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Lee Morgan Chronology 1956–1972 by Jeffery S
Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC). -
Bobby Watson Kirk Knuffke Guillermo Gregorio Horace Silver Coltrane
AUGUST 2019—ISSUE 208 YOUR FREE GuiDe TO THE NYC JaZZ SCENE NYCJaZZRECORD.COM RAVICOLTRANE next trane comin’ bobby kirk GuiLLERMo horace watson knuffke GREGorio siLver Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East AUGUST 2019—ISSUE 208 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 new york@niGht 4 Laurence Donohue-Greene: interview : bobby watson 6 by ken dryden [email protected] Andrey Henkin: artist feature : kirk knuffke 7 by john sharpe [email protected] General Inquiries: on the cover : ravi coLtrane 8 by russ musto [email protected] Advertising: encore : GuiLLERMo GREGORIO 10 by steven loewy [email protected] Calendar: Lest we forGet : horace siLver 10 by scott yanow [email protected] VOXNews: LabeL spotLiGht : aLeGre recorDs 11 by jim motavalli [email protected] VOXNEWS by suzanne lorge US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or obituaries 12 by andrey henkin money order to the address above or email [email protected] festivaL report 13 Staff Writers Duck Baker, Stuart Broomer, Robert Bush, Kevin Canfield, cD reviews 14 Marco Cangiano, Thomas Conrad, Pierre Crépon, Ken Dryden, Donald Elfman, Phil Freeman, Miscellany Kurt Gottschalk, Tom Greenland, 31 George Grella, Tyran Grillo, Alex Henderson, Robert Iannapollo, event caLenDar Mark Keresman, Marilyn Lester, 32 Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Anna Steegmann, Scott Yanow Contributing Writers Brian Charette, George Kanzler, Improvisation is the magic of jazz. -
Newslist Drone Records 31. January 2009
DR-90: NOISE DREAMS MACHINA - IN / OUT (Spain; great electro- acoustic drones of high complexity ) DR-91: MOLJEBKA PVLSE - lvde dings (Sweden; mesmerizing magneto-drones from Swedens drone-star, so dense and impervious) DR-92: XABEC - Feuerstern (Germany; long planned, finally out: two wonderful new tracks by the prolific german artist, comes in cardboard-box with golden print / lettering!) DR-93: OVRO - Horizontal / Vertical (Finland; intense subconscious landscapes & surrealistic schizophrenia-drones by this female Finnish artist, the "wondergirl" of Finnish exp. music) DR-94: ARTEFACTUM - Sub Rosa (Poland; alchemistic beauty- drones, a record fill with sonic magic) DR-95: INFANT CYCLE - Secret Hidden Message (Canada; long-time active Canadian project with intelligently made hypnotic drone-circles) MUSIC for the INNER SECOND EDITIONS (price € 6.00) EXPANSION, EC-STASIS, ELEVATION ! DR-10: TAM QUAM TABULA RASA - Cotidie morimur (Italy; outerworlds brain-wave-music, monotonous and hypnotizing loops & Dear Droners! rhythms) This NEWSLIST offers you a SELECTION of our mailorder programme, DR-29: AMON – Aura (Italy; haunting & shimmering magique as with a clear focus on droney, atmospheric, ambient music. With this list coming from an ancient culture) you have the chance to know more about the highlights & interesting DR-34: TARKATAK - Skärva / Oroa (Germany; atmospheric drones newcomers. It's our wish to support this special kind of electronic and with a special touch from this newcomer from North-Germany) experimental music, as we think its much more than "just music", the DR-39: DUAL – Klanik / 4 tH (U.K.; mighty guitar drones & massive "Drone"-genre is a way to work with your own mind, perception, and sub bass undertones that evoke feelings of total transcendence and (un)-consciousness-processes. -
Dunedin Sound Sources at the Hocken Collections
Reference Guide Dunedin Sound Sources at the Hocken Collections ‘Thanks to NZR Look Blue Go Purple + W.S.S.O.E.S Oriental Tavern 22-23 Feb’, [1985]. Bruce Russell Posters, Hocken Ephemera Collection, Eph-0001-ML-D-07/09. (W.S.S.O.E.S is Wreck Small Speakers on Expensive Stereos). Permission to use kindly granted by Lesley Paris, Norma O’Malley, Denise Roughan, Francisca Griffin, and Kath Webster. Hocken Collections/ Uare Taoka o Hākena, University of Otago Library Nau Mai Haere Mai ki Te Uare Taoka o Hākena: Welcome to the Hocken Collections He mihi nui tēnei ki a koutou kā uri o kā hau e whā arā, kā mātāwaka o te motu, o te ao whānui hoki. Nau mai, haere mai ki te taumata. As you arrive We seek to preserve all the taoka we hold for future generations. So that all taoka are properly protected, we ask that you: place your bags (including computer bags and sleeves) in the lockers provided leave all food and drink including water bottles in the lockers (we have a researcher lounge off the foyer which everyone is welcome to use) bring any materials you need for research and some ID in with you sign the Readers’ Register each day enquire at the reference desk first if you wish to take digital photographs Beginning your research This guide gives examples of the types of material relating to the Dunedin Sound held at the Hocken. All items must be used within the library. As the collection is large and constantly growing not every item is listed here, but you can search for other material on our Online Public Access Catalogues: for books, theses, journals, magazines, newspapers, maps, and audiovisual material, use Library Search|Ketu. -
2015 Interview.Pdf
Interview from Spew, #87 February 2015 (originally published in abridged form) 2014’s triple disc behemoth Harshest Realm is the self-titled debut release of a musical project spearheaded by one Garret Kriston, a Chicago based musician whose formative years were split between formal studies and basement recording before toiling within the city’s DIY/punk scene. Now he has emerged with a sprawling document of what surely is a vast arsenal of artistic capabilities. Harshest Realm is now available via Coolatta Lounge CDs, along with fellow traveler Marshall Stacks’s latest jammers Lost in Sim City and the Snake Eyes/Point Blank single. ___________________________________________ Let’s start by giving the folks at home some background information. I’m particularly interested in learning how your relationship with music has developed over the years, so as to better understand where the music on the Harshest Realm album came from. No problem. I’m going to not hold back from rattling off influences and favorites, if that’s okay. Totally. The more the merrier. I was born at home on March 3rd, 1990 in Oak Park, down the street from Chicago’s west side, near Harlem between Harrison and Roosevelt. My earliest memory of music was seeing archival footage of The Beatles playing on the Ed Sullivan Show, which made playing guitar in a band and singing original songs seem like the most appealing activity in existence. I might have been two going on three, and I don’t remember much else from then besides puking in my crib and seeing carrots in it (the puke.) My older brother was discovering “classic rock,” so there were rock related bootleg VHS tapes in the house that would get played over and over. -
The Bard Observer Is Free."
