Kenny Burrell Kenny Burrell Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Kenny Burrell Kenny Burrell mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Kenny Burrell Country: US Released: 1956 Style: Hard Bop, Bop MP3 version RAR size: 1734 mb FLAC version RAR size: 1777 mb WMA version RAR size: 1855 mb Rating: 4.5 Votes: 480 Other Formats: VQF RA MP2 MP4 WAV FLAC MP1 Tracklist Hide Credits Get Happy A1 Written-By – Arlen*, Koehler* But Not For Me A2 Written-By – Gershwin* Mexico City A3 Written-By – Kenny Dorham Moten Swing A4 Written-By – Bennie Moten, Buster Moten Cheeta B1 Written-By – Kenny Burrell Now See How You Are B2 Written-By – Pettiford*, Harris* Phinupi B3 Written-By – Kenny Burrell How About You B4 Written-By – Lane*, Freed* Companies, etc. Recorded At – Van Gelder Studio, Hackensack, New Jersey Recorded At – Audio-Video Studios Copyright (c) – Liberty Records, Inc. Credits Bass – Oscar Pettiford (tracks: A4, B1, B2, B3, B4), Paul Chambers (tracks: A1), Sam Jones (tracks: A3) Design [Cover Artwork] – Andy Warhol Design [Cover] – Reid Miles Drums – Arthur Edgehill (tracks: A3), Kenny Clarke (tracks: A1), Shadow Wilson (tracks: A4, B1, B2, B3, B4) Liner Notes – Leonard Feather Percussion – Candido (tracks: A1) Piano – Bobby Timmons (tracks: A3), Tommy Flanagan Producer – Alfred Lion Recorded By [Recording By], Mastered By [Mastering By] – Rudy Van Gelder Tenor Saxophone – Frank Foster (tracks: B2, B3, B4), J.R. Monterose (tracks: A3) Trumpet – Kenny Dorham (tracks: A3) Notes Recorded at the Audio-Video Studios, NYC on March 12, 1956 (tracks A4 to B4), at the Rudy Van Gelder Studio, Hackensack, NJ, on May 29, 1956 (track A1) and on May 30, 1956 (tracks A2, A3). Electronically Re-Recorded To Simulate Stereo. Blue and white Liberty label. Barcode and Other Identifiers Matrix / Runout: BNST-81543-A Matrix / Runout: BNST-81543-B Other versions Category Artist Title (Format) Label Category Country Year Kenny Burrell (LP, Album, BLP 1543 Kenny Burrell Blue Note BLP 1543 US 1956 Mono) Kenny Burrell (CD, Album, TOCJ-1543 Kenny Burrell Blue Note TOCJ-1543 Japan 1996 Mono, RE, RM) Kenny Burrell (LP, Album, BN 1543 Kenny Burrell Blue Note BN 1543 Japan 1989 Mono, RE) Kenny Burrell (LP, Album, BLP 1543 Kenny Burrell Blue Note BLP 1543 US Unknown Mono, RE, Mic) Kenny Burrell (LP, Album, LNJ-70129 Kenny Burrell Blue Note LNJ-70129 Japan 1976 Mono) Related Music albums to Kenny Burrell by Kenny Burrell Kenny Burrell - Sunup To Sundown Kenny Burrell - 11 Greatest Jazz Hits Coltrane / Jaspar / Sulieman / Young - Interplay For 2 Trumpets And 2 Tenors Kenny Burrell - Handcrafted Shirley Scott & Kenny Burrell - Travelin' Light Kenny Burrell - Blue Lights, Volume 1 Thad Jones / Kenny Burrell / Frank Wess / Mal Waldron / Paul Chambers / Arthur Taylor, The Prestige All Stars - After Hours Kenny Burrell & John Coltrane - Kenny Burrell & John Coltrane The Kenny Burrell Trio - A Night At The Vanguard John Jenkins / Kenny Burrell - John Jenkins With Kenny Burrell.

Copy Link

Recommended publications

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
[Show full text]
Duke Ellington Kyle Etges Signature Recordings Cottontail
Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke Ellington, states that Cottontail “opened a window on the future, predicting elements to come in jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more grandiose pieces with more extended forms.
