Focus EMU, October 22, 1985
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Seconded By~+--~· \ Gq '
PUBUC WORKS &GANG REDUCTiO. -. MOTION Gerald Wilson played for more than 75 years, a musician who delighted millions, all over the world, with his music. Wilson later served in the US Navy and while there he played with musicians like Clark Terry, Willie Smith and Jimmy Nottingham which would later be reunited as "The Great Lakes Experience Big Band." In the 1940s, Gerald made his way out to Los Angeles and began working the club circuit along the famous South Central Avenue corridor, including famous musical venues like and the Dunbar Hotel. It was along Central that Gerald solidified his musical career, providing guidance and assistance to a number of up and coming jazz musicians like Bobby Bryant, Harold Land Jr., Jack Wilkins and many others and helping to make Los Angeles the epicenter of Jazz on the west coast. Over more than seven decades, Gerald played and arranged for a tremendous number of jazz legends including Duke Ellington, Dizzy Gillespie, Nancy Wilson, Sarah Vaughan, Ray Charles, Julie London, Ella Fitzgerald and Dinah Washington, among many others. But Gerald was driven to do more for his community. So he spent several years as a professor at California State University Los Angeles, California State University Northridge, Cal Arts and the University of California at Los Angeles, helping to train a new generation of jazz aficionados and musicians and where he was recognized several times by students and faculty as "teacher ofthe year." I THEREFORE MOVE that the intersection of 42nd Place and S. Central Avenue be named as "Gerald Wilson Square" and that the Department of Transportation be directed to fabricate and install permanent ceremonial signs to this effect at this location, in consultation with Council District 9, in recognition of Gerald Wilson dedication to bringing music education to the Greater Los Angeles Community. -
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 -
BROWNIE the Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet
BROWNIE The Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet Dan Morgenstern Grammy Award for Best Album Notes 1990 Disc 1 1. DELILAH 8:04 Clifford Brown-Max RoaCh Quintet: (V. Young) Clifford Brown (tp), Harold Land (ts), Richie 2. DARN THAT DREAM 4:02 Powell (p), George Morrow (b), Max RoaCh (De Lange - V. Heusen) (ds) 3. PARISIAN THOROUGHFARE 7:16 (B. Powell) 4. JORDU 7:43 (D. Jordan) 5. SWEET CLIFFORD 6:40 (C. Brown) 6. SWEET CLIFFORD (CLIFFORD’S FANTASY)* 1:45 1~3: Los Angeles, August 2, 1954 (C. Brown) 7. I DON’T STAND A GHOST OF A CHANCE* 3:03 4~8: Los Angeles, August 3, 1954 (Crosby - Washington - Young) 8. I DON’ T STAND A GHOST OF A CHANC E 7:19 9~12: Los Angeles, August 5, 1954 (Crosby - Washington - Young) 9. STOMPIN’ AT TH E SAVOY 6:24 (Goodman - Sampson - Razaf - Webb) 10. I GET A KICK OUT OF YOU 7:36 (C. Porter) 11. I GET A KICK OUT OF YOU* 8:29 * Previously released alternate take (C. Porter) 12. I’ LL STRING ALONG WITH YOU 4:10 (Warren - Dubin) Disc 2 1. JOY SPRING* 6:44 (C. Brown) Clifford Brown-Max RoaCh Quintet: 2. JOY SPRING 6:49 (C. Brown) Clifford Brown (tp), Harold Land (ts), Richie 3. MILDAMA* 3:33 (M. Roach) Powell (p), George Morrow (b), Max RoaCh (ds) 4. MILDAMA* 3:22 (M. Roach) Los Angeles, August 6, 1954 5. MILDAMA* 3:55 (M. Roach) 6. -
Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N. -
Top 10 Albums Rhythm Section Players Should Listen to 1
