DOCSLIB.ORG

The History of Jazz Mus 225-35

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The History of Jazz Mus 225-35 THE HISTORY OF JAZZ MUS 225-35 INSTRUCTOR INFORMATION Name: Dr. Louise Billaud, Professor of Music Email: [email protected] Website: www.nr.edu/billaud Office: Martin Hall, Room 216 (Dublin campus); 125 B and/or C123 (Mall site) Office Phone: (540) 673-3600 x4351 (please email me as I could be on either campus) Office Hours: MWF Dublin 9:30-10:00 am, 11:15-1:00 pm; TR Mall 12:00-1:20 pm, 2:50-3:30 pm IMPORTANT: The recommended browser to use with the current version of Canvas is Mozilla Firefox or Google Chrome. Other browsers are inconsistent in their performance with Canvas. When taking tests or quizzes, use a wired connection. Check your VCCS email and Inbox regularly to respond/keep in touch with your professor. COURSE DESCRIPTION Description: Studies the underlying elements of jazz, concentrating on its cultural and historical development from earliest stages to the present. No previous knowledge of music is required. Credits: 3 Quizzes 14 Exams: 2 Discussion Forums 6 Online Activities: Required COURSE MATERIALS Bookstore Acquisition: • OnMusic Jazz (Access), 2nd Edition Headphones for exams Note: NRCC assumes no liability for virus, loss of data, or damage to software or computer when a student downloads software for classes. The Student’s Guide to Online Learning is available at https://www.nr.edu/online/pdf/studentguide.pdf. MUS 225-35 COURSE INFORMATION Prepared By: Dr. Louise Billaud Approved By: Mrs. Sarah Tolbert-Hurysz I. INTRODUCTION This is an online course designed specifically for students whose learning styles are best served by providing instructional opportunities beyond the traditional classroom setting. All coursework is done ONLINE through Canvas. IMPORTANT: Midterm and Final Exams will be taken online in the testing center in Martin Hall, at the NRV Mall Site or through an Approved Proctor. If you are going to need a proctor, that information MUST be submitted by 5 pm, Friday, September 6. Submit proctor request form online at: https://www.nr.edu/online/proctoring.php There is no pre-requisite for this class and the credits are transferable. Registering access code: • Acquire the OnMusic Jazz Access Code from the NRCC Bookstore. Used copies will not work. • Follow the page 2 instructions for registering your access code • Once registered, you will access the course under Modules. Just click: View Course Here. Advice • Acquaint yourself with the Course Information section under Modules. • All course material with deadline dates is located in the left-hand column when you click View Course Here. • Check regularly your Canvas Announcements and Inbox to access my communications to you. • Students are encouraged to e-mail any questions or concerns to the professor. Attend class regularly. Statistics indicate that students who “attend” regularly have a higher chance of succeeding. You should be going into the course no less than two times a week, preferably three times a week to be sure that you are completing everything by the posted deadline dates. New River Community College (Fall 19) Page 2 MUS 225-35 II. COURSE OUTCOMES Upon the successful completion of this course, the student will be able to do the following: • Identify and recognize the elements and basic forms of jazz • Demonstrate knowledge of the evolution of jazz • Assimilate the material in this course and communicate effectively your understanding of jazz as an art form. • Identify through assessments the various components necessary to increase listening skills. • Effectively communicate music observations through forum discussions • Contribute to the personal development through the assimilation of the course content. III. COURSE CONTENT Section 1: Fundamentals of Music and Jazz Foundations • Keyboard • Octave • Diatonic and Chromatic Scales • Staves and Clefs • Pitch, Rhythm, Meters • The Pickup Section 2: Essential Features of Jazz and The Blues • Essential Features • Improvisation • Swing Feeling • The Blues and pitch bending • Chords, Chord Progressions and Seventh Chords • 12-Bar Form and Tonality Section 3: Basic Features and Origins of Jazz • Standard Forms • The Chorus • Jazz Performance • Jazz Soloists • Summary of Jazz Instruments • Origins of Jazz • African-American Musical Traditions • New Orleans Brass Bands and Musicians • Ragtime • The Blues, Urban Blues and Call and Response Section 4: Early Jazz to the Emergence of Swing • New Orleans Jazz • The Legend of Buddy Bolden • Jelly Roll Morton • Joe “King” Oliver • Sidney Bechet New River Community College (Fall 19) Page 3 MUS 225-35 • Blue Horizon • New Orleans “Dixieland” Jazz • Chicago • Louis Armstrong • Struttin’ with some Barbecue • Scat Singing • Earl Hines • Bix Beiderbecke • Frankie “Tram” Trumbauer • From Chicago to New York • James R. Johnson • Harlem Stride Piano • Fats Waller • Toward Swing Section 5: Jazz in the 30s and the Musicians Who Shaped It • Swing • Fletcher Henderson: Pioneer of Swing • Coleman Hawkins: The first great tenor saxophonist • Django Reinhardt: The first great European jazz musician • Benny Carter and Roy Eldridge: Two masters of swing • Art Tatum: Keyboard virtuoso • Duke Ellington and the “Ellington Effect” • Bubber Miley and “Tricky Sam” Nanton • Cootie Williams, Johnny Hodges, Billy Strayhorn, Ben Webster, Jimmy Blanton Section 6: Swing in Chicago, New York, and Kansas City • Benny Goodman: The “King of Swing” • Charlie Christian: First great jazz electric guitarist • Lionel Hampton: Bandleader and first jazz vibraphonist • Kansas City • Count Basie: Pianist, Bandleader, Composer, Head Arrangements • Lester Young: Superb Saxophonist • Mary Lou Williams: Progressive pianist, composer, and arranger • Billie Holiday: “Lady Day” • Ella Fitzgerald: The First Lady of Song • The Savoy Ballroom and Chick Webb Section 7: The Advent of Modern Jazz • Modern Jazz • Bebop • Charlie Parker • Bebop, Ballads, and Blues • Dizzy Gillespie, Gillespie and Parker and 52nd Street • Afro-Cuban jazz • Jazz Big Bands, Bass, Drums, Trombone • Bud Powell: Epitome of the bop piano style • Thelonious Monk: A true jazz original • Sarah Vaughan: “The Divine One” New River Community College (Fall 19) Page 4 MUS 225-35 Section 8: Cool Jazz • Miles Davis and The Birth of Cool • Gerry Mulligan & Chet Baker, Lennie Tristano & Lee Konitz • 1950 Metonome Magazine “All-Stars” Bands • Stan Getz • West Coast Jazz: Dave Brubeck & Paul Desmond • Jimmy Giuffre • Modern Jazz Quartet Section 9: Hard Bop • Hard Bop Style • Art Blakey, Horace Silver, Clifford Brown and Sonny Rollins • Brown-Roach Quintet • Miles Davis • Cannonball Adderley • Organ and Guitar Section 10: Jazz in the Late 50s and Early 60s • Miles Davis • Modal Jazz • Bill Evans • John Coltrane • Section 11: Avant-garde and Free Jazz Musicians • Free Jazz • Ornette Coleman • Cecil Taylor: Leading Pianist of Free Jazz • Charles Mingus: A more accessible avant-garde Jazz • Albert Ayler • Coltrane’s Ascension and Collective Improvisation • Miles Davis Quintet, 1965-1968 • Wayne Shorter • Toward Fusion • Herbie Hancock Section 12: Jazz Fusion • Miles Davis and the late 1960s • Chick Corea, John McLaughlin, Pat Metheny • Acid Jazz & Hip-Hop Fusion • Miles Davis Sidemen • Keith Jarrett Section 13: Modernism, Postmodernism, and Neo-classicism in Jazz • Modernism and Post modernism • Anthony Braxton • The Art Ensemble of Chicago • World Saxophone Quartet • John Zorn • Wynton Marsalis and Neo-classicism in jazz • Politics of Jazz New River Community College (Fall 19) Page 5 MUS 225-35 Section 14: Latin Jazz, Globalization of Jazz, and other Recent