OBSERVER Vol. 8 No. 12 May 19, 1998 Page 1 Computer Center Staffing Debacle Leads to Upgrades Make way for tech-dom: Bard’s Henderson Computer Resources Center revamps Joe Stanco Getting It Done, Tivoli Style Mayor Marc Molinero is building a town his way. Don’t like it? Leave. Jeremy Dillahunt Firing Line Protestors Force Botstein’s Silence Demonstrators interrupt debate on the ACLU by chanting, read demands, and prevent the President from participating Anna-Rose Mathieson Page 2 The Demands [of the Firing Line Protestors] Page 3 Bard Community Reacts to the Firing Line Protest Page 5 The Bard Community Expanding to Virginia Rick Eichler Page 6 Drug Raids, Militias, and Whorehouses: Bard’s Glorious Past? Wiles spins nostalgic tales of a bygone era Nadja Carneol Upcoming Events Page 7 Security Guard Daugherty: Baddest Man in the Whole Damn Town B24 bombers and bull-riding prepared him for twelve years at Bard Abigail Rosenberg Car Caravan Keeps Pressure On Northern Dutchess Hospital Nadja Carneol Page 8 Professor Albert Reid: An Interview After nearly thirty years at Bard, he strikes out into new territory, heading for California Rosalie Purvis Page 9 Record Reviews Thirty Things That (May) Change Your Life Joel Hunt Cartoon Page 10 Mozart’s Don Comes to Annandale The full score of the nearly four hour opera is sung in English with charm, bawdy humor and passion Miciah Gault Page 11 Anatol Disappoints With Inconsistent, Dragging Delivery Yet the performance had a few breathtaking moments Joe Smith Erotic Obsessions Sardonic and Proud of -
The Sahib Shihab Quintet Seeds Mp3, Flac, Wma
The Sahib Shihab Quintet Seeds mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Seeds Country: Italy Released: 2008 Style: Afro-Cuban Jazz, Hard Bop MP3 version RAR size: 1964 mb FLAC version RAR size: 1803 mb WMA version RAR size: 1872 mb Rating: 4.8 Votes: 920 Other Formats: MPC MOD ASF RA VOC AIFF AHX Tracklist Hide Credits Seeds 1 4:05 Composed By – Sahib Shihab Peter's Waltz 2 5:07 Composed By – Sahib Shihab Set Up 3 3:00 Composed By – Jimmy Woode Who'll Buy My Dream 4 3:57 Composed By – Jimmy Woode Jay Jay 5 2:55 Composed By – Kenny Clarke Another Samba 6 3:06 Composed By – Sahib Shihab My Kind'A World 7 3:48 Composed By – Jimmy Woode Uma Fita De Tres Cores 8 3:04 Composed By – Francy Boland Mauve 9 3:05 Composed By – Francy Boland The Wild Man 10 3:40 Composed By – Kenny Clarke Companies, etc. Produced For – Schema Distributed By – Family Affair Distribution Copyright (c) – Edizioni Ishtar SNC Phonographic Copyright (p) – Edizioni Ishtar SNC Published By – Edizioni Ishtar Published By – Goodman Music Published By – Crossroads Music Recorded At – EMI Lindström Studios, Cologne Credits Baritone Saxophone, Flute – Sahib Shihab Coordinator [Project Coordination By] – Davide Rosa, Gerardo Frisina, Luciano Cantone Double Bass – Jean Warland (tracks: 9, 10), Jimmy Woode (tracks: 1 to 8) Drums – Kenny Clarke Engineer [Recording] – Wolfgang Hirschmann Layout – Elena Pollini Liner Notes – Manfred Miller Liner Notes [Translated By] – Gisela Schröder Photography By [Cover Photo], Design – Heinz Bähr Photography By [Inside Photo] -
Arsenio Rodríguez
Arsenio Rodríguez Birth name Ignacio Arsenio Travieso Scull Born August 31, 1911 Güira de Macurije, Matanzas Province, Cuba Origin Cuba Died December 31, 1970 (aged 59) Los Angeles, California, United States Genres Son montuno, guaracha, guaguancó, bolero, afro, cha- cha-cha, lamento Occupations musician Instruments tres, tumbadora (conga) Arsenio Rodríguez (born Ignacio Arsenio Travieso Scull, Güira de Macurije, 31 August 1911 – Los Angeles, 31 December 1970)was a Cuban musician, composer and bandleader.He played the tres (Cuban string instrument) in son-based music and tumbadora, or conga, in folkloric rumba. In the 1940s and 50s Rodríguez reorganized the son conjunto (‘son group’) and developed the son montuno, the basic template of modern-day salsa. He claimed to be the true creator of the mambo and was an