Moodsville Label Discography
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Issue 29 PDF.Indd
Now incorporating Audicord THIS ISSUE INCLUDES: “I Love Paris” Organ Arrangement by Tony Back Profile of DirkJan Ranzijn From One Note to Another by John Everett (Part Two) Alan Ashtons Organised Keyboards The Spreckels Organ by Carol Williams The Duo Art Aeolian Organ February to April 2006 to April February Groov’in with Alan Ashton (Part Seven) Issue Twenty-Nine 1 Welcome to Issue Twenty-Nine Contents List for Issue 29: MSS Studios Top Forty Welcome / General Information 2 Our best selling CDs & DVDs from October to December 2005 Alan Ashtons Organised Keyboards 4 Compiled from magazine and website sales The Spreckels Organ by Carol Williams 11 1 Klaus Wunderlich Up, Up & Away (2CD) Profile of DirkJan Ranzijn 12 2 Doreen Chadwick Echoes of Edmonton (Offer) Ian Wolstenholme ReViews... 14 3 Robert Wolfe Over The Rainbow (Offer) From One Note to Another by John Everett (Part Two) 16 4 VARIOUS Electronic Organ Showcase (DVD) The Duo Art Aeolian Organ 18 5 Arnold Loxam Arnold Loxam: 2LS Leeds Bradford… New Organ & Keyboard DVDs 19 6 Robert Wolfe Those Were The Days 7 John Beesley Colours (Offer) Groov’in with Alan Ashton (Part Seven) 22 8 Brett Wales One Way MUSIC FEATURE: I Love Paris 29 9 DirkJan Ranzijn Live in Bournemouth (DVD) ORGAN1st Catalogue 34 10 Byron Jones My Thanks To You (DVD) ORGAN1st New Additions 52 11 Doreen Chadwick Say It With Music 12 Howard Beaumont The Best of Times www.organ.co.uk 13 Tony Stace Happy Days Are Here Again 14 Phil Kelsall Razzle Dazzle 15 Franz Lambert Wunschmelodien, Die Man Nie Verg… 16 VARIOUS Pavillioned -
The Historic Recordings of the Song Desafinado: Bossa Nova Development and Change in the International Scene1
The historic recordings of the song Desafinado: Bossa Nova development and change in the international scene1 Liliana Harb Bollos Universidade Federal de Goiás, Brasil [email protected] Fernando A. de A. Corrêa Faculdade Santa Marcelina, Brasil [email protected] Carlos Henrique Costa Universidade Federal de Goiás, Brasil [email protected] 1. Introduction Considered the “turning point” (Medaglia, 1960, p. 79) in modern popular Brazi- lian music due to the representativeness and importance it reached in the Brazi- lian music scene in the subsequent years, João Gilberto’s LP, Chega de saudade (1959, Odeon, 3073), was released in 1959 and after only a short time received critical and public acclaim. The musicologist Brasil Rocha Brito published an im- portant study on Bossa Nova in 1960 affirming that “never before had a happe- ning in the scope of our popular music scene brought about such an incitement of controversy and polemic” (Brito, 1993, p. 17). Before the Chega de Saudade recording, however, in February of 1958, João Gilberto participated on the LP Can- ção do Amor Demais (Festa, FT 1801), featuring the singer Elizete Cardoso. The recording was considered a sort of presentation recording for Bossa Nova (Bollos, 2010), featuring pieces by Vinicius de Moraes and Antônio Carlos Jobim, including arrangements by Jobim. On the recording, João Gilberto interpreted two tracks on guitar: “Chega de Saudade” (Jobim/Moraes) and “Outra vez” (Jobim). The groove that would symbolize Bossa Nova was recorded for the first time on this LP with ¹ The first version of this article was published in the Anais do V Simpósio Internacional de Musicologia (Bollos, 2015), in which two versions of “Desafinado” were discussed. -
Prohibido Full Score
Jazz Lines Publications Presents the jeffrey sultanof master edition prohibido As recorded by benny carter Arranged by benny carter edited by jeffrey sultanof full score from the original manuscript jlp-8230 Music by Benny Carter © 1967 (Renewed 1995) BEE CEE MUSIC CO. All Rights Reserved Including Public Performance for Profit Used by Permission Layout, Design, and Logos © 2010 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM This Arrangement has been Published with the Authorization of the Estate of Benny Carter. Jazz Lines Publications PO Box 1236 Saratoga Springs NY 12866 USA benny carter series prohibido At long last, Benny Carter’s arrangements for saxophone ensembles are now available, authorized by Hilma Carter and the Benny Carter Estate. Carter himself is one of the legendary soloists and composer/arrangers in the history of American music. Born in 1905, he studied piano with his mother, but wanted to play the trumpet. Saving up to buy one, he realized it was a harder instrument that he’d imagined, so he exchanged it for a C-melody saxophone. By the age of fifteen, he was already playing professionally. Carter was already a veteran of such bands as Earl Hines and Charlie Johnson by his twenties. He became chief arranger of the Fletcher Henderson Orchestra when Don Redman left, and brought an entirely new style to the orchestra which was widely imitated by other arrangers and bands. In 1931, he became the musical director of McKinney’s Cotton Pickers, one of the top bands of the era, and once again picked up the trumpet. -
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation 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 Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
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. -
Shirley Scott on a Clear Day Mp3, Flac, Wma
Shirley Scott On A Clear Day mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Blues Album: On A Clear Day Country: US Released: 1968 Style: Soul-Jazz MP3 version RAR size: 1119 mb FLAC version RAR size: 1435 mb WMA version RAR size: 1950 mb Rating: 4.8 Votes: 616 Other Formats: AIFF MIDI DTS AC3 MOD AC3 AUD Tracklist 1 On A Clear Day You Can See Forever 4:42 2 What’ll I Do? 4:30 3 Cold Winter Blues 3:43 4 All Alone 4:41 5 What The World Needs Now Is Love 3:54 6 Corcovado 5:17 7 Days Of Wine And Roses 5:15 8 Instant Blues 6:11 Credits Bass – Ron Carter Design [Cover] – Robert Flynn Design [Liner] – Joe Lebow Drums – Jimmy Cobb Engineer – Bob Simpson Organ – Shirley Scott Photography By [Cover] – Charles Stewart* Producer – Bob Thiele Other versions Category Artist Title (Format) Label Category Country Year On A Clear Day (LP, Album, A-9109 Shirley Scott Impulse! A-9109 US 1966 Mono) On A Clear Day (LP, Album, AS-9109 Shirley Scott ABC Impulse! AS-9109 US 1972 RE) A-9109 Shirley Scott On A Clear Day (LP, Album) Impulse! A-9109 US 1966 On A Clear Day (CD, Album, UCCI-9074 Shirley Scott Impulse! UCCI-9074 Japan 2001 Ltd, RE, RM, Pap) AS-9109 Shirley Scott On A Clear Day (LP, Album) Impulse! AS-9109 US 1966 Related Music albums to On A Clear Day by Shirley Scott Eddie "Lockjaw" Davis With Shirley Scott - Smokin' Shirley Scott And Stanley Turrentine - Blue Flames Shirley Scott, Kenny Burrell - Travelin' Light Stanley Turrentine - Let It Go Shirley Scott - Can't Get Over The Bossa Nova / Soul Sauce Shirley Scott - Queen Of The Organ Shirley Scott & Clark Terry - Soul Duo Shirley Scott - Trio Classics Vol. -
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. -
Jo April 2019.PPP
An alphabetical listing of her studio recordings, including recording dates, matrix numbers and, when known, dates first issued. Compiled by Jim Marshall, and updated April 2019 I first produced a Jo Stafford discography ‘way back in 1995, encouraged by the late Tom Colborn who probably knew more about Jo’s career than the lady herself. Tom had already done much of the groundwork and, knowing that I’d acquired a computer - an early Amstrad - suggested that I take over the task. I was well into my research when the indispensable "In Tune" magazine started publishing its own in-depth listing of Jo’s huge catalogue of recordings. The work put into that by Brian Henson, Colin Morgan, Robert W. Rice and others was an immeasurable help. My thanks also go to Ken Seavor, John Ridgeway, Lucas Tuinstra, Jeff Lasbury and Ray Purslow plus, of course Jo Stafford and Paul Weston , all of whom contributed to Tom’s original research. More recently I’ve had important help from Michel Ruppli, Tim Weston, Robert Rice, Richard Weize and Adam Daff resulting in what I like to think is an almost “complete" alphabetical listing of Jo’s commercial recordings, including her work with the Pied Pipers and her alter egos, Cinderella G. Stump and Darlene Edwards, not forgetting Jonathan! (Apologies if I’ve forgotten anyone!) Apart from a handful of never-ever issued Capitol and Columbia tracks, almost all Jo’s studio recordings seem to have been reissued on CD and are probably still in print. In fact, the seemingly relentless reissue of Stafford CDs, mainly in the UK, is proof, if proof was needed, of the lady’s long-lasting popularity. -
ART FARMER NEA Jazz Master (1999)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ART FARMER NEA Jazz Master (1999) Interviewee: Art Farmer (August 21, 1928 – October 4, 1999) Interviewer: Dr. Anthony Brown Dates: June 29-30, 1995 Repository: Archives Center, National Museum of American History Description: Transcript, 96 pp. Brown: Today is June 29, 1995. This is the Jazz Oral History Program interview for the Smithsonian Institution with Art Farmer in one of his homes, at least his New York based apartment, conducted by Anthony Brown. Mr. Farmer, if I can call you Art, would you please state your full name? Farmer: My full name is Arthur Stewart Farmer. Brown: And your date and place of birth? Farmer: The date of birth is August 21, 1928, and I was born in a town called Council Bluffs, Iowa. Brown: What is that near? Farmer: It across the Mississippi River from Omaha. It’s like a suburb of Omaha. Brown: Do you know the circumstances that brought your family there? Farmer: No idea. In fact, when my brother and I were four years old, we moved Arizona. Brown: Could you talk about Addison please? Farmer: Addison, yes well, we were twin brothers. I was born one hour in front of him, and he was larger than me, a bit. And we were very close. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: So, you were fraternal twins? As opposed to identical twins? Farmer: Yes. Right. -
Hire a Celebrity Look-Alike to Come and Mingle with the Guests and Watch
Hire a celebrity look-alike to come and mingle with the guests and watch their bungled reactions Lucid dreaming stories are tremendously different and wonderful practice In lucid dreaming, there is a point when people came to know that they are dreaming and even they can speak to their selves that they are in a dream An opportunity to do religious work is given by lucid dreaming In dreaming phase, a person is able to conclude what he wants, and performs actions accordingly There is a difference between normal dreams and lucid dream When a normal person starts dreaming, he can control a little on what's happening in his dream It is like that a person is flounced along with the story and he is only a bit is able to say that what happens in it Many crazy and stupid things also happened in the dreams and people considered it as o normal, and ordinary thing A person is having a tendency not to diminish anything But, when a person become lucid, a state of being consciousness and awareness that he feels his dream actually happens in real when he wake up the next morning These lucid dreaming stories will let a person remain in the world of dream with the full alertness of everyday activities So, an ability of a person to have awareness at the same time of dreaming is called a lucid dream Any person in real can experience whatever he imagines Lucid dreaming becomes as practical and realistic as the world is While lucid dreaming, a person can go for anything what he would like to have a chance in real life At the Lucidity Institute, Stephen Laberge -
Ysu1311869143.Pdf (795.38
THIS IS LIFE: A Love Story of Friendship by Annie Murray Submitted in Partial Fulfillment of the Requirements for the Degree of M.F.A. in the NEOMFA Program YOUNGSTOWN STATE UNIVERSITY May, 2011 THIS IS LIFE: A Love Story of Friendship Annie Murray I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: ________________________________________________________ Annie Murray, Student Date Approvals: ________________________________________________________ David Giffels, Thesis Advisor Date ________________________________________________________ Phil Brady, Committee Member Date ________________________________________________________ Mary Biddinger, Committee Member Date ________________________________________________________ Peter J. Kasvinsky, Dean, School of Graduate Studies and Research Date © A. Murray 2011 ABSTRACT This thesis explores the universal journey of self discovery against the specific backdrop of the south coast of England where the narrator, an American woman in her early twenties, lives and works as a barmaid with her female travel companion. Aside from outlining the journey from outsider to insider within a particular cultural context, the thesis seeks to understand the implications of a defining friendship that ultimately fails, the ways a young life is shaped through travel and loss, and the sacrifices a person makes when choosing a place to call home. The thesis follows the narrator from her initial departure for England at the age of twenty-two through to her final return to Ohio at the age of twenty-seven, during which time the friendship with the travel companion is dissolved and the narrator becomes a wife and a mother. -
Notations Spring 2011
The ASCAP Foundation Making music grow since 1975 www.ascapfoundation.org Notations Spring 2011 Tony Bennett & Susan Benedetto Honored at ASCAP Foundation Awards The ASCAP Foundation held its 15th Annual Awards Ceremony at the Allen Room, Frederick P. Rose Hall, Home of Jazz at Lincoln Center, in New York City on December 8, 2010. Hosted by ASCAP Foundation President, Paul Williams, the event honored vocal legend Tony Bennett and his wife, Susan Benedetto, with The ASCAP Foundation Champion Award in recognition of their unique and significant efforts in arts education. ASCAP Foundation Champion Award recipients Susan Benedetto (l) & Tony Bennett with Mary Rodgers (2nd from left), Mary Ellin A wide variety of ASCAP Foundation Scholarship Barrett (2nd from right), and ASCAP Foundation President Paul and Award recipients were also honored at the Williams (r). event, which included special performances by some of the honorees. For more details and photos of the event, please see our website. Bart Howard provides a Musical Gift The ASCAP Foundation is pleased to announce that composer, lyricist, pianist and ASCAP member Bart Howard (1915-2004) named The ASCAP Foundation as a major beneficiary of all royalties and copyrights from his musical compositions. In line with this generous bequest, The ASCAP Foundation has established programs designed to ensure the preservation of Bart Howard’s name and legacy. These efforts include: Songwriters: The Next Generation, presented by The ASCAP Foundation and made possible by the Bart Howard Estate which showcases the work of emerging songwriters and composers who perform on the Kennedy Center’s Millennium Stage. The ASCAP Foundation Bart Howard Songwriting Scholarship at Berklee College recog- nizes talent, professionalism, musical ability and career potential in songwriting.