Chapter VII. Some Model Piano Voicings for the Blues .........85 t_ Chapter Vlll. Some Model Bass Lines Based on Basic Blues Changes ......89 Chapter lX. Some Original Blues Compositions for l_ StudyandPerformance ....92 (1) Brother :.......92 (2) Line for Wes . .92 (3) Blues for Bird .........93 t_ (4) The Naptown Strut. .. .. .93 (5) The Felix Walk (with bass line). .94 (6) Herman's Theme (with bass line). 96 (7) Le Miroir Noir (with bass line) l-- from the original recording . .98 (8) TerribleT(with bass line). .99 (9) Mon (L'odeur du Blues) with the solo line from the original t-- recording .....100 (10) Kentucky Oysters (composition and David Baker's transcribed solo from the original L: recording) ...102 (11) Honesty (cr,.rmposition and David Baker's transcribed solo from the l-- original recording ... 105 t-- t_- SCALE SYLLABUS Relationship Of Chords To Scales Major Famity Cho.d Typ. (t) Major-13579... Scrlr Form .Major12345678 Major(14)13S79[1 1 .Lydian12314567g Major(14Is) j 3 {s 7 911 1 . Major(b619)1gsz Lydian Augmenred.l 2 3fl4 [56 78 gir rr... .Augmented1 Major13579 1235 b67 1 .... .... .. diminished Major13S79.... 1 b2b3!39456 b78 234sb678 il;;;;;;;; ...brueslb3q3414Sb78::lT:l'cM_ajor1 ....... mjnorpentatonic 1!34s b7g . Majorpentatonjc 1 23 S6 g minor Family Chord typ! Scsle Form minor, tonic (l) Function . ........ Dorian 1zbg4'6b7 I Nalurat minor 1 Z bg Ä S phrysian b6 b7 I 1 bZß 4 sb6b7 I Ascending Melodic minor 12b34567a Harmonic minor 1 Zb3 4 5167I mrnor pentalonjc 1 b3 4 5 b7 S minorTth(r)Funcrion . ;:,,il,T;tilitlrrt Ascending melod jc minor 12b345678 Fjarmonic minor 1 213 4 Sb67 1 minor pentatonic 1 b3 4 5 g örues1b334i4578 b7 dimjnished (start wirh whote step) | 2b348415678 Dominanl Family Cho.d Typo Sc.l6 Fo|m Dominanl 7th unattered . .. Mjxolydian 13s b79 t ZeqSAbt A Lydian Dominant g 1 2 14 5 6 b7 I Major Penratonjc 1 23 5 6 8 minor pentatonic 1 b3 4 s 67 I ulues 1 Dominant 7th b3 13 4i4 5b7 I lrr...... Lydian domjnant 135 b79t1 1 1231456b78 Oominant 7th b5, or 15 borh. .. .. 13bs17 WholeToner 23r4f5d6 r 3f5 b7 13(bsis)b7 4 Chord Typc Seda Form DominantTth(bg) .. ... .. Diminished -- 135b7bö' 1b2Fl3l4s6b78 Dominant 7th 19 . ....... Diminishedlb2ß 13i45b78 1 35 bTls Diminished wnole tone 1b2 13!3f4ls168 Dorian12t3456b78 Brues I b3!34$45b7I ritinor oentatonic 1 b3 4 5 b7 I Dominant 7th bg and f 9......... diminisheö1b2b3 !3h56 b78 diminished whole tone 1 b2 b3 13 i4 t516 I minor pentatonic 1 b3 4 5 b7 I Elues 1 b3 !3 414 5 b78 Dominant 7rh bs and bg o,',"iTr"i, 13 g4 s 6 b7 s diminished whole tone 1b2ß!3 14 lsü68 minor pentatonic 1 b3 4 5 b7 8 Bruesl b3!34f45b78 Dominant 7th . diminisheo scale bs and b9 13 b5 b7 bg 1bzt3 13$456b78 pentatonic ls and $e 13 ls b7 is minor b5 anrr is 13 b5 b7*9 1b345 b78 fs and Us 13 ls b7 b9 Brues 1 b3 134$45b78 (and/combination) Halt-dlminlshed chords chord Typ. Scda Form (halt{iminished7th ........... Locrian 1b2b34b5bob78 1 2 t3 4 b5 bo b7 I (ö7) locrian $2 - minor 7th (b5) diminished (start with whole step) 1b3bsb1b3bsb7 12b3414fs678 brues 1 b3 13 414 s b7 8 dlminished chords diminished 7th . diminished scale (o7) (starl with whole step) 1 b3 b56 12b34141567I &t2 The Btues I he (u) section ot the bfldge ts the secuon wnere new The blues has had a profound influence on American contrasting material is introduced, (i.e., music. It is without a doubt the most widelv used sono form in black popular music and jazz. As a iorm and ai ABA influence, the blues can be found in much music of the i- 12---l l*8*r '--12-. theatre, and in country and western music. lt is the foun. dation of much gospel music, most rhythm and blues compositions, much rock and roll music, all booqie _ arbitrary number or bars.) woogie. as well as other universally popular song forÄs, Examples of such compositions are "Bill not phil" by Bil and it has shown a decided influence on some European Harria, "Traneing In" by John Coltrane and;an) Art music. otnerS. A cu.sory examinatjon of all the recorded iazz music In many instances instrumental blues in the iazz tradt- would probably reveal an unbelievably percentage high tion tends to.be more predictable and regular in structure of blues and blues-influenced compositions, as well äs (symmetrical) with the exception blues.influenced performances. of biues by Ornette Tire yield would be Coleman and those of similar persuasion. (Many higher in certain eras than in others. avanr- During the halcyon garde players tend toward the säme irregularitiei, asyrr" days of Bebop it was rare.to find a ZB and later an L.p. metricalities freedom indigenous without a blues on it. 9nd to many voca blues.) The Classic Blues," 'Ctty Blues" and.othär It is not an accident that more almost without exceDtion the sophisticated forms have settjed into reqular forma players who have influenced the flow of iazz have been -well.rooted structures (twelve or sixteen measure oatterns) often a.t great blues players and,/or composers in the expense of vitality, spontaneity anä the demands oi blues: Louis Armctrong, Jelly Ro|l j{orton, Count young, content. Basie, Earl Hines, Lester Charlie parker, While blues instrumentalists Dizzy Gillesple, Thelonlous of the iazz oenre have ltonk, Sonny Rolling, tended to certain regularities wiih relard Charles llingua, Ornette Coleman, _accept to the Archie Shepp, numDer ot measures in a blues (i.e., 12, g. 16, etc.). and othe.s. "Watermelon Man," Herbie Hancock-16 bars- These men and others, often as not, chose the blues as "Stolen Moments," vehicles Ollver Nelson-16 bars, thev have fo. improvisation for many reasons, some of been less wedded to the sanctity which follow: of the original simple I lV V progression. Some of the iubstitute c-hords foi the 1. T}le blues is a highly flexible form with exceedingly instrumental blues follows. (See example l, p. 10.) simple harmonic structure (thfee chords). Some examples altered 2. lt allows of bluej are:',.Dahomev extreme latitude for musical exDression Dance, John Coltrane; Honesty,'David Baker; issuing out of this simplicity. Sip - pin at Bells," l|llles Davis; "When Will the Blues Leave,' J. lne blues provides a compositional type common Ornette Coleman. to the background of every would-be jazz player ir- Likewise, jazzmen have been much less riqid in their respective of era, musical persuasion or stylistic adherence to the 4/4 12y8 preference. / metric scheme prevalent in vocal blues, Virtually every meter and combination of 4. The blues is a form that can be .endered as simple meters has been used in jazz blues, i-e., 6/A,314, 514,714. or as complex as the individual performer/com. 514 + 614,7/8 5t8 ad poser + infinitum. desires. Some sample compositions include: 5. The ubiquity of the blues (via radio, T.V., church, jukebox, 3t4 nightclub, etc.) provides a form with which "Valse Hot"-Sonny Rolllng most aspiring jazz players are at least superficiallv "Kentucky Oysters"-Davld Baker conversant. "Terrible T"-Davld Baker . In addition to those compositions actually employing a Compound 6/4-5l4 rormat Dtues structure, lhere are countless compositionS ''Four-Five-Six''-Lanny Hartley which borrow heavily on the other components oi blues_ Amalgam 414 I 314 I 214 I etc. e.g., "Worksong by Nat Adderley, "Moanin'by Bobbv "Blues Timmona, ..Sister in Orbit"-Georg€ Ruasell Hummin by flat Adderley. Sadier. 12t8 by Horace Sllver and others. "All peteraon, Blues"-i[llee Davlg Many jazz players-Oscar Horace Sllver.
