Joe Mcphee Po Music Linear B Mp3, Flac, Wma

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Joe McPhee Po Music Linear B mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Linear B Country: Switzerland Released: 1991 Style: Free Jazz, Free Improvisation, Contemporary Jazz MP3 version RAR size: 1467 mb FLAC version RAR size: 1686 mb WMA version RAR size: 1212 mb Rating: 4.6 Votes: 491 Other Formats: AIFF MP1 MPC ADX FLAC AA VOC Tracklist Hide Credits 1 Love Life (Dedicated To Franco Donati) 9:59 2 Make A Circle (Dedicated To Ione) 7:35 3 Linear B (Dedicated To Samuel Beckett) 4:39 4 Say That To Say This 5:14 Footprints 5 10:25 Composed By – Wayne Shorter Little Pieces (Dedicated To Herbert Distel) 6 Little Piece 1 2:05 7 Little Piece 2 2:20 8 Little Piece 3 2:16 9 Little Piece 4 2:01 10 Little Piece 5 2:16 - Here's That Rainy Day (Dedicated To Chet Baker) 11 5:44 Composed By – Jim Van Heusen* 12 Imagine A World Without Art (In Hope Of A Cure For AIDS) 5:52 13 Voices 6:38 Companies, etc. Phonographic Copyright (p) – Hat Hut Records Ltd. Copyright (c) – Hat Hut Records Ltd. Recorded At – Radio Studio DRS Credits Artwork [Cover] – Craig Johnson Bass – Léon Francioli (tracks: 1, 3, 5 6, 11 to 13) Composed By – Joe McPhee (tracks: 1 to 4, 6 to 10, 12, 13) Design – Walter Bosshardt Drums, Percussion – Fritz Hauser (tracks: 1 to 3, 5 to 10, 12) Flugelhorn, Trumpet [Pocket Trumpet], Soprano Saxophone, Electronics – Joe McPhee (tracks: 1 to 5, 10 to 13) Guitar – Christy Doran (tracks: 7, 13), Raymond Boni (tracks: 1, 5, 9, 12, 13) Liner Notes – Joe McPhee Producer – Pia & Werner X. Uehlinger Soprano Saxophone, Tenor Saxophone – Urs Leimgruber (tracks: 2, 4) Tenor Saxophone, Bass Clarinet, Clarinet – André Jaume (tracks: 1, 5, 8, 12) Notes Digital recording on January 9-12, 1990 at Radio DRS Zurich/Switzerland. (p)+© 1991 Hat Hut Records Ltd. Barcode and Other Identifiers Barcode: 7 619925 605721 Label Code: LC 6048 Rights Society: SUISA SPARS Code: DDD Other versions Category Artist Title (Format) Label Category Country Year Joe McPhee Po Linear B (CD, Album, ZZ-01GP0000466 J SHP ZZ-01GP0000466 Russia 2002 Music Unofficial) Related Music albums to Linear B by Joe McPhee Po Music Little Buddy - Last Piece Of My Life Sam Tsui & Kirsten Collins - Piece By Piece Don Deal - A Piece At A Time Deep Piece - Towart GZUS Piece - Piece By Piece - Piece By Piece Piece Of Change - Piece Of Change CunninLynguists - A Piece Of Strange The Nerve - Piece By Piece / Satisfying Kind 符和 - 「√」Piece Of The EP ～Time Lo0p～.

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Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works.