important as well as a prolific composer who wrote nearly two hundred song lyrics.Early lifeRodríguez was born in Güira de Macurije in Bolondrón, Matanzas Province as the third of fifteen children, fourteen boys and one girl.As a young child, Rodríguez was blinded when a horse (or a mule) kicked him in the head.Rise to FameLater, Rodríguez became a musician, and eventually became one of the most renowned bandleaders on the island earning him the nickname El Ciego Maravilloso (the Marvellous Blind Man). His music emphasized Afro-Cuban rhythm as well as the melodic lead of the tres, which he played. In 1936 he played his own compositions with the Sexteto Boston, led by his cousin Jacinto Scull. The group disbanded in 1937, and he joined the Septeto Bellamar of cornetist José Interián in 1938. -
LBMO.Com - Latin Beat Magazine - Latin Music Magazine - Features
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features http://www.latinbeatmagazine.com/features.html Home |Features | Columns |Hit Parades | Rev iews | Calendar |News |LB Style |Contacts | Shopping | E-Back Issues OCTOBER/NOVEMBER 2012 ISSUE FROM THE EDITOR Welcome to our Volume 21, Number 7, October/November 2012 issue of Latin Beat Magazine Online (LBMO). This issue includes our annual tribute to percussionists as well as to all Latin jazz musicians. Our cover feature is shared by three acts from the Latin jazz label Concord Picante who are currently enjoying digital releases as of September 25, 2012. Two of them are veteran Latin jazz percussionists/bandleaders and household names (Poncho Sanchez, and Pete Escovedo), and the third is the group Ninety Miles (featuring Stefon Harris, David Sanchez and Christian Scott). Also in this issue, we have coverage of the 4th Annual LA Vida Festival held at the Ford Anson Amphitheatre in Hollywood, California, this past September; and from New York City, a pictorial on the Mid-Summer Nights Swing series of concerts in Manhattan featuring the Mambo Legends Orchestra. Don't forget to visit our columns section, national and international hit parades, CD reviews, and music news. Musically yours, Rudy & Yvette Mangual Bloque 53 Cogelo Ahi Windows Media Quicktime FEATURES Chico Álvarez El Indio Caonabo Latin Jazz Alive and Well Windows Media Jazz Latino Vivito y Coleando Quicktime By Rudy Mangual Bio Ritmo I'm still experiencing a bad taste in my mouth as a result of last year's NARAS fiasco, when the La Muralla Latin jazz category (among others) was eliminated from its roster, generating months of protests, 1 of 51 11/12/2005 1:01 AM LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features http://www.latinbeatmagazine.com/features.html Streaming Music outrage and even a lawsuit, before NARAS reinstated Latin jazz back into the system. -
West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston
West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston by Jason John Squinobal Batchelor of Music, Music Education, Berklee College of Music, 2003 Master of Arts, Ethnomusicology, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Ethnomusicology University of Pittsburgh 2009 ffh UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Jason John Squinobal It was defended on April 14, 2009 and approved by Dr. Nathan T. Davis, Professor, Music Department Dr. Akin Euba, Professor, Music Department Dr. Eric Moe, Professor, Music Department Dr. Joseph K. Adjaye, Professor, Africana Studies Dissertation Director: Dr. Nathan T. Davis, Professor, Music Department ii Copyright © by Jason John Squinobal 2009 iii West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston Jason John Squinobal, PhD University of Pittsburgh, 2009 Abstract This Dissertation is a historical study of the cultural, social and musical influences that have led to the use of West African music in the compositions and performance of Art Blakey, Yusef Lateef, and Randy Weston. Many jazz musicians have utilized West African music in their musical compositions. Blakey, Lateef and Weston were not the first musicians to do so, however they were chosen for this dissertation because their experiences, influences, and music clearly illustrate the importance that West African culture has played in the lives of African American jazz musicians. Born during the Harlem Renaissance each of these musicians was influenced by the political views and concepts that predominated African American culture at that time. -