Load more

Recommended publications
  • 94 DOWNBEAT JUNE 2019 42Nd ANNUAL
    94 DOWNBEAT JUNE 2019 42nd ANNUAL JUNE 2019 DOWNBEAT 95 JeJenna McLean, from the University of Northern Colorado in Greeley, is the Graduate College Wininner in the Vocal Jazz Soloist category. She is also the recipient of an Outstanding Arrangement honor. 42nd Student Music Awards WELCOME TO THE 42nd ANNUAL DOWNBEAT STUDENT MUSIC AWARDS The UNT Jazz Singers from the University of North Texas in Denton are a winner in the Graduate College division of the Large Vocal Jazz Ensemble category. WELCOME TO THE FUTURE. WE’RE PROUD after year. (The same is true for certain junior to present the results of the 42nd Annual high schools, high schools and after-school DownBeat Student Music Awards (SMAs). In programs.) Such sustained success cannot be this section of the magazine, you will read the attributed to the work of one visionary pro- 102 | JAZZ INSTRUMENTAL SOLOIST names and see the photos of some of the finest gram director or one great teacher. Ongoing young musicians on the planet. success on this scale results from the collec- 108 | LARGE JAZZ ENSEMBLE Some of these youngsters are on the path tive efforts of faculty members who perpetu- to becoming the jazz stars and/or jazz edu- ally nurture a culture of excellence. 116 | VOCAL JAZZ SOLOIST cators of tomorrow. (New music I’m cur- DownBeat reached out to Dana Landry, rently enjoying includes the 2019 albums by director of jazz studies at the University of 124 | BLUES/POP/ROCK GROUP Norah Jones, Brad Mehldau, Chris Potter and Northern Colorado, to inquire about the keys 132 | JAZZ ARRANGEMENT Kendrick Scott—all former SMA competitors.) to building an atmosphere of excellence.
    [Show full text]
  • Cedille Records CDR 90000 066 DDD Absolutely Digital™ CDR 90000 066 AFRICAN HERITAGE SYMPHONIC SERIES • VOLUME III WORLD PREMIERE RECORDINGS 1 MICHAEL ABELS (B
    Cedille Records CDR 90000 066 DDD Absolutely Digital™ CDR 90000 066 AFRICAN HERITAGE SYMPHONIC SERIES • VOLUME III WORLD PREMIERE RECORDINGS 1 MICHAEL ABELS (b. 1962): Global Warming (1990) (8:18) DAVID BAKER (b. 1931): Cello Concerto (1975) (19:56) 2 I. Fast (6:22) 3 II. Slow à la recitative (7:17) 4 III. Fast (6:09) Katinka Kleijn, cello soloist 5 WILLIAM BANFIELD (b. 1961): Essay for Orchestra (1994) (10:33) COLERIDGE-TAYLOR PERKINSON (b. 1932) Generations: Sinfonietta No. 2 for Strings (1996) (19:31) 6 I. Misterioso — Allegro (6:13) 8 III. Alla Burletta (2:04) 7 II. Alla sarabande (5:35) 9 IV. Allegro vivace (5:28) CHICAGO SINFONIETTA / PAUL FREEMAN, CONDUCTOR TT: (58:45) Sara Lee Foundation is the exclusive corporate sponsor for African Heritage Symphonic Series, Volume III This recording is also made possible in part by grants from the National Endowment for the Arts & The Aaron Copland Fund for Music Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s activities are supported in part by contributions and grants from individuals, foundations, corporations, and government agencies including the Alpha- wood Foundation, the Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. DDD Absolutely Digital™ CDR 90000 066 PROGRAM NOTES by dominique-rené de lerma The quartet of composers represented here have a par- cultures, and decided to write a piece that celebrates ticular distinction in common: Each displays remarkable these common threads as well as the sudden improve- stylistic versatility, working not just in concert idioms, but ment in international relations that was occurring.” The also in film music, gospel music, and jazz.