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Printcatalog Realdeal 3 DO
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WXU Und Hat Hut – Stets Auf Der Suche Nach Neuem Werner X
r 2017 te /1 in 8 W ANALOGUE AUDIO SWITZERLAND ASSOCIATION Verein zur Erhaltung und Förderung der analogen Musikwiedergabe Das Avantgarde-Label «Hat Hut» Wenig bekannte Violinvirtuosen und Klavierkonzerte Schöne klassische und moderne Tonarme e ill R Aus der WXU und Hat Hut – stets auf der Suche nach Neuem Werner X. Uehlinger, Modern Jazz und Contemporary Music Von Urs Mühlemann Seit 42 Jahren schon gibt es das Basler Plattenlabel «Hat Hut». In dieser Zeit hat sich die Musikindust- rie grundlegend verändert. Label-Gründer Werner X. Uehlinger, Jahrgang 1935, Träger des Kulturprei- ses 1999 der Stadt Basel, hält allen Stürmen stand – und veröffentlicht mit sicherem Gespür immer wieder aussergewöhnliche Aufnahmen. «Seit 1975, ein Ohr in die Zukunft»: Dieses Motto steht als Signatur in allen E-Mails von Werner X. Uehlinger (auch als ‚WXU‘ bekannt). Den Gründer des unabhängigen Schweizer Labels «Hat Hut», das u.a. 1990 von der progressiven New Yorker Zeitschrift «Village Voice» unter die fünf weltbesten Labels gewählt wurde und internationale Wertschätzung nicht nur in Avantgarde-Kreisen geniesst, lernte ich vor mehr als 40 Jahren persönlich kennen. Wir verloren uns aus den Augen, aber ich stiess im Laufe meiner musikalischen Entwicklung immer wieder auf ‚WXU‘ und seine exquisiten Produkte. Nun hat er – als quasi Ein-Mann-Betrieb – sein Lebenswerk in die Hände von «Outhere» gelegt; das Unterneh- men vereint verschiedene Labels für klassische und für zeitgenössische Musik unter einem Dach. Das war für mich eine Gelegenheit, wieder Kontakt aufzunehmen. Wir trafen uns im Februar und im Mai 2017 zu längeren Gesprächen und tauschten uns auch schriftlich und telefonisch aus.
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Clusone 3 an Hour With... Mp3, Flac, Wma
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Dominican Republic Jazz Festival @ 20
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Digital Cultures Listening Lists
Digital Cultures: Music Recommended Listening and Reading (Prof Andrew Hugill) The following long (but nowhere near long enough to cover everything) listening list not only illustrates some of the key ideas about modernism and postmodernism, structuralism and deconstruction, but also adds up to a mini-history of the evolution of electronic and electroacoustic music in the 20th Century. Some brief descriptive notes are included to indicate the salient features, but there is no substitute for careful and repeated listening, with perhaps some attempt to analyse what is heard. It should be remembered that Modernism and Postmodernism are not musical styles, nor words that artists and composers use to describe their work, but rather terms from critical and cultural theory that seem to sum up broad tendencies in art. In fact, all the pieces below will probably be heard to exhibit characteristics of both ‘isms’. Some useful questions to ask when listening are: what is the artist’s intention? How well is it realized? What is the cultural context for the work? What are its compositional techniques? What is the musical language? Pierre Schaeffer ‘Etude aux chemins de fer’ from ‘Cinq études de bruits’ (1948) on OHM: the early gurus of electronic music: 1948-1980. Roslyn, New York: Ellipsis Arts. This was the first time recorded sound was assembled into a musical composition. The sounds included steam engines, whistles and railway noises. Pierre Schaeffer and Pierre Henry Symphonie pour un homme seul (1950) on Pierre Schaeffer: l’oeuvre musicale EMF EM114. A 12-movement musical account of a man’s day using recorded sounds.
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Joe Mcphee Po Music Topology Mp3, Flac, Wma
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Listening at the Edges: Aural Experience and Affect in a New York Jazz Scene
Listening at the Edges: Aural Experience and Affect in a New York Jazz Scene by Matthew Somoroff Department of Music Duke University Date:_______________________ Approved: ___________________________ Louise Meintjes, Co-Supervisor ___________________________ Paul Berliner, Co-Supervisor ___________________________ Philip Rupprecht ___________________________ Mark Anthony Neal Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 ABSTRACT Listening at the Edges: Aural Experience and Affect in a New York Jazz Scene by Matthew Somoroff Department of Music Duke University Date:_______________________ Approved: ___________________________ Louise Meintjes, Co-Supervisor ___________________________ Paul Berliner, Co-Supervisor ___________________________ Philip Rupprecht ___________________________ Mark Anthony Neal An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 Copyright by Matthew Somoroff ©2014 Abstract In jazz circles, someone with “big ears” is an expert listener, one who hears the complexity and nuance of jazz music. Listening, then, figures prominently in the imaginations of jazz musicians and aficionados. While jazz scholarship has acknowledged the discourse on listening within various jazz cultures, to date the actual listening practices of jazz musicians and listeners remain under-theorized. This dissertation investigates listening and aural experience in a New York City community devoted to avant-garde jazz. I situate this community within the local history of Manhattan’s Lower East Side, discuss the effects of changing neighborhood politics on music performance venues, and analyze social interactions in this scene, to give an exposition of “listening to music” as a practice deeply tied into other aspects of my interlocutors’ lives.
