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Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
Downbeat.Com February 2021 U.K. £6.99
FEBRUARY 2021 U.K. £6.99 DOWNBEAT.COM FEBRUARY 2021 DOWNBEAT 1 FEBRUARY 2021 VOLUME 88 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
AUDIO + VIDEO 4/13/10 Audio & Video Releases *Click on the Artist Names to Be Taken Directly to the Sell Sheet
NEW RELEASES WEA.COM ISSUE 07 APRIL 13 + APRIL 20, 2010 LABELS / PARTNERS Atlantic Records Asylum Bad Boy Records Bigger Picture Curb Records Elektra Fueled By Ramen Nonesuch Rhino Records Roadrunner Records Time Life Top Sail Warner Bros. Records Warner Music Latina Word AUDIO + VIDEO 4/13/10 Audio & Video Releases *Click on the Artist Names to be taken directly to the Sell Sheet. Click on the Artist Name in the Order Due Date Sell Sheet to be taken back to the Recap Page Street Date CD- NON 521074 ALLEN, TONY Secret Agent $18.98 4/13/10 3/24/10 CD- RAA 523695 BECK, JEFF Emotion & Commotion $18.98 4/13/10 3/24/10 CD- ATL 521144 CASTRO, JASON Jason Castro $9.94 4/13/10 3/24/10 DV- WRN 523924 CUMMINS, DAN Crazy With A Capital F (DVD) $16.95 4/13/10 3/17/10 CD- ASW 523890 GUCCI MANE Burrrprint (2) HD $13.99 4/13/10 3/24/10 CD- LAT 524047 MAGO DE OZ Gaia III - Atlantia $20.98 4/13/10 3/24/10 CD- MERCHANT, NON 522304 NATALIE Leave Your Sleep (2CD) $24.98 4/13/10 3/24/10 CD- MERCHANT, Selections From The Album NON 522301 NATALIE Leave Your Sleep $18.98 4/13/10 3/24/10 CD- LAT 524161 MIJARES Vivir Asi - Vol. II $16.98 4/13/10 3/24/10 CD- STRAIGHT NO ATL 523536 CHASER With A Twist $18.98 4/13/10 3/24/10 4/13/10 Late Additions Street Date Order Due Date CD- ERP 524163 GLORIANA Gloriana $13.99 4/13/10 3/24/10 CD- MFL 524110 GREAVER, PAUL Guitar Lullabies $11.98 4/13/10 3/24/10 Last Update: 03/03/10 ARTIST: Tony Allen TITLE: Secret Agent Label: NON/Nonesuch Config & Selection #: CD 521074 Street Date: 04/13/10 Order Due Date: 03/24/10 Compact Disc UPC: 075597981001 Box Count: 30 Unit Per Set: 1 SRP: $18.98 Alphabetize Under: T File Under: World For the latest up to date info on this release visit WEA.com. -
Society for Ethnomusicology 58Th Annual Meeting Abstracts
Society for Ethnomusicology 58th Annual Meeting Abstracts Sounding Against Nuclear Power in Post-Tsunami Japan examine the musical and cultural features that mark their music as both Marie Abe, Boston University distinctively Jewish and distinctively American. I relate this relatively new development in Jewish liturgical music to women’s entry into the cantorate, In April 2011-one month after the devastating M9.0 earthquake, tsunami, and and I argue that the opening of this clergy position and the explosion of new subsequent crises at the Fukushima nuclear power plant in northeast Japan, music for the female voice represent the choice of American Jews to engage an antinuclear demonstration took over the streets of Tokyo. The crowd was fully with their dual civic and religious identity. unprecedented in its size and diversity; its 15 000 participants-a number unseen since 1968-ranged from mothers concerned with radiation risks on Walking to Tsuglagkhang: Exploring the Function of a Tibetan their children's health to environmentalists and unemployed youths. Leading Soundscape in Northern India the protest was the raucous sound of chindon-ya, a Japanese practice of Danielle Adomaitis, independent scholar musical advertisement. Dating back to the late 1800s, chindon-ya are musical troupes that publicize an employer's business by marching through the From the main square in McLeod Ganj (upper Dharamsala, H.P., India), streets. How did this erstwhile commercial practice become a sonic marker of Temple Road leads to one main attraction: Tsuglagkhang, the home the 14th a mass social movement in spring 2011? When the public display of merriment Dalai Lama. -
June 2015 Vol