Top 10 Albums Rhythm Section Players Should Listen To 1. Money Jungle by Duke Ellington Duke Ellington-Piano Charles Mingus-Bass Max Roach-Drums RELEASED IN 1963 Favorite Track: Caravan 2. Monk Plays Duke by Thelonious Monk Thelonious Monk- Piano Oscar Pettiford-Bass Kenny Clarke-Drums RELEASED IN 1956 Favorite Track: I Let A Song Out of My Heart 3. We Get Request by Oscar Peterson Trio Oscar Peterson-Piano Ray Brown-Bass Ed Thigpen-Drums RELEASED IN 1964 Favorite Track: Girl from Ipanema 4. Now He Sings, Now He Sobs by Chick Corea Chick Corea-Piano Miroslav Vitous-Bass Roy Haynes-Drums RELEASED IN 1968 Favorite Track: Matrix 5. We Three by Roy Haynes Phineas Newborn-Piano Paul Chambers-Bass Roy Haynes-Drums RELEASED IN 1958 Favorite Track(s): Sugar Ray & Reflections 6. Soul Station by Hank Mobley Hank Mobley-Tenor Sax Wynton Kelly-Piano Paul Chambers-Bass Art Blakey-Drums RELEASED IN 1960 Favorite Track: THE ENTIRE ALBUM! 7. Free for All by Art Blakey and the Jazz Messengers Freddie Hubbard-Trumpet Curtis Fuller-Trombone Wayne Shorter-Tenor Saxophone Cedar Walton-Piano Reggie Workman-Bass Art Blakey-Drums RELEASED IN 1964 Favorite Track: THE ENTIRE ALBUM 8. Live at the IT Club by Thelonious Monk Charlie Rouse-Alto Saxophone Thelonious Monk-Piano Larry Gales-Bass Ben Riley-Drums RECORDED IN 1964; RELEASED IN 1988 Favorite Track: THE ENTIRE ALBUM 9. Clifford Brown & Max Roach by Clifford Brown & Max Roach Clifford Brown-Trumpet Harold Land-Tenor Saxophone Richie Powell-Piano George Morrow-Bass Max Roach-Drums RELEASED IN 1954 Favorite Track(s): Jordu, Daahoud, and Joy Spring 10. -
Buster Williams Biography
Buster Williams Biography Buster Williams is a prodigious artist whose playing knows no limits. He has played, recorded and collaborated with jazz giants such as Art Blakey, Betty Carter, Carmen McRae, Chet Baker, Chick Corea, Dexter Gordon, Jimmy Heath, Branford Marsalis, Wynton Marsalis, Gene Ammons, Sonny Stitt, Herbie Hancock, Larry Coryell, Lee Konitz, McCoy Tyner, Illinois Jacquet, Nancy Wilson, Elvin Jones, Miles Davis, the Jazz Crusaders, Ron Carter, Woody Shaw, Sarah Vaughan, Benny Golson, Mary Lou Williams, Hank Jones, Lee Morgan, Jimmy Rowles, Hampton Hawes, Cedar Walton, Bobby Hutcherson, Billy Taylor, Sonny Rollins, Count Basie, Errol Garner, Kenny Barron, Charlie Rouse, Dakota Staton, Kenny Dorham, and Freddie Hubbard, to name a few. Mr. Williams has recorded soundtracks for movies including Les Choix des Armes; McKenna’s Gold with Gregory Peck; David Lynch’s, Twin Peaks ”Fire Walk With Me”; Spike Lee’s Clockers, and more. Television commercials include Coca-Cola, Old Spice, Tott’s Champagne, Prudential Insurance, Chemical Bank, Alpo Dog Food, HBO, and Budweiser Beer. TV shows include an appearance on the Johnny Carson Tonight Show, with Errol Garner; and the Jay Leno Tonight Show, where he performed five of his original compositions with the Branford Marsalis Tonight Show Band. Other television shows include Sesame Street, with Joe Williams; A&E (Arts and Enter - tainment), with Bill Cosby; The Joan Rivers Show, with Bill Cosby; The Andy Williams Show, with Nancy Wilson; the Joey Bishop Show; the Grammy Awards, with Herbie Hancock, Tony Williams and Bobby McFerrin; the Mike Douglas Show; the Today Show; etc. Awards include a Grammy in 1979; the Min-On Art Award; the SGI Glory Award the SGI Cultural Award; the RVC Corporation RCA Best Seller Award; NEA recipient; New York Fellowship Grant; 5 Stars from Downbeat magazine for the album Crystal Reflections , listed in Who’s Who in Black America; and numerous proclamations. -
Calendar Kevision Ushers in Fall 73 by JANIS FRAWI.EY Campus Approval Agencies
^£Y*»llIMVt» Editorials Hurricane editori Fran Curci goes als, page 4 back to Tampa, page 8 5to uTnratt&= I Vol. 48 No. 15 Friday, November 10, 1972 Nov^yaa,] LIBRARY! ^ Calendar Kevision Ushers In Fall 73 By JANIS FRAWI.EY campus approval agencies. extended about a week. Stu Changes in Ihe opening and Of Tha Hurrlcana Staff He said that when these ap dents return to begin the closing dates of each summer After over four years of proval agencies agreed on a spring semester. session is the only way hard work, student pressure revision, it became possible which they will be affected and red tape, the UM aca to put it into effect. Under the new calendar, by the new calendar. demic calendar