Trends • Latin Jazz and Tito Puente • Afro-Cuban Jazz • Arturo Sandoval, Michael Brecker, Branford Marsalis • Roy Hargrove, Brad Mehidau, Nguyen Le, Cassandra Wilson • Diana Krall, Bill Frisell, Brian Blade, Kurt Rosenwinkel • Medeski, Martin & Wood, The Bad Plus IV. GRADING/EVALUATION Description Percentage Quizzes (14) 28% Discussion Forums (6) 24% Midterm Exam 24% Final Exam 24% Total 100% Grading Scale: A 90-100% B 80-89% C 70-79% D 60-69% F BELOW 60% V. WITHDRAWAL POLICY Student Initiated Withdrawal Policy A student may drop or withdraw from a class without academic penalty during the first 60 percent of a session. For purposes of enrollment reporting, the following procedures apply: • If a student withdraws from a class prior to the termination of the add/drop period for the session, the student will be removed from the class roll and no grade will be awarded. • After the add/drop period, but prior to completion of 60 percent of a session, a student who withdraws from a class will be assigned a grade of “W.” A grade of “W” implies that the student was making satisfactory progress in the class at the time of withdrawal, that the withdrawal was officially made before the deadline published in the college calendar, or that the student was administratively transferred to a different program. • After that time, if a student withdraws from a class, a grade of “F” or U” will be assigned. Exceptions to this policy may be made under documented mitigating circumstances if the student was passing the course at the last date of attendance A retroactive grade of “W” may be awarded only if the student would have been eligible under the previously stated policy to receive a “W” on the last date of class attendance. The last date New River Community College (Fall 19) Page 6 MUS 225-35 of attendance for an online course will be the last date that work was submitted. Late withdrawal appeals will be reviewed and a decision made by the Coordinator of Admissions and Records. Instructor Initiated Withdrawal A student who adds a class or registers after the first day of class is counted absent from all class meetings missed. Each instructor is responsible for keeping a record of student attendance (face-to-face classes) or performance/participation (online classes) in each class throughout the semester. When a student’s absences equal twice the number of weekly meetings of a class (equivalent amount of time for summer session), the student may be dropped for unsatisfactory attendance in the class by the instructor. Since attendance is not a valid measurement for online learning courses, a student may be withdrawn due to non-performance.
Load more

Recommended publications
  • Norgran Label Discography
    Norgran Label Discography Norgran Label 10 Inch Series MGN 1 - Swing - Johnny Hodges [11/54] Reissue of Clef MG-C-151. Wham/Latino/Through For the Night/Sheik of Araby//Hodgepodge/Jappa/My Reward/Something To Pat Your Foot To MGN 2 - Dizzy Gillespie & Stan Getz Sextet - Dizzy Gillespie & Stan Getz Sextet [195?] It Don’t Mean a Thing/It’s the Talk of the Town/Exactly Like You/I Let a Song Go Out of My Heart MGN 3 - Buddy DeFranco Quartet - Buddy DeFranco Quartet [2/54] Reissue of Clef MG-C-149. But Not For Me/When Your Lover Has Gone/Ferdinando/The Things We Did Last Summer MGN 4 – Al Hibbler Favorites - Al Hibbler [195?] Please/Believe It, Beloved/There is No Greater Love/It Must Be True/As Time Goes By/Anne/You and I/I’m Getting Sentimental Over You MGN 5 – Lester Young with the Oscar Peterson Trio Number 1 - Lester Young & Oscar Peterson Trio [195?] Ad Lib Blues/Just You, Just Me/I Can’t Get Started/Almost Like Being in Love MGN 6 - Lester Young with the Oscar Peterson Trio Number 2 - Lester Young & Oscar Peterson Trio [195?] Tea for Two/Indiana/On the Sunny Side of the Street/There’ll Never Be Another You MGN 7 - Amazing Artistry of Louis Bellson - Louis Bellson [195?] Fascinatin’ Rhythm/Copasetic/Percussionistally Speaking/All God’s Chillun Got Rhythm/A Peart for Louie MGN 8 - Charlie Ventura Quartet - Charlie Ventura Quartet [195?] Ain’t Misbehavin’/Blue Prelude/Girl of My Dreams/Limehouse Blues/Blues for Two/Somebody Loves Me/Crazy Rhythm/All the Things You Are MGN 9 - Second Afro-Cuban Jazz Suite - Chico O’Farrill [6/54] The Second