(P) Red Mitchell
TJD-Online: Red Mitchell Page 1 of 58 [F4693] Add Tony Fruscella Debut : Tony Fruscella (tp) Chick Maures (as) Bill Triglia (p) Red Mitchell (b) Dave Troy (d) New York, December 10, 1948 151A Foo's Spotlite (E)SPJ126 153B Flues - 154B Oh yeah - 155A Little Orgg - 155B Little Orgg - 156A Out of nowhere - 156B Out of nowhere - 163A Flues - Note: All above titles also on Cool N' Blue (Swi)C&B-CD107 [CD] titled "Tony's blues" see 1955 and November 7, 1955 for the rest of this CD. All above titles also on The Jazz Factory JFCD22808 [CD] titled "Tony Fruscella - Complete Studio Recordings"; see various flwg sessions to April 1955 and Stan Getz for rest of this 2 CD set. All above titles also on The Jazz Factory (Sp)JFCD44401 [CD] titled "Tony Fruscella - The Complete Works"; see various flwg sessions to November 7, 1955 and Stan Getz for rest of this 4 CD set. [R5274] Add Joe Roland Joe Roland Quintet : Ray Turner (ts) Joe Roland (vib) Red Mitchell (p) Joe Puma (g) Paul Sziglay (b) Paula Castle (vcl) New York, July 21, 1949 Leaving town tonight (unissued) Derby Harry the eight Rainbow LP708 Free of charge - A fool and his love (unissued) Note: Rainbow issued as by "Chubby Jackson's All Stars" but is is in fact a Joe Roland Group. [V1382] Add Charlie Ventura Charlie Ventura And His Orchestra : Teddy Kaye (p) Red Mitchell (b) replace Roy Kral, Kenny O'Brien, Betty Bennett (vcl) Beverley Brooks (vcl) Jimmy Vanelli (vcl) added New York, August 12, 1949 D9VB284 Boptura (cc,bg,cv vcl) Vic 20-3552, LP3046, RCA (F)NL46031, Fresh Sound (Sp)NL46031 D9VB2144 Feather's den (bb,bb vcl) Vic 20-3635, LPM1135, Fresh Sound (Sp)LPM1135, RCA (F)NL46031, Fresh Sound (Sp)NL45958 D9VB2145 Yankee clipper (betty b vcl) Vic 20-3552, LPM1135, Fresh Sound (Sp)LPM1135, NL45958 D9VB2146 Lotus blue Vic 20/50-0103, LPM1135, Fresh Sound (Sp)LPM1135, RCA (F)NL46031, Fresh Sound (Sp)NL46031 D9VB2147 Honey (jv vcl) RCA (F)NL46031, Fresh Sound (Sp)NL46031 Note: All above titles also on Classics (F)1215 [CD]. -
Blue Note Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963
Discography Of The Blue Note Label Blue Note was started in New York City in 1938 by Alfred W. Lion. Blue Note recorded jazz only. The following history of the Blue Note record label is from the Blue Note Website (bluenote.com). “In 1925, 16-year old Alfred Lion noticed a concert poster for Sam Wooding's orchestra near his favorite ice-skating arena in his native Berlin, Germany. He'd heard many of his mother's jazz records and began to take an interest in the music, but that night his life was changed. The impact of what he heard live touched a deep passion within him. His thirst for the music temporarily brought him to New York in 1928 where he worked on the docks and slept in Central Park to get closer to the music. On December 23, 1938, Lion attended the celebrated Spirituals to Swing concert at Carnegie Hall. The power, soul and beauty with which boogie woogie piano masters Albert Ammons and Meade Lux Lewis rocked the stage gripped him. Exactly two weeks later, on January 6 at 2 in the afternoon, he brought them into a New York studio to make some recordings. They took turns at the one piano, recording four solos each before relinquishing the bench to the other man. The long session ended with two stunning duets. Blue Note Records was finally a reality. The label's first brochure in May of 1939 carried a statement of purpose that Lion rarely strayed from throughout the many styles and years during which he built one of the greatest jazz record companies in the world.