revisions the spring semester will dis have been finalized UM stu "The obvious advantage of miss around May 3. This will Under this system, classes dents will finish the fall se Ihe early semester calendar give students seeking sum will start before Labor Day mester of 1973 before Christ is that it eliminates a round mer employment an early in order to get the sufficient mas. trip ticket home for many of start. number of class and exam UM students," Smith said. days into the academic year. In September of 1969, Students attending the Stuart Weiss, then Under Many UM instructors feel first summer school session The fall semester of 1973 graduate Student Govern that the two weeks of classes will start almost immediately will be the transition period. ment (USG) treasurer, sub following Christmas vaca after the spring semester clo "The semester had to he mitted a revised academic tions are a waste of time. -
UCF Department of Music SAXOPHONE II FALL MVW 2425 SECTION 2 Syllabus
UCF Department of Music SAXOPHONE II FALL MVW 2425 SECTION 2 Syllabus Instructor: Professor Jeff Rupert Semester: FALL 2015 Office: PAC 117 Class Meeting Days: By arrangement Phone: 407.823.5411 Class Meeting Hours: By arrangement E-Mail: [email protected] Class Location: PAC 117 Office Hours: M/W/F 8:30-9:15 I. General Objectives To develop a conception and proficiency of saxophone playing as listed in the curriculum for saxophone II. II. Specific Objectives To develop a jazz repertoire To develop the manual dexterity required to achieve vertical precision with a medium of horizontal motion. To learn stylistic elements of jazz and commercial music genres. To develop cognitive problem solving associated with musical performance. III. General Classroom Procedures Students are required to attend weekly lessons, and a saxophone masterclass. The student’s lessons will be disseminated at each lesson, following the students performance of the previous week’s assignments. IV. Specific Classroom Procedures Students will be expected to have their instrument assembled and ready for class prior to entering the studio. Sophomore jazz saxophone students will complete the following on a weekly basis: Etude studies Scale studies, including diads, triads, and arpeggios. Jazz repertoire studies ( pertinent to the specific semester, as listed in the jazz studies handbook. Eartraining WEEKLY SCHEDULE: Major scale review Six patterns ( 3rds) and arpeggios, 4 ways. Half note= 100. Jazz Melodic minor scale Six patterns ( 3rds) and arpeggios, 4 ways Half note= 100. The 7th scale Scales from chord tones Quarter Note= 150. Be Bop Major Scale All ways. Half note = 150. Harmonic Minor Scale Full Range, 6 patterns in thirds, arpeggios, four patterns. -
August Troubadour
FREE SAN DIEGO ROUBADOUR Alternative country, Americana, roots, Tfolk, gospel, and bluegrass music news December 2003 Vol. 3, No. 3 what’s inside Welcome Mat………3 Letter from the Editor Mission Statement Contributors Full Circle..…………4 Harold Land Lou Curtiss Front Porch…………6 Billy Midnight Parlor Showcase...…8 Tristan Prettyman Harmonija Rookie Card Ramblin’ …………10 Bluegrass Corner Radio Daze José Sinatra RantHouse The Highway’s Song.12 Eliza Gilkyson San Diego’s Finest/Lestats Classic Rock Allstars Of Note.……………13 Billy Midnight Annie Bethancourt J. Turtle Abbie Huxley Aspasia Aid ‘Round About .......…14 December Music Calendar The Local Seen……15 Photo Page PHIL HARMONIC SEZ: “God bless us, everyone!” — Charles Dickens San Diego Troubadour • December 2003 welcomewelcome matmat SAN DIEGO CONTRIBUTORS ROUBADOUR Alternative country, Americana, roots, Tfolk, gospel, and bluegrass music news FOUNDERS Lyle & Ellen Duplessie Liz Abbott Kent Johnson MISSION SAN DIEGO TROUBADOUR, the Letter from the Editor local source for alternative coun- To promote, encourage, and PUBLISHER try, Americana, roots, folk, gospel, provide an alternative voice for the Dear Readers, and bluegrass music news, is pub- Lyle Duplessie great local music that is generally lished monthly and is free of A couple of weeks ago, the overlooked by the mass media; EDITOR charge. Letters to the editor must San Diego Troubadour received the namely the genres of folk, country, Ellen Duplessie be signed and may be edited for roots, Americana, gospel, and honor of “best paper for musicians content. It is not, however, guaran- bluegrass. To entertain, educate, GRAPHIC DESIGN without amps” by CityBeat. And teed that they will appear. -