    [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]
  • Eric Dolphy Collection [Finding Aid]. Library of Congress
    Eric Dolphy Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2014 Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu014006 LC Online Catalog record: http://lccn.loc.gov/2014565637 Processed by the Music Division of the Library of Congress Collection Summary Title: Eric Dolphy Collection Span Dates: 1939-1964 Bulk Dates: (bulk 1960-1964) Call No.: ML31.D67 Creator: Dolphy, Eric Extent: Approximately 250 items ; 6 containers ; 5.0 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: Eric Dolphy was an American jazz alto saxophonist, flautist, and bass clarinetist. The collection consists of manuscript scores, sketches, parts, and lead sheets for works composed by Dolphy and others. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Dolphy, Eric--Manuscripts. Dolphy, Eric. Dolphy, Eric. Dolphy, Eric. Works. Selections. Mingus, Charles, 1922-1979. Works. Selections. Schuller, Gunther. Works. Selections. Subjects Composers--United States. Jazz musicians--United States. Jazz--Lead sheets. Jazz. Music--Manuscripts--United States. Saxophonists--United States. Form/Genre Scores. Administrative Information Provenance Gift, James Newton, 2014. Accruals No further accruals are expected. Processing History The Eric Dolphy Collection was processed by Thomas Barrick in 2014. Thomas Barrick coded the finding aid for EAD format in October 2014.
    [Show full text]
  • Bird Observer
    Bird Observer VOLUME 39, NUMBER 2 APRIL 2011 HOT BIRDS On November 20 the Hampshire Bird Club was waiting at Quabbin headquarters for the rest of the group to arrive when Larry Therrien spotted a flock of 19 swans in the distance— Tundra Swans! Ian Davies took this photograph (left). Since 2003 Cave Swallows have been a specialty of November, showing up in coastal locations in increasing numbers over the years. This year there was a flurry of reports along the New England coast. On Thanksgiving Day, Margo Goetschkes took this photograph (right) of one of the birds at Salisbury. On November 30, Vern Laux got a call from a contractor reporting a “funny bird” at the Nantucket dump. Vern hustled over and was rewarded with great views of this Fork-tailed Flycatcher (left). Imagine: you’re photographing a Rough- legged Hawk in flight, and all of a sudden it is being mobbed—by a Northern Lapwing (right)! That’s what happened to Jim Hully on December 2 on Plum Island. This is only the second state record for this species, the first being in Chilmark in December of 1996. On April 9, Keelin Miller found an interesting gull at Kalmus Beach in Hyannis. As photographs were circulated, opinions shifted toward a Yellow-legged Gull (left). Check out Jeremiah Trimble’s photo from April 13. CONTENTS BIRDING THE LAKEVILLE PONDS OF PLYMOUTH COUNTY, MASSACHUSETTS Jim Sweeney 73 THE FINAL YEAR OF THE BREEDING BIRD ATLAS: GOING OVER THE TOP John Galluzzo 83 37 YEARS OF NIGHTHAWKING Tom Gagnon 86 LEIF J ROBINSON: MAY 21, 1939 – FEBRUARY 28, 2011 Soheil Zendeh 93 FIELD NOTES Double-crested Cormorant Has Trouble Eating a Walking Catfish William E.
    [Show full text]
  • Of Audiotape
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. DAVID N. BAKER NEA Jazz Master (2000) Interviewee: David Baker (December 21, 1931 – March 26, 2016) Interviewer: Lida Baker with recording engineer Ken Kimery Date: June 19, 20, and 21, 2000 Repository: Archives Center, National Museum of American History Description: Transcript, 163 pp. Lida: This is Monday morning, June 19th, 2000. This is tape number one of the Smithsonian Jazz Oral History Project interview with David Baker. The interview is being conducted in Bloomington, Indiana, [in] Mr. Baker’s home. Let’s start with when and where you were born. David: [I was] born in Indianapolis, December 21st, 1931, on the east side, where I spent almost all my – when I lived in Indianapolis, most of my childhood life on the east side. I was born in 24th and Arsenal, which is near Douglas Park and near where many of the jazz musicians lived. The Montgomerys lived on that side of town. Freddie Hubbard, much later, on that side of town. And Russell Webster, who would be a local celebrity and wonderful player. [He] used to be a babysitter for us, even though he was not that much older. Gene Fowlkes also lived in that same block on 24th and Arsenal. Then we moved to various other places on the east side of Indianapolis, almost always never more than a block or two blocks away from where we had just moved, simply because families pretty much stayed on the same side of town; and if they moved, it was maybe to a larger place, or because the rent was more exorbitant, or something.
