Notre Dame Collegiate Jazz Festival Program, 1978
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Conflict, Vagueness, Dissolution : Challenges to Meter In
Online publications of the Gesellschaft für Popularmusikforschung/ German Society for Popular Music Studies e. V. Ed. by Eva Krisper, Eva Schuck, Ralf von Appen and André Doehring w w w . gf pm - samples.de/Samples16/ pf l e i de r e r . pdf Volume 16 (2018) - Version of 6/28/2018 CONFLICT, VAGUENESS, DISSOLUTION. CHALLENGES TO METER I N CONTEMPORARY JAZZ Martin Pfleiderer Music's temporal structure is organised at various time levels. While the level of musical form corresponds to longer time distances, rhythm refers to the small scale temporal structuring of sonic events. Musical rhythm can be de- fined as the time structure of a gestalt-like sequence of musical sounds that have differing degrees of salience or accentuation and lie within a time frame of a few seconds (Pfleiderer 2006: 154ff.). Since an event can be accentuated in various ways, e.g. loudness, duration, position within a musical phrase and within its pitch contour, relation to the harmonic and metric context, timbre etc., there are many ways of shaping and perceiving sound sequences as rhythms. Moreover, the temporal structure of what we listen to actively shapes our expectations of what we are going to hear—within a certain piece of music as well as within a musical style. Furthermore, musical expectations and anticipations seem to be a basis and prerequisite for surprise and enjoy- ment in music—with regard to form, harmony, and rhythm (Huron 2006). Expectations that are built up in regard to small scale temporal regulari- ties of sound sequences are widely supported and enhanced by our atten- tional, cognitive and bodily entrainment to music and are commonly referred to as musical meter. -
Program Board Needs 'In-Put' Don Ellis at A.H.S
November 3. 1972 SISKIYOU Page 7 Program Board S.OC. has 28 in Who's Who “Who’s Who Among is required to submit his or her Hagen, Isabelle Rachel Hayley, American Universities and own biographical data” said David Merritt Hennan, Gregory needs 'in-put' Colleges” has chosen 28 out-, Fellers. Boyd Keylock, Lindall Wayne standing SO. .C seniors to be The. student's name and Lawless, Nola Sue McMinimy, listed this year, according to biographical data are then diverse. The only music Michael Anthony Mendibure, The Concert Lecture Dr. Alvin Fellers, dean of published in the directory John P. Newell, Joey Yee-Cho Committee consists of nine students represented is classical. Why students. entitled ‘Who’s Who among not a variety of concerts of Ngan, Macceo Pettis, Robert and seven faculty. Five of the students in American William Polski, Janet Lee the students must be present at lesser known musicians of low “First published in 1934, this Universities and Colleges.” Prickett, Vikki Lanette a meeting before a vote on cost? There are no literary directory has appeared Those selected for the next figures involved. What about nick,Ren William Neil Standley, eventan can be taken. This is annually—a unique institution edition are the following 28 Elizabeth Ann Stewart, David that students can maintain a Richard Brautigan, or a film which now includes thousands Seniors: Carolyn Marie producer, or science fiction E. Thompson, Sharann Mikie majority in a committee that of listings from over 1,000 Ainsworth, Dale Barnhart, Judy Turner, George Chor-Sik Wong, includes faculty input and writer like Asminov? Or your schools, in all 50 states, the Lynn Brown, Vance LeLand particular favorite? There is no and Charles Merritt Barker” swing power involving student District of Columbia and Burghard, Marilyn Marie “These Seniors represent the drama or modern dance. -
JAZZ WORTH READING: “THE BOSTON JAZZ CHRONICLES: FACES, PLACES and NIGHTLIFE 1937-1962″ Posted on February 20, 2014
From Michael Steinman’s blog JAZZ LIVES MAY YOUR HAPPINESS INCREASE. Jazz: where "lives" is both noun and verb JAZZ WORTH READING: “THE BOSTON JAZZ CHRONICLES: FACES, PLACES AND NIGHTLIFE 1937-1962″ Posted on February 20, 2014 Some of my readers will already know about Richard Vacca’s superb book, published in 2012 by Troy Street Publishing. I first encountered his work in Tom Hustad’s splendid book on Ruby Braff, BORN TO PLAY. Vacca’s book is even better than I could have expected. Much of the literature about jazz, although not all, retells known stories, often with an ideological slant or a “new” interpretation. Thus it’s often difficult to find a book that presents new information in a balanced way. BOSTON JAZZ CHRONICLES is a model of what can be done. And you don’t have to be particularly interested in Boston, or, for that matter, jazz, to admire its many virtues. Vacca writes that the book grew out of his early idea of a walking tour of Boston jazz spots, but as he found out that this landscape had been obliterated (as has happened in New York City), he decided to write a history of the scene, choosing starting and ending points that made the book manageable. The book has much to offer several different audiences: a jazz- lover who wants to know the Boston history / anecdotal biography / reportage / topography of those years; someone with local pride in the recent past of his home city; someone who wishes to trace the paths of his favorite — and some obscure — jazz heroes and heroines. -
Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect. -
SLINGERLAND a DRUMS Sommur!
