Title Format Released (Jerry Bergonzi/Bobby Watson/Victor Lewis) Together Again for the First Time CD 1997 ???? ????? CD 1990 4
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Seeing (For) Miles: Jazz, Race, and Objects of Performance
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College -
The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice. -
Jazzweek with Airplay Data Powered by Jazzweek.Com • July 2, 2007 Volume 3, Number 32 • $7.95
JazzWeek with airplay data powered by jazzweek.com • July 2, 2007 Volume 3, Number 32 • $7.95 Jazz Genre No. 1: Michael Brecker, Smooth Album No. 1: Boney James, Shine Pilgrimage (Heads Up) (Concord) World Music No. 1: Angelique Kidjo, Djin Smooth Single No. 1: Paul Brown, “The Djin (Starbucks/Razor & Tie) Rhythm Method” (Peak) Jazz Genre Chart . 3 Jazz Add Dates. 7 Smooth Jazz Album Chart . 4 Jazz Radio Currents . 8 Smooth Singles Chart . 5 Smooth Jazz Current Tracks. 11 World Music Album Chart. 6 Smooth Jazz Station Panel. 12 Jazz Birthdays July 2 July 12 July 20 Herbie Harper (1920) Will Bradley (1912) Ernie Wilkins (1922) Richard Wyands (1928) Paul Gonsalves (1920) Charles Tyler (1941) Ahmad Jamal (1930) Conte Candoli (1927) July 21 July 3 John Patton (1935) Omer Simeon (1902) Johnny Hartman (1923) July 13 Billy Taylor (1921) Johnny Coles (1926) Leroy Vinnegar (1928) Helen Merrill (1930) Pete Fountain (1930) Pete Escovedo (1935) Sonny Clark (1931) John Klemmer (1946) Albert Ayler (1936) Plas Johnson (1931) John Blake (1947) July 15 July 22 July 5 Philly Joe Jones (1923) Al Haig (1924) Arthur Blythe (1940) Joe Harriott (1928) Bill Perkins (1924) July 7 July 16 Junior Cook (1934) Tiny Grimes (1916) Cal Tjader (1925) Don Patterson (1936) Doc Severinsen (1927) Bobby Previte (1957) Al Di Meola (1954) Joshua Breakstone (1955) Hank Mobley (1930) July 17 Joe Zawinul (1932) George Barnes (1921) July 23 July 8 Ray Copeland (1926) Richie Kamuca (1930) Louis Jordan (1908) Joe Morello (1928) Steve Lacy (1934) Billy Eckstine (1914) Ben Riley (1933) Khan Jamal (1946) July 9 Nick Brignola (1936) L Subramaniam (1947) Frank Wright (1935) Norman W. -
Music Video As Black Art
IN FOCUS: Modes of Black Liquidity: Music Video as Black Art The Unruly Archives of Black Music Videos by ALESSANDRA RAENGO and LAUREN MCLEOD CRAMER, editors idway through Kahlil Joseph’s short fi lm Music Is My Mis- tress (2017), the cellist and singer Kelsey Lu turns to Ishmael Butler, a rapper and member of the hip-hop duo Shabazz Palaces, to ask a question. The dialogue is inaudible, but an intertitle appears on screen: “HER: Who is your favorite fi lm- Mmaker?” “HIM: Miles Davis.” This moment of Black audiovisual appreciation anticipates a conversation between Black popular cul- ture scholars Uri McMillan and Mark Anthony Neal that inspires the subtitle for this In Focus dossier: “Music Video as Black Art.”1 McMillan and Neal interpret the complexity of contemporary Black music video production as a “return” to its status as “art”— and specifi cally as Black art—that self-consciously uses visual and sonic citations from various realms of Black expressive culture in- cluding the visual and performing arts, fashion, design, and, obvi- ously, the rich history of Black music and Black music production. McMillan and Neal implicitly refer to an earlier, more recogniz- able moment in Black music video history, the mid-1990s and early 2000s, when Hype Williams defi ned music video aesthetics as one of the single most important innovators of the form. Although it is rarely addressed in the literature on music videos, the glare of the prolifi c fi lmmaker’s infl uence extends beyond his signature lumi- nous visual style; Williams distinguished the Black music video as a creative laboratory for a new generation of artists such as Arthur Jafa, Kahlil Joseph, Bradford Young, and Jenn Nkiru. -
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. -
Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works. -
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. -
Playlist - WNCU ( 90.7 FM ) North Carolina Central University Generated : 01/26/2012 03:58 Pm
Playlist - WNCU ( 90.7 FM ) North Carolina Central University Generated : 01/26/2012 03:58 pm WNCU 90.7 FM Format: Jazz North Carolina Central University (Raleigh - Durham, NC) This Period (TP) = 01/19/2012 to 01/25/2012 Last Period (TP) = 01/12/2012 to 01/18/2012 TP LP Artist Album Label Album TP LP +/- Rank Rank Year Plays Plays 1 1 Jimmy Owens The Monk Project IPO 2012 12 14 -2 2 7 John Stein Hi Fly Whaling City Sound 2011 9 6 3 2 12 Chick Corea Further Explorations Concord Jazz 2012 9 4 5 4 9 Christian Tamburr Places Tamburr Worldwide 2011 8 5 3 4 25 Hendrik Meurkens Live At Bird's Eye Zoho 2011 8 3 5 6 9 Hal Galper Trip The Light Fantastic Origin 2011 7 5 2 7 2 Roy Haynes Roy-Alty Dreyfus 2011 6 7 -1 7 12 Vanguard Jazz Orchestra Forever Lasting - Live in Planet Arts 2011 6 4 2 Tokyo 7 25 North Carolina Central Slightly Blued Self-Released 2010 6 3 3 University Jazz Ensemble 7 25 Kenny Burrell Tenderly HighNote 2011 6 3 3 7 292 Etta James Tell Mama Cadet 1969 6 0 6 12 7 Mary Louise Knutson In The Bubble Meridian Jazz 2011 5 6 -1 12 42 Ken Fowser & Behn DuoTone Posi-Tone 2011 5 2 3 Gillece 12 75 James Moody & Hank Our Delight IPO 2008 5 1 4 Jones 12 292 Ann Hampton Callaway Blues In The Night Telarc Jazz 2006 5 0 5 12 292 Tim Mayer Resilience JLP 2011 5 0 5 12 292 Etta James At Last! Chess 1961 5 0 5 18 2 Houston Person So Nice HighNote 2011 4 7 -3 18 25 Christian McBride Big The Good Feeling Mack Avenue 2011 4 3 1 Band 18 25 Pat Martino Undeniable: Live At Blues HighNote 2011 4 3 1 Alley 18 25 Ed Reed Born To Be Blue Blue Shorts 2011 -
Volume 44 Number 4 Oct Nov Dec 2018
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC ODEAN POPE PHIL MINTON SKETY SCOTT ROBINSON STEVE COHN KEIKO JONES MONTREAL JAZZ FESTIVAL 2018 INTERNATIONAL JAZZ NEWS CD REVIEWS BOOK REVIEWS DVD REVIEWS OBITUARIES Volume 44 Number 4 Oct Nov Dec 2018 New Releases on CNM Records POCKET ACES, CULL THE HEARD (CNM032) - OUT NOW. - Pocket Aces emerged from the jazz trio tradition; where each voice balances the others through contrast, and surprise. Although freely improvised, the music of Pocket Aces is consciously compositional, given to bouts of form, groove, and crafty melodies. Distillation of ideas with a premium on space and tone provides a strong coherence as the trio navigates the familiar and unfamiliar. HOFBAUER/ROSENTHANL QUARTET, HUMAN RESOURCES (CNM033) - RELEASE DATE NOV. 9 THE HOFBAUER/ROSENTHAL QUARTET, unites four imaginative improvisors from Boston’s eclectic jazz scene. There’s a non-hierarchal notion of the ensemble in this project, an ideal of equality and a selfless determination built into every musical inclination, as they unabashedly swing at the intersection between the clarity and control of bop and the brash freedom of the avant-garde. ERIC HOFBAUER QUARTET, PREHISTORIC JAZZ VOL. 4: REMINISCING IN TEMPO - OUT NOW. Reimagining of the rarely heard 1935 long form Duke Ellington composition. "It's a musical jungle gym for the guitar fan, a close listening to Hofbauer's note choices and abstract connections to the song's structure is absolutely required listening." - Paul Acquaro, Free Jazz Blog. All Albums on Bandcamp.com, Amazon.com or Erichofbauer.com - Visit erichofbauer.com for album details, audio samples, press and more. -
University of Maryland Commencement May 22, 2020
University of Maryland Commencemenmay 22, 2020 Table of Contents CONGRATULATIONS BACHELOR’S DEGREES From the President 1 Agriculture and Natural Resources, From the Alumni Association President 2 College of 24 Architecture, Planning and SPEAKER BIOGRAPHIES Preservation, School of 25 Graduating Student Speaker 4 Arts and Humanities, College of 25 University Medalists 5 Behavioral and Social Sciences, Honorary Degree Recipients 7 College of 29 Commencement Speaker 9 Business, Robert H. Smith School of 35 Computer, Mathematical, and DOCTORAL DEGREES 10 Natural Sciences, College of 42 Education, College of 48 MASTER’S DEGREES 15 Engineering, A. James Clark School of 49 Graduate Certificates 22 Information Studies, College of 52 Journalism, Philip Merrill College of 53 Public Health, School of 54 Public Policy, School of 56 THE “DO GOOD” CAMPUS Undergraduate Studies 56 Certificate Programs 56 The University of Maryland commits to becoming HONORS COLLEGE, CITATION AND a global leader in advancing social innovation, NOTATION PROGRAMS, AND ACADEMIC AND SPECIAL AWARDS philanthropy and nonprofit leadership with its Do Honors College 57 Good Campus. CIVICUS 59 College Park Scholars 59 Beyond the Classroom 62 Our Do Good Campus effort amplifies the power of Federal Fellows 62 Terps as agents of social innovation and supports First-Year Innovation and Research Experience 62 the university’s mission of service. We’re working to Global Communities 63 ensure all University of Maryland students graduate Global Fellows 63 equipped and motivated to do good in their careers, Hinman CEOs 63 Immigration and Migration Studies 63 their communities and the world. Jiménez-Porter Writers’ House 63 Language House 63 Ronald E. -
French Secular Music in Saint-Domingue (1750-1795) Viewed As a Factor in America's Musical Growth. John G
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth. John G. Cale Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Cale, John G., "French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth." (1971). LSU Historical Dissertations and Theses. 2112. https://digitalcommons.lsu.edu/gradschool_disstheses/2112 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 72-17,750 CALE, John G., 1922- FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH. The Louisiana State University and Agricultural and Mechanical College;, Ph.D., 1971 Music I University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH A Dissertation 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 Philosophy in The School of Music by John G. Cale B.M., Louisiana State University, 1943 M.A., University of Michigan, 1949 December, 1971 PLEASE NOTE: Some pages may have indistinct print. -
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”.