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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. -
The New York City Jazz Record
BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 THE NEW YORK CITY JAZZ RECORD BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 MUSICIANS OF THE YEAR ALBUMS OF THE YEAR MISCELLANEOUS CATEGORIES OF THE YEAR LAKECIA BENJAMIN (saxophone) JUHANI AALTONEN, JONAS KULLHAMMAR, JUHANI AALTONEN, JONAS KULLHAMMAR, TIM BERNE (saxophone) CHRISTIAN MEAAS SVENDSEN, CHRISTIAN MEAAS SVENDSEN, SOLO RECORDINGS BOXED SETS UNEARTHED GEMS ILMARI HEIKINHEIMO— ILMARI HEIKINHEIMO— MATS GUSTAFSSON (saxophone) CHRIS CORSANO—Mezzaluna (Catalytic Sound) PAUL DESMOND—The Complete 1975 Toronto Recordings ART BLAKEY & THE JAZZ MESSENGERS— The Father, the Sons & The Junnu (Moserobie) The Father, the Sons & The Junnu (Moserobie) (Mosaic) Just Coolin’ (Blue Note) JAMES BRANDON LEWIS (saxophone) SIGURD HOLE—Lys / Mørke ( Light / Darkness ) (s/r) DANIEL BINGERT—Berit in Space (Moserobie) PETER EVANS—Into the Silence (More is More-Old Heaven) HERMIONE JOHNSON—Tremble (Relative Pitch) CHARLES LLOYD—8: Kindred Spirits (Live From the Lobero) ELLA FITZGERALD—The Lost Berlin Tapes (Verve) CHARLES LLOYD (saxophone) (Blue Note) LUCA T. MAI—Heavenly Guide (Trost) LONDON JAZZ COMPOSERS ORCHESTRA— COLLOCUTOR—Continuation (On The Corner) FIRE! ORCHESTRA—Actions (Rune Grammofon) MODERN JAZZ QUINTET KARLSRUHE/ That Time (Not Two) MATTHEW SHIPP—The Piano Equation (Tao Forms) FOUR MEN ONLY—Complete Recordings (NoBusiness) CHARLES MINGUS—@ Bremen 1964 & 1975 (Sunnyside) ANDREA KELLER—Journey Home (s/r) DAVID KRAKAUER/KATHLEEN TAGG— UP-AND-COMERS OF THE YEAR CHARLIE PARKER—The Mercury & Clef 10-Inch LP ALAN WAKEMAN—The Octet Broadcasts (1969 and 1979) Breath & Hammer (Table Pounding) Collection (Verve) EMMET COHEN (piano) JON-ERIK KELLSO—Sweet Fruits Salty Roots (Jazzology) LATIN RELEASES (Gearbox) CHARLES LLOYD VARIOUS ARTISTS—Not Two.. -
Wuthering Heights"
Breaking the Taboo: Slavery and Dehumanization in Adaptations of Emily Brontë's "Wuthering Heights" Periš, Lucija Master's thesis / Diplomski rad 2017 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: Josip Juraj Strossmayer University of Osijek, Faculty of Humanities and Social Sciences / Sveučilište Josipa Jurja Strossmayera u Osijeku, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:142:193603 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-01 Repository / Repozitorij: FFOS-repository - Repository of the Faculty of Humanities and Social Sciences Osijek Sveučilište J. J. Strossmayera u Osijeku Filozofski fakultet Osijek Dvopredmetni sveučilišni diplomski studij engleskog jezika i književnosti - prevoditeljski smjer i hrvatskog jezika i književnosti – nastavnički smjer Lucija Periš Problematika robovlasništva u filmskim adaptacijama Orkanskih visova Emily Brontë Diplomski rad doc. dr. sc. Ljubica Matek Osijek, 2017. Sveučilište J. J. Strossmayera u Osijeku Filozofski fakultet Osijek Odsjek za engleski jezik i književnost Dvopredmetni sveučilišni diplomski studij engleskog jezika i književnosti - prevoditeljski smjer i hrvatskog jezika i književnosti – nastavnički smjer Lucija Periš Problematika robovlasništva u filmskim adaptacijama Orkanskih visova Emily Brontë Diplomski rad Znanstveno područje: humanističke znanosti Znanstveno polje: filologija Znanstvena grana: anglistika doc. dr. sc. Ljubica Matek Osijek, 2017. J. J. Strossmayer University of Osijek -
Downbeat.Com December 2014 U.K. £3.50
£3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes 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] Advertising Sales Associate Pete Fenech 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, 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, -
