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Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements for the degree of Master of Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney. -
Discography of the Mainstream Label
Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet -
The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
Jazzletter Jujy 1936, VOI
Jazzletter Jujy 1936, VOI. 5 NO. 7 \ how much jazz had infused his playing. The miscegenation of Are You Reading jazz and hillbilly has longgone on in-Nashville. and some ofthe best of its players are at ease in both idioms. Someone Else’s Copy? Lenny Breau came up through country-and-western music. Each issue of The Underground Grammarian contains the his parents beingprofessionals in the field. and it was'Nashville above question. lt’s discouraging. in the struggle to keep a small that made him welcome. He is. like Garland,‘Carllile and Reed, publication alive. to hear someone say something like, “-1 just the result ofthejazz-country fusion, exceptythat Breau took it a love it. A friend sends me his copies when he’s through with step further and brought into his work the full range ofclassical them.” . A guitar technique. Chet Atkins was the first a&r man to givehim ' In publications supported by advertising. salesmen boast to his head, letting him record for RCAia milestone album in potential advertisers about how many people read each copy. which he showed 0-ff his startling. .for the time, jazz-classical and to the advertiser seeking exposure of his message. those ‘technique, Gene Bertoncini, who is ‘probably the best living figures have weight. He is less interested in how manyypeople exponent of jazz on the five-finger classical guitar. admires buy a periodical than in how many see it. An important Breau; but then you’ll search far to find a guitarist who doesn’t. phenomenon in periodical publishing is what is known as Lenny was a heroin addict. -
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”. -
JREV3.8FULL.Pdf
JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc. -
Zoot Sims - Bob Brookmeyer Octet Stretching out Mp3, Flac, Wma
Zoot Sims - Bob Brookmeyer Octet Stretching Out mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Stretching Out Country: Japan Released: 1993 Style: Cool Jazz MP3 version RAR size: 1374 mb FLAC version RAR size: 1443 mb WMA version RAR size: 1155 mb Rating: 4.1 Votes: 997 Other Formats: ASF MP2 MOD WAV WMA MIDI DTS Tracklist 1 Stretching Out 6:07 2 Now Will You Be Good 5:27 3 Pennies From Heaven 6:14 4 King Porter 4:37 5 Ain't Misbehavin' 6:52 6 Bee Kay 6:38 Companies, etc. Manufactured By – Toshiba EMI Ltd Recorded At – Nola Recording Studios Credits Arranged By – Al Cohn, Bill Potts, Bob Brookmeyer Baritone Saxophone – Al Cohn Bass – Eddie Jones Design [Cover] – Harry Edison Directed By – Jack Lewis Drums – Charlie Persip Engineer [Recording] – Tom Nola* Guitar – Freddie Green Liner Notes – Bob Brookmeyer Piano – Hank Jones Producer – Jack Lewis Tenor Saxophone – Al Cohn, Zoot Sims Trumpet – Harry Edison Valve Trombone – Bob Brookmeyer Notes "Recorded at Nola's penthouse from 10 am to 4pm on a Saturday afternoon in December" Barcode and Other Identifiers Barcode: 4 988006 680210 Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year Zoot Sims - Bob United Stretching Out (LP, UAL 4023 Brookmeyer Artists UAL 4023 US 1959 Album) Octet Records Zoot Sims - Bob Zoot Sims - Bob Brookmeyer - Wax Train WT 777 WT 777 Europe 2009 Brookmeyer Stretching Out (LP, Records Album, RE) Zoot Sims - Bob United Stretching Out (LP, 054-2602761 Brookmeyer Artists 054-2602761 Spain 1984 Album, RE) Octet -
Jeff Jarvis,Director
CONCERT JAZZ ORCHESTRA JEFF JARVIS, DIRECTOR WITH SPECIAL GUEST GARY SMULYAN, BARITONE SAXOPHONE SUNDAY, APRIL 29, 2012 4:00PM UNIVERSITY THEATRE PLEASE SILENCE ALL ELECTRONIC MOBILE DEVICES. TONIGHT’S PROGRAM GENTLY / Bob Mintzer This well-crafted original is the title track of a recording of the Bob Mintzer Big Band. This recording project was unique in that the horn section stood in a circle surrounding a specially designed ribbon microphone that was extremely sensitive and accurate. This microphone would not accept loud dynamic levels, so Bob Mintzer wrote material that showcased the band playing at softer dynamics, which resulted in frequent use of muted brass, flugelhorns, and woodwinds. Today’s soloists