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A Moor Propre: Charles Albert Fechter's Othello
A MOOR PROPRE: CHARLES ALBERT FECHTER'S OTHELLO A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Matthew Scott Phillips, B.A. * * * * * The Ohio State University •· 1992 Thesis Committee: Approved by Alan Woods Joy Reilly Adviser Department of Theatre swift, light-footed, and strange, with his own dark face in a rage,/ Scorning the time-honoured rules Of the actor's conventional schools,/ Tenderly, thoughtfully, earnestly, FECHTER comes on to the stage. (From "The Three Othellos," Fun 9 Nov. 1861: 76.} Copyright by Matthew Scott Phillips ©1992 J • To My Wife Margaret Freehling Phillips ii ACKNOWLEDGEMENTS I express heartfelt appreciation to the members of my thesis committee: to my adviser, Dr. Alan Woods, whose guidance and insight made possible the completion of this thesis, and Dr. Joy Reilly, for whose unflagging encouragement I will be eternally grateful. I would also like to acknowledge the invaluable services of the British Library, the Jerome Lawrence and Robert E. Lee Theatre Research Institute and its curator, Nena Couch. The support and encouragement given me by my family has been outstanding. I thank my father for raising my spirits when I needed it and my mother, whose selflessness has made the fulfillment of so many of my goals possible, for putting up with me. Finally, I would like to thank my wife, Maggie, for her courage, sacrifice and unwavering faith in me. Without her I would not have come this far, and without her I could go no further. -
The New York City Jazz Record
BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 THE NEW YORK CITY JAZZ RECORD BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 ALBUMS OF THE YEAR CONCERTS OF THE YEAR MISCELLANEOUS CATEGORIES OF THE YEAR ANTHONY BRAXTON—Solo (Victoriaville) 2017 (Victo) BILL CHARLAP WITH CAROL SLOANE DARCY JAMES ARGUE’S SECRET SOCIETY PHILIPP GERSCHLAUER/DAVID FIUCZYNSKI— January 11th, Jazz Standard Dave Pietro, Rob Wilkerson, Chris Speed, John Ellis, UNEARTHED GEMS BOXED SETS TRIBUTES Mikrojazz: Neue Expressionistische Musik (RareNoise) Carl Maraghi, Seneca Black, Jonathan Powell, Matt Holman, ELLA FITZGERALD—Ella at Zardi’s (Verve) WILLEM BREUKER KOLLEKTIEF— TONY ALLEN—A Tribute to Art Blakey REGGIE NICHOLSON BRASS CONCEPT Nadje Noordhuis, Ingrid Jensen, Mike Fahie, Ryan Keberle, Out of the Box (BVHaast) and The Jazz Messengers (Blue Note) CHARLES LLOYD NEW QUARTET— Vincent Chancey, Nabate Isles, Jose Davila, Stafford Hunter Jacob Garchik, George Flynn, Sebastian Noelle, TUBBY HAYES QUINTET—Modes and Blues Passin’ Thru (Blue Note) February 4th, Sistas’ Place Carmen Staaf, Matt Clohesy, Jon Wikan (8th February 1964): Live at Ronnie Scott’s (Gearbox) ORNETTE COLEMAN—Celebrate Ornette (Song X) KIRK KNUFFKE—Cherryco (SteepleChase) THE NECKS—Unfold (Ideological Organ) January 6th, Winter Jazzfest, SubCulture STEVE LACY—Free For A Minute (Emanem) WILD BILL DAVISON— WADADA LEO SMITH— SAM NEWSOME/JEAN-MICHEL PILC— ED NEUMEISTER SOLO MIN XIAO-FEN/SATOSHI TAKEISHI THELONIOUS MONK— The Danish Sessions: -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Medeski Martin & Wood Last Chance to Dance Trance
Medeski Martin & Wood Last Chance To Dance Trance (Perhaps) Best Of (1991-1996) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Jazz Album: Last Chance To Dance Trance (Perhaps) Best Of (1991-1996) Country: Canada Released: 1999 Style: Breakbeat, Jazz-Rock, Future Jazz, Drum n Bass MP3 version RAR size: 1859 mb FLAC version RAR size: 1238 mb WMA version RAR size: 1713 mb Rating: 4.1 Votes: 516 Other Formats: AA MP3 DMF MP2 WAV APE MP1 Tracklist Hide Credits Chubb Sub Edited By – Bob WardEdited By [With] – Bob WardMastered By – Dr. Toby 1 5:21 Mountain*Producer – David Baker, Jim Payne, MMW*Recorded By – David BakerWritten-By – Medeski Martin & Wood Bubblehouse Engineer [Assistant] – Carl Green, Mark KindermanEngineer [Recording] – David 2 4:28 BakerExecutive Producer – Hans WendlMastered By – Dr. Toby Mountain*Mixed By [With] – David Baker, Katsu NaitoProducer – db*, MMW*Written-By – MMW* Last Chance To Dance Trance (Perhaps) 3 Edited By – Bob WardMastered By – Dr. Toby Mountain*Producer – David Baker, Jim 7:38 Payne, MMW*Recorded By – David BakerWritten-By – Medeski Martin & Wood Hermeto's Daydream Edited By – Bob WardMastered By – Bob AppelMixed By – David Baker, John SiketRecorded 4 7:11 By [Baby Monster] – David BakerRecorded By [Water Music] – Roger TeltzmanWritten-By – Billy Martin, John Medeski Is There Anybody Here That Love My Jesus Arranged By – MMW*Edited By [With] – Bob WardEngineer [Assistant] – Carl Green, Mark 5 KindermanEngineer [Recording] – David BakerExecutive Producer – Hans WendlMastered 4:26 By – Dr. Toby Mountain*Mixed By [With] – David Baker, Katsu NaitoProducer – db*, MMW*Written-By – Traditional The Lover 6 Edited By – Bob WardMastered By – Dr. -
John Medeski Mit «Medeski, Martin & Wood» – Groove. What Else?