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Jazz | Allaboutjazz.Com
Jazz | AllAboutJazz.com NEWS TwoAAJAllEnterVisionBlogger?DevelopSubscribePostFollow| About Announcesonand the Quest:AAJ Two: Your SyndicateJazz EnjaChicagoto on AAJ's Courvoisier AllAboutJazz.comLincoln Twitter!Launches"Charlie New SessionsNew Your Column: Center Mariano Interview shop.allaboutjazz.com JazzStories& Feldman"Paul Jazz News"Old, Advertising-at WerticoTheOrchestraFeed AllNew, Are GreatAbout Both Borrowed- Impressions StrategyRelease Concert"Jazz Jazz andand for EnterLifeBlue"GiveawayNewof2010MY a AAJ Partners City"...Album... bythe Member Dan... LegacyContest Benefits Recordings - Sign "Miles up Today!Davis - The Complete Columbia... Sign In | I'm New Here AUDIO & ARTICLES CALENDAR FORUMS GUIDES NEWS PEOPLE PHOTOS RADIO SHOP CONTACT ADVERTISE VIDEO JAZZ NEAR YOU Festival/Cruise News | Posted: 2009-09-25 (32) Follow the Sound in Antwerp, Belgium News Search SOURCE: All About Jazz Publicity Discuss Title The 36th edition of Follow The SHOWCASE ADS Sound will run from September 30 Type - October 4 in Antwerp. The Another Night in London international music festival will Gene Harris take place at deSingel and in the industrial workshop space of ScheldApen on the Scheldt River Contextualizin' quay. Ian Carey Quintet As always the festival is focusing on improvisation within a wide range of Simpatico genres, including free jazz styles, Claudio Roditi experimental rock and electronic music. Central to Follow The Sound are the legendary figures of drummer Han Bennink and pianist Cecil Taylor, each with a Folk Songs for Jazzers full days program dedicated to their life and music. Besides a Frank Macchia number of concerts A night with Han Bennink will offer the premire of a Bennink documentary and the presentation of his biography. The Taylor concert at deSingel is preceded by a showing, free of charge, of two films about the pianist.
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Proquest Dissertations
MUSIC FOR SOLO SAXOPHONE PERFORMANCE PAUL NEWMAN 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 APRIL 2010 Library and Archives Bibliothgque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'Sdition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre r6f6rence ISBN: 978-0-494-62285-8 Our file Notre r6f6rence ISBN: 978-0-494-62285-8 NOTICE: AVIS: The author has granted a non- L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
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Albert Ayler Quartet : Copenhagen Live 1964
Albert Ayler Quartet : Copenhagen Live 1964 “I remember one night in Stockholm, I started to play what Ayler’s affinity for Europe first took soil during an was in my soul. The promoter pulled me Army hitch in France in 1959. Several years later after an inter- off the stage. Two years later I was back val home in the States he settled in Sweden, making his first with my own group- Cherry, Murray, Pea- commercial recordings in the company of Scandinavian musi- cock. The promoter woke up. He didn’t pull cians. The music from this period finds him reconciling a for- me off the stage that time.” mative background in the Black Church, R&B and the jazz song- Albert Ayler’s beatific con- book with nascent attempts to circumvent such stylistic stric- quest of Europe was a pragmatic if piece- tures. Ayler’s second sojourn abroad also exposed him to the meal one with inroads made over the span region’s folk melodies, some of which would serve as embry- of years rather than weeks or months. That onic catalysts for his mature music. By 1964 he was back in gradual path to qualified acceptance can Europe under the auspices of a Scandinavian tour organized in Derek Taylor, October 2016 October Taylor, Derek sometimes be difficult to ken given the part with artistic clout gained through iconic albums for the ESP saxophonist’s 21st century stature in the imprint. free jazz firmament, but Ayler still carries a Gary Peacock and Sunny Murray were stalwarts prevailing image of equanimous icono- on several of Ayler’s efforts for ESP, a series that included the clast.
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