    [Show full text]
  • I UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES Mestrado Em Música
    UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES Mestrado em Música A COMPOSIÇÃO PARA FILMES NO EXEMPLO DE DAVE GRUSIN CHRISTIANNE MARIA DE DOMINICIS NEVES CAMPINAS 2004 I II UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES Mestrado em Música A COMPOSIÇÃO PARA FILMES NO EXEMPLO DE DAVE GRUSIN CHRISTIANNE MARIA DE DOMINICIS NEVES Dissertação apresentada ao Curso de Mestrado em Música do Instituto de Artes UNICAMP como requisito parcial para a obtenção do grau de Mestre em Música sob a orientação do Prof. Dr. Claudiney Rodrigues Carrasco. CAMPINAS 2004 III FICHA CATALOGRÁFICA ELABORADA PELA BIBLIOTECA DO IA. - UNICAMP Neves, Christianne Maria De Dominicis. N414c A composição para filmes no exemplo de Dave Grusin / Christianne Maria De Dominicis Neves. – Campinas,SP: [s.n.], 2004. Orientador: Claudiney Carrasco. Dissertação(mestrado) – Universidade Estadual de Campinas. Instituto de Artes. 1. Música de Cinema. 2. Dave Grusin. 3. Composição para . filmes. I. Carrasco, Claudiney. II. Universidade Estadual de Campinas. Instituto de Artes. III. Título. IV Para Lara V VI AGRADECIMENTOS Grande parte deste trabalho foi viabilizado graças à concessão de Bolsa de Estudo pela CAPES (de outubro de 2001 a setembro de 2003) instituição à qual dirijo meus primeiros agradecimentos. Deixo também registrados meus sinceros agradecimentos: Ao meu pai, Jose Benedito Neves, pelo seu amor incondicional e pela presença atenta mais que afetuosa, contribuindo espontaneamente com as intermináveis cópias de arquivos em Cds, disquetes, pesquisas em internet
    [Show full text]
  • Five Performance Etudes for Jazz Piano
    FIVE PERFORMANCE ETUDES FOR JAZZ PIANO ADREAN FARRUGIA A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO OCTOBER 2020 © ADREAN FARRUGIA, 2020 Abstract There are currently numerous texts and publications which outline the fundamental concepts which are relevant to the study and performance of jazz piano. However, there is a smaller body of work that clearly demonstrates the practical real-world application of these fundamental concepts. This thesis presents a collection of five performance etudes for jazz piano which encompass a number of concepts and approaches which are fundamental to the study of jazz piano, while also, as performance relevant pieces, illustrate the practical application of these approaches and concepts. The relevance of the concepts and approaches covered is justified by providing examples of their use on recordings by historically significant pianists. These Five Performance Etudes for Jazz Piano are based of the practical application of relevant styles and concepts spanning the 1940s to the 1960s – the period of jazz which cultivated the greatest number of musical tools still used today. ii Acknowledgements I would like to thank Professors Al Henderson and Sundar Viswanathan for their guidance and assistance during the process of creating this thesis. In particular, the guidance of my primary advisor Al Henderson was greatly appreciated -- his willingness to be of assistance and his insights during the process went far beyond the basic requirements of his role. I would also like to acknowledge professors Barry Elmes, Jay Rahn, and Michael Coghlan, with whom I fulfilled the course requirements of this degree.