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. -
Discografía De BLUE NOTE Records Colección Particular De Juan Claudio Cifuentes
CifuJazz Discografía de BLUE NOTE Records Colección particular de Juan Claudio Cifuentes Introducción Sin duda uno de los sellos verdaderamente históricos del jazz, Blue Note nació en 1939 de la mano de Alfred Lion y Max Margulis. El primero era un alemán que se había aficionado al jazz en su país y que, una vez establecido en Nueva York en el 37, no tardaría mucho en empezar a grabar a músicos de boogie woogie como Meade Lux Lewis y Albert Ammons. Su socio, Margulis, era un escritor de ideología comunista. Los primeros testimonios del sello van en la dirección del jazz tradicional, por entonces a las puertas de un inesperado revival en plena era del swing. Una sentida versión de Sidney Bechet del clásico Summertime fue el primer gran éxito de la nueva compañía. Blue Note solía organizar sus sesiones de grabación de madrugada, una vez terminados los bolos nocturnos de los músicos, y pronto se hizo popular por su respeto y buen trato a los artistas, que a menudo podían involucrarse en tareas de producción. Otro emigrante aleman, el fotógrafo Francis Wolff, llegaría para unirse al proyecto de su amigo Lion, creando un tandem particulamente memorable. Sus imágenes, unidas al personal diseño del artista gráfico Reid Miles, constituyeron la base de las extraordinarias portadas de Blue Note, verdadera seña de identidad estética de la compañía en las décadas siguientes mil veces imitada. Después de la Guerra, Blue Note iniciaría un giro en su producción musical hacia los nuevos sonidos del bebop. En el 47 uno de los jóvenes representantes del nuevo estilo, el pianista Thelonious Monk, grabó sus primeras sesiones Blue Note, que fue también la primera compañía del batería Art Blakey. -
Pharoah Sanders Tauhid Mp3, Flac, Wma
Pharoah Sanders Tauhid mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Tauhid Country: US Style: Free Jazz MP3 version RAR size: 1857 mb FLAC version RAR size: 1425 mb WMA version RAR size: 1420 mb Rating: 4.2 Votes: 437 Other Formats: AHX AC3 WMA MMF RA APE VOC Tracklist Hide Credits Upper Egypt & Lower Egypt A 17:00 Written-By – Pharoah Sanders Japan B1 3:29 Written-By – Pharoah Sanders Aum / Venus / Capricorn Rising B2 14:52 Written-By – Pharoah Sanders Companies, etc. Made By – ABC Records, Inc. Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Published By – Pamco Music Published By – PAB Music Corp. Credits Bass – Henry Grimes Design [Cover] – Robert Flynn Design [Liner] – Joe Lebow Drums – Roger Blank Engineer – Rudy Van Gelder Guitar – Warren "Sonny" Sharrock* Liner Notes – Nat Hentoff Percussion – Nat Bettis Photography By – Charles Stewart* Piano – Dave Burrell Producer – Bob Thiele Tenor Saxophone, Alto Saxophone, Piccolo Flute, Vocals – Pharoah Sanders Notes rec Englewood Cliffs, NJ, Van Gelder Recording Studio 11/15/66 Most probably a 70ies release. Green/plum ABC/Impulse! label. Barcode and Other Identifiers Matrix / Runout (Runout Side A): AS-9138-A 1 B T Matrix / Runout (Runout Side B): AS-9138-B 2 B T Rights Society: BMI Other versions Category Artist Title (Format) Label Category Country Year Pharoah Tauhid (LP, Album, AS-9138 Impulse! AS-9138 US 1967 Sanders Gat) Pharoah Tauhid (CD, Album, GRD-129 GRP, Impulse! GRD-129 US Unknown Sanders RE, RM) Pharoah Tauhid (CD, Album, GRP 11292 GRP, Impulse! -
Groovyvol. 54
ＫＪＦＣ (九谷ジャズファンクラブ )会報 www.kjfc.info ＧＲＯＯＶＹVOL. 54 2012.6.23 ジャズ喫茶・ライブハウスの話題 ハービー・ハンコック研究 1 ＣＯＮＴＥＮＴＳ 〔連載〕 ジャズ喫茶・ライブハウスの話題 第 2 回 Kjfc2ndAlt ・・・ 1 ハービー・ハンコック研究・第 202020 回回回/ 回///高木信哉高木信哉高木信哉・・・ 6 〔例会レポート〕 8 フィリー城 石井宏一 紅 我蘭堂 Y.S. Y.T Kjfc2ndAlt 他 表紙及び本文中イラスト制作（一部ロゴマーク除く）・・・・・水戸守敬一郎 無断転載はかたくお断りいたします。 印刷・製本：文京堂 東京都文京区本駒込 1－10 －4 電話 03 －3941 －4508 ジャズ喫茶・ライブハウスの話題 第２回 Kjfc2ndAlt 新宿「新宿「BIRDLANDBIRDLANDBIRDLAND」」」」 ジャズ喫茶、アメリカのジャズ･クラブの名前シリーズ４回目は、新宿二丁目にあった「BIRDLAND」。 マスターは酋長と呼ばれていたそうですが、二度目に行った時はもう店はありませんでした。 「BIRDLAND」という名前のお店は今でも赤坂他各地にありますね。 チャーリー・パーカーのニックネームに因んで命名されたニューヨークの BIRDLAND では カウント・ベイシー、コルトレーン、アート・ブレーキーほか多くの録音が残されています。 ピー・ウィー・マーキットのかん高い声の MC が耳に残ります。 ジョージ・シアリングの「ララバイ・オブ・バードランド」は名曲、名演です。 人気のあった BIRDLAND も６５年にはロックの波に押されて閉店になりました。 しかしながら閉店から２１年後の１９８６年にニューヨークの BIRDLAND は再開を果たしていま す。 チャーリー・パーカーは BIRDLAND について”The Jazz Corner Of The World”と言ったそうで す。 自由が丘と大阪の「５自由が丘と大阪の「５SPOTSPOTSPOT」」」」 ジャズ喫茶、アメリカのジャズ･クラブの名前シリーズ５回目は、当然「FIVE SPOT」です。 東京の自由が丘にジャズ評論家いソノ・てルヲ氏が経営されていたライブハウス「５SPOT」がありました。 店内にはジャズメンを描いた大きな絵が何枚も掲げられていました。 大阪万博があった時に初めて大阪に行きました。 その時に行ったジャズ喫茶がやはり「５SPOT」でした。 マッチを見ると道頓堀と心斎橋にありますが、どちらに行ったか覚えていません。 道頓堀店の地下には「ARGO」というレストランもありました。 ニューヨークの「FIVE SPOT」でのライブ録音はエリック・ドルフィーや セロニアス・モンクやペッパー・アダムスなどにあります。 カーティス・フラーの「BLUES ette」に入っている、ベニー・ゴルソンが作曲した 「Five Spot After Dark」もまた名曲、名演だと思います。 原宿原宿原宿の原宿 のののJAZZ CLUBCLUB「「「「KEYSTONEKEYSTONE KORNERKORNER」」」」 サンフランシスコのジャズ・クラブ「Keystone Korner」が１９９１年に「Keystone Korner Tokyo」として原宿にもできまし た。 早速その年にマル・ウォルドロンの演奏を聴きに行きました。 その後アニタ・オディも出たので行きたかったのですが、行きそびれたので残念でした。 このクラブはあまり長くは続かなかったようです。 マッチ箱は無いのでメンバーズ・カードです。 サンフランシスコの「Keystone -
Savoy and Regent Label Discography
Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli. -
Pharoah Sanders, Straight-Ahead and Avant-Garde
Jazz Perspectives ISSN: 1749-4060 (Print) 1749-4079 (Online) Journal homepage: http://www.tandfonline.com/loi/rjaz20 Pharoah Sanders, Straight-Ahead and Avant-Garde Benjamin Bierman To cite this article: Benjamin Bierman (2015) Pharoah Sanders, Straight-Ahead and Avant- Garde, Jazz Perspectives, 9:1, 65-93, DOI: 10.1080/17494060.2015.1132517 To link to this article: http://dx.doi.org/10.1080/17494060.2015.1132517 Published online: 28 Jan 2015. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rjaz20 Download by: [Benjamin Bierman] Date: 29 January 2016, At: 09:13 Jazz Perspectives, 2015 Vol. 9, No. 1, 65–93, http://dx.doi.org/10.1080/17494060.2015.1132517 Pharoah Sanders, Straight-Ahead and Avant-Garde Benjamin Bierman Introduction Throughout the early 1980s, Sweet Basil, a popular jazz club in New York City, was regularly packed and infused with energy as the Pharoah Sanders Quartet was slam- ming it—Sanders on tenor, John Hicks on piano, Walter Booker on bass, and Idris Muhammad on drums.1 The music was up-tempo and unflagging in its intensity and drive. The rhythm section was playing with a straight-ahead yet contemporary feel, while Sanders was seamlessly blending the avant-garde or free aesthetic and main- stream straight-ahead jazz, as well as the blues and R&B influences from early in his career.2 This band—and this period of Sanders’s career—have been largely neglected and Sanders himself has generally been poorly represented in the media.3 Sanders, as is true for many, many musicians, suffers from the fact that in critical discourses jazz styles often remain conceptualized as fitting into pre-conceived cat- egories such as straight-ahead, mainstream, and avant-garde or free jazz. -
The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
Graduate Theses, Dissertations, and Problem Reports 2019 The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett Curtis Goods West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Goods, Emmett Curtis, "The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964)" (2019). Graduate Theses, Dissertations, and Problem Reports. 7464. https://researchrepository.wvu.edu/etd/7464 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana