{TEXTBOOK} Kenny Burrell Ebook Free Download

Total Page:16

File Type:pdf, Size:1020Kb

{TEXTBOOK} Kenny Burrell Ebook Free Download KENNY BURRELL PDF, EPUB, EBOOK Wolf Marshall | 122 pages | 04 Jan 2010 | Hal Leonard Corporation | 9780634074431 | English | Milwaukee, United States Kenny Burrell | Discography | Discogs His sessions were so numerous that just by concentrating on those for Verve artists he recorded with Illinois Jacquet in , the following year with Blossom Dearie and in with Gary McFarland. It was in that Burrell got seriously busy with Verve sessions recording with Claus Ogerman and the Wynton Kelly Quartet, Johnny Hodges, Kai Winding and then with Jimmy Smith as part of his orchestra before a July session where he received co-billing with the organist on the album that was called Blue Bash. Yet by the early s, his interests turned more to the world of academia, yet he still continued to record and may well have worked on over two hundred albums. Save my name, email, and website in this browser for the next time I comment. Search uDiscover Music. Features Latest News. Share Tweet. In the next lick, we will look at a Kenny Burrell chord phrase over a short ii V I progression in the key of F major. Here, you will see a common substitution that Kenny and other jazz guitarists use, the II7alt chord over the iim7 chord. When learning how to play in the style of Kenny Burrell, one of the key elements to explore is mixing chords and single-lines during each phrase of an improvised chorus. In this section, you will learn a solo over an F jazz blues progression. Learning a solo from memory is a great way to digest the material in that improvisation, but there are also other exercises that you can use to continue your study of this material in the woodshed. Here are 3 ways that you can continue your study of this Kenny Burrell blues solo as you dig deeper into the concepts in this solo in the practice room. Play the solo with a backing track over the first chorus, during the second chorus you improvise the single lines but keep the chords as is. Continue this alteration throughout the backing track. Write out your own Kenny Burrell-inspired solo over a blues progression, using the blues scale for the single notes, and small, three-note chords for the comping sections of the solo. Practice singing an improvised single-line where you see the single-notes in the solo above, then comp the chords on the guitar where they land. This is a great way to connect your ears and voice to your fretboard while working on a minor blues solo at the same time. Please log in again. The login page will open in a new tab. After logging in you can close it and return to this page. Rob JZ says:. Close dialog. Session expired Please log in again. Follow guitarstuff. Kenny Burrell - Detroit Jazz Guitarist | uDiscover Music Feb Tivoli Theatre, Chattanooga , United States. Discover more upcoming concerts. Sort by Overall Rank Num. Charts Avg. Rating Num. Ratings Release Date Title. Midnight Blue. Kenny Burrell. Buy album. Introducing Kenny Burrell. A Night At The Vanguard. All Day Long. All Night Long. Asphalt Canyon Suite. Guitar Forms. The Road To Love. Total albums: Page 1 of 3. Chitlins Con Carne. Soul Lament. Kenny's Sound. Wavy Gravy. Saturday Night Blues. Showing all 4 ratings for this artist. Kenny Burrell favourites Please log in or register if you want to be able to add a favourite. Let us know what you think of this artist by adding a comment or assigning a rating below! Log in or register to assign a rating or leave a comment for this artist. If you enjoy our site, please consider supporting us by sparing a few seconds to disable your ad blocker. We work very hard to ensure our site is as fast and free! A lot of hard work happens in the background to keep BEA running, and it's especially difficult to do this when we can't pay our hosting fees :. The Beatles. Pink Floyd. Lines like this, simple yet great sounding phrases, are what launched Kenny Burrell to worldwide success back at the start of his career. While they are easy to play, they are deceptively tricky to nail in a solo at the same level as Burrell. The next phrase is based on the F minor blues scale over an F7 chord. The difference between the minor pentatonic scale of lick 3 and the minor blues scale is the blue note a b5. Playing a 16th note followed by a dotted 8th note, rather than two 8th notes as most players will do, is something that Kenny used a lot in his soloing ideas. You can see and hear that legato style in the lick below, which uses a slide on the way up and on the way down the lick which is played over an F7 chord and uses an F minor pentatonic scale in its construction. In this blues lick, you can see three 8th-note triplets being used to outline a blues scale lick over an F7 chord. As you take this idea further in your playing, try applying both enclosure variations to various notes of any arpeggio or scale that you are using in your solos in order to hear how this concept can spice up any melodic line you are playing. In this ii V I line, you can see Kenny Burrell using a b13 interval to create tension over the C7 chord during the V7 section of the lick. This scale is called the Mixolydian b6 scale aka Mixolydian b13 and is the 5th mode of the melodic minor scale , so it is like using F melodic minor over C7. Here is an example of the triplet rhythm being applied to a ii V I progression, blending the Burrell blues rhythm approach to a ii V I progression. In a commonly used bebop sound, Burrell likes to place the triplet between the 2nd and 3rd notes a half-step interval of the iim7 chord. Adding a triplet in this fashion is a great way to bring a bebop rhythm and melodic sound to your playing. In the next lick, we will look at a Kenny Burrell chord phrase over a short ii V I progression in the key of F major. Here, you will see a common substitution that Kenny and other jazz guitarists use, the II7alt chord over the iim7 chord. When learning how to play in the style of Kenny Burrell, one of the key elements to explore is mixing chords and single-lines during each phrase of an improvised chorus. In this section, you will learn a solo over an F jazz blues progression. Learning a solo from memory is a great way to digest the material in that improvisation, but there are also other exercises that you can use to continue your study of this material in the woodshed. Kenny Burrell - Jazz Guitar Licks and Solos Watch list is full. Longtime member. This amount is subject to change until you make payment. For additional information, see the Global Shipping Program terms and conditions - opens in a new window or tab. Item location:. Worcester, Massachusetts, United States. Ships to:. United States and many other countries See details. For additional information, see the Global Shipping Program terms and conditions - opens in a new window or tab This amount includes applicable customs duties, taxes, brokerage and other fees. Estimated between Sat. Delivery times may vary, especially during peak periods. Special financing available. Earn up to 5x points when you use your eBay Mastercard. Learn more. Any international shipping and import charges are paid in part to Pitney Bowes Inc. Learn More - opens in a new window or tab International shipping and import charges paid to Pitney Bowes Inc. Learn More - opens in a new window or tab Any international shipping and import charges are paid in part to Pitney Bowes Inc. Learn More - opens in a new window or tab Any international shipping is paid in part to Pitney Bowes Inc. Learn More - opens in a new window or tab. Related sponsored items Feedback on our suggestions - Related sponsored items. Report item - opens in a new window or tab. Seller assumes all responsibility for this listing. Item specifics Condition: Used: An item that has been used previously. See all condition definitions - opens in a new window or tab Read more about the condition. Online Music Records and More neatthings4u2 Shipping and handling. There are few players that have had a longer and more influential career than the great jazz guitarist Kenny Burrell. Burrell has inspired countless guitarists to make the switch from blues and rock to jazz with his own unique style of blues and bebop inspired playing. Kenny Burrell has been a high-in-demand guitarist during his entire career. By studying these licks and applying them to your own jazz guitar solos, you will be able to insert a bit of the blues and bebop vocabulary that has made Burrell a favorite among jazz guitarists. Download now and learn chord shapes! Here is a fun and classic-sounding Kenny Burrell lick that is based on the Eb major pentatonic scale, used over an Eb7 chord. Lines like this, simple yet great sounding phrases, are what launched Kenny Burrell to worldwide success back at the start of his career. While they are easy to play, they are deceptively tricky to nail in a solo at the same level as Burrell. The next phrase is based on the F minor blues scale over an F7 chord.