has a Coleman Hawkins LP coming Jaki Byard quintet and big band... Strictly Ad Lib called Soul, with Hawk joined by Warren Covington’s Tommy Dorsey Kenny Burrell, Ray Bryant, Osie band may figure in a British band (Continued from page 8) Johnson, and Wendell Marshall. swap with a Cha-Cha-Cha band Bryant taught Hawk Greensleeves headed by Rico coming here . Wess . Willie (The Lion) Smith, for the date . Bob Corwin took Sidney Becht recovered from a re Sonny Terry, Zoot Sims, Sol Yaged, over the piano chair from Bill Trig cent illness. He had a bronchitis Candido, and Big Miller had guest lia with Anita O’Day . United attack in mid-fall . George Lewis Shots on the United Artists record Artists cut Martin Williams’ History is figuring in a possible swap for ing of the Living History of Jazz at of the Jazz Trumpet LP late in England, in conjunction with Lewis' the Apollo, with Herb Pomeroy’s December . Roy Haynes’ group, European tour this spring ... In band and narrator John McLellan. with Hank Mobley, Curtis Fuller, siders in the east point out that Symphony Sid reports he plans to Richard Wyandes, and Doug Wat Jack Lewis first cut Shorty Rogen take a septet to Europe in the spring kins, did a concert for the Orange and the early west coast sides, not for a Birdland tour, and hopes to County community college jazz club Bob York as carried in Los Angeles include Johnny Griffin, Lee Morgan, in mid-December. Ad Lib recently. Curtis Fuller, Pepper Adams, Tom Lou Donaldson signed with Blue Ed Thigpen is reported leaving my Flanagan, and Bud Powell . -
The Exotic Rhythms of Don Ellis a Dissertation Submitted to the Peabody Institute of the Johns Hopkins University in Partial Fu
THE EXOTIC RHYTHMS OF DON ELLIS A DISSERTATION SUBMITTED TO THE PEABODY INSTITUTE OF THE JOHNS HOPKINS UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS BY SEAN P. FENLON MAY 25, 2002 © Copyright 2002 Sean P. Fenlon All Rights Reserved ABSTRACT Fenlon, Sean P. The Exotic Rhythms of Don Ellis. Diss. The Peabody Institute of the Johns Hopkins University, 2002. This dissertation examines the rhythmic innovations of jazz musician and composer Don Ellis (1934-1978), both in Ellis’s theory and in his musical practice. It begins with a brief biographical overview of Ellis and his musical development. It then explores the historical development of jazz rhythms and meters, with special attention to Dave Brubeck and Stan Kenton, Ellis’s predecessors in the use of “exotic” rhythms. Three documents that Ellis wrote about his rhythmic theories are analyzed: “An Introduction to Indian Music for the Jazz Musician” (1965), The New Rhythm Book (1972), and Rhythm (c. 1973). Based on these sources a general framework is proposed that encompasses Ellis’s important concepts and innovations in rhythms. This framework is applied in a narrative analysis of “Strawberry Soup” (1971), one of Don Ellis’s most rhythmically-complex and also most-popular compositions. iii ACKNOWLEDGMENTS I wish to extend my heartfelt thanks to my dissertation advisor, Dr. John Spitzer, and other members of the Peabody staff that have endured my extended effort in completing this dissertation. Also, a special thanks goes out to Dr. H. Gene Griswold for his support during the early years of my music studies. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON School of Humanities: Music Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Thesis for the degree of Doctor of Philosophy October 2012 i UNIVERSITY OF SOUTHAMPTON ABSTRACT Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Josef Zawinul (1932-2007) holds a rare place in the world of jazz in view of the fact that as a European he forged a long and distinguished musical career in America. Indeed, from a position of relative obscurity when he arrived in New York in 1959, he went on to become one of contemporary jazz’s most prolific and commercially successful composers. The main focus of this dissertation will be Zawinul’s rise to prominence in American jazz during the 1960s and 1970s. -