    [Show full text]
  • The Folk Music Revival in Ann Arbor
    Ann Arbor Folk and Blues The Scene in the 1960s and 1970s By Michael Erlewine 1 © Copyright Michael Erlewine 2015 [email protected] ISBN-13: 978-1517124953 ISBN-10: 1517124956 Cover Photo of Michael Erlewine interviewing Muddy Waters by Stanley Livingston. 2 Table of Contents Table of Contents ......................................................... 3 The Folk Music Revival in Ann Arbor ............................ 7 The Folk Scene ........................................................... 11 The Folk Revival – Looking for Roots ......................... 12 The Folk Blues ............................................................ 14 Being Part of the Scene .............................................. 15 Searching for Roots .................................................... 16 Ann Arbor Blues Festival – A Brief History ................. 22 How I Happened to Be There ..................................... 22 A Short History of Blues Festivals ............................... 24 The Chitlin’ Circuit ....................................................... 25 The Folk Festivals ....................................................... 25 The Folk Revival – Looking for Roots ......................... 28 Singers, Not Songwriters ............................................ 30 The Folk Blues ............................................................ 31 Being Part of the Scene .............................................. 31 Searchin’ for Roots ..................................................... 32 1965: A Sea Change .................................................
    [Show full text]
  • Hal Leonard Jazz Highlights
    Hal Leonard Jazz Highlights The Real Book – Volume I The Real Book – Volume II SIXTH EDITION SECOND EDITION 400 songs 400 songs 00240221 C Instruments ���������������$29�95 00240222 C Instruments ����������������� $29�95 00240224 B Instruments ���������������$29�95 00240227 B Instruments ����������������� $29�95 00240225 Eb Instruments ���������������$29�95 00240228 Eb Instruments ����������������� $29�95 00240226 Bassb Clef Instruments ����$29�95 00240229 Bassb Clef Instruments ������ $29�95 The Real Books are the best-selling jazz books of all time. Since the 1970s, musicians have trusted these volumes to get them through every gig, night after night. The problem is that the books were illegally produced and distributed without any song royalties being paid to the master composers who created these musical canons. We are very proud to offer the first legitimate and legal The Real Book – Volume III The Real Vocal Book – SECOND EDITION Volume I editions of these books ever produced. 400 songs Nearly 300 songs 00240233 C Instruments ���������������$29�95 00240230�������������������������������������� $29�95 You won’t even notice the difference: 00240284 B Instruments ���������������$29�95 b the covers look the same, the engrav- 00240285 E Instruments ���������������$29�95 Volume II 00240286 Bassb Clef Instruments ����$29�95 300 songs ings look the same, the song list is 00240231�������������������������������������� $29�95 nearly identical, and the price remains Hal Leonard proudly presents new “mini editions” of its best-selling Real Books. fair even on a musician’s salary! But ev- These 5.5" x 8.5" books include the ery conscientious musician will appreci- same songs as the larger versions. ate that these books are now produced The Real Book, Volume I – legally and ethically, benefitting the Mini Edition songwriters that we owe for some of 00240292 C Instruments ������������������ $27�95 the greatest music ever written! The Real Book, Volume II – Mini Edition Please visit halleonard.com 00240293 C Instruments ������������������ $27�95 for complete song lists.
    [Show full text]
  • Netkatalog 50 – Jazzbøger
    Netkatalog 50 – Jazzbøger [695298] AKE, DAVID, CHARLES HIROSHI GARRETT and DANIEL GOLDMARK (eds.). Jazz/ Not Jazz - The Music and its Boundaries. University of California Press, Berkeley 2012. 301 pages. Original boards. Fine. DKK 125 [695259] AKE, DAVID. Jazz Cultures. University of California Press, Berkeley 2002. XIII+223 pages. Illustrated in b/w. Orig. soft cover. Near fine+. DKK 150 [695111] BALLETT, WHITNEY. New York Notes. A Journal of Jazz 1972-1975. Houghton Mifflin Company, Boston 1976. 250 opages. Orig. black cloth in priceclipped dust wrapper. Bookplate on pastedown. Near fine-/very good+ wrapper. DKK 200 [695106] BASIE, COUNT - JEPSEN, JORGEN GRUNNET (ed.). A Discography of Count Basie 1951- 1968. Karl Emil Knudsen, Copenhagen 1969. Small 8vo. 44 pages. Orig. soft cover. Contemporary note on last page and it's verso. Very good++. DKK 75 [695178] BASIE, COUNT - SCHERMAN, BO and CARL A. HÄLLSTRÖM (ed.). A Discography of Count Basie 1929-1950. Karl Emil Knudsen, Copenhagen [1969]. Small 8vo. 52 pages. Orig. soft cover. Contemporary note on last page. A little wear to lower spine. near fine-. DKK 75 [695092] BECHET, SIDNEY. Treat it Gentle. An Autobiography by Sidney Bechet. Da Capo Press, New York 1975. Reprint. VI+245 pages + plates in b/w. Orig.orange cloth. Bookplate on pastedown. Near fine- DKK 200 * Da Capo Press reprint series Roots of Jazz. [695286] BERENDT, JOACHIM-ERNST and GÜNTHER HUESMANN. The Jazz Book. From Ragtime to the 21st Century. Lawrence Hill Books, Chicago 2007. XIV+754 pages. Orig. black cloth in dust wrapper. Bookplate on pastedown. Near fine/near fine+ wrapper. DKK 200 [695051] BJERSTEDT, SVEN.
    [Show full text]
  • Beyond Modern Jazz
    BEYOND MODERN JAZZ THE EVOLUTION OF POSTMODERN JAZZ PERFORMANCE AND COMPOSITION FROM 1969 TO THE PRESENT DAVID OWEN RESTIVO A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO OCTOBER, 2017 © David Owen Restivo, 2017 ABSTRACT In the following paper, I will address what I perceive to be a gap in scholarship regarding the evolution of African-American classical music (popularly referred to as ‘jazz’) following the end of its primary phase of development, which I would refer to as the pre- modern and modern periods, and which I define as stretching roughly from the turn of the last century until the end of the 1960s. To this end, I will borrow from concepts of postmodernism as expressed by Jean-François Lyotard, James Morley, and Kenneth Gloag, in order to attempt to define what I feel it means within the context of the jazz lineage. In the process of examining this ‘post-history’, I will bring particular focus to the contributions of two key figures, Keith Jarrett and Wynton Marsalis. I will also look at a series of my own compositions and consider where they fit into the ‘postmodern’ paradigm. ii ACKNOWLEDGEMENTS Many thanks to the following people, without whom this project would not have been possible: Dr. Sundar Viswanathan; Prof. Barry Elmes; Prof. Michael Coghlan; Prof. Ron Westray; Prof. David Mott; Prof. Paul Sych; Tere Tilban-Ross; Peggy Jane Hope; Mary Margaret Hope-Restivo; Dr. Valerie Alia; Dr. Sal Restivo; Dan Restivo; Alan Henderson; Terry Promane; Fawn Fritzen; Mark Chambers.
    [Show full text]
  • Teaching Jazz
    Teaching jazz: A study of beliefs and pedagogy using Legitimation Code Theory Saul Richardson A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of Sociology and Social Policy Faculty of Arts and Social Sciences The University of Sydney 2019 Statement of Originality This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Signature Saul Richardson September 2019 ii Abstract This thesis explores how playing jazz can be taught to children and young people in a field that can hide its own basis of achievement. How to play jazz, how achievement is measured, and how it can be taught are problematic. The thesis looks at why the basis may be invisible to new players and what can be done. Research highlights that many Australian and US school music teachers may lack expertise in jazz, it is uncommon for jazz musicians to be trained in pedagogy, and the public face of jazz may hide teaching and expertise, with potential implications for students’ learning or access to jazz for the those who may wish to engage creatively with playing it. Using a qualitative approach, the study first examines the field of jazz education, through a corpus of documentary sources, to explore the basis of achievement in rhetoric about pedagogy.
    [Show full text]
  • Bill Green Jazz Collection, 1950-1996
    http://oac.cdlib.org/findaid/ark:/13030/tf9s201041 No online items Finding Aid for the Bill Green Jazz Collection, 1950-1996 Collection processed and machine-readable finding aid created by UCLA Performing Arts Special Collections staff. UCLA Library, Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm © 2001 The Regents of the University of California. All rights reserved. Note Arts and Humanities--Music Finding Aid for the Bill Green Jazz 196 1 Collection, 1950-1996 Finding Aid of the Bill Green Jazz Collection, 1950-1996 Collection number: 196 UCLA Library, Performing Arts Special Collections University of California, Los Angeles Los Angeles, CA Contact Information University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm Processed by: Sonia Seeman Date Completed: May 2001 Encoded by: UCLA Performing Arts Special Collections staff © 2001 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Bill Green Jazz Collection, Date (inclusive): 1950-1996 Collection number: 196 Creator: Bill Green Extent: 130 boxes (65 linear ft.) Repository: University of California, Los Angeles. Library. Performing Arts Special Collections Los Angeles, California 90095-1575 Abstract: This collection documents the musical legacy of the saxophone player Bill Green.
    [Show full text]
  • De Tete Montoliu (1947-1958)
    El bebop en Barcelona: “primeros pasos” de Tete Montoliu (1947-1958) Teresa Luján Conservatorio Superior de Música de Navarra [email protected] BIBLID [2605-2490 (2020), 3; 35-54] El bebop en Barcelona: “primeros pasos” de Tete Montoliu (1947-1958) La figura del pianista catalán Tete Montoliu (1933-1997) fue determinante en los oríge- nes y para el posterior desarrollo del estilo bebop en España. Este artículo tiene como objetivo poner en valor las aportaciones de Tete Montoliu a través de un recorrido por la etapa más desconocida de su trayectoria jazzística: desde sus comienzos en Barcelona a finales de los años 40 hasta sus primeras grabaciones discográficas en los años 50 incluidas en el disco Tete Montoliu. Primeros Pasos (2006), de las cuales se aportará un breve comentario analítico. Palabras clave: jazz, bebop, Tete Montoliu, Barcelona, Hot Club. Bebop Bartzelonan: Tete Montoliuren “lehen urratsak” (1947-1958) Tete Montoliú (1933-1997) pianista katalana erabakigarria izan zen Espainian bebop estiloaren jatorrian eta ondorengo garapenean. Artikulu honek Tete Montoliuren ekar- pena nabarmendu nahi du bere jazz etapa ezezagunenean zehar ibilbidea eginez: 40ko hamarkada amaieran Bartzelonan hasi zenetik 50eko hamarkadako lehenengo graba- zioak arte, Tete Montoliu. Primeros Pasos (2006) albumean bildutako grabazioak, hain zuzen ere. Horiei buruzko iruzkin analitiko labur bat ere egiten da. Gako-hitzak: jazza, bebop, Tete Montoliu, Bartzelona, Hot Club. Bebop in Barcelona: “early steps” of Tete Montoliu (1947-1958) The figure of the Catalan pianist Tete Montoliu (1933-1997) was decisive in the origins and for the subsequent development of the bebop style in Spain. This article aims to value the contributions of Tete Montoliu, through the path by the most unknown stage of his jazz career: from his beginnings in Barcelona at the end of the 40s to his first record- ings in the 50s included in the album Tete Montoliu.
