I CALLED HIM MORGAN Press Notes
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Jazz Lines Publications
Jazz Lines Publications Presents sweet honey bee Arranged by duke pearson transcribed and Prepared by Dylan Canterbury full score jlp-7330 Music by Duke Pearson Copyright © 1965 Gailancy Music International Copyright Secured All Rights Reserved Logos, Graphics, and Layout Copyright © 2015 The Jazz Lines Foundation Inc. This Arrangement Has Been Published with the Authorization of the Estate of Duke Pearson. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA duke pearson series sweet honey bee (1966) Background: Duke Pearson was an important pianist, composer, arranger and producer during the 1960s and 1970s. He was born in Atlanta, Georgia in 1932 and played trumpet as well as piano with many local groups. After attending Clark College, he toured with Tab Smith and Little Willie John before he moved to New York City in January of 1959. Donald Byrd heard him, and Byrd was the leader of Pearson’s first recording session. Soon Pearson was playing with the Benny Golson-Art Farmer Jazztet. Pearson became the musical director for Nancy Wilson, as well as continuing to tour and record with Donald Byrd. In 1963, Blue Note Records producer and musical director Ike Quebec passed away, and Pearson became Blue Note’s A&R director, as well as make his own albums. Grant Green, Stanley Turrentine, Johnny Coles, Blue Mitchell, Hank Mobley, Bobby Hutcherson, Lee Morgan and Lou Donaldson all benefited from his arranging and producing skills. -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
New Docs. Fall 2016/ Winter 2017
New Docs. Fall 2016/ Winter 2017 A Bastard Child After Inez Belonging The Borneo Case Citizen Schein I Called Him Morgan The Inertia Variations Kiki Letters to a Serial Killer Loving Lorna Ouaga Girls The Pearl of Africa Prison Sisters Reflections The Return Stronger than a Bullet This special edition of Swedish Film presents Welcome to new and upcoming documentaries ready to hit international festivals and markets. Please visit our website sfi.se for updated information on Swedish the world of features, documentaries and shorts. Swedish docs! Swedish Film Institute Publisher Pia Lundberg Festival Manager, International Department ISSN 1654-0050 documentaries P.O. Box 27126 Contributing Editor Josefina Mothander Sara Rüster SE-102 52 Stockholm, Sweden Art Director Markus Edin Phone +46 8 665 11 00 Cover photo I Called Him Morgan, Ben van Acting Festival Manager, Fax +46 8 661 18 20 Meerendonk International Institute for Social documentaries sfi.se History Courtesy of Kasper Collin Produktion Josefina Mothander twitter.com/swedishfilm Print Ineko, Stockholm Phone +46 70 972 93 52 instagram.com/swedishfilm [email protected] A Bastard Child IDFA In 1909, in an undemocratic Sweden, a bastard child is born and given the name Hervor. Her mother is unmarried and driven away from home. Hervor grows up at orphanages, unwanted by society. As an adult she spends her life struggling for social justice. Through hand-painted animated images we get to witness someone being rejected in order to unite others. Original title Horungen Knutte Wester (b. 1977) is educated at the Academy of Director/screenwriter Knutte Wester Fine Arts in Umeå and Johannesburg. -
2012 Sundance Film Festival Announces Awards
FOR IMMEDIATE RELEASE Media Contacts: January 28, 2012 Casey De La Rosa 310.360.1981 [email protected] 2012 SUNDANCE FILM FESTIVAL ANNOUNCES AWARDS The House I Live In, Beasts of the Southern Wild, The Law in These Parts and Violeta Went to Heaven Earn Grand Jury Prizes Audience Favorites Include The Invisible War, The Surrogate, SEARCHING FOR SUGAR MAN and Valley of Saints Sleepwalk With Me Receives Best of NEXT <=> Audience Award Park City, UT — Sundance Institute this evening announced the Jury, Audience, NEXT <=> and other special awards of the 2012 Sundance Film Festival at the Festival‘s Awards Ceremony, hosted by Parker Posey in Park City, Utah. An archived video of the ceremony in its entirety is available at www.sundance.org/live. ―Every year the Sundance Film Festival brings to light exciting new directions and fresh voices in independent film, and this year is no different,‖ said John Cooper, Director of the Sundance Film Festival. ―While these awards further distinguish those that have had the most impact on audiences and our jury, the level of talent showcased across the board at the Festival was really impressive, and all are to be congratulated and thanked for sharing their work with us.‖ Keri Putnam, Executive Director of Sundance Institute, said, ―As we close what was a remarkable 10 days of the 2012 Sundance Film Festival, we look to the year ahead with incredible optimism for the independent film community. As filmmakers continue to push each other to achieve new heights in storytelling we are excited to see what‘s next.‖ The 2012 Sundance Film Festival Awards presented this evening were: The Grand Jury Prize: Documentary was presented by Charles Ferguson to: The House I Live In / U.S.A. -
2017 Highlights
EIGHTH ANNUAL EDITION November 9-16, 2017 “DOC NYC has quickly become one of the city’s grandest film events.” Spans downtown Hailed as Manhattan from “ambitious” IFC Center to 250+ SVA Theatre and films & events “selective but Cinepolis Chelsea eclectic” ARTISTIC DIRECTOR EXECUTIVE DIRECTOR Thom Powers programs for the Toronto Raphaela Neihausen & Powers run the weekly International Film Festival and hosts the series Stranger Than Fiction at IFC Center and podcast Pure Nonfiction. host WNYC’s “Documentary of the Week.” DOC NYC has welcomed over 50 sponsors through the years, most of which have returned for 3+ years. ACSIL Discovery Image Nation Abu Dhabi Participant Media Technicolor-Postworks NY Brooklyn Roasting Co. Docurama Impact Partners Peru Ministry of Tribeca Grand Hotel Tourism & Culture Chicago Media Project Essentia Water IndieWire VH1 & Logo Documentary Posteritati Films Chicken & Egg Pictures Goose Island JustFilms/Ford Foundation RADiUS Vulcan Cowan DeBaets Half Pops Abrahams & Sheppard Kickstarter The Screening Room Wheelhouse Creative Heineken CNN Films MTV Stoli The World Channel International City of New York Documentary Association NBCUniversal Archives SundanceNow The Yard Mayor’s Office for Doc Club Media & Entertainment Illy New York Magazine ZICO SVA Owl’s Brew DOCNYC.NET DOCNYCFEST Voted by Movie Maker Magazine as one of the top 5 coolest documentary film festivals in the world! DOC NYC 2016 FEATURED: 12k 200+ likes on Facebook 60k special guests visits DOCNYC.net 125k 92 reached by e-mail Largest premieres Documentary -
The Jazz Record
oCtober 2019—ISSUe 210 YO Ur Free GUide TO tHe NYC JaZZ sCene nyCJaZZreCord.Com BLAKEYART INDESTRUCTIBLE LEGACY david andrew akira DR. billy torn lamb sakata taylor on tHe Cover ART BLAKEY A INDESTRUCTIBLE LEGACY L A N N by russ musto A H I G I A N The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year. -
1 Ufuk Onen Bilkent University Bilkent University, Department Of
Ufuk Onen Bilkent University Bilkent University, Department of Communication and Design Bilkent, 06800 Ankara, Turkey [email protected] [email protected] Phone +90-532-421-8769 Ufuk Onen is a sound designer, audio consultant, author, and educator. He works and consults on audio-visual, sound reinforcement, cinema sound installation, and electroacoustic projects. He publishes books, articles, and blog posts. He is a member of the Audio Engineering Society (AES) and served on its Board of Governors (2017-2019). [Department of Communication and Design, Bilkent University, Ankara, Turkey, [email protected]] Article Title: The Voice As a Narrative Element in Documentary Films Article Abstract: Modern documentary filmmakers use fiction-influenced narrative styles that blur the boundaries between fact and fiction, stretching the limits and rules of the genre set by what is referred to as classic or expository documentary. Another major change in the documentary form and narrative style is the inclusion of the filmmaker in the film. As a result of filmmakers starring in their own films, interacting with the subjects, and narrating the story themselves, documentaries have become more personality-driven. In these modern methods, the voices of the narrators and/or the filmmakers carry a significant importance as narrative elements. Taking five music-related documentary films into account—Lot 63, Grave C (Sam Green), Crossing the Bridge: The Sound of Istanbul (Fatih Akin), Metal: A Headbanger's Journey (Sam Dunn, Scot McFadyen, and Jessica Joywise), Decline of Western Civilization Part II: Metal Years (Penelope Spheeris), and Searching for Sugar Man (Malik Bendjelloul)—this paper analyzes how the voices of the narrators and/or the filmmakers are used as narrative elements, and what effects these voices have on the narrative styles and the modes of these documentaries. -
Lee Morgan and the Philadelphia Jazz Scene of the 1950S
A Musical Education: Lee Morgan and the Philadelphia Jazz Scene of the 1950s Byjeffery S. McMillan The guys were just looking at him. They couldn't believe what was coming out of that horn! You know, ideas like . where would you get them? Michael LaVoe (1999) When Michael LaVoe observed Lee Morgan, a fellow freshman at Philadelphia's Mastbaum Vocational Technical High School, playing trumpet with members of the school's dance band in the first days of school in September 1953, he could not believe his ears. Morgan, who had just turned fifteen years old the previous July, had remarkable facility on his instrument and displayed a sophisticated understanding of music for someone so young. Other members of the ensemble, some of whom al- ready had three years of musical training and performing experience in the school's vocational music program, experienced similar feelings of dis- belief when they heard the newcomer's precocious ability. Lee Morgan had successfully auditioned into Mastbaum's music program, the strongest of its kind in Philadelphia from the 1930s through the 1960s, and demon- strated a rare ability that begged the title "prodigy." Almost exactly three years later, in November of 1956, Lee Morgan, now a member of die Dizzy Gillespie orchestra, elicited a similar response at the professional level after the band's New York opening at Birdland. Word spread, and as the Gillespie band embarked on its national tour, au- diences and critics nationwide took notice of the young soloist featured on what was often the leader's showcase number: "A Night in Tunisia." Nat Hentoff caught the band on their return to New York from the Midwest in 1957. -
Benny Golson (* 25
JAMU 20150408-2 – Benny Golson (* 25. 1. 1929) 6 Along Came Betty 581030 6:08 9 Blues March 581030 6:13 Art Blakey and the Jazz Messengers: Lee Morgan-tp; Benny Golson-ts; Bobby Timmons-p; Jymie Merritt-b; Art Blakey-dr. Van Gelder Studio, Hackensack, New Jersey, October 30, 1958. LP Blue Note BST 84003 „Moanin’“ / CD Blue Note 7243 4 95324 2 7. 3 I Remember Clifford (1957) (138) 581122 5:36 10 Blues March 581122 5:46 1 Whisper Not (1956) (297) 581122 7:11 Art Blakey and the Jazz Messengers: Lee Morgan-tp; Benny Golson-ts; Bobby Timmons-p; Jymie Merritt-b; Art Blakey-dr. Live at the Olympia, Paris, November 22 / December 17, 1958. LP Fontana 680 202 and EP Fontana 460 642 / CD Gitanes 832 659-2. 4 I Remember Clifford 600206 3:10 11 Blues March 600206 5:17 13 Killer Joe (1959) (628) 600206 4:58 Art Farmer-Benny Golson Jazztet: Art Farmer-tp; Curtis Fuller-tb; Benny Golson-ts; McCoy Tyner-p; Addison Farmer-b; Lex Humphries-dr. New York City, February 6, 9 and 10, 1960. LP Argo 664 „Meet the Jazztet“ / CD Mosaic MD7-225. 2 Whisper Not 620302 5:20 Art Farmer-Benny Golson Jazztet: Art Farmer-tp; Grachan Moncur III-tb; Benny Golson-ts; Harold Mabern-p; Herbie Lewis-b; Roy McCurdy-dr. New York City, March 2, 1962. LP Mercury SR 60698 „Here and Now“ / CD Mosaic MD7-225. 7 Along Came Betty 620621 5:29 Art Farmer-Benny Golson Jazztet: Art Farmer-tp; Grachan Moncur III-tb; Benny Golson-ts; Harold Mabern-p; Herbie Lewis-b; Roy McCurdy-dr. -
Eddie Henderson Event Release 9-26-17
! HALEKULANI’S ‘LIVE AT LEWERS’ MASTERS OF JAZZ SERIES PRESENTS “EDDIE HENDERSON: A LEE MORGAN TRIBUTE” FOR IMMEDIATE RELEASE WAIKIKI, HAWAII – September 26, 2017 – Halekulani, Oahu’s most acclaimed luxury hotel located on Waikiki Beach, announces the return of renowned jazz trumpeter Eddie Henderson to its ‘Live at Lewers’ Masters of Jazz series this November. This speciaL event is in partnership with the Hawaii Interna^onaL FiLm Fes^vaL, which wiLL jointLy present the feature documentary, I CaLLed Him Morgan about briLLiant jazz musician Lee Morgan. Henderson’s extraordinary performances on November 3rd and 4th wiLL pay tribute to Morgan, his good friend and a forma^ve influence. “HalekuLani’s Live at Lewers series is a testament to our ongoing commitment to and apprecia^on of the musicaL and performing arts,” said ULrich Krauer, GeneraL Manager of HaLekuLani. “We are thriLLed to partner with Hawaii Interna^onaL FiLm Fes^vaL and its faLL fes^vaL this year as we weLcome back jazz superstar Eddie Henderson, whose connec^on to the Legendary Late Lee Morgan wiLL set a speciaL tone ahead of the Hawaii Premiere of this uniquely introspec^ve film.” Henderson will perform at 7:30 p.m. on both evenings of November 3rd and 4th. Tickets for this special Live at Lewers event are $100 for first-row VIP sea^ng and $75 for prime sea^ng and include compLimentary parking. Food and beverages are avaiLabLe to order in advance, a La carte, from the Lewers Lounge menu. Reserva^ons are required. To aiend or for more informa^on, call Dining Reserva^ons at (808) 923-2311 or visit hps://www.haLekuLani.com/Live-Lewers. -
Cornbread (Blue Note)
Lee Morgan Cornbread (Blue Note) Cornbread Lee Morgan, trumpet; Hank Mobley, tenor sax; Jackie McLean, alto sax; Herbie Hancock, piano; Larry Ridley, bass; Billy Higgins, drums. 1. Cornbread (Morgan) 9:00 Produced by ALFRED LION 2. Our Man Higgins (Morgan) 8:50 Cover Photo by FRANCIS WOLFF 3. Ceora (Morgan) 6:20 Cover Design by REID MILES 4. Ill Wind (Koehler-Arlen) 7:55 Recording by RUDY VAN GELDER 5. Most Like Lee (Morgan) 6:46 Recorded on September 8, 1965 TV viewers of the 1965 World Series, if they weren't in the kitchen grabbing a beer between innings, most likely heard a finger-popping blues behind the automobile commercial. It was "The Sidewinder" by Lee Morgan. The use of jazz in TV commercials has both good and bad aspects. Here the music was being played faithfully to its fashion and, as such, was representative of Lee Morgan's new success. If the music from Morgan's albums subsequent to "The Sidewinder" has not been utilized by Mad Ave., it has been heard on the radio -- AM and FM -- and on many a home music system. These albums have enabled him to form his own group which has played in nightclubs of some of the eastern seaboard's larger cities. Lee, who had been with Art Blakey's Jazz Messengers from 1958 into 1961, rejoined Blakey in 1964 but 1966 found him on his own. In a June engagement at Slugs', tenor saxophonist Hank Mobley and drummer Billy Higgins were members of Morgan's group. Here, they are part of his recording group along with three others who are no strangers to their session-mates or Blue Note listeners: Jackie McLean, Herbie Hancock and Larry Ridley. -
Seven Lee Morgan Lessons Seven Lee Morgan Lessons
SEVEN LEE MORGAN LESSONS One of Philadelphia’s most talented offerings would have been 75 years old come July 10 th , 2013. The lessons we can learn from his work and his life have been deemed immeasurable. As the Philadelphia Clef Club Of Jazz and Performing Arts prepares to celebrate his having been part of our family, we thought the following might give Lee some new talking points as a sage at this age. Lee Morgan Lesson 1 : WHY LIMIT YOURSELF ??? “Originally interested in the vibraphone, he soon showed a growing enthusiasm for the trumpet. Morgan also knew how to play the alto saxophone ”. Lee Morgan Lesson 2 ::: DON’T JUST HANG AROUND OTHER MUSICIANS; MAKE IT YOUR BUSINESS TO TOURTOUR,, RECORD, INSPIRE & MATURE WITH THEM. “His primary stylistic influence was Clifford Brown , who gave the teenager a few lessons before he joined the Dizzy Gillespie Big Band at 18, He began recording for Blue Note Records in 1956, Lee also recorded for a variety of labels, including Blue Note, Vee-Jay, Roulette, Jazzland and Trip eventually recording 25 albums as a leader for the company with more than 250 musicians ”, A SERIOUSLY SMALL SAMPLING of this list includes: Hank Mobley John Coltrane Art Blakey Benny Golson Wayne Shorter Bobby Timmons Jymie Merritt Billy Hart Grachan Moncur III Freddie Hubbard Wynton Kelly Paul Chambers Grant Green Herbie Hancock Reggie Workman Billy Higgins John Gilmore Stanley Turrentine Jackie McLean Ron Carter Joe Henderson McCoy Tyner Lonnie Liston-Smith Elvin Jones Jack Wilson Reuben Wilson Larry Young Clifford Jordan Andrew Hill Billy Harper Bennie Maupin Marold Mabern Mickey Rokey Freddie Waits Oscar Peterson Lee Morgan Lesson 333: NO MATTMATTERER HOW GREAT THE INFLUENCEINFLUENCE,, DON’T LET THEM INFLUENCE YOU WITH DANGEROUS, SSTUPIDTUPID HABITS LIKE DRUGSDRUGS.DRUGS ..