Spring Weekend Coming
®f)e Jleto i)amp§f)tre VOL. 52 ISSUE 21 UNIVERSITY OF NEW HAMPSHIRE, DURHAM, N. H. — FEBRUARY 28, 1963 TEN CENTS Advisers, Grades Tour-Guide Plan To Be Subject “I hope that the program will meet on-the-spot needs as well as those planned in ad vance,” said Ronald Barrett, Of Conference Director of the Memorial Un ion, about the proposed Tour Guides Program which was ap The faculty adviser problem selected because grades affect proved recently by the Univers and the grading system will be all students in the University. ity Trustees. It will provide a the topics of discussion at the Several improvements have central information c e n t er , Twelfth Annual Conference on been proposed to perfect the probably at the Union, for par Campus Affairs to be held in present grading system. The ents and other visitors and the Memorial Union this Satur Educational Research Commit have available student guides day, March 2. tee feels that an 8.0 system to show guests around the cam Sponsored by the Educational would be fairer to the student pus. Research Committee of the than the 4.0 system. The program which has been Student Senate, two representa With this system, the students in the planning for a year needs tives from each campus housing obtaining an 81 and an 89 would funds now to make it a reality, unit will attend. not both receive the same grade, according to Mr. Barrett. Stud The purpose of the annual but instead would receive a B- ents wishing to participate as conference is to provide students and a B-I-, respectively. -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
Ultrafaux's Tangent
ULTRAFAUX’S TangenT A Stylistic and Rhythmic Adventure by Kris Belgica ritical praise has greeted Tangent, the latest album by Ultrafaux, Baltimore’s well-known gypsy jazz ensem- Cble. Tom Cole, senior editor for arts, music, and cul- ture on NPR/Pacifica Radio, writes: “Ultrafaux stands out from all of the other Django Reinhardt-inspired bands be- cause they perform original material.” Sam Sessa of the Tow- son-based radio station WTMD says, “Just when you think you’ve got this band pegged, they surprise you. This is some of their most adventurous and beguiling music yet.” Ultrafaux is composed of musical powerhouses Michael Joseph Harris (lead guitar), Sami Arefin (rhythm guitar) and Zach Serleth (upright bass). Their original gypsy- jazz-in- spired compositions range from melodic tongue-twisters to carefully crafted musical dialogues. Much of their musical personality is drawn from a combi- “Just when you think you’ve got this band nation of international styles, such as French musette, Brazil- ian choro, Romani folk songs, and Balkan music. In their pegged, they surprise you.” fourth album, Tangent, they reflect such traits as key shifts, the inclusion of movements, odd meters, and chromaticism. The first track is “Jaguar,” a composition rich in exploration Their sound is also influenced by Romantic classical com- and imagination. The song has a driving introduction that posers Debussy and Ravel, but above all, by the music of creates a sense of adventure and excitement, reminiscent of Django Reinhardt, a Romani-French jazz guitarist and com- the theme songs of popular television series such as The Walk- poser of the 1930s-40s. -
Down Beat October 19 1967