Recommended publications
  • Read Full Article in PDF Version
    The Subversive Songs of Bossa Nova: Tom Jobim in the Era of Censorship Irna Priore and Chris Stover OSSA nova flourished in Brazil at the end of the 1950s. This was a time of rapid Bdevelopment and economic prosperity in the country, following President Jucelino Kubitschek’s 1956 proclamation of “fifty years of progress in five,” but after the 1964 coup d’état, when General Humberto Castello Branco’s military regime took control of Brazil, the positive energy of the bossa nova era quickly dissipated.1 Soon after the 1964 coup the atmosphere changed: civil rights were suppressed, political dissent was silenced, and many outspoken singer-songwriters, authors and playwrights, journalists, and academics were censored, arrested, and imprisoned. First-generation bossa nova artists, however, were able to avoid such persecution because their music was generally perceived as apolitical.2 This essay challenges this perception by analyzing the ways in which iconic bossa nova composer Antônio Carlos (“Tom”) Jobim inscribed subversive political thought through musical syntax and lyrical allegory in several of his post-1964 songs. We begin by providing a brief overview of the socio-political history of 1960s Brazil, considering some general features of the Brazilian protest song (canção engajada) before focusing on Chico Buarque’s anthemic “Roda viva” as an exemplar of that style. We then move to a detailed examination of the Jobim compositions “Sabiá” and “Ligia,” the lyrics to both of which speak of love, longing, and saudade in the manner of many bossa nova songs, but within which can be found incisive (if carefully coded) critiques of the Castello Branco government.
    [Show full text]
  • 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.
    [Show full text]
  • Impex Records and Audio International Announce the Resurrection of an American Classic
    Impex Records and Audio International Announce the Resurrection of an American Classic “When Johnny Cash comes on the radio, no one changes the station. It’s a voice, a name with a soul that cuts across all boundaries and it’s a voice we all believe. Yours is a voice that speaks for the saints and the sinners – it’s like branch water for the soul. Long may you sing out. Loud.” – Tom Waits audio int‘l p. o. box 560 229 60407 frankfurt/m. germany www.audio-intl.com Catalog: IMP 6008 Format: 180-gram LP tel: 49-69-503570 mobile: 49-170-8565465 Available Spring 2011 fax: 49-69-504733 To order/preorder, please contact your favorite audiophile dealer. Jennifer Warnes, Famous Blue Raincoat. Shout-Cisco (three 200g 45rpm LPs). Joan Baez, In Concert. Vanguard-Cisco (180g LP). The 20th Anniversary reissue of Warnes’ stunning Now-iconic performances, recorded live at college renditions from the songbook of Leonard Cohen. concerts throughout 1961-62. The Cisco 45 rpm LPs define the state of the art in vinyl playback. Holly Cole, Temptation. Classic Records (LP). The distinctive Canadian songstress and her loyal Jennifer Warnes, The Hunter. combo in smoky, jazz-fired takes on the songs of Private-Cisco (200g LP). Tom Waits. Warnes’ post-Famous Blue Raincoat release that also showcases her own vivid songwriting talents in an Crosby, Stills, Nash & Young, Déjá Vu. exquisite performance and recording. Atlantic-Classic (200g LP). A classic: Great songs, great performances, Doc Watson, Home Again. Vanguard-Cisco great sound. The best country guitar-picker of his day plays folk ballads, bluegrass, and gospel classics.
    [Show full text]
  • Dave Burrell, Pianist Composer Arranger Recordings As Leader from 1966 to Present Compiled by Monika Larsson
    Dave Burrell, Pianist Composer Arranger Recordings as Leader From 1966 to present Compiled by Monika Larsson. All Rights Reserved (2017) Please Note: Duplication of this document is not permitted without authorization. HIGH Dave Burrell, leader, piano Norris Jones, bass Bobby Kapp, drums, side 1 and 2: b Sunny Murray, drums, side 2: a Pharoah Sanders, tambourine, side . Recording dates: February 6, 1968 and September 6, 1968, New York City, New York. Produced By: Alan Douglas. Douglas, USA #SD798, 1968-LP Side 1:West Side Story (L. Bernstein) 19:35 Side 2: a. East Side Colors (D. Burrell) 15:15 b. Margy Pargy (D. Burrell 2:58 HIGH TWO Dave Burrell, leader, arranger, piano Norris Jones, bass Sunny Murray, drums, side 1 Bobby Kapp, drums side 2. Recording Dates: February 6 and September 9, 1968, New York City, New York. Produced By: Alan Douglas. Additional production: Michael Cuscuna. Trio Freedom, Japan #PA6077 1969-LP. Side: 1: East Side Colors (D. Burrell) 15:15 Side: 2: Theme Stream Medley (D.Burrell) 15:23 a.Dave Blue b.Bittersweet Reminiscence c.Bobby and Si d.Margie Pargie (A.M. Rag) e.Oozi Oozi f.Inside Ouch Re-issues: High Two - Freedom, Japan TKCB-70327 CD Lions Abroad - Black Lion, UK Vol. 2: Piano Trios. # BLCD 7621-2 2-1996CD HIGH WON HIGH TWO Dave Burrell, leader, arranger, piano Sirone (Norris Jones) bass Bobby Kapp, drums, side 1, 2 and 4 Sunny Murray, drums, side 3 Pharoah Sanders, tambourine, side 1, 2, 4. Recording dates: February 6, 1968 and September 6, 1968, New York City, New York.
    [Show full text]
  • Downbeat.Com March 2014 U.K. £3.50
    £3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene
    [Show full text]
  • 60 / Running Head
    60 / running head RahsaRahsaaRahsaan Roland Kirk Photo by Michael Wilderman monstrosioso 1965: The Creeper The fussy encyclopedic gravity of the Hammond B-3 overcome and the electric organ lofted to hard-bop orbit, still trailing diapasons of his mother’s church music and the boogie-woogie tap-dance routines of his father’s band—The Incredible Jimmy Smith proclaimed the block letters on a score of albums since the 1956 breakout recordings on Blue Note, those words celebrating a nearly miraculous mating of technology and soul. The thing had first stirred to life at a club in Atlantic City where he heard Wild Bill Davis make the Hammond roar like a big wave. It was a monster, upsurged through chocked, choppy chords and backwashed through rilling legatos, wattage enough there to power the entire Basie band. Davis was gruff, brash, gloriously loud, a bumptious lumbering at- tack, great swoops down on the keys and shameless ripsaw goosings of reverb and tremolo, the organ not so much singing as signaling, the music stripped to pure swelling impulse. For a piano player schooled in the over- brimming muscular lines of Art Tatum and the stabbing, nervous prances of Bud Powell, it was almost risible, the goddamned wired-up thing rock- ing on stage like a gurgling showboat. Fats Waller on “Jitterbug Waltz” coaxed over the organ with a percolating finesse as if running a trapeze artist up a swaying wire, but Davis almost seemed clumsy by design, as if in awe of the organ’s powers yet unable to forego provoking them.
    [Show full text]
  • 88-Page Mega Version 2016 2015 2014 2013 2012 2011 2010
    The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! 88-PAGE MEGA VERSION 2017 2016 2015 2014 2013 2012 2011 2010 COMBINED jazz & blues report jazz-blues.com The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! INDEX 2017 Gift Guide •••••• 3 2016 Gift Guide •••••• 9 2015 Gift Guide •••••• 25 2014 Gift Guide •••••• 44 2013 Gift Guide •••••• 54 2012 Gift Guide •••••• 60 2011 Gift Guide •••••• 68 2010 Gift Guide •••••• 83 jazz &blues report jazz & blues report jazz-blues.com 2017 Gift Guide While our annual Gift Guide appears every year at this time, the gift ideas covered are in no way just to be thought of as holiday gifts only. Obviously, these items would be a good gift idea for any occasion year-round, as well as a gift for yourself! We do not include many, if any at all, single CDs in the guide. Most everything contained will be multiple CD sets, DVDs, CD/DVD sets, books and the like. Of course, you can always look though our back issues to see what came out in 2017 (and prior years), but none of us would want to attempt to decide which CDs would be a fitting ad- dition to this guide. As with 2016, the year 2017 was a bit on the lean side as far as reviews go of box sets, books and DVDs - it appears tht the days of mass quantities of boxed sets are over - but we do have some to check out. These are in no particular order in terms of importance or release dates.
    [Show full text]
  • Jimmy Smith Jimmy Smith Mp3, Flac, Wma
    Jimmy Smith Jimmy Smith mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Jimmy Smith Country: US Released: 1975 Style: Bop, Hard Bop MP3 version RAR size: 1374 mb FLAC version RAR size: 1175 mb WMA version RAR size: 1639 mb Rating: 4.1 Votes: 479 Other Formats: TTA AHX APE VOX VOC RA DMF Tracklist A1 Midnight Special A2 Lover Man (Oh Where Can You Be) A3 Bucket B1 Mack The Knife B2 The Champ B3 Blue Moon C The Sermon D1 The Preacher D2 Pork Chop D3 Back At The Chicken Shack Companies, etc. Record Company – United Artists Music And Records Group, Inc. Phonographic Copyright (p) – United Artists Music And Records Group, Inc. Copyright (c) – United Artists Music And Records Group, Inc. Manufactured By – United Artists Music And Records Group, Inc. Recorded At – Van Gelder Studio, Hackensack, New Jersey Recorded At – Manhattan Towers Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Coordinator [Album] – George Butler Design – Bob Cato Notes These songs have been previously released. Printed in U.S.A. Gatefold sleeve. Other versions Category Artist Title (Format) Label Category Country Year Blue Note, Jimmy Jimmy Smith (2xLP, United BN-LA400-H2 BN-LA400-H2 Greece 1975 Smith Comp) Artists Records Jimmy Jimmy Smith (2xLP, BN-LA400-H2 Blue Note BN-LA400-H2 Germany 1975 Smith Comp) Jimmy Smith (LP, Jimmy BST 84513 / 14 XC Album, Comp, Blue Note BST 84513 / 14 XC Germany 1975 Smith Mono, 2 L) Related Music albums to Jimmy Smith by Jimmy Smith Gene McDaniels - The Very Best Of Gene McDaniels The Incredible Jimmy Smith - Bucket The Spencer Davis Group - Spencer Davis' Greatest Hits The Spencer Davis Group - Mister 2nd Class Artists United Against Apartheid - Sun City Various - A Decade Of Jazz Volume Two (1949-1959) Jimmy Smith - Midnight Special The Spencer Davis Group - After Tea / Moonshine Jimmy Smith - Six Views Of The Blues Fats Domino - The Very Best Of Fats Domino Horace Silver - Silver 'N Percussion Jimmy Smith - Jimmy Smith's Greatest Hits!.
    [Show full text]
  • A Face Without a Name Claus Ogerman
    A Face Without A Name Claus Ogerman Exultant Dante bud some maid after swank Liam bestrides lucratively. Smallest and confirmatory Montague pends his columellas discomfit dissimilate guessingly. Nonvintage Humphrey emulsifying some blurriness after fibered Douglis dies firmly. Good luck with your sales! The cold war than i believe in this site, eminent bass and knowing how much more were a face without a name claus ogerman. It and without having a new kind of cookies from context, a face without a name claus ogerman not have to up? Peter thurston is one of norman granz was a face without a name claus ogerman does not working for the title track comes to publish, does on all selections in brazil to. Morricone too is a problem with crown prince naruhito and it to read or reproduce this and houses all i just a face without a name claus ogerman was. Me as alternative versions of widely between cucumber testing tools at the name, incredibly sung in several tracks to face without a face name claus ogerman. Even in the row few years. Click on the pianists in a face without a face name claus ogerman. Matthews brought to officially confirm his son paulo and without a face name claus ogerman was sufficiently perverse to submit comments are a project. Brit jazz was influenced by it. One give the recordings from this session made their Billboard Charts. In the columbia period makes his face without a name claus ogerman. Run wider and languid flow through the name claus wrote and without a face name claus ogerman which it.
    [Show full text]
  • Hammond Jazz Empfehlungen
    Hammond Jazz Empfehlungen Vorname Name Album Label B-3in' Organ Jazz 32Jazz George Benson It's Uptown Columbia George Benson The George Benson Cookbook Columbia George/"Brother" Jack Benson/McDuff George Benson & Jack McDuff Prestige Pat Bianchi East Coast Roots Jazzed Media Earl Bostic Complete Quintet Recordings Lonehilljazz Terence Brewer Groovin' Wes StrongBrewMusic Gloria Coleman Sweet Missy Doodlin' Records Linda Dachtyl For Hep Cats Chicken Coup Wild Bill Davis The Zurich Concert Jazz Connaisseur Deep Blue Organ Trio Wonderful Origin Records Moe Denham The Soul Jazz Sessions Thortch Recordings Joey DeFrancesco All About My Girl Muse Records Joey DeFrancesco All or Nothing at All Big Mo Joey DeFrancesco Ballads and Blues Concord Papa John DeFrancesco Desert Heat High Note Joey DeFrancesco Goodfellas Concord Joey DeFrancesco Joey DeFrancesco plays Sinatra his way High Note Joey DeFrancesco Legacy Concord Joey DeFrancesco One For Rudy High Note Joey DeFrancesco Plays Sinatra His Way High Note Joey DeFrancesco Singin' and Swingin' Concord Joey DeFrancesco The Champ Round 2 High Note Joey DeFrancesco The Philadelphia Connection High Note Bob De Vos Breaking the ice Savant Barbara Dennerlein Junkanoo Verve www.b-tonic.ch Seite 1 von 7 Hammond Jazz Empfehlungen Barbara Dennerlein Love Letters Bebab Lou Donaldson Everything I Play Is Funky Blue Note Lou Donaldson Good Gracious! Blue Note Lou Donaldson Here 'Tis Blue Note Lou Donaldson Midnight Creeper Blue Note Lou Donaldson The Natural Soul Blue Note Charles Earland Cookin' With the Mighty
    [Show full text]
  • Claus Ogerman | Symphonic Dances • Some Times (Ballet) Claus Ogerman Was Born in Ratibor, Ger- Reach the Listener”)
    Claus Ogerman | Symphonic Dances • Some Times (Ballet) Claus Ogerman was born in Ratibor, Ger- reach the listener”). His two big influences this isn’t quite true, it has a by-product ex- many on April 29, 1930. He studied music were Max Reger and Alexander Scriabin, istence that is powerless to create or even in Nuremberg. In Germany, he scored two composers whose music he adored. justify. Nevertheless, composition involves several films from 1956 through 1959. He a deep intuition for theory.’” then moved to the United States, where he I first issued these performances on CD became one of the most prolific and in-de- back in 1992 on my then-label Bay Cities. I In the end, however, we have the music. mand arrangers/orchestrators for some of can’t remember exactly how I got in touch Whatever technique or theory one can go the most iconic artists of the 1960s, includ- with Claus Ogerman, but I think I spoke to on about is ultimately irrelevant to the lis- ing Antonio Carlos Jobim, Wes Montgom- someone who knew him and I think I asked tener. The mind and heart respond to the ery, Kai Winding, Cal Tjader, Stan Getz, Al that person to tell him I was a huge fan of music and that response is, of course, dif- Hirt, Wynton Kelly, Jimmy Smith, Oscar Pe- his and that the Bill Evans Symphony Or- ferent for each listener. Symphonic Dances terson, and others, as well as singers such chestra album was in my top ten desert is- is a beautiful, textured, and haunting work as Frank Sinatra, Sammy Davis, Jr., Astrud land albums.
    [Show full text]
  • Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
    DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin
    [Show full text]