Jazzletter 93023 October 1983 I

Total Page:16

File Type:pdf, Size:1020Kb

Jazzletter 93023 October 1983 I G€I'l€ L665 , P.O. Box 240 Ojai, Calif. Jazzletter 93023 October 1983 i . Vol. 3 N0. 3 want to see Paul Desmond again,” and went a year without Paul 7 I speaking to him. Two platters of melon and cold cuts rested, along with a large deep Paul had an ability to maintain direct friendships with the wives bowl filled with ice and small bottles of wine, on a coffee table in a of friends. Indeed he carried on suspended loves with some of dressing room backstage at the Hollywood Bowl. On the open them, curiously pure and innocent. One of them was my wife, to door were two names, Gerry Mulligan and Dave Brubeck. Gerry whom he said wistfully, “It seems to be my destiny to be in love had just finished performing. Distantly, from the stage, we could with the wife of one of my best friends.” Another was Iola, to her Stan Getz. A girl appeared in the door and told Gerry that whom he was very close. He was not of course the first man to Dave was outside and wanted to say hello but didn’t want to enter resolve a fear of marriage by investing his deeper feelings in a roomful of cigarette smoke. There was in fact little smoke in the women who were safely out of reach. room. It seemed that almost all Gerry's guests had quit smoking, After the months of estrangement, Paul turned up at Dave’s and Gerry, who has in recent years shown serious symptoms of house, doubtless looking woebegone. Iola went to the back porch, deration, smokes only occasionally. where Dave was hanging up diapers, and told him he would “went outdoors with him. It was a warm smoggy night. Dave simply have to see Paul. was wearing a white tuxedo jacket and ruffled shirt open at the After that reconciliation, they never looked back. Interestingly, throat. Gerry wore slim-legged black slacks and a white pullover though Dave repeatedly signed contracts with Paul, Paul never shirt with loose sleeves that vaguely evoked the Middle Ages. I signed and never returned them — another symptom ofhis fear of sometimes think Mulligan wishes he had lived then. commitment. Yet he never questioned the bookings and deals It was inevitable that we would talk about Paul. Desperate Dave signed on their behalf. And he became Uncle Paul to all Desmond, as Gerry now and then had called him. “And what was Dave’s children. that name he had for you?” Dave said. “G. Emily Guncloset,” Stan Getz ended his segment of the concert. It was time for Gerry answered, and explained that this what Paul had insisted Dave’s group to go on. - the French emcee is saying on that Paris album wherein he “I still miss him, Dave,” I said. announces. “E1 maintenant — Zhe-hree Moo-leh-gahn!” And for a moment Dave looked bereft, truly lost. He said, “Oh The last time I had seen Dave was at his home in Wilton, boy, so do I.” Connecticut — not all that far from Mulligan’s present residence in Darien — and that had been at least fifteen years before. Paul and Mulligan and I used to hang out together in New York in Dave was slim and youthful at sixty-four. Paul had insisted, the 1960s. Gerry was deeply involved with Judy Holliday then. when they were young, _that Dave must be part Indian. Dave Every man who knew her was in some way in love with her, doesn’t seem to be all that sure about it himself; where his father probably including me and Desmond. And certainly Alec Wilder. grew up, a mixed white and Indian blood was fairly common, as it Paul hada taste for complex puns, and so did Judy, who said of is in much of the American west. Anyway, whatever his roots, the ferns in the window of her vast and ancient apartment in the Dave does indeed look more and more like some distinguished Dakotas, the building that became famous when John Lennon Cherokee chieftain as he growsolder. was shot in front of it, “With fronds like these, who needs gave grinned he has a wonderful embracing smile that anemones?” Mulligan is by no means slow with a mot himself. akes his eyes crinkle — and he pointed at me and said, “I was Gary McFarland said, after an evening with the three of them, “I thinking about you just the other day. I was remembering when felt like I was caught in the middle of an acrostic.” you and Paul almost got us all shot in Indiana!” Desmond was the co-inventor of the most complicated pun I “Oh God, yes," I said, laughing. “I’ve thought about it often. I ever heard; I cannot recall who was his. collaborator in this think of you and me and Paul, lost at that crossroads amid all that silliness. Dave says thejoke dates back at least to 1954. It concerns corn in the middle ofthe night. We couldn’t see over the cornfields a boy of Italian parentage named Carbaggio, born in Germany. to get our bearings.” Feeling himself a misfit, with his dark curly hair, among all those “Would you say,” Mulligan offered, “that this makes those Teutonic blonds, he tries to be even more German than the people insular?” A Germans. In late adolescence he flees to Paris, where he steals one And we told a few Desmond stories. of those brass miniatures of the Eiffel Tower. Arrested by the Paul was chronically tardy. In the early days, he would arrive in police, he is given a choice of going to jail or leaving the country. his car at the last minute to pick Dave up for their gig at the Band He boards the first outbound ship and arrives in New York. Box in San Francisco. The traffic lights near Stanford were set for Thinking he would like a career in communications, he goes to the forty-five miles per hour. Paul reasoned that they should also RCA building in Rockefeller Plaza, takes an elevator, and walks work at double that speed, and so he would go tearing to thejob at into the office of General Sarnoff. Sarnoff tells him the only ninety. “And on top of that,” Dave said, “he’d be reading all the possible job is as a strikebreaker. The boy takes it. When the strike signs along the road backwards. And I just wanted him to watch ends, he finds‘ himself on a union blacklist. He goes to work the road.” making sonar equipment for a company owned by a man named Paul’s early life is almost a blank. He never spoke of it to me, Harris. After several years, his English is improved to the point and perhaps to no one but Dave. Dave says Paul adored his father where he gets a job on a radio station as a disc jockey. His show is but not his mother. “If you knew the story,” he said, “you could called Rock Time. And he has fulfilled his destiny: he’s a routine forgive him anything.” Teuton Eiffel-lootin’ Sarnoff goon from Harris Sonar, Rock- “I have nothing to forgive him for, Dave,” I said. Time Carbaggio. Dave did. Paul’s tardiness in the early days bordered on the I used to wonder what kind of mind would expend the effort _of truly irresponsible. Dave at one point told his wife, Iola, “I never working out something like that. ¢,,py,;gh, |9g3 by Gene rm Paul’s kind. He numbered many writers among his friends, as and used to give himself vitamin shots in the thigh -in the Judy Holliday did, and he was an habitue of Elaine’s, a bar on the momings, to diminish the hangovers. I used to imagine him, upper East Side of New York City frequented by novelists and whiskey glass in one hand and a cigarette in the other, falling other scriveners, whereas Mulligan and I, during the waning asleep on the sofa in front of a television set hissing with snow afternoons of those years, could usually be found in Jim and after the National Anthem, and maybe burning a hole in his Andy’s. _ . ' trousers. He reminded me of Mitya, the Karamazov brother who Paul also had a taste for high-fashion models of which, in his wants to leap heels up into the muck to make himself as bad as he travels, he had accumulated a considerable collection. Only thinks he is and escape the burden of virtue in an ongoing recently a Toronto newspaper reporter friend of mine mentioned corruption. In the end, Paul failed, because he was a very gentle a famous Canadian model who had lived in his apartment man, and a very, very good one, haunted by his own romanticism, building. Soliciting a Bloody Mary from him one hungover which he mocked in words and a wry choice of notes, and never Sunday morning, she said, “I haven’t been this tired since the last finding that perfect love-for-a-lifetime he always, really, wanted. time Paul Desmond was in town.” He was the loneliest man I ever knew. Pianist Marian McPartland once wrote an article about Paul for me at Down Beat. It must have been about that time that I first Paul and Dave were native Californians. David Warren Brubeck met him. She asked Paul about his penchant for models. “Well,” was born in Concord on December 6, 1920.
Recommended publications
  • BIOGRAPHIES, INTERVIEWS, ITINERARIES, WRITINGS & NOTES BOX 1: BIOGRAPHY,1940S-1950S
    HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 1: PAPERS SUBSERIES D: BIOGRAPHIES, INTERVIEWS, ITINERARIES, WRITINGS & NOTES BOX 1: BIOGRAPHY,1940s-1950s 1D.1.1: Biography, 1942: “Iola Whitlock marries Dave Brubeck,” Pacific Weekly, 9-25-42 1.D.1.2: Biography, 1948: Ralph J. Gleason. “Long awaited Garner in San Francisco…Local boys draw comment” [Octet at Paradise in Oakland], Down Beat (12-1-48), pg. 6 1.D.1.3: Biography, 1949 a- “NBC Conservatory of Jazz,” San Francisco, Apr 5, 1949 [radio program script for appearance by the Octet; portion of this may be heard on Fantasy recording “The Dave Brubeck Octet”; incl. short biographies of all personnel] b- Lifelong Learning, Vol. 19:6 (Aug 8, 1949) c- [Bulletin of University of California Extension for 1949-50, the year DB taught “Survey of Jazz”] d- “Jazz Concert Set” 11-4-49 e- Ralph J. Gleason. “Finds little of interest in lst Annual Jazz Festival [San Francisco],” Down Beat (12-16-49) [mention of DB Trio at Burma Lounge, Oakland; plans to play Ciro’s, SF at beginning of 1950], pg. 5 f- “…Brubeck given musical honors” Oakland Tribune, December 16, 1949 g- DB “Biographical Sketch,” ca Dec 1949 h- “Pine Tree Club Party at Home of Mrs. A. Ellis,” <n.s.> n.d. [1940s] i- “Two Matrons are Hostesses to Pine Tree Club,” <n.s.> n.d. [1940s] (on same page as above) 1.D.1.4: Biography, 1950: “Dave Brubeck,” Down Beat, 1-27-50 a- Ralph J. Gleason. “Swingin the Golden Gate: Bay Area Fog,” Down Beat 2- 10-50 [DB doing radio show on ABC] 1.D.1.5: BIOGRAPHY, 1951: “Small band of the year,” Jazz 1951---Metronome Yearbook, n.d.
    [Show full text]
  • Gary Mcfarland Soft Samba Strings Mp3, Flac, Wma
    Gary McFarland Soft Samba Strings mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Latin / Funk / Soul Album: Soft Samba Strings Country: US Released: 1967 Style: Bossa Nova, Soul-Jazz, Big Band MP3 version RAR size: 1699 mb FLAC version RAR size: 1458 mb WMA version RAR size: 1325 mb Rating: 4.1 Votes: 748 Other Formats: MP1 WMA AA VQF MP4 WAV FLAC Tracklist Hide Credits Full Moon And Empty Arms (Based On Rachmaninoff's "Concerto No.2") A1 2:20 Composed By – Rachmaninoff*Written-By – Kaye*, Mossman* Skylark A2 3:00 Composed By – Carmichael*, Mercer* I Know The Meaning (Based On Tschaikowsky's "Romeo And Juliet") A3 3:07 Composed By – Tschaikowsky* Manhã De Carnaval (Morning Of The Carnival - From The Motion Picture "Black Orpheus") A4 2:50 Composed By – Bonfa* The Lamp Is Low (Based On A Theme From Ravel's "Pavane") A5 4:55 Composed By – Ravel*Written-By – Shefter*, Parish*, DeRose* Rêverie (Based On Debussy's "Rêverie") B1 2:50 Composed By – Debussy* These Are The Things I Love (Based On Tschaikowsky's "Melody, Opus 42 No. 3") B2 2:15 Adapted By – Harold Barlow, Lew HarrisComposed By – Tschaikowsky* Theme From "13" (An MGM Motion Picture) B3 2:20 Composed By – McFarland* Once We Loved B4 1:45 Composed By – McFarland* Our Love (Based On Tschaikowsky's "Romeo And Juliet") B5 2:20 Composed By – Tschaikowsky*Written-By – Bernier*, Clinton*, Emmerich* Companies, etc. Manufactured By – MGM Records Phonographic Copyright (p) – Metro-Goldwyn-Mayer, Inc. Copyright (c) – Metro-Goldwyn-Mayer, Inc. Recorded At – CTS Studios Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Arranged By, Vibraphone, Vocals – Gary McFarland Conductor – Jack Parnell Design [Cover] – Acy Lehmann* Engineer [Director Of Engineering] – Val Valentin Engineer [Englewood Cliffs] – Rudy Van Gelder Engineer [London] – Jack Clegg Photography By [Cover] – Pete Turner Producer – Creed Taylor Notes Recorded at CTS Studios, London, England (November 7, 1966) and Van Gelder Studios, Englewood Cliffs, New Jersey (October 27, 1966).
    [Show full text]
  • Robert GADEN: Slim GAILLARD
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • Music Reviews: Jazz for the Jazz-Shy from John Tropea, Pat Bianchi Trio, and the Gary Mcfarland Legacy Ensemble | Blogcritics 5/29/15 12:18 PM
    Music Reviews: Jazz for the Jazz-Shy from John Tropea, Pat Bianchi Trio, and the Gary McFarland Legacy Ensemble | Blogcritics 5/29/15 12:18 PM Contact Us Writer Sign Up About Home TV Music Books Gaming Culture and Society Film Editor Picks Flash Fiction Today on Blogcritics Book Review: ‘Death Is Always a Resident,’ by Lorraine Jeffery Home » Editor Picks » Editor Pick: Music » Music Reviews: Jazz for the Jazz-Shy from John Tropea, Pat Bianchi Trio, and the Gary McFarland Legacy Ensemble Search to search type and hit enter Music Reviews: Jazz for the Jazz-Shy from John Tropea, Pat Bianchi Trio, and the Gary McFarland Legacy Ensemble Social Posted by: Jon Sobel May 28, 2015 in Editor Pick: Music, Editor Picks, Indie Roundup, Jazz, Music, Music Columns, Music Genres, R&B Please Share... 3 0 0 0 0 0 Mailing List Three new springtime jazz releases strike a balance between accessibility and aficionado appeal. Albums Sign up for our newsletter from guitarist John Tropea and organist Pat Bianchi’s trio both feature jazz organ, and the Gary McFarland Legacy Ensemble includes Joe Locke on McFarland’s instrument, the vibraphone. John Tropea’s Gotcha Rhythm Right Here is a collection of originals smacking of jazz fusion, R&B, funk, Editor’s Pick: Books and a sophisticated big band sound all at once. Book Review: ‘Death Is Always a Resident,’ by Lorraine Jeffery May 28, 2015 Editor’s Pick: Culture & Society I’m partial to the sound of the Hammond organ in Opening Job Opportunities For jazz, R&B, and rock alike.
    [Show full text]
  • Eli Yamin Celebrates the Dave Brubeck Quartet Curriculum Guide
    Eli Yamin Celebrates the Dave Brubeck Quartet Curriculum Guide Eli Yamin Celebrates the Dave Brubeck Quartet Overview These six videos are presented and performed by jazz and blues pianist, composer, singer, producer and educator Eli Yamin. The videos vary in length from 3 to 12 minutes. The title of the series aptly denotes the content because Eli Yamin and his group of master musicians truly do “celebrate” 5 songs of Dave Brubeck. Each video examines and performs a specific song and its unique qualities. Although the focus is always the music, the lessons easily apply to literacy and language arts standards, grades 6-12. The amount of time spent on the lessons can be decided by the teachers, depending on students’ interest, needs, and planning. Below is a brief summary of the content of each video to help teachers decide which best suits their curriculum. It is recommended that all the videos be studied in order to provide a full scope of Brubeck’s music, but the lessons and videos can each stand alone. Dave Brubeck Brief Background Dave Brubeck was a famous jazz pianist, composer, and bandleader who lived from 1920 to 2012. He founded the Dave Brubeck Quartet in 1951 after playing for several years in his group called the Dave Brubeck Octet. His group became very popular in the 1950s, most notably for his combination of great melodies, strong sense of swing, and unusual meters and rhythms from around the globe. Some of his more popular songs are "Blue Rondo a la Turk," "In Your Own Sweet Way" and "The Duke." He collaborated with quartet member Paul Desmond on numerous compositions; Desmond’s “Take Five” became the first jazz instrumental to sell more than one million copies.
