DOCSLIB.ORG

|||GET||| Miles Davis 1St Edition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
|||GET||| Miles Davis 1St Edition MILES DAVIS 1ST EDITION DOWNLOAD FREE Clarence Bernard Henry | 9781317228400 | | | | | Miles Davis Then you have Miles himself, nearly 40 years old? The Guardian. Black Sabbath - every album - ranked! Views Read Edit View history. Carter departed during the sessions for Filles de Kilimanjaroand Williams left in early to start his own band, the Tony Williams Lifetimestaying on with Davis to record the groundbreaking In a Silent Way. So glad I woke up early that random Saturday morning to go crate digging. These recordings changed the course of modern jazz and paved the way Miles Davis 1st edition the West Coast styles of the s. American Jazz Classics. This, with saxophonist John Coltrane, is the dazzling first. Nirvana's 20 greatest songs - ranked! Retrieved Miles Davis 1st edition 13, Like it wasn't happening before they found out about it--which most times is Miles Davis 1st edition late, and they didn't have nothing to do with it happening. Archived from the original select "Album e Compilation" in the field "Scegli la sezione", select Week 24 and Yearenter "Miles Davis" in the field "Artista", then click "Avvia la ricerca" on October 6, Search for:. Retrieved October 18, Britannica Quiz. Tutu Amandla Doo-Bop Rubberband. His major without bootlegs, etc. Return to Book Page. Da Capo Press. Although critics dismissed much of the music Davis released after Bitches Brew, his excursions helped keep jazz popular with mainstream audiences. Retrieved January 15, Wayne Shorter fit the bill and then some. Taylor Swift's singles - ranked! Earl ColemanAnn Baker. The best songs from teen movies - ranked! Details if other :. Format: CD, CS. Help Learn to edit Community portal Recent changes Upload file. These recordings, which were labeled cool jazz and eventually appeared on the album Birth of the Cool in by Capitol Recordsmarked an important influence on the future jazz. Voyageur Press. Please enable Javascript to take full advantage of our site features. Ships to:. This amount is subject to change until you make payment. Retrieved September 21, So I Miles Davis 1st edition come late and he would have to go on first and then we got there we smoked the motherfucking place, everybody dug it. Retrieved June 7, Give Feedback External Websites. Shipping help - opens a layer International Shipping - items may be subject to customs processing depending on the item's customs value. Retrieved 2 June Print print Print. David Byrne Miles Davis 1st edition almost all of his albums - ranked! Top 20 J-horror films - ranked! This willