Carico Robert Wyatt
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Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler. -
Jazzlondonlive Mar 2019
01/03/2019 SOUTH HILL PARK, BRACKNELL 19:30 £12 Greg Davis, sax, Cliff Charles, gtr, Paul Eldridge, ALINA BZHEZHINSKA'S HIPHARP COLLECTIVE JAZZ pno, Julian Bury, bass, Matt Skeaping, drms (£5.50 UNDER 18S) JAZZLONDONLIVE MAR 2019 CLUB CONCERT LULUK PURWANTO - VIOLIN & BYRON WALLEN - Award winning harpist Alina Bzhezhinska brings 02/03/2019 VORTEX JAZZ CLUB, DALSTON 20:30 £15.00 her latest project brings to life with the finest 01/03/2019 THE HAWTH, CRAWLEY 11:45 £21.95 (INCL TRUMPET PRESENTED BY BRACKNELL JAZZ compositions of legendary harpists Dorothy MONICA VASCONCELOS Simon Cook (piano), Andy Masters (bass), Dae Monica Vasconcelos (vcls), Steve Lodder (keys), LUNCH) Ashby and Alice Coltrane. Alina Bzhezhinska Hyun Lee (drums) (Harp), Gareth Lockrane (Flutes), Christian Ife Tolentino (gtr), Andres Lafone (bs), Yaron WHEN PEGGY MET ELLA PRESENTED BY THE Vaughan (Piano/Keyboards), Julie Walkington Stavi (bs), Marius Rodrigues (drs) LISTENING ROOM 01/03/2019 BARBICAN, EC2 20:00 £15-35 (Double Bass), Joel Prime (Drums) Shireen Francis (vcls), Sarah Moule (vcls), Simon THE BRANFORD MARSALIS QUARTET + NIKKI YEOH 02/03/2019 PIZZAEXPRESS JAZZ CLUB, SOHO 21:00 Wallace (pno) 01/03/2019 ARCHDUKE, WATERLOO 22:00 FREE £20 (SOLO SET) with Joey Calderazzo, Eric Revis & Justin SIMON PURCELL TRIO PIANO-LED JAZZ TRIO JAMES MORTON 'GROOVE DEN' 01/03/2019 SOUTHBANK CENTRE 13:00 FREE Faulkner MISHA LUNCHTIME FOYER GIG 01/03/2019 JAZZ CAFE, CAMDEN 22:30 £15 02/03/2019 606 CLUB, CHELSEA 21:30 £14.00 Intricate yet intuitive jazz from lauded bass player 01/03/2019 -
OBITUARY: ANDY BROWN 1938-2004 By
OBITUARY: ANDY BROWN 1938-2004 by John Pochée __________________________________________________________ [This obituary appeared in the February, 2005 edition of the newsletter of the Jazz Action Society of NSW] any of us have been saddened by the news of the death of New Zealand double bassist Andy Brown in early January at his home in Auckland, aged M 66 after a long illness. Andy had a long career in NZ, Australia, London and Europe. I first played with Andy when he came to Melbourne from Auckland to join Dave MacRae, Bernie McGann and myself at the Fat Black Pussycat venue in 1964. The band was known as The Heads and played at the club five nights a week. There were later appearances in Brisbane and Sydney under that name, sometimes with the addition of Bob Bertles. Andy and I played in different situations together throughout the rest of the '60s including The Way Out Club in Brisbane, Spellsons in Newport, The Dollar Club in Adelaide and, in Sydney, The Mandarin Club, The El Rocco with the Chuck Yates Trio, and two years at Chequers Nightclub. Andy Brown (bass) is on the far right, then R-L, John Pochée (drums), Bernie McGann (alto saxophone), Bob Bertles (obscured behind McGann), Dave MacRae (piano) at the Katoomba Jazz Festival in 1966…PHOTOGRAPHER UNKNOWN During this time, we still played concerts as a quartet or quintet and played on the Katoomba and Newport Jazz Festivals as the Dave MacRae Quartet. In 1967 we were featured along with bands led by Judy Bailey, John Sangster and Don Burrows on the historic recording Jazz Australia. -
Music & Film Memorabilia
MUSIC & FILM MEMORABILIA Friday 11th September at 4pm On View Thursday 10th September 10am-7pm and from 9am on the morning of the sale Catalogue web site: WWW.LSK.CO.Uk Results available online approximately one hour following the sale Buyer’s Premium charged on all lots at 20% plus VAT Live bidding available through our website (3% plus VAT surcharge applies) Your contact at the saleroom is: Glenn Pearl [email protected] 01284 748 625 Image this page: 673 Chartered Surveyors Glenn Pearl – Music & Film Memorabilia specialist 01284 748 625 Land & Estate Agents Tel: Email: [email protected] 150 YEARS est. 1869 Auctioneers & Valuers www.lsk.co.uk C The first 91 lots of the auction are from the 506 collection of Jonathan Ruffle, a British Del Amitri, a presentation gold disc for the album writer, director and producer, who has Waking Hours, with photograph of the band and made TV and radio programmes for the plaque below “Presented to Jonathan Ruffle to BBC, ITV, and Channel 4. During his time as recognise sales in the United Kingdom of more a producer of the Radio 1 show from the than 100,000 copies of the A & M album mid-1980s-90s he collected the majority of “Waking Hours” 1990”, framed and glazed, 52 x 42cm. the lots on offer here. These include rare £50-80 vinyl, acetates, and Factory Records promotional items. The majority of the 507 vinyl lots being offered for sale in Mint or Aerosmith, a presentation CD for the album Get Near-Mint condition – with some having a Grip with plaque below “Presented to Jonathan never been played. -
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Artist Song 2 Unlimited Maximum Overdrive 2 Unlimited Twilight Zone 2Pac All Eyez On Me 3 Doors Down When I'm Gone 3 Doors Down Away From The Sun 3 Doors Down Let Me Go 3 Doors Down Behind Those Eyes 3 Doors Down Here By Me 3 Doors Down Live For Today 3 Doors Down Citizen Soldier 3 Doors Down Train 3 Doors Down Let Me Be Myself 3 Doors Down Here Without You 3 Doors Down Be Like That 3 Doors Down The Road I'm On 3 Doors Down It's Not My Time (I Won't Go) 3 Doors Down Featuring Bob Seger Landing In London 38 Special If I'd Been The One 4him The Basics Of Life 98 Degrees Because Of You 98 Degrees This Gift 98 Degrees I Do (Cherish You) 98 Degrees Feat. Stevie Wonder True To Your Heart A Flock Of Seagulls The More You Live The More You Love A Flock Of Seagulls Wishing (If I Had A Photograph Of You) A Flock Of Seagulls I Ran (So Far Away) A Great Big World Say Something A Great Big World ft Chritina Aguilara Say Something A Great Big World ftg. Christina Aguilera Say Something A Taste Of Honey Boogie Oogie Oogie A.R. Rahman And The Pussycat Dolls Jai Ho Aaliyah Age Ain't Nothing But A Number Aaliyah I Can Be Aaliyah I Refuse Aaliyah Never No More Aaliyah Read Between The Lines Aaliyah What If Aaron Carter Oh Aaron Aaron Carter Aaron's Party (Come And Get It) Aaron Carter How I Beat Shaq Aaron Lines Love Changes Everything Aaron Neville Don't Take Away My Heaven Aaron Neville Everybody Plays The Fool Aaron Tippin Her Aaron Watson Outta Style ABC All Of My Heart ABC Poison Arrow Ad Libs The Boy From New York City Afroman Because I Got High Air -
MCA-500 Reissue Series
MCA 500 Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan MCA-500 Reissue Series: MCA 500 - Uncle Pen - Bill Monroe [1974] Reissue of Decca DL 7 5348. Jenny Lynn/Methodist Preacher/Goin' Up Caney/Dead March/Lee Weddin Tune/Poor White Folks//Candy Gal/Texas Gallop/Old Grey Mare Came Tearing Out Of The Wilderness/Heel And Toe Polka/Kiss Me Waltz MCA 501 - Sincerely - Kitty Wells [1974] Reissue of Decca DL 7 5350. Sincerely/All His Children/Bedtime Story/Reno Airport- Nashville Plane/A Bridge I Just Can't Burn/Love Is The Answer//My Hang Up Is You/Just For What I Am/It's Four In The Morning/Everybody's Reaching Out For Someone/J.J. Sneed MCA 502 - Bobby & Sonny - Osborne Brothers [1974] Reissue of Decca DL 7 5356. Today I Started Loving You Again/Ballad Of Forty Dollars/Stand Beside Me, Behind Me/Wash My Face In The Morning/Windy City/Eight More Miles To Louisville//Fireball Mail/Knoxville Girl/I Wonder Why You Said Goodbye/Arkansas/Love's Gonna Live Here MCA 503 - Love Me - Jeannie Pruett [1974] Reissue of Decca DL 7 5360. Love Me/Hold To My Unchanging Love/Call On Me/Lost Forever In Your Kiss/Darlin'/The Happiest Girl In The Whole U.S.A.//To Get To You/My Eyes Could Only See As Far As You/Stay On His Mind/I Forgot More Than You'll Ever Know (About Her)/Nothin' But The Love You Give Me MCA 504 - Where is the Love? - Lenny Dee [1974] Reissue of Decca DL 7 5366. -
'Pardon Me, I'm Very Drunk': Alcohol, Creativity and Performance Anxiety
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk O’Dair, Marcus (2016) ’Pardon me, I’m very drunk’: alcohol, creativity and performance anxiety in the case of Robert Wyatt. Popular Music, 35 (2) . pp. 207-221. ISSN 0261-1430 [Article] (doi:10.1017/S0261143016000039) Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/19802/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. -
ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL
Bio information: ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: ROCK “…the [Jim Hendrix] Experience let me know there was a spare bed in the house they were renting, and I could stay there with them– a spontaneous offer accepted with gratitude. They’d just hired it for a couple of months… …My goal was to make the music I’d actually like to listen to. … …I was clearly imagining life without a band at all, imagining a music I could make alone, like the painter I always wanted to be.” – Robert Wyatt, 2012 Some have called this - the complete set of Robert Wyatt's solo recordings made in the US in late 1968 - the ultimate Holy Grail. Half of the material here is not only previously unreleased - it had never been heard, even by the most dedicated collectors of Wyatt rarities. Until reappearing, seemingly out of nowhere, last year, the demo for “Rivmic Melodies”, an extended sequence of song fragments destined to form the first side of the second album by Soft Machine (the band Wyatt had helped form in 1966 as drummer and lead vocalist, and with whom he had recorded an as-yet unreleased debut album in New York the previous spring), was presumed lost forever. As for the shorter song discovered on the same acetate, “Chelsa”, it wasn't even known to exist! This music was conceived by Wyatt while off the road during and after Soft Machine's second tour of the US with the Jimi Hendrix Experience, first in New York City during the summer of 1968, then in the fall of that year while staying at the Experience's rented house in California, where he was granted free access to the TTG recording facility during studio downtime. -
A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period. -
22Nd International Congress on Acoustics ICA 2016
Page intentionaly left blank 22nd International Congress on Acoustics ICA 2016 PROCEEDINGS Editors: Federico Miyara Ernesto Accolti Vivian Pasch Nilda Vechiatti X Congreso Iberoamericano de Acústica XIV Congreso Argentino de Acústica XXVI Encontro da Sociedade Brasileira de Acústica 22nd International Congress on Acoustics ICA 2016 : Proceedings / Federico Miyara ... [et al.] ; compilado por Federico Miyara ; Ernesto Accolti. - 1a ed . - Gonnet : Asociación de Acústicos Argentinos, 2016. Libro digital, PDF Archivo Digital: descarga y online ISBN 978-987-24713-6-1 1. Acústica. 2. Acústica Arquitectónica. 3. Electroacústica. I. Miyara, Federico II. Miyara, Federico, comp. III. Accolti, Ernesto, comp. CDD 690.22 ISBN 978-987-24713-6-1 © Asociación de Acústicos Argentinos Hecho el depósito que marca la ley 11.723 Disclaimer: The material, information, results, opinions, and/or views in this publication, as well as the claim for authorship and originality, are the sole responsibility of the respective author(s) of each paper, not the International Commission for Acoustics, the Federación Iberoamaricana de Acústica, the Asociación de Acústicos Argentinos or any of their employees, members, authorities, or editors. Except for the cases in which it is expressly stated, the papers have not been subject to peer review. The editors have attempted to accomplish a uniform presentation for all papers and the authors have been given the opportunity to correct detected formatting non-compliances Hecho en Argentina Made in Argentina Asociación de Acústicos Argentinos, AdAA Camino Centenario y 5006, Gonnet, Buenos Aires, Argentina http://www.adaa.org.ar Proceedings of the 22th International Congress on Acoustics ICA 2016 5-9 September 2016 Catholic University of Argentina, Buenos Aires, Argentina ICA 2016 has been organised by the Ibero-american Federation of Acoustics (FIA) and the Argentinian Acousticians Association (AdAA) on behalf of the International Commission for Acoustics. -
