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Marshall Magazine Summer 2013 Marshall University
Marshall University Marshall Digital Scholar Marshall Magazine Marshall Publications Summer 2013 Marshall Magazine Summer 2013 Marshall University Follow this and additional works at: http://mds.marshall.edu/marshall_magazine Part of the Higher Education Commons Recommended Citation Marshall University, "Marshall Magazine Summer 2013" (2013). Marshall Magazine. Book 5. http://mds.marshall.edu/marshall_magazine/5 This Book is brought to you for free and open access by the Marshall Publications at Marshall Digital Scholar. It has been accepted for inclusion in Marshall Magazine by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. Dr. Piyali Dasgupta Takes on Lung Cancer See page 39 for ALUMNI NEWS and more Summer 2013 www.marshall.edu Marshall President Stephen Kopp Chief of Staff Matt Turner Executive Editor Susan Tams Director of Communications Marshallmagazine Dave Wellman The official magazine of Marshall University Publisher Summer 2013 Jack Houvouras Managing Editor Anna Lafferre features Art Director Jenette Williams 7 Marshall builds its global profile to bring more Senior Graphic Designer international students to campus. Crista Bjornson Contributing Photographers 16 MU aims to preserve the bond between the Rick Haye, Rick Lee, university and its alumni. Liu Yang 18 Dr. Piyali Dasgupta conducts innovative Contributing Writers research on lung cancer. Jack Houvouras, Cory Jackson, Dawn Nolan, Keith Morehouse, Katherine Pyles, Carter Seaton 24 Smith Music Hall is alive with the sound of world-class music education. Alumni Editor Pat Dickson 30 Conference USA realignment brings games Editorial Advisory Board closer to home. William “Tootie” Carter, Maurice Cooley, Jeff O’Malley, Ginny Painter, Rudy Pauley, 34 The inaugural class of the School of Physical Therapy Leah Payne, Susan Tams, completes its first year. -
JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316)
Bio information: JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316) Cuneiform publicity/promotion dept.: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com [Press & world radio]; radio [-at-] cuneiformrecords.com [North American radio] www.cuneiformrecords.com FILE UNDER: JAZZ One of Europe’s foremost jazz musicians, John Surman is a masterful improvisor, composer, and multi-instrumentalist (baritone and soprano sax, bass clarinet, and synthesizers/electronics). For 45 years, he has been a major force, producing a prodigious and creative body of work that expands beyond jazz. Surman’s extensive discography as a leader and a side man numbers more than 100 recordings to date. Surman has worked with dozens of prominent artists worldwide, including John McLaughlin, Chick Corea, Chris McGregor’s Brotherhood of Breath, Dave Holland, Miroslav Vitous, Jack DeJohnette, Terje Rypdal, Weather Report, Karin Krog, Bill Frisell, Paul Motian and many more. Surman is probably most popularly known for his longstanding association with the German label ECM, who began releasing Surman’s recordings in 1979. Surman has won numerous jazz polls and awards and a number of important commissions. Every period of his career is filled with highlights, which is why Cuneiform is exceedingly proud to release for the first time ever this amazing document of the late 60s 'Brit-jazz' scene. Born in Tavistock, in England, Surman discovered music as a child, singing as soprano soloist in a Plymouth-area choir. He later bought a second- hand clarinet, took lessons from a Royal Marine Band clarinetist, and began playing traditional Dixieland jazz at local jazz clubs. -
Varsity Jazz