    [Show full text]
  • March 2-4, 2018
    38th Anniversary March 2-4, 2018 schedule and venue map inside 1 38 years of jammin, sound! BANDS 4th Street Five Jazz Band Gateway City Six Rebecca Kilgore Quartet Tenth Avenue Jazz Band 20th Century Jazz Band Gem City Jazz Band Red Lehr’s St. Louis Rivermen Titan Hot Seven 101st Army Dixieland Band Generic Swing Orchestra Rent Party Revellers Titanic Jazz Band Allan Vaché’s Big Four Gold Coast Jazz Band Rex Allen’s Swing Express Tom Rigney & Flambeau Au Brothers Jazz Band Golden Eagle Jazz Band Reynolds Brothers Rhythm Tom Saunders’ Midwest All-Stars Avalon Swing Golden Gate Rhythm Machine Rascals Tuleburg Jazz Band Banjo Buddies Dixieland Band Gonzalo Bergara Quartet Royal Society Jazz Orchestra Turk Murphy Tribute Band Barehanded Wolfchokers Goodtyme Jazz Band Ryan’s Raiders UC Davis Gospel Choir Barnhart-Midiri Quartet Grand Dominion Saxophobia Uptown Lowdown Jazz Band Beale Street Jazz Band Great American Jazz Band Shelley & Bill U.S. Marine Corps Dixieland BED Gremoli Side Street Strutters Band Beverly Hills Unlisted G-Whiz Boogie Band Sister Swing Vaché/Cocuzzi Quintet Big Mama Sue & Friends Hal’s Angels Six for the Show Variety Barbershop Quartet Big Tiny Little Hangtown Jazz Band Sorta Dixie Jazz Band Warehouse Reunion Band Bill Allred’s Classic Jazz Band High Sierra Jazz Band South Frisco Jazz Band We3 Black Diamond Jazz Band Hogin’s Heroes South Market Street Jazz Band Wharfside Wailers Black Dog Jazz Band Hot Cotton Jazz Band Specs Wild Bill Davison Tribute Black Swan Classic Jazz Band Hot Frogs Jumping Jazz Band Spirit of
    [Show full text]
  • Album Title Index
    Album Title Index (updated December 26, 2011) (Wolf Schmaler) Explanatory Information <1> Articles (The, A, Les, Die, Il) and first names at the beginning of an album title are not considered in the alphabetical order and listed in brackets, except they are an essential part of the album title (for example: Thelonious Himself). Numbers in titles are listed after letters. “[+1]”, “[+2]” (indicating more tracks than on the original) are not treated as part of the title <2> Album titles beginning with a number or a Roman numeral are listed after “Z”. “&” is listed like “and”. <3> The list includes all mentioned album titles in The Reference, with Coltrane’s participation or not, also album titles mentioned in the “typos and small corrections” and “issues/reissues” lists for the web site (marked as: “<see typos …>” or “<see “issues/reissues”>”). These entries and according page numbers are in bold types. There are bold notes “<for research>”, too, for releases that need a further check - these will be replaced in a future update. <4> Page numbers through 366 refer to the Chronology, page numbers 367 and higher refer to the Discography or Appendices. <5> Many albums are listed twice or more times, under titles and different “subtitles”; an example: CD Rhino R2-71255 “The John Coltrane Anthology: The Last Giant” is listed under “C”: (The John) Coltrane Anthology: The Last Giant and under “L”: (The) Last Giant: The John Coltrane Anthology <6> In a few cases reissues with a different title than the original are only listed for the first session they appear in the discography, but not for further sessions - so in these cases the page numbers do not show all mentions of this special issue.
    [Show full text]