Jazz Collection: John Medeski mit «Medeski, Martin & Wood» – Groove. What else? Dienstag, 9. Juni 2020, 21.00 – 22.00 Uhr Radio SRF 2 Kultur Samstag, 13. Juni 2020, 17.06 – 18.30 Uhr (mit Bonustracks) Eng verzahnt und gleichzeitig entspannt: das New Yorker Trio «Medeski, Martin & Wood» setzt seit bald drei Jahrzehnten Massstäbe in Sachen Groove. Eine explosive Mischung aus Funk, Jazz und experimentellen Klängen, die sogar in langsamen Tempi zum Kochen kommt. Medeski, Martin & Wood produzieren ihre Alben mit der grossen Geste, ganz im Stil von Popmusik. Die Musik dieses eingeschworenen Trios lässt aber auch wegen ihrer klanglichen Vielseitigkeit aufhorchen. Grund dafür ist vor allem John Medeskis Faible für authentische Synthesizer. Der Organist, Pianist und Multitastenkünstler bringt jedes seiner alten Instrumente auf ganz spezifische Art zum Klingen. 55 Jahre alt wird John Medeski im Juni. Der Zürcher Organist Marcel Thomi verfolgt sein Schaffen seit Jahren und diskutiert darüber mit Annina Salis. Gast: Marcel Thomi Redaktion und Moderation: Annina Salis Interpret*in Titel Komponist*in Album / Label Medeski, Martin & Wood Fuck You Guys (First Take) John Medeski 20 / Indirecto Records (2011) John Medeski, keys; Billy Martin, dr; Chris Wood, b Medeski, Martin & Wood Orbits Wayne Shorter Notes from the Underground / Accurate Records (1995) Medeski, Martin & Wood Is There Anybody Here That Loves Trad. Shack-Man / Gramavision My Jesus (1996) Medeski, Martin & Wood Anonymous Skulls John King / Billy Martin / End of the World Party (Just in -
July-August 2012
July • August, 2012 Issue 343 jazz &blues report now in our 38th year San Francisco Jazz Festival Sonny Rollins July • August 2012 • Issue 343 SFJAZZ ANNOUNCES 30TH ANNIVERSARY SAN FRANCISCO JAZZ FESTIVAL LINEUP FOR FALL 2012 San Francisco - SFJAZZ, one of the nation’s leading non-profit jazz organi- zations, celebrates the 30th anniversary of the San Francisco Jazz Festival this fall, with a star-studded lineup of concerts kicking off on August 25th and running through December 7th. The landmark season will feature shows by Esperanza Editor & Founder Spalding, Sonny Rollins, Ornette Coleman, Diane Reeves, Branford Marsalis, Bill Wahl Gilberto Gil, along with countless other talented artists. This year’s festival will Layout & Design Bill Wahl feature the following series: Jazz Continuum: Operations Jim Martin • August 25: 2011 Best New Artist Grammy Winner Esperanza Spalding Pilar Martin • September 28: Brecker Brothers Band Reunion with Randy Brecker, Mike Contributors Stern & Dave Weckl Michael Braxton, Mark Cole, Dewey Forward, Nancy Ann Lee, Peanuts, • September 29: ‘80s Miles Revisited, from Miles Smiles with Wallace Roney, Wanda Simpson, Mark Smith, Duane Bill Evans, Robben Ford, Joey DeFrancesco, Darryl Jones & Omar Hakim Verh, Emily Wahl and Ron Wein- • October 5: A solo by Branford Marsalis stock. • October 11: Singular artist Marcus Miller • October 28: Belgian harmonica player Grégoire Maret and his quartet Brilliance From Brazil: Check out our constantly updated website. Now you can search for • October 19: Brazilian pianist Elaine Elias CD Reviews by artists, titles, record • October 25: Musical revolutionary GilbertoPhoto Gil by Martin Philbey labels, keyword or JBR Writers. 15 • November 3: A rare unplugged piano performance by Ivan Lins years of reviews are up and we’ll be Jazz Giants: going all the way back to 1974. -
Monterey Jazz Festival
DECEMBER 2018 VOLUME 85 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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; -
Barenaked Ladies Are Stunt Men