Varsity Jazz Jazz at Reading University 1951 - 1984 By Trevor Bannister 1 VARSITY JAZZ Jazz at Reading University 1951 represented an important year for Reading University and for Reading’s local jazz scene. The appearance of Humphrey Lyttelton’s Band at the University Rag Ball, held at the Town Hall on 28th February, marked the first time a true product of the Revivalist jazz movement had played in the town. That it should be the Lyttelton band, Britain’s pre-eminent group of the time, led by the ex-Etonian and Grenadier Guardsman, Humphrey Lyttelton, made the event doubly important. Barely three days later, on 3rd March, the University Rag Committee presented a second event at the Town Hall. The Jazz Jamboree featured the Magnolia Jazz Band led by another trumpeter fast making a name for himself, the colourful Mick Mulligan. It would be the first of his many visits to Reading. Denny Dyson provided the vocals and the Yew Tree Jazz Band were on hand for interval support. There is no further mention of jazz activity at the university in the pages of the Reading Standard until 1956, when the clarinettist Sid Phillips led his acclaimed touring and broadcasting band on stage at the Town Hall for the Rag Ball on 25th February, supported by Len Lacy and His Sweet Band. Considering the intense animosity between the respective followers of traditional and modern jazz, which sometimes reached venomous extremes, the Rag Committee took a brave decision in 1958 to book exponents of the opposing schools. The Rag Ball at the Olympia Ballroom on 20th February, saw Ken Colyer’s Jazz Band, which followed the zealous path of its leader in keeping rigidly to the disciplines of New Orleans jazz, sharing the stage with the much cooler and sophisticated sounds of a quartet led by Tommy Whittle, a tenor saxophonist noted for his work with the Ted Heath Orchestra. -
Downbeat.Com April 2011 U.K. £3.50
£3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [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, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, -
1956 John Quill
II Jl l.L II 1956 oltu Quill -e- w~e,ner . - / .. .. John Marshall High School The loom of our lives 1oreword "Cbildren of Yesterday Heirs of Tomorrow W~at are you Weaving?" Pattern_s e( our way of life-woven on the loom of yesterday and today with a glance toward tomorrow. The warp of the loom is knowledge and the woof activities. These patterns are varied by the gray of serious thought; the red of joyous laughter; and by the pure white of hope and faith. Like sunshine motling the floor of the forest with gay dancing shadows or reflecting in the raindrops its irri descent gola, the patterns of the teenager touch all with challenge, mystery, and light. Come, follow us through the intricacies of youth, for they reveal our patterns, as we live, love, and laugh. i'edicatioll "We weave with colors all our own and in the field of destiny we reap as we have sown." The harvest of those that follow can be an abundant one. They, looking back upon our patterns, will discern both good and ill and then weave a better, a stronger, and more lasting design of their own. So to you, students of the future, we dedicate the 1956 John Quill. ~ The future beckons! \1~ .. Principal's Message . To design a pattern ""- t of I doing. It began with eac j .--....o . • At first the design ~rllt'_,IP!II!\.!it has become very weave ~ as we go al t u like....:::::::::_~ opsy in Uncle Tom's Cabin. weave a pattern that is bright and true in color and in symmetry, calls for the best you can give. -
Leggi La Recensione Del Buscadero
LLOYD JONES accompagna i quattordici le anime roventi, che sulla dio adesso, restituisci l’a- pasto di suoni attentan- TENNESSEE RUN pezzi originali, sorretti da scia di un beat contagioso more e la pace”, un invito do alle casse dello stereo, B VIZZTONE LABEL GROUP una band che annove- si dimenano tra urla da ro- alla gentilezza, alla sociali- l’incestuosa Ain’t Nothing L www½ ra tra le sue fila i miglio- adhouse e sensuali danze tà, ai ritmi gioiosi delle re- Like the Boogie partorisce U ri musicisti dell’area dei cajun, in un idillio musica- lazioni riflessi nei suoi funk un sensuale mix di indie, E Nasville’s Studios. Tre, in- le che odora di puro amo- che assieme ai ricami chi- funk, folk