A Mirror and Focus for the Jazz Community June 2015 Vol. 31, No. 06 EARSHOT JAZZSeattle, Washington Morgan Gilkeson & Adriana Giordano: New Faces of Seattle Jams Photo by Daniel Sheehan 2 • Earshot Jazz • June 2015 EaRSHOT JAZZ LETTER FROM THE DIRECTOR A Mirror and Focus for the Jazz Community Executive Director John Gilbreath Money Makes the World Go ‘Round Managing Director Karen Caropepe Programs Assistant Caitlin Peterkin Artists make the art go ‘round. And Earshot Jazz Editors Schraepfer Harvey, art, for most of us, makes life worth Caitlin Peterkin living. Contributing Writers Halynn Blanchard, The issue of artist compensation Levi Gillis, Jeff Janeczko, Bryan Lineberry, has come to the forefront again here Andrew Luthringer, Peter Monaghan in Seattle, and much of the dialogue Calendar Editor Schraepfer Harvey seems to be centered around working Calendar Volunteer Tim Swetonic jazz musicians. Lists are being made, Photography Daniel Sheehan discussions held, and names being Layout Caitlin Peterkin called. Politicians and city offices are Distribution Dan Wight and volunteers showing public support for our art- their pocket, and that the musician’s send Calendar Information to: ists, no doubt while also supporting talented hand is just one more. email [email protected] or the revenue-producing infrastructure But battle lines are sometimes too go to www.earshot.org/Calendar/data/ of our growing city of music. gigsubmit.asp to submit online easily drawn into bi-polar, “us vs. Though the population and econ- them” camps. I would like to propose Board of Directors Ruby Smith Love omy here are in obvious “boom” (president), Diane Wah (vice president), Sally that we all take responsibility, and Nichols (secretary), Sue Coliton, John W. -
Baltimore Jazz Fest
July/August 2016 Announcing Baltimore Jazz Fest . 1 Jazz Jam Sessions . 2 BALTIMORE JAZZ ALLIANCE Remembering Earl Wilson . 4 Thursday Jam Sessions at Liam Flynn’s . 5 Dan Wallace: Member Profile . 6 BJA Member Benefits . 7 BJA Member Notes and BJA Products . 10 Ad Rates and Member Sign-up Form . 11 JULY/AUGUST 2016 VOLUME XIII ISSUE VI THE BJA NEWSLETTER WWW.BALTIMOREJAZZ.COM Announcing Baltimore Jazz Fest By Ian Rashkin, President, BJA Here at BJA central we’ve heard a lot of times about how Baltimore is lacking a jazz festival. There have been a few at - tempts to start one, but for various reasons they’ve not man - aged to take hold as an integral part of the Baltimore jazz scene. Of course, there are a few festivals around that feature re some jazz—the Federal Hill Jazz & Blues Festival, the recent mo Light City Baltimore event, and of course, Artscape, with alti more jazz this year than in quite some time. But so far as I B know, there is no one offering a full day of solid jazz in Bal - est timore—until now. z F Baltimore Jazz Alliance is excited to announce the creation Jaz of Baltimore Jazz Fest , a free, family-friendly, full day of Bal - timore jazz, held in beautiful Druid Hill Park in the heart of 016 Baltimore City. Produced in partnership with Baltimore City 2 Department of Recreation and Parks, the festival will feature a fantastic lineup of Baltimore talent, starting with some of the city’s finest high school jazz musicians and moving through the day with a trove of local talent, including many of our best-known and -loved artists. -
Sound and Music in Games April 2010, VU Amsterdam
Sound and Music in Games April 2010, VU Amsterdam Sound and Music in Games by Peter Peerdeman http://www.few.vu.nl/˜ppeerde Abstract Sound and music play an ever growing role in the development of video games. Be- cause of technological advancements and the broadening target audience game experi- ences with hollywood movie quality scripts and audio are uprising. This trend also opens up a whole new genre of musical games that let gamers experience music in a whole new interactive manner. By discussing the different aspects, technologies and trends of video game audio I give an introduction to the increasing importance of audio in the video game industry. Introduction In the past decade, sound and music in games have evolved rapidly. While sounds from the first arcade machines were merely designed to attract attention from gamers walking around the arcade hall, modern day games feature complex orchestrated dynamic soundtracks to accompany the movie-like experience along with context supporting sound effects that con- tribute to the immersion, or “emotional involvement” of the player. For as long as video games have existed, audio has always offered challenges for game developers. Some of the challenges have been solved by technology, but other fundamental challenges still exist, for example: “how does a game with a dynamic soundtrack tell a con- sistent and interesting story?” On the other hand, audio also offers even more opportunities, for instance the ability to evoke emotional responses, immerse players, and create a sense of location within a game. Unlike hollywood movies, that are carefully directed and inherently linear, games have the exciting feature of being non-linear and interactive. -