Ed Robertson, Steven Page, Tyler Stewart, Jim Creeggan, Kevin Hearn of Bare Naked Ladies REPRISE RECORDS BARENAKED LADIES ARE STUNT MEN That headline shouldn't seem too shocking, since Barenaked Ladies have become ing about how they'd sung the national anthem at that afternoon's Philladelphia Flyers one of the biggest success stories of the rock world this year. I first heard of them years game and this somehow lead to a medley of every Hall and Oates song they could ago when they sang an anti-racism song on a Fox Saturday morning PSA where remember. Earlier, they rapped about Scooby-Doo and cheesesteaks completely off the _ singer/guitarist Ed Robertson was painted green as a space alien. top of their heads. The setlist was made up mostly of songs from Stunt. The crowd joey Odorisio Their 1992 debut album Gordon was a huge hit in their native went nuts for "One Week" and knew every word. Canada, and had a few college hits here in the U.S. with "Be My The band's silliness continued throughout the show. A guy was lowered from the SruFWRIIER ------- Yoko Ono" and "If I Had $1,000,000." Two years ago, Barenaked rafters during "Shoebox" to merely playa tambourine, and a giant flashing "BNL" sign Ladies (BNL for short) had their biggest U.S. radio hit with ''The came down behind the band' at one point, leading to jokes about KISS. Robertson got Old Apartment" and another one last year with a live version of Gordon s "Brian a security guard to play "Smoke On the Water" with him, then the whole band played Wilson." However, this summer they exploded with "One Week" from their fourth stu some of the song, singing "meet the security guard!" "The Old Apartment" was anoth dio album Stunt and played on the H.O.R.D.E. -
Michel Chion's Audio-Vision Bravely Sets out to Rectify
In Audio-Vision, the French composer-filmmaker-critic Michel Chion presents a reassessment of the audiovisual media since sound's revolutionary debut in 1927 and sheds light on the mutual influ ences of sound and image in audiovisual perception. Chion expands on the arguments from his influential trilogy on sound in cinema—La Voix au cinema, Le Son au cinema, and La Toile trouee—while providing an overview of the functions and aesthetics of sound in film and television. He considers the effects of evolving audiovisual technologies such as widescreen, multi- track sound, and Dolby stereo on audio-vision, influences of sound on the perception of space and time, and contemporary forms of audio-vision embodied in music videos, video art, and commercial television. His final chapter presents a model for audiovisual analysis of film. Walter Murch, who contributes the foreword, has been hon ored by both the British and American Motion Picture Academies for his sound design and picture editing. He is especially well- known for his work on The Godfather, The Conversation, and Apoc alypse Now. "Michel Chion is the leading French cinema scholar to study the sound track. ... I know of no writer in any language to have published as much in this area, and of such uniformly high quality, a, he." ALAN W|LUAMS RUTGERS UNIVERSITY MICHEL CHION is an experimental composer, a director of short films, and a critic for Cahiers du cinema. He has pub lished books on screenwriting, Jacques Tati, David Lynch, and Charlie Chaplin, in addition to his four books on film sound. -
The Birth of the Mob: Representations of Crowds in Archaic and Classical Greek Literature by Justin Jon Schwab
The Birth of the Mob: Representations of Crowds in Archaic and Classical Greek Literature By Justin Jon Schwab A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Leslie Kurke, Chair Professor Mark Griffith Professor Daniel F. Melia Fall 2011 Abstract The Birth of the Mob: Representations of Crowds in Archaic and Classical Greek Literature by Justin Jon Schwab Doctor of Philosophy in Classics University of California, Berkeley Professor Leslie Kurke, Chair This dissertation surveys the representation of crowds and related phenomena in Homer, the Attic tragedians, and Aristophanes. The first chapter begins by noting that while recent scholarship has explored the role of the crowd in ancient Roman history and literature, virtually no similar work has been done in archaic and classical Greek studies. Admittedly, Greek poleis were on a much smaller scale than was Rome, and it may be for this reason that classical scholars have assumed “the” crowd is not a feature of ancient Greek society. In order to explain why this absence of study is due to a limited understanding of what crowds are, I survey the development of crowd theory and mass psychology in the modern era. I adopt the model of Elias Canetti’s Crowds and Power, which studies crowds as part of a spectrum of group behavior, ranging from small “packs” to imagined crowds at the level of a nation. Under this expanded model, I argue that crowds are universal human phenomena whose representations in archaic and classical Greek literature are fruitful objects of study. -