[Show full text]
Thelonious Monk: Life and Influences Thelonious Monk: Life and Influences
William Hanson Falk Seminar Spring 2008 Thelonious Monk: Life and Influences Thelonious Monk: Life and Influences Thelonious Monk was a prolific and monumental figure in modem jazz. He directly contributed to the evolution of bebop, as well as influenced the development of free jazz, and the contributed additions to the standard jazz repertoire. Monk branched out fiom his influences, including swing, gospel, blues, and classical to create a unique style of composition and performance. Monk more than any other major figure in bebop, was, and remains, an original1 Monk's life can be categorized into three periods: the early, the middle, and late period. Each period lasts roughly twenty years: from 1917- 1940,1940-1960, and from 1960-1982. In Monk's early period he toured the US playing gospel music, and found early influences in swing music like Duke Ellington. It wasn't until his middle period that Monk began to record and write his compositions, and in his late period he toured the world with other renowned musicians playing bebop. Thelonious Junior ~onl?was born October 10,191 7 in Rocky Mountain, North Carolina to Barbara Batts Monk and Thelonious Monk, Senior. Thelonious was the middle child, with an older sister, Marion born in 1915, and younger brother, Thomas born in 1919. Monk's birth certificate lists his father as an ice puller, and his mother as a household worker. Although both of his parents could read and write, they struggled to make enough to live on. In 1922 Thelonious' mother insisted that she take the family to New York to make a better living.
[Show full text]
The Jazz Record
oCtober 2019—ISSUe 210 YO Ur Free GUide TO tHe NYC JaZZ sCene nyCJaZZreCord.Com BLAKEYART INDESTRUCTIBLE LEGACY david andrew akira DR. billy torn lamb sakata taylor on tHe Cover ART BLAKEY A INDESTRUCTIBLE LEGACY L A N N by russ musto A H I G I A N The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year.
[Show full text]
Cardinal Sins
Cardinal Sins Volume 29, Issue 1 The fine arts and literature magazine of Saginaw Valley State University 7400 Bay Road University Center, MI 48710 www.svsu.edu/cardinalsins Produced by the students and staff of Saginaw Valley State University and published on campus by the Graphics Center, Cardinal Sins features art, photography, poetry, and prose by members of the SVSU community, including alumni. All submissions are considered for publication. Selection is made by blind voting of the staff, who are excluded from receiving an award in any category. Cardinal Sins uses Adobe InDesign. This issue features MyriadPro and American Typewriter fonts. Copyright 2009, Cardinal Sins. All subsequent publishing rights revert to the artists. Cover designed by Nicole Vlisides. SVSU does not discriminate based on race, religion, color, gender, sexual orientation, national origin, age, physical impairment, disability or veteran status in the provision of education, employment and other services. Cardinal Sins Editor-in-Chief Amelia Glebocki Editorial Staff Charles Davenport Beth Erbacher Noah Essenmacher Chris Giroux Emily Krueger Kirsten McIlvenna Kelly Mundt Tracy Thiel Tim Windy Business Manager Alex Soares Web Manager Trevor Baranek Academic Adviser Peter Brian Barry Administrative Support Patricia Latty Sharon Opheim Table of Contents Editor’s Note...................................................................................................................8 Black & White Artwork The Battle Cassandra Birchmeier...........................................................................14
[Show full text]
JELLY ROLL MORTON's
1 The TENORSAX of WARDELL GRAY Solographers: Jan Evensmo & James Accardi Last update: June 8, 2014 2 Born: Oklahoma City, Oklahoma, Feb. 13, 1921 Died: Las Vegas, Nevada, May 25, 1955 Introduction: Wardell Gray was the natural candidate to transfer Lester Young’s tenorsax playing to the bebop era. His elegant artistry lasted only a few years, but he was one of the greatest! History: First musical studies on clarinet in Detroit where he attended Cass Tech. First engagements with Jimmy Raschel and Benny Carew. Joined Earl Hines in 1943 and stayed over two years with the band before settling on the West Coast. Came into prominence through his performances and recordings with the concert promoter Gene Norman and his playing in jam sessions with Dexter Gordon.; his famous recording with Gordon, “The Chase” (1947), resulted from these sessions as did an opportunity to record with Charlie Parker (1947). As a member of Benny Goodman’s small group WG was an important figure in Goodman’s first experiments with bop (1948). He moved to New York with Goodman and in 1948 worked at the Royal Roost, first with Count Basie, then with the resident band led by Tadd Dameron; he made recordings with both leaders. After playing with Goodman’s bigband (1948-49) and recording in Basie’s small group (1950-51), WG returned to freelance work on the West Coast and Las Vegas. He took part in many recorded jam sessions and also recorded with Louie Bellson in 1952-53). The circumstances around his untimely death (1955) is unclear (ref.