e blues che si in- S vece, le big stars ospiti re per il blues. tarristici, alle backing vo- sinua diretto nelle visce- come backing vocals: Del- Helga Franzetti cals dei “fratelli” John Lou re, mentre una profonda bert McClinton, sulla sma- Lousteau, Oliver Roman, voce piena di sentimento, gliante Everybody’s Some- Wiley Hodgen e al piano con il magnetismo sedati- body’s Fool, Teresa James SEASICK STEVE di Martin Guigui, trascina vo di cui è maestra, dirige a coinvolgere LLoyd in vol- LOVE & PEACE in pieno Zeitgeist anni set- le armonie su una dolcissi- teggi “texani” con I Wish CONTAGIOUS tanta. Nel complesso i do- ma Mercy, tra le note piz- I Could Remember Lo- www½ dici pezzi non si discostano zicate di una quieta e mor- ving You e un’ammaliante di molto dal catalogo del- bida chitarra. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
Gruppo È Nella Classica Formazione in Quartetto Con Elton Dean, Mike Ratledge, Hugh Hopper E Robert Wyatt
Page 3 of 9 gruppo è nella classica formazione in quartetto con Elton Dean, Mike Ratledge, Hugh Hopper e Robert Wyatt. Era un periodo di tensioni e di riflessioni. Elton Dean cercava di tirare i compagni sempre più verso il jazz e l'avanguardia. Robert Wyatt non voleva abbandonare gli scenari del rock dadaista. Gli altri due partner erano un po' indecisi. I due concerti che si erano tenuti in Olanda nei giorni immediatamente precedenti non erano andati troppo bene, poco pubblico, troppo nervosismo. Ma la magia del pubblico appassionato di Amsterdam riesce a far decollare la macchina morbida. I temi sono affrontati in maniera un po' aspra, secca, senza compiacimenti, ma l'incantesimo riesce per l'ennesima volta e il concerto si sviluppa con intensità, foga e determinazione. Curiosamente Wyatt non è mai impegnato alla voce e il gruppo si esibisce solo sul versante strumentale. Ci sono temi ancora in fase embrionale, come le splendide “Teeth” e “Virtually” che poi verranno presentate nell'album Fourth che i Soft Machine stavano registrando in quei mesi e che verrà completato poche settimane dopo questo mini tour olandese. Con l'album Floating World Live ci spostiamo ad una versione successiva dei Soft Machine. L'album, pubblicato da Moonjune Records, ci propone una registrazione dal vivo effettuata nel gennaio 1975 dalla ormai mitica Radio Bremen, certamente una delle emittenti che più hanno contribuito a mantenere viva un'epoca ormai lontana grazie alle preziose documentazioni dei concerti da loro coraggiosamente organizzati. La band è agli inizi di una nuova fase e l'arrivo di Allan Holdsworth alla chitarra elettrica diventa l'occasione per ristrutturare completamente il repertorio del gruppo. -
Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [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; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin -
Re-Issues Reviews
Re-issues Reviews Home To the reviews index News A healthy nihilism goes all bellicose for the poet who turns his pen into a sword. Interviews In the most Orwellian of years Joseph Smalkowski, or Copernicus, decided it was time Reviews for his verses to not only produce a verbal music but also put some external sound to the words - and got himself a kindred-minded band. "Let the musicians declare war!!" goes Index "I Know What I Think", and they do so, indeed, with a full-blown aural onslaught onto DVD which the leader lays his punky stentorian chant. Deranged delight! - unlike the mournful Magazines recital of "Let Me Rest" clocking at 11.11. Books But the opener "I Won't Hurt You" delivers on its sweet, slithery, soulful promise that Specials either skanks or slides to form the most romantic song Copernicus could offer. Still, COPERNICUS - being himself he couldn't help but break such an innocence in the sonic terror of Photo Nothing Exists "Nagasaki", hung on an urgent, oscillating and scintillating rock 'n' roll guitar riff. It's here that the poet denies the existence of everything, him included, so "Atomic Nevermore" Links Nevermore 1984 spreads its spoken word over the emotional desert which somehow makes the listener MoonJune 2010 explore the album's dry landscape again. DME/Personal ***1/2 Guestbook Mail me The original angularity seeps away for guitar to feed on - and feedback - on a honeysuckle vine. Having tapped into the fusion fad of the day with "Bundles", the machinists might have thought they arrived at the right station, yet the restless passenger in Allan Holdsworth knew better. -