SOUND PERFECTION... JOE MORELLOI LUDWIG! As in his playing, many times jazz poll ^'?j winner Joe Morello insists on perfection in his drums! That’s why Joe insists on Ludwig! Only Ludwig1 drums provide him with the exceptional tone, response and durability required for his great performances. For over 10 years, Joe has played and travelled with the Dave Brubeck Quartet ... a rigorous and demanding career which has earned Joe the wide acclaim he deserves. And, wherever you see and hear Joe play, you'll be witnessing the finest drummer playing the finest drums . Ludwig! experience/imagination/craftsmanship October 19, 1967 Vol. 34, No. 21 ONCE MORE FROM THE 1 DAN MORGENSTERN WEST down ' • BILL QUINN COAST IRA GITLER LEONARD FEATHER beat BARBARA GARDNER HARVEY SIDERS THE BIWEEKLY MUSIC MAGAZINE On Newsstands Throughout the World MARTIN GALL AY Every Other Thursday READERS IN 142 COUNTRIES GLORIA BALDWIN contents 6 Chords and Discords 13 News 16 The Natural: A Conversation with Erroll Garner: After years at the top, the famous pianist is seeking additional outlets for his musical ideas. By V/V6-8671 Harvey Siders Along comes California’s vibist-in- 19 Body & Soul: The Total Experience of Denny Zeitlin: Pianist Zeitlin achieves residence with some choice new Latin cooking, seasoned with Soul. a harmonious balance of mind and emotion, resulting in the “Now” sound. By Steve Toomajian 21 Cheers for Shearing: The resurgence of spirit and drive he shows in his Bolakete playing makes George Shearing seem ageless. By Harry Frost __ atthe 23 Down Patti: A Profile of Patti Bown: In the midst of a music world dominated Monterey by men, Miss Bown is recognized as an equal. -
Press Reviews Compilation
Shauli Einav Press Reviews/Articles/Interviews Table of Contents The reviews are sorted by languages – click on any of the items to see the full article English Downbeat Magazine - review The Jerusalem Post – interview/article Jazz Inside Magazine - review NPR’s A Blog Supreme – article about Israeli JazzTimes - review Jazz All About Jazz NY - review (aka University of Rochester Gazzete – New York City Record) interview/article All About Jazz NY – interview The Urban Flux – article Something Else! Blog - review Everything Saxophone Blog – review Audiophile Audition - review Midnight East – article O’s Place - review Midwest Records – review Pop Matters - review ASCAP Jazz Composer Award Sheturm.org – interview/article Français (French) Deutsch (German) Le Republicain Lorrain -article JazzThetik – article L’Arche - review Financial Times Deutschland – review SoulFood Musik blog – review InMusic – review JazzThing – review Die Rheinplatz Kultur – review Digitale Jazz-Zeitung – review עברית )Other Languages )Hebrew יוסי חרסונסקי – ביקורת "אופוס JazzRytmit – Finish "1 יוסי חרסונסקי – ביקורת על "הום-סיק" All About Jazz – Italian מאמר על "אופוס 1" – ביל מילקאווסקי Hallands Nyheter – Sweden SoJazz blog – Spanish Shauli Einav All About The Beauty hecking out Shauli Einav’s debut recording, COpus One (Plus Lion Music), one wonders \ current wave of talented, young Israeli musicians S Omer Avital and Anat Cohen for starters. “I used to dance in an Israeli folk dance group,” Einav recalls, thinking about growing up in Israel. “My father was their accordionist and my older sister also danced there.” As if to make a connection with Opus One, he adds, “I !""#]# compositions.” To anyone taking a Blindfold Test on any of the nine pieces composed and arranged by the leader, Opus One would come across as a smart- " " "%# Even with titles like “Hayu Leilot,” “Shavuot” and “Jerusalem Theme,” there’s no obvious way to hear this music other than as something straight out of the Big Apple.