include Josh Andree (tenor sax) and Will Brahm (guitar). THEN AND NOW / George Stone This terrific original composition and arrangement is featured on a recent recording of the George Stone Big Band entitled “The Real Deal”, performed by a collection of Southern California’s finest studio musicians. George’s music is frequently featured at our concerts because of its superior quality, both from a compositional standpoint and also in terms of orchestration. This piece has it all—melodic integrity, intense rhythms, lush harmonies, and sufficient solo space. Today’s soloists include Eun young Koh (piano), Josh Andree (tenor sax), Will Brahm (guitar), and Daniel Hutton (alto sax). CHINA BLUE / Jeff Jarvis Originally composed as a commission for a big band in Williamsburg VA, the work features a winding trumpet melody supported by muted trombone parts, warm flugelhorn lines, and beautiful woodwind parts played by the saxophone section. The piece proves challenging since the musicians are faced with executing exposed parts with delicacy and restraint. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot. -
Herbie Hancock 1 Jive Hoot (Bob Brookmeyer)
MUNI 20150420 – Herbie Hancock 1 Jive Hoot (Bob Brookmeyer) 4:43 From album BOB BROOKMEYER AND FRIENDS (Columbia CS 9037 / 468413) Bob Brookmeyer-vtb; Stan Getz-ts; Gary Burton-vib; Herbie Hancock-p; Ron Carter- b; Elvin Jones-dr. New York City, May 1964. Herbie Hancock: THE COMPLETE BLUE NOTE SIXTIES SESSIONS (all compositions by Herbie Hancock) Recorded at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey (all sessions) Three Wishes 5:10 Donald Byrd-tp; Wayne Shorter-ts; Herbie Hancock-p; Butch Warren-b; Billy Higgins-dr. December 11, 1961. From album Donald Byrd: FREE FORM (Blue Note 95961) Watermelon Man 7:08 Freddie Hubbard-tp; Dexter Gordon-ts; Herbie Hancock-p; Butch Warren-b; Billy Higgins-dr. May 28, 1962. From album TAKIN’ OFF (Blue Note 84109 / 46506) Yams 7:56 Jackie McLean-as; Donald Byrd-tp; Herbie Hancock-p; Butch Warren-b; Tony Williams-dr. February 11, 1963. Jackie McLean: VERTIGO (Blue Note LT-1085) Blind Man, Blind Man 8:16 Donald Byrd-tp; Grachan Moncur III-tb; Hank Mobley-ts; Grant Green-g; Herbie Hancock-p; Chuck Israels-b; Tony Williams-dr. March 19, 1963. MY POINT OF VIEW (Blue Note 84126 / 84126-2) Mimosa 6:34 Herbie Hancock-p; Paul Chambers-b; Willie Bobo-dr, timb; Oswaldo „Chihuahua“ Martinez-bongos, finger cymbals. August 30, 1963. INVENTIONS AND DIMENSIONS (Blue Note 84147 / -2) One Finger Snap 7:16 Freddie Hubbard-co; Herbie Hancock-p; Ron Carter-b; Tony Williams-dr. June 17, 1964. EMPYREAN ISLES (Blue Note 84175 / -2) Maiden Voyage 7:55 Dolphin Dance 9:16 Freddie Hubbard-tp; George Coleman-ts; Herbie Hancock-p; Ron Carter-b; Tony Williams-dr. -
An Analytical Approach to Vibraphone Performance Through the Transcription and Analysis of Gary Burton’S Solo on Blue Monk
AN ANALYTICAL APPROACH TO VIBRAPHONE PERFORMANCE THROUGH THE TRANSCRIPTION AND ANALYSIS OF GARY BURTON’S SOLO ON BLUE MONK A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in Partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Charles B. Brooks B.A., Western Kentucky University, 1997 M.A., Austin Peay State University, 2000 December 2007 ACKNOWLEDGMENTS This document would not exist without the guidance and counsel of several extraordinary individuals. It is dedicated to my father for introducing me to the world of music. I would like to extend special gratitude to my mother for her guidance, strength, and belief that anything is possible. In addition I would like to thank Johnny Walker and my brother, Michael Brooks, without whom none of this would possible. This document is also dedicated to Kenneth Welch and Larry Long for their counsel and friendship. I extend special thanks to my teachers Dr. Christopher Norton, Mr. David Steinquest, Dr. Charles Smith, Dr. Thomas King, Dr. Jefferey Wood, Dr. Dinos Constantinides, Dr. Joseph Skillen, Dr. Robert Peck, and Dr. Michael Kingan. I would especially like to thank Dr. Willis Delony for staying the course and guiding me through rough terrain. ii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................................................ii LIST OF MUSICAL EXAMPLES................................................................................iv -
Discography Updates (Updated May, 2021)
Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.