Ian Carr & Nucleus
Ian Carr & Nucleus HOME Discografia completa Gruppo Album Anno Label Nucleus Elastic Rock 1970 Vertigo Nucleus We'll Talk About It Later 1970 Vertigo Nucleus Solar Plexus 1971 Vertigo Ian Carr & Nucleus Belladonna 1972 Vertigo Nucleus Labyrinth 1973 Vertigo Nucleus Roots 1973 Vertigo Nucleus Under The Sun 1974 Vertigo Nucleus Alleycat 1975 Vertigo Nucleus Snakehips Etcetera 1975 Vertigo Nucleus In Flagrante Delicto 1977 Capitol Nucleus Out Of The Long Dark 1979 Capitol Nucleus Awakening 1980 Mood (Ian Carr's) Nucleus Live At The Theaterhaus 1985 Mood Ian Carr Feat. Nucleus Old Heartland 1988 EMI Formazione e composizioni NUCLEUS - Elastic Rock 1. 1916 (jenkins) (1:11) 2. Elastic Rock (Jenkins) (4:05) 3. Striation (Clyne/Spedding) (2:15) 4. Taranaki (Smith) (1:39) 5. Twisted Track (Brown/Spedding) (5:15) 6. Crude Blues, Pt.1 (Carr/Jenkins) (0:54) 7. Crude Blues, Pt. 2 (Carr) (2:36) 8. 1916 The Battle Of Boogaloo (Jenkins) (3:04) 9. Torrid Zone (Jenkins) (8:40) 10. Stonescape (Jenkins) (2:39) 11. Earth Mother (Carr/Clyne/Jenkins/Marshall/Smith/Spedding) (5:51) 12. Speaking For Myself, Personally, In My Own Opinion, I Think (Marshall) (0:54) 13. Persephones Jives (Carr) (2:15) Formazione: Ian Carr (tpt/flghn) Karl Jenkins (ob/bs/elp/p) Brian Smith (ts/ss/fl) Chris Spedding (g/bouzouki) Jeff Clyne (b/cb) John Marshall (d) Registrazione : gen 1970 - Località : London (Trident) - Produzione : Pete King Edizione: 1970 (Vertigo) [Rieditato in CD: Line/BGO assieme all'album successivo "We'll Talk About It Later"] NUCLEUS - We'll Talk About It Later -
IVOR CUTLER 1 Oct – 4 Nov 2018
IVOR CUTLER 1 Oct – 4 Nov 2018 Scottish poet, songwriter and humorist Ivor Cutler numerous artists including Jim O’Rourke, Laura Marling (1923–2006) was a singular force in popular culture. and Franz Ferdinand. Given his musical career he His oeuvre encompassed absurd songs and poems, was surprisingly a longstanding member of the Noise surreal performances, and illustrated publications. Abatement Society; he described pauses during his These abstract the banal and everyday with warmth, stage appearances as ‘free silence’. occasional darkness, and quiet radicalism. Self-styled as an ‘Oblique Musical Philosopher’, Cutler saw himself as Cutler wrote many books for children and adults, and his having ‘…the effect of a very mild earthquake, one that wish to open adults up to their childish self (as counter nudges people into having a look around themselves, to intellect and convention) was bolstered by his work through all the rubbish that passes for convention.’ as a teacher, at A. S. Neill’s Summerhill School and for inner-city schools in London for 30 years. This exhibition pulls from his archive (as yet unformalised) to present original musical scores, lyrics, The exhibition is accompanied by a publication featuring sketches, artworks, letters, press cuttings, and posters, items from the archive and an essay by writer Dan Fox. gathered to celebrate Cutler’s life and work, many of Two specially comissioned limited editions are available which have never been previously exhibited. Particularly on the CCA website and front desk. rarely seen are his drawings, doodles, and more formal artworks such as paintings. Some were published as With thanks to Daniel and Jeremy Cutler.