    [Show full text]
  • Flight of the Bumblebee (Nikolai Rimsky-Korsakov) Stephen Reid | Elementary Music (Osceola) | Hickory Tree Elementary Mp3 Available Here
    2018 Young People’s Concerts Beyond the Screen! Teacher Guidebook Thank you to our 2018 Sponsors! Daytona Beach Symphony Society Thank you also to our 2018 Partners: Orange County Public Schools School District of Osceola Volusia County Schools United Arts of Central Florida Visit OrlandoPhil.org/family-friendly to find more great offerings for kids and families! Meet our Guidebook Team! Putting together a Young People’s Concert requires hard work and the dedication of dozens of people over many months. Please welcome some of the key individuals who make the Young People’s Concert possible! Meet our Guidebook Team! The guidebook team is comprised of certified, veteran teachers who are passionate about music, the arts, and making learning fun! Christy Garton Cindy Krulick Finale from Firebird (Visual Art) Star Spangled Banner OCPS Resource Teacher Finale from Firebird Visual Art (K-12) Dommerich Elementary Orange County Public Schools [email protected] [email protected] Emily Light Katie Grace Miller In the Hall of the Mountain King Tempus Fugit Champion Elementary Sorcerer's Apprentice Volusia County Schools Mambo from West Side Story [email protected] Lake George Elementary Orange County Public Schools [email protected] Denise Mills Anka Pink Duo des fleurs / Sous le dôme épais Hoedown from Rodeo Lake Whitney Elementary OCPS Resource Teacher Orange County Public Schools (Music K-12) [email protected] Orange County Public Schools [email protected] Stephen Reid Dr. Leia Barrett Flight of the Bumblebee Director of Education Hickory Tree Elementary School Orlando Philharmonic Orchestra School District of Osceola [email protected] [email protected] If you have any questions about particular lessons, please contact the teacher who created the lesson originally.
    [Show full text]
  • 20Questions Interview by David Brent Johnson Photography by Steve Raymer for David Baker
    20questions Interview by David Brent Johnson Photography by Steve Raymer for David Baker If Benny Goodman was the “King of Swing” periodically to continue his studies over the B-Town and Edward Kennedy Ellington was “the Duke,” next decade, leading a renowned IU-based then David Baker could be called “the Dean big band while expanding his artistic and Hero and Jazz of Jazz.” Distinguished Professor of Music at compositional horizons with musical scholars Indiana University and conductor of the Smithso- such as George Russell and Gunther Schuller. nian Jazz Masterworks Orchestra, he is at home In 1966 he settled in the city for good and Legend performing in concert halls, traveling around the began what is now a world-renowned jazz world, or playing in late-night jazz bars. studies program at IU’s Jacobs School of Music. Born in Indianapolis in 1931, he grew up A pioneer of jazz education, a superlative in a thriving mid-20th-century local jazz scene trombonist forced in his early 30s to switch that begat greats such as J.J. Johnson and Wes to cello, a prolific composer, Pulitzer and Montgomery. Baker first came to Bloomington Grammy nominee and Emmy winner whose as a student in the fall of 1949, returning numerous other honors include the Kennedy 56 Bloom | August/September 2007 Toddler David in Indianapolis, circa 1933. Photo courtesy of the Baker family Center for the Performing Arts “Living Jazz Legend Award,” he performs periodically in Bloomington with his wife Lida and is unstintingly generous with the precious commodity of his time.
    [Show full text]
  • The Fado & the Blues
    1 The Fado (Destiny or fate) The "Blues" of Portugal and American Blues Fado and the Blues - 1 Story of the Blues - 17 Ana Moura Bio - 4 Articles - 19 Origin & Genre - 6 Magic Melody (Kern) - 44 Moura Interview II - 7 Conclusion - 93 Spirituals - 9 Music - 95 The Fado & the Blues While working on the story behind the song “April in Portugal” I found the composer of the English version was Jimmy Kennedy, the lyricist of many popular songs. He added lyrics that did not mirror the Brazilian words but did try to keep the emotion behind the original music and lyrics by Raul Ferrdo and Jose Galhardo. Upon further research I found out that the tune was what is called a “Fado” (fate) in Portugal. In Portugal the Fado is considered the national music. Its impression is a nostalgia felt when missing someone or losing someone (in Portuguese the word ‘saudade’ is used much as the word blues is used). The origin of the Fado is said to have been a mixture of African slave rhythms with the traditional music of Portuguese sailors and Arabic influences. This fact got me thinking about the similarities and differences between the Fado and the Negro Blues. Further research finds that some jazz players also became interested in the Fado. Don Byas had an interest in the Fado and actually performed with Fado singers. There are many similar things about Fado and the Blues. Both seemed to have origins in Negro Slaves. Slaves during the era of slavery that went to Brazil numbered 3,646,800.