John Etheridge Is Not Just Another Great Guitarist, He Is a Master of the Instrument and He Knows How to Use It to Best Effect in an Enormous Range of Settings
JOHN ETHERIDGE TO PLAY SOLO GIG AT THE TOLMEN CENTRE SUNDAY NOVEMBER 17TH 7.30pm Tickets £10/£9 concessions Tel 01326 341353 or email [email protected] Cafe meals available but pre-booking essential John Etheridge hardly needs introducing to anyone with a nodding acquaintance with contemporary jazz guitar, but his range and experience extends far beyond jazz. He grew to prominence back in the 70s with rock-jazz fusion group Soft Machine (with whom he still tours); he spent six years on the road with gypsy jazz virtuoso Stephane Grapelli; he plays regularly with jazz violinist Chris Garrick as a duo and in the quartet Sweet Chorus; and he has worked and toured extensively with the foremost classical guitarist of our era, John Williams; he tours too with the Frank Zappa tribute band the Zappatistas. Other collaborators have included Richard Thompson, Nigel Kennedy and many more. John will be playing in our downstairs space, where a relaxed arrangement of tables and chairs and a bar open throughout will create just the atmosphere to enjoy this most engaging and generous of musicians. Those who have never seen John perform will be amazed by his virtuosity and passion, while those who have seen him only in combination with other musicians can look forward to something quite different and very special. Bill Starling, friend and writer, has this to say: “John Etheridge is not just another great guitarist, he is a master of the instrument and he knows how to use it to best effect in an enormous range of settings. He is fast, a great chord man, inventive but subtle, as good with a pick as finger style, as at home on acoustic as on electric guitar. -
Soft Machine Fourth Mp3, Flac, Wma
Soft Machine Fourth mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Other Album: Fourth MP3 version RAR size: 1416 mb FLAC version RAR size: 1626 mb WMA version RAR size: 1708 mb Rating: 4.6 Votes: 730 Other Formats: MMF DMF AU MPC WMA ADX MP4 Tracklist 1 Teeth 9:13 2 Kings And Queens 5:01 3 Fletcher's Blemish 4:36 4 Virtually Part 1 5:16 5 Virtually Part 2 7:06 6 Virtually Part 3 4:33 7 Virtually Part 4 3:22 Companies, etc. Manufactured By – Sony Music Direct (Japan) Inc. Phonographic Copyright (p) – Sony BMG Music Entertainment (UK) Ltd. Remastered At – The Audio Archiving Company Recorded At – Olympic Studios Credits Alto Saxophone, Saxello – Elton Dean Bass Clarinet, Alto Flute – Jimmy Hastings Bass Guitar – Hugh Hopper Cornet – Marc Charig Double Bass – Roy Babbington Drums – Robert Wyatt Engineer – George Chkiantz Executive-Producer – Sean Murphy Organ, Piano – Mike Ratledge Producer – Soft Machine Remastered By – Paschal Byrne Research [Compilation And Tape], Liner Notes – Mark Powell Tenor Saxophone – Alan Skidmore Trombone – Nick Evans Notes Originally released in February 1971 as CBS 64280 (Soft Machine - Fourth). Comes in a CD sized papersleeve album replica, with Obi-strip and two inserts of notes mostly in Japanese. Barcode and Other Identifiers Barcode (Text): 4 582192 933688 Barcode (String): 4582192933688 Matrix / Runout: PLA-634X 1 Mastering SID Code: IFPI L277 Mould SID Code: IFPI 45KF Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year S 64280 Soft Machine Fourth (LP, Album) CBS S 64280 UK 1971 Sony Music Fourth (CD, Album, RE, MHCP 424 Soft Machine Direct (Japan) MHCP 424 Japan 2004 Pap) Inc.