~Lagf8lu COMPANIES INC
October 2000 BAMcinematek 2000 Next Wave Festival Brooklyn Philharmonic Robert Frank. Laura. 1998 BAM Next Wave Festival sponsor: PHILIP MORRIS ~lAGf8lU COMPANIES INC. Brooklyn Academy of Music Bruce C. Ratner Alan H. Fishman Chairman of the Board Chairman of the Campaign for BAM Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents A Magic Science: Celebrating Jimi Hendrix Running time: BAM Howard Gilman Opera House approximately October 20, 2000, at 8pm (gala performance) two hours with no October 21, 2000, at 7:30pm intermission With Medeski Martin & Wood The Gil Evans Orchestra under the direction of Miles Evans Vernon Reid Featuring Chris Whitley Marc Anthony Thompson Sandra St. Victor OJ Logic and Glenn McKay's Light Show Jonathan "Futz" Cappel stage Iighti ng Danny Kapilian producer The Next Wave Festival Gala is sponsored by Philip Morris Companies Inc. and Ql04.3, with support from Dan Klores Associates and Pine Ridge Wineries. Next Wave Music supported by The Aaron Copland Fund for Music, Inc. 29 Original artwork by Glenn McKay· A Magic Science: Celebrating Jimi Hendrix Medeski Martin & Wood Vernon Reid guitars John Medeski keyboards Chris Whitley guitars Billy Martin drums and percussion Marc Anthony Thompson lead Yocals Chris Wood basses Sandra St. Victor lead Yocals DJ Logic turntables The Gil Evans Orchestra Gil Evans and Miles Evans horn arrangements Miles Evans band leader, trumpet David Bargeron trombone Glenn McKay projected light images Kenny Berger baritone saxophone, Patricia Fox stage manager bass clarinet Philip Harvey sound mix Hiram Bullock guitar Chris Hunter alto saxophone David Mann soprano and tenor saxophones, flute Badal Roy tablas 30 Producer's Note A Magic Science Experience '~ny claim to know where Jimi Hendrix might have taken his talents and interests had he lived is absurd. -
Julyissuesingle.Pdf
The Independent Journal ofCreative Improvised Music cadence Vol 38 No3 JUL AUG SEP 2012 The New York City Jazz Record EXCLUSIVE CONTENT ON JAZZ & IMPROVISED MUSIC IN NEW YORK CITY COMPETITIVE & EFFECTIVE ADVERTISING: [email protected] SUBSCRIPTIONS AND GENERAL INFO: [email protected] FOLLOW US ON TWITTER: @NYCJAZZRECORD www.nycjazzrecord.com Cadence The Independent Journal of Creative Improvised Music July - August - September 2012 ABBREVIATIONS USED Vol. 38 No. 3 (401) IN CADENCE Cadence ISSN01626973 is published quarterly online acc: accordion and annually in print by as: alto sax Cadence Media LLC, bari s : baritone sax P.O. Box 282, Richland, OR 97870 b cl: bass clarinet bs: bass sax PH 315-289-1444 bsn: bassoon cel: cello Email: [email protected] cl: clarinet cga: conga www.cadencejazzmagazine.com cnt: cornet d: drums Subscriptions: 1 year: el: electric First Class USA: $65 elec: electronics Outside USA : $70 Eng hn: English horn PDF Link and Annual Print Edition: $50, Outside USA $55 euph: euphonium Coordinating Editor: David Haney flgh: flugelhorn Copy Editors: Kara D. Rusch, Jeffrey D. Todd flt: flute Transcriptions: Colin Haney, Paul Rogers, Rogers Word Fr hn: French horn Services g: guitar Art Director: Alex Haney hca: harmonica Crosswords: Ava Haney Martin kybd: keyboards Promotion and Publicity: Tiffany Rozee ldr: leader Advisory Committee: ob: oboe Jeanette Stewart org: organ Colin Haney perc: percussion Robert D. Rusch p: piano Abe Goldstein pic: piccolo rds: reeds ALL FOREIGN PAYMENTS: Visa, Mastercard, Pay Pal, and ss: soprano sax Discover accepted. sop: sopranino sax POSTMASTER: Send address change to Cadence Magazine, P.O. synth: synthesizer Box 282, Richland, OR 97870 ts: tenor sax © Copyright 2012 Cadence Magazine tbn: trombone Published by Cadence Media, LLC.