January-February 2006
CONCERT & DANCE LISTINGS • CD REVIEWS • FREE EVENTS FREE BI-MONTHLY Volume 6 Number 1 January-February 2006 THESOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING & OTHER RELATED FOLK ARTS IN THE GREATER LOS ANGELES AREA “Don’t you know that Folk Music is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers BridgingBridging Appalachian,Appalachian, BluegrassBluegrass andand CountryCountry O'BROTHER WHERE ART THOU PROPELS FOLK ICON RALPH STANLEY INTO POPULAR CULTURE BY DENNIS ROGER REED inside this issue: he fire lit group of white hooded, Klan-like figures has just spent several minutes in cho- American reography owing equal parts to a Busby Berkeley cinematic spectacle and a Nazi rally, Social Dance T with a soundtrack borrowed from the evil monkeys of the Wizard of Oz. A hush falls over the assemblage, and a lone, unaccompa- nied voice seems to emanate from hell or some much cold- Richard er place. Decked in a fiery red hood and robes, the leader of the quasi-Klan stands between two flaming torches, and Dyer-Bennet sings Oh Death, an old Appalachian number where a mortal man begs death for a stay of time. Around him the hooded figures continue their “dance,” and several of the racist PLUS: henchman drag Tommy Johnson, a black bluesman, towards PLUS: a gallows. It’s quite a movie memory from O Brother, Where Art Thou the Coen Brother’s tribute to the Odyssey and Ross Altman’s 1930’s film noir. A fine film, and this scene is particularly How Can I Keep effective. How Can I Keep And in many ways this scene was a Godsend to the true From Talking source of that haunting voice, Ralph Stanley. -
Voodoo Child 78 (Final)
VOODOO CHILD 78 (FINAL) HENDRIX WORLDWIDE CATALOG IS NOW UNIVERSAL…Can the world be ready for more Jimi Hendrix? Universal Music certainly believes so as they have recently signed an exclusive administration agreement with Experience Hendrix LLC to manage the catalog of Jimi Hendrix’s music encompassing all territories throughout the world outside the United States. In that global realm, UMPG will represent the catalogue for all commercial opportunities including synchronization licensing for Motion Pictures, TV, Advertising and other mediums. The five-year contract moves the management from Sony ATV, which had managed the catalog since 1998. Upon making the announcement Renzer, Chairman/ CEO, Universal Music Publishing Group (UMPG) commented, "We are so honored that Experience Hendrix has chosen Universal Music Publishing Group to represent their iconic catalogue. Jimi Hendrix's catalogues represents the work of one of the premiere artists of our time and we look forward to working closely with the Hendrix family in representing these amazing songs". Janie L Hendrix President/CEO of Experience Hendrix commented: "We are excited about working with David Renzer and the UMPG staff. Our beloved Jimi has long been recognized as the greatest guitarist ever and the most amazing performer in music history. His ability to expand the frontiers of composition with an almost supernatural sense of melody and rhythm coupled with his truly poetic lyricism has made his catalogue of songs one of the true cornerstones of musical art foreach successive generation. His matchless skill, creativity and imagination on the guitar continue to give those who have come after him an elusive standard to strive for. -
Towards Effective Interaction in 3D Data Visualizations
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Middlesex University Research Repository Videogames: the new GIS? Ifan D H Shepherd Middlesex University, The Burroughs, London, NW4 4BT, United Kingdom Email: [email protected] Iestyn D Bleasdale-Shepherd Valve Corporation, Seattle, USA Abstract Videogames and GIS have more in common than might be expected. Indeed, it is suggested that videogame technology may not only be considered as a kind of GIS, but that in several important respects its world modelling capabilities out- perform those of most GIS. This chapter examines some of the key differences between videogames and GIS, explores a number of perhaps-surprising similarities between their technologies, and considers which ideas might profitably be borrowed from videogames to improve GIS functionality and usability. Keywords: Videogames, computer games, geographical information systems, virtual geographical environments, virtual environments, virtual worlds, spatial data visualization, user interaction. “Comparisons are odious.” (Gilbert of Hay, 1456) I. INTRODUCTION The positioning of one technology or medium relative to others is a common academic pastime. For example, numerous studies have compared GIS with other spatial and non-spatial digital technologies, including: remote sensing [1; 2], mapping [3; 2], databases [4], and CAD [4; 5]. For their part, videogames have been compared and contrasted with novels, drama, comics and film [6]. Until comparatively recently, however, the subject matter and technologies of most videogames have not been similar enough to warrant detailed comparison with GIS. However, this is no longer the case. Not only do many games present vibrant and realistic worlds on screen (Figure 1), but the spatiality of games is increasingly recognised as being a key property of these distinctive digital environments [7; 8]. -
For Additional Information Contact the Archives Center at 202.633.3270 Or [email protected]
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. GEORGE BENSON NEA Jazz Master (2009) Interviewee: George Benson (March 22, 1943 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: April 17-18, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 108 pp. Brown: Today is April 17th, 2011. This is the Smithsonian Jazz Oral History Program interview with NEA Jazz Master, guitarist, vocalist, composer, and arranger George Benson in his house in Phoenix, Arizona, conducted by Anthony Brown with Marty Ashby and Ken Kimery present. Good afternoon, George Benson. Benson: Good afternoon. Brown: I just want to say, first of all, that it’s indeed a pleasure and an honor to be here to conduct this oral history interview for the national archives, and I just want to say that the last interview we conducted was with Hubert Laws, last month with Hubert Laws, and of course when I think of both of you, you two basically created the soundtrack for my college era in the ’70s, the music on CTI, and then you later on, on Warner Bros., was a music that I came of age with, and I just want to thank – as I did thank Hubert Laws – thank you for giving my life such a blessed soundtrack. Benson: He’s a great musician. I really enjoyed – I knew I moved up in class when I started working with him. Brown: If we could start by you stating your full name, your birth name, your date of birth, and your place of birth. -
Jimi Hendrix the Collector’S 1970: Studio, Private, Related & Remixed Recordings
Jimi Hendrix The Collector’s 1970: Studio, Private, Related & Remixed Recordings Studio & Private pg. 2 – 148 Related & Remixed pg. 148 – 163 Cover Sources pg. 164 – 173 Brief CD Track List pg. 174 – 182 Song Index pg. 183 – 188 Flac Fingerprints pg. 189 – 195 The intention of this set is to bring together all 1970 Hendrix-related recordings in the best available sound quality and the most complete versions. As with all reference works of this magnitude there are likely unintended errors in spite of diligent efforts to be error free; corrections are encouraged. If you are aware of any upgrades, know of additional tracks that should be included, or have comments about the information presented here please contact [email protected] or [email protected]. This collection was assembled based on information contained at Doug Bell's website, which is compiled from several reference sources: http://home.earthlink.net/~ldouglasbell/jimi.htm. Further details were obtained from Jimpress (2014-2015, From The Benjamin Franklin Studios, 4th edition): http://www.jimpress.co.uk/, Ultimate Hendrix (2009, Backbeat Books), Jimi Hendrix: The Ultimate Lyric Book (2012, Backbeat Books), In From The Storm: http://infromthestorm.net/hendrix.html, and Discogs: https://www.discogs.com/. All tracks are as they appear on their sources, with a few noted exceptions, though some sources are known to have utilized normalization, pitch correction, etc. All tracks were lossless tested; 12 tracks are lossy/MPEG/MP3 and so noted. The track order is roughly from session takes to intermediate mixes to final and alternate mixes; complete versions precede incomplete versions.