Jazzflits 01 09 2003 - 01 09 2020
1 19de JAARGANG, NR. 351 25 JANUARI 2021 IN DIT NUMMER: 1 BERICHTEN 4 JAZZ OP DE PLAAT Jaap Blonk, Tobias Klein Dalgoo, Joost Lijbaart, John Goldsby Trio en Pieranunzi/Joris. EN VERDER (ONDER MEER): 8 Dolo Coker (Erik Marcel Frans) 17 J AAR JAZZFLITS 01 09 2003 - 01 09 2020 NR. 352 KOMT 15 FEBRUARI UIT ONAFHANKELIJK JAZZPERIODIEK SINDS 2003 BERICHTEN BESTUUR SCHRIJFT GESCHIEDENIS VAN JUBILERENDE STICHTING JAZZ IN GRONINGEN WDR Big Band maakt meespeel-app Het bestuur van de jubilerende Stichting Jazz in Gronin- Of het nu gaat om saxofoon, trompet, gen (SJIG) gaat de geschiedenis van de organisatie op trombone, gitaar, piano, bas of drums – papier zetten. De SJIG bestond 12 januari jl. 45 jaar. Ge- de WDR Big Band Playalong App biedt legenheid om dit te vieren is er vooralsnog niet. Door de iedereen de mogelijkheid om mee te coronacrisis liggen de concerten al sinds oktober vorig spelen met de Keulse bigband. Met de jaar stil. Toen werd thuisbasis Brouwerij Martinus geslo- ingebouwde mixer zijn de nummers te ten. beluisteren en is het volume van elk Nu er geen concerten zijn, is er wel tijd om een duik in de ar- instrument afzonderlijk aan te passen, chieven te nemen en de geschiedenis van de SJIG te schrijven. zijn individuele nummers te dempen of Die is nooit eerder op papier gezet, maar is verspreid over hon- solo te beluisteren. Er zijn elf regelingen derden documenten, foto’s, krantenartikelen, posters en websi- in verschillende moeilijkheidsgraden tes. Hoe is de stichting in 1976 gestart? (volgens sommigen zou beschikbaar. De composities en arran- ook 1970 als startpunt kunnen worden gekozen, het jaar waarin gementen zijn speciaal voor de app ge- de werkgroep Jazz in Groningen werd opgericht). -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor Saxophone Musical Vocabulary
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BOBBY HUTCHERSON NEA Jazz Master (2010) Interviewee: Bobby Hutcherson (January 27, 1941 – August 15, 2016) with his wife Rosemary Hutcherson Interviewer: Anthony Brown with recording engineer Ken Kimery Date: December 8-9, 2010 Repository: Archives Center, National Museum of American History Description: Transcript, 60 pp. Brown: Today is December 8th, 2010. Bobby Hutcherson: Oooo, December 8th. Brown: This is the Smithsonian NEA Jazz Oral History interview with Bobby Hutcherson in his home in Montero, California. Good afternoon, Bobby. Hutcherson: Good afternoon. Brown: It’s indeed a pleasure to be here, be in your home and be able to talk to you, one of my heroes for so many years, a fellow Californian. If we could just start by you stating your full name at birth and your birth place and birth date, please. Hutcherson: Robert Howard Hutcherson. I was born January 27, 1941, in Los Angeles, but I grew up in Pasadena, California. Brown: But you say you were born in Los Angeles. Hutcherson: Um-hmm. Brown: Is that where your parents were living at the time of your birth? For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Hutcherson: No. It was – they were living in Pasadena, but a lot of my relatives were living in Los Angeles, Watts and stuff like that. So it worked out, because they could be there. My mom had me very late in her life, in those days, and so it was better for my father to take my mother to the Los Angeles hospital, because he was – his work, he was a bricklayer.