    [Show full text]
  • OFFERS INVITED by Mark Berresford Rare Records the Chequers, Chequer Lane, Shottle, Derbyshire, DE56 2DR, England
    OFFERS INVITED by Mark Berresford Rare Records The Chequers, Chequer Lane, Shottle, Derbyshire, DE56 2DR, England. Tel: (+44) 1773 550275 Email: [email protected] Postage and packing in purpose-built new boxes extra. Winners only notified. Condition, as ever, guaranteed. Minimum bid unless stated £8/$10, however I reserve the right to refuse bids I consider unrealistic. AUCTION CLOSES MIDNIGHT 18th FEBRUARY 2018 HOW TO BID Basically, there are two ways of bidding; first is the simple Straight Bid - you offer a fixed amount for an item and if yours is the high - est bid, you win. Secondly, and easier for those more familair with internet auctions, and for those collectors unsure of what to offer, is the Maximum Bid. You offer a bid to a maximum amount, which will be increased in 10% increments over the nearest bid up to your maximum amount. For example, you bid to a maximum of $100 on an item, but the next highest bid is $20 - you will pay $22, i.e. 10% over the the next highest bid. In the event of a tie the fixed bidder, or earliest-placed bid wins. IMPORTANT! Please make clear the system of bidding you are using and currency you are bidding in (Pounds Sterling, Euros or US Dollars). If you have a maximum budget to spend, please advise with your bids. Please also double check your item numbers when bidding - I do not use titles or issue numbers on my auction spreadsheet, so if you bid on the wrong number and win it, it’s yours! NOTE: Some of the categorisation of certain instrumental-based artists has been, by necessity, arbitrary so please check all sections.
    [Show full text]
  • Southern Music and the Seamier Side of the Rural South Cecil Kirk Hutson Iowa State University
    Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1995 The ad rker side of Dixie: southern music and the seamier side of the rural South Cecil Kirk Hutson Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Folklore Commons, Music Commons, Social and Cultural Anthropology Commons, and the United States History Commons Recommended Citation Hutson, Cecil Kirk, "The ad rker side of Dixie: southern music and the seamier side of the rural South " (1995). Retrospective Theses and Dissertations. 10912. https://lib.dr.iastate.edu/rtd/10912 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthiough, substandard margins, and improper alignment can adversely affect reproductioiL In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion.
    [Show full text]
  • Describing Species
    DESCRIBING SPECIES Practical Taxonomic Procedure for Biologists Judith E. Winston COLUMBIA UNIVERSITY PRESS NEW YORK Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 1999 Columbia University Press All rights reserved Library of Congress Cataloging-in-Publication Data © Winston, Judith E. Describing species : practical taxonomic procedure for biologists / Judith E. Winston, p. cm. Includes bibliographical references and index. ISBN 0-231-06824-7 (alk. paper)—0-231-06825-5 (pbk.: alk. paper) 1. Biology—Classification. 2. Species. I. Title. QH83.W57 1999 570'.1'2—dc21 99-14019 Casebound editions of Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America c 10 98765432 p 10 98765432 The Far Side by Gary Larson "I'm one of those species they describe as 'awkward on land." Gary Larson cartoon celebrates species description, an important and still unfinished aspect of taxonomy. THE FAR SIDE © 1988 FARWORKS, INC. Used by permission. All rights reserved. Universal Press Syndicate DESCRIBING SPECIES For my daughter, Eliza, who has grown up (andput up) with this book Contents List of Illustrations xiii List of Tables xvii Preface xix Part One: Introduction 1 CHAPTER 1. INTRODUCTION 3 Describing the Living World 3 Why Is Species Description Necessary? 4 How New Species Are Described 8 Scope and Organization of This Book 12 The Pleasures of Systematics 14 Sources CHAPTER 2. BIOLOGICAL NOMENCLATURE 19 Humans as Taxonomists 19 Biological Nomenclature 21 Folk Taxonomy 23 Binomial Nomenclature 25 Development of Codes of Nomenclature 26 The Current Codes of Nomenclature 50 Future of the Codes 36 Sources 39 Part Two: Recognizing Species 41 CHAPTER 3.
    [Show full text]