    [Show full text]
  • Earshot Jazz Festival in November, P 4
    A Mirror and Focus for the Jazz Community Nov 2005 Vol. 21, No. 11 EARSHOT JAZZSeattle, Washington Earshot Jazz Festival in November, P 4 Conversation with Randy Halberstadt, P 21 Ballard Jazz Festival Preview, P 23 Gary McFarland Revived on Film, P 25 PHOTO BY DANIEL SHEEHAN EARSHOT JAZZ A Mirror and Focus for the Jazz Community ROCKRGRL Music Conference Executive Director: John Gilbreath Earshot Jazz Editor: Todd Matthews Th e ROCKRGRL Music Conference Highlights of the 2005 conference Editor-at-Large: Peter Monaghan 2005, a weekend symposium of women include keynote addresses by Patti Smith Contributing Writers: Todd Matthews, working in all aspects of the music indus- and Johnette Napolitano; and a Shop Peter Monaghan, Lloyd Peterson try, will take place November 10-12 at Talk Q&A between Bonnie Raitt and Photography: Robin Laanenen, Daniel the Madison Renaissance Hotel in Seat- Ann Wilson. Th e conference will also Sheehan, Valerie Trucchia tle. Th ree thousand people from around showcase almost 250 female-led perfor- Layout: Karen Caropepe Distribution Coordinator: Jack Gold the world attended the fi rst ROCKRGRL mances in various venues throughout Mailing: Lola Pedrini Music Conference including the legend- downtown Seattle at night, and a variety Program Manager: Karen Caropepe ary Ronnie Spector and Courtney Love. of workshops and sessions. Registra- Icons Ann and Nancy Wilson of Heart tion and information at: www.rockrgrl. Calendar Information: mail to 3429 were honored with the fi rst Woman of com/conference, or email info@rockrgrl. Fremont Place #309, Seattle WA Valor lifetime achievement Award. com. 98103; fax to (206) 547-6286; or email [email protected] Board of Directors: Fred Gilbert EARSHOT JAZZ presents..
    [Show full text]
  • The Dave Brubeck Quartet Tritonis Mp3, Flac, Wma
    The Dave Brubeck Quartet Tritonis mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Tritonis Country: US Released: 1980 Style: Contemporary Jazz MP3 version RAR size: 1817 mb FLAC version RAR size: 1259 mb WMA version RAR size: 1461 mb Rating: 4.3 Votes: 966 Other Formats: TTA MP2 VOX MP3 MMF AAC MIDI Tracklist A1 Brother, Can You Spare A Dime? 7:08 A2 Like Someone In Love 5:39 A3 Theme For June 7:27 B1 Lord, Lord 6:21 B2 Mr. Fats 3:12 B3 Tritonis 8:05 Companies, etc. Manufactured By – Festival Records – SMX-56983 Credits Drums – Randy Jones Piano – Dave Brubeck Producer – Russell Gloyd Producer, Electric Bass, Bass Trombone – Chris Brubeck Tenor Saxophone, Electric Bass – Jerry Bergonzi Other versions Category Artist Title (Format) Label Category Country Year The Dave CJ-129 Tritonis (LP) Concord Jazz CJ-129 US 1980 Brubeck Quartet L 37476, The Dave Interfusion, L 37476, New Tritonis (LP) 1980 CJ-129 Brubeck Quartet Concord Jazz CJ-129 Zealand The Dave Tritonis (LP, CJ-129 Concord Jazz CJ-129 US 1980 Brubeck Quartet DBX) The Dave Tritonis (CD, 505.RU Limited Edition 505.RU Russia 1998 Brubeck Quartet Unofficial) The Dave CCD-4129 Tritonis (CD) Concord Jazz CCD-4129 US 1995 Brubeck Quartet Related Music albums to Tritonis by The Dave Brubeck Quartet The Dave Brubeck Quartet - Jazz Impressions Of Eurasia The Dave Brubeck Quartet - Cable Car / Theme From Elementals The Dave Brubeck Quartet - Georgia On My Mind Dave Brubeck Quartet, The - Jazz Goes To College The Dave Brubeck Quartet - The Dave Brubeck Quartet In Europe The Dave Brubeck Quartet Featuring Paul Desmond - Dave Brubeck Quartet Dave Brubeck Quartet, Trio And Duo - Southern Scene Jimmy Rushing & Dave Brubeck And Friends - All That Jazz, Vol.
    [Show full text]
  • 1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
    GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement.
    [Show full text]
  • Great Instrumental
    I grew up during the heyday of pop instrumental music in the 1950s and the 1960s (there were 30 instrumental hits in the Top 40 in 1961), and I would listen to the radio faithfully for the 30 seconds before the hourly news when they would play instrumentals (however the first 45’s I bought were vocals: Bimbo by Jim Reeves in 1954, The Ballad of Davy Crockett with the flip side Farewell by Fess Parker in 1955, and Sixteen Tons by Tennessee Ernie Ford in 1956). I also listened to my Dad’s 78s, and my favorite song of those was Raymond Scott’s Powerhouse from 1937 (which was often heard in Warner Bros. cartoons). and to records that my friends had, and that their parents had - artists such as: (This is not meant to be a complete or definitive list of the music of these artists, or a definitive list of instrumental artists – rather it is just a list of many of the instrumental songs I heard and loved when I was growing up - therefore this list just goes up to the early 1970s): Floyd Cramer (Last Date and On the Rebound and Let’s Go and Hot Pepper and Flip Flop & Bob and The First Hurt and Fancy Pants and Shrum and All Keyed Up and San Antonio Rose and [These Are] The Young Years and What’d I Say and Java and How High the Moon), The Ventures (Walk Don't Run and Walk Don’t Run ‘64 and Perfidia and Ram-Bunk-Shush and Diamond Head and The Cruel Sea and Hawaii Five-O and Oh Pretty Woman and Go and Pedal Pusher and Tall Cool One and Slaughter on Tenth Avenue), Booker T.
    [Show full text]
  • Today's Worksheet
    EPIDSODE 8: IN FIVE DESMOND “TAKE FIVE” TODAY’S WORKSHEET “Take Five” is a jazz standard written by saxophonist Paul Desmond in the late 1950s. It was originally recorded 1959 and made famous by the Dave Brubeck Quartet. Two years later, it became a surprise hit and the biggest- selling jazz single ever. Watch this video of the Dave Brubeck Quartet performing it live! METER REVIEW Let’s review our previous lesson on feeling meter in music! Match these words with their definition below. METER BEAT TIME SIGNATURE TRIPLE METER DUPLE METER ___________________ How music is divided up: what note length gets the beat, and how many beats will be in each measure. ___________________ Beat groupings of 2. ___________________ The rhythmic pattern made in music by putting together strong and weak beats in different groupings, and it is how we “feel” music. ___________________ The regular rhythmic pattern of music. Time is counted in music by using these. ___________________ Beat groupings of 3. Different beat groupings, or the order of beat groupings, create a certain rhythmic feel in music. For example, a waltz or minuet is always in triple meter, or beat groupings of 3; a march, like Stars and Stripes Forever, is often in duple meter, or beat groupings of 2. EPIDSODE 8: IN FIVE DESMOND “TAKE FIVE” ODD METERS As Buddy explains in this episode, some pieces of music don’t fit within either triple or duple meter! The piece we are hearng today is in 5, which musicians call an odd meter. An odd meter is simply a meter that does not fit within beat groupings of 2, 3, or 4, the most common meters in music.
    [Show full text]
  • Music Business and the Experience Economy the Australasian Case Music Business and the Experience Economy
    Peter Tschmuck Philip L. Pearce Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Music Business and the Experience Economy . Peter Tschmuck • Philip L. Pearce • Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Editors Peter Tschmuck Philip L. Pearce Institute for Cultural Management and School of Business Cultural Studies James Cook University Townsville University of Music and Townsville, Queensland Performing Arts Vienna Australia Vienna, Austria Steven Campbell School of Creative Arts James Cook University Townsville Townsville, Queensland Australia ISBN 978-3-642-27897-6 ISBN 978-3-642-27898-3 (eBook) DOI 10.1007/978-3-642-27898-3 Springer Heidelberg New York Dordrecht London Library of Congress Control Number: 2013936544 # Springer-Verlag Berlin Heidelberg 2013 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer.
    [Show full text]