[Show full text]
Kenny Burrell
Kenny Burrell One of the leading exponents of straight-ahead jazz guitar, Kenny Burrell is a highly influential artist whose understated and melodic style, grounded in bebop and blues, made him in an in-demand sideman from the mid-'50s onward and a standard by which many jazz guitarists gauge themselves to this day. Born in Detroit in 1931, Burrell grew up in a musical family in which his mother played piano and sang in the Second Baptist Church choir and his father favored the banjo and ukulele. Burrell began playing guitar at age 12 and quickly fell under the influence of such artists as Charlie Christian, Django Reinhardt, Oscar Moore, T-Bone Walker, and Muddy Waters. Surrounded by the vibrant jazz and blues scene of Detroit, Burrell began to play gigs around town and counted among his friends and bandmates pianist Tommy Flanagan, saxophonists Pepper Adams and Yusef Lateef, drummer Elvin Jones, and others. In 1951, Burrell made his recording debut on a combo session that featured trumpeter Dizzy Gillespie as well as saxophonist John Coltrane, vibraphonist Milt Jackson, and bassist Percy Heath. Although his talent ranked among the best of the professional jazz players at the time, Burrell continued to study privately with renowned classical guitarist Joe Fava and enrolled in the music program at Wayne State University. Upon graduating in 1955 with a B.A. in music composition and theory, Burrell was hired for a six-month stint touring with pianist Oscar Peterson's trio. Then, in 1956, Burrell and Flanagan moved to New York City and immediately became two of the most sought-after sidemen in town, performing on gigs with such luminaries as singers Tony Bennett and Lena Horne, playing in Broadway pit orchestras, as well as recording with an array of legendary musicians including Coltrane, trumpeter Kenny Dorham, organist Jimmy Smith, vocalist Billie Holiday, and many others.
[Show full text]
Leo Parker “Mad Lad ”
1 The BARITONESAX of LEO PARKER “MAD LAD ” Solographer: Jan Evensmo Last update: April 6, 2020 2 Born: Washington D. C., April 18, 1925 Died: NYC. Feb. 11, 1962 Introduction: Leo Parker was one of the very first bebop baritonesax performers and therefore an interesting subject. However, I am not sure we liked his playing very much …, too rough for us. Nevertheless, as time goes by, it is obvious that he is a candidate for jazz archeology! History: He first recorded on alto saxophone with Coleman Hawkins in 1944 (not quite true, see below). He changed to baritone saxophone during his tenure with Billy Eckstine’s orchestra (1944-46) and became known as one of the finest performers in the bop style on that instrument, modelling his playing on that of Charlie Parker. He worked on 52nd Street with a small group led by Dizzy Gillespie in 1946, and performed briefly in Gillespie’s big band. His recording with Sir Charles Thompson of “Mad Lad” (1947), which gained him wider public attention, demonstrates a style of improvisation combining elements of bop with an extroverted rhythm-and-blues idiom. In 1947 Leo Parker joined the group led by Illinois Jacquet and worked intermittently with Jacquet into the 1950s. In the 50s LP had problems with drug abuse, which interfered with his recording career. He recorded two albums as a leader shortly before his death by heart attack (ref. New Grove Dictionary of Jazz, and Wikipedia). 3 LEO PARKER SOLOGRAPHY TRUMMY YOUNG Chi. Feb. 7, 1944 Trummy Young (tb), Leo Parker (as), Harry Curtis (ts), John Malachi (p), Tommy Potter (b), Eddie Byrd (dm).
[Show full text]
Jazzletter PO Box 240, Ojai CA 93024-0240
Gene Lees Jazzletter PO Box 240, Ojai CA 93024-0240 November 1999 Vol. 18 N0. 11 Other Voices imposing licensing and record-keepingrequirements on gun dealers and prohibiting firearms purchasers from providing false state- I finished reading Slaughterhouse '99 and a depressed day trader ments, and even an Illinois ban on possession of most handgims. goes on a spree in Atlanta. Then a man who wants to give a . In these cases, the courts have held that the Second Amend- “wake-up call to America to kill the Jews” opens fire in Los ment guarantees a ‘collective right’, not an individual one.” Angeles on little children. “Pith schools starting this week all over The cowardice is found not necessarily in the courts but rather America, should we ask Tom Selleck where the next rampage will in the state legislatures and the Congress, greedily trousering NRA occur? . dollars and doing their bidding. As your favorite songwriter said, You may want to ask the impressive liberal Ted Turner, now “Money doesn’t talk, it swears." Of course, with the present a part of the Time-Life-Warner cartel. If he is a liberal, he has a composition of the “Renchburg” court, as Nixon once called him, lovely way of showing it. there is no guarantee this modicum will continue. This Court seems Thanks for the altemative to crap you provide. determined to return the nation to the ante-bellum days of Henry - — Thomas Priesmeyer; Nashville, Tennessee Clay and John C. Calhoun arguing over states’ rights. I can ahnost hear Jesse Helms and Strom Thurmond calling for a reconsidera- Since your thoughtful and compelling article Slaughterhouse tion of the “unsettled slavery” issue.
[Show full text]
Jay J.Johnson the Original Jay & Kai Mp3, Flac
Jay J.Johnson The Original Jay & Kai mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: The Original Jay & Kai Country: Italy Style: Bop MP3 version RAR size: 1446 mb FLAC version RAR size: 1221 mb WMA version RAR size: 1824 mb Rating: 4.8 Votes: 742 Other Formats: MPC MIDI AC3 VOC MP1 ASF FLAC Tracklist A1 Bernie's Tune 3:59 A2 Lament 4:10 A3 Blue's For Trombones 5:10 A4 The Major 3:15 A5 Yesterdays 3:02 B1 Co-op 3:35 B2 Reflections 4:21 B3 Blues In Twos 4:56 B4 What Is This Thing Called Love 3:17 B5 Speak Low 2:53 Companies, etc. Recorded At – RCA Studios, Rome Printed By – Grafiche Boccadoro Credits Baritone Saxophone – Leo Parker (tracks: A5) Bass – Al Lucas (tracks: A5), Charlie Mingus* (tracks: A1 to A4, B1 to B4), Eddie Safranski (tracks: B5) Drums – Kenny Clarke (tracks: A1 to A4, B1 to B4), Shadow Wilson (tracks: A5), Tiny Kahn (tracks: B5) Engineer – Rudy Van Gelder (tracks: A1 to A4, B1 to B4) Guitar – Billy Bauer (tracks: A2 to A4, B4) Liner Notes – Jack McKinney Piano – Hank Jones (tracks: A5), Lou Stein (tracks: B5), Wally Cirillo (tracks: A1, B1 to B3) Supervised By – Ozzie Cadena (tracks: A1 to A4, B1 to B4) Trombone – J. J. Johnson* (tracks: A1 to B4), Kai Winding (tracks: A1 to A4, B1 to B5) Barcode and Other Identifiers Other: Lineatre - IKAP 32677 Other versions Category Artist Title (Format) Label Category Country Year Jay* & Kai* - Jay & Savoy MG 12010 Jay* & Kai* MG 12010 US 1955 Kai (LP, Album) Records Savoy SA 6016, 30 Records, SA 6016, 30 Jay* & Kai* - Jay & SA 6016, MU Jay* & Kai* Savoy SA 6016, MU France Unknown Kai (LP, Album, RE) 6016 Records, 6016 Musidisc J.J.
[Show full text]
Primary Sources: an Examination of Ira Gitler's
PRIMARY SOURCES: AN EXAMINATION OF IRA GITLER’S SWING TO BOP AND ORAL HISTORY’S ROLE IN THE STORY OF BEBOP By CHRISTOPHER DENNISON A thesis submitted to the Graduate School-Newark Rutgers University, The State University of New Jersey In partial fulfillment of the requirements of Master of Arts M.A. Program in Jazz History and Research Written under the direction of Dr. Lewis Porter And approved by ___________________________ _____________________________ Newark, New Jersey May, 2015 ABSTRACT OF THE THESIS Primary Sources: An Examination of Ira Gitler’s Swing to Bop and Oral History’s Role in the Story of Bebop By CHRISTOPHER DENNISON Thesis director: Dr. Lewis Porter This study is a close reading of the influential Swing to Bop: An Oral History of the Transition of Jazz in the 1940s by Ira Gitler. The first section addresses the large role oral history plays in the dominant bebop narrative, the reasons the history of bebop has been constructed this way, and the issues that arise from allowing oral history to play such a large role in writing bebop’s history. The following chapters address specific instances from Gitler’s oral history and from the relevant recordings from this transitionary period of jazz, with musical transcription and analysis that elucidate the often vague words of the significant musicians. The aim of this study is to illustratethe smoothness of the transition from swing to bebop and to encourage a sense of skepticism in jazz historians’ consumption of oral history. ii Acknowledgments The biggest thanks go to Dr. Lewis Porter and Dr.
[Show full text]
Exemplar Texts for Grades
COMMON CORE STATE STANDARDS FOR English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects _____ Appendix B: Text Exemplars and Sample Performance Tasks OREGON COMMON CORE STATE STANDARDS FOR English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects Exemplars of Reading Text Complexity, Quality, and Range & Sample Performance Tasks Related to Core Standards Selecting Text Exemplars The following text samples primarily serve to exemplify the level of complexity and quality that the Standards require all students in a given grade band to engage with. Additionally, they are suggestive of the breadth of texts that students should encounter in the text types required by the Standards. The choices should serve as useful guideposts in helping educators select texts of similar complexity, quality, and range for their own classrooms. They expressly do not represent a partial or complete reading list. The process of text selection was guided by the following criteria: Complexity. Appendix A describes in detail a three-part model of measuring text complexity based on qualitative and quantitative indices of inherent text difficulty balanced with educators’ professional judgment in matching readers and texts in light of particular tasks. In selecting texts to serve as exemplars, the work group began by soliciting contributions from teachers, educational leaders, and researchers who have experience working with students in the grades for which the texts have been selected. These contributors were asked to recommend texts that they or their colleagues have used successfully with students in a given grade band. The work group made final selections based in part on whether qualitative and quantitative measures indicated that the recommended texts were of sufficient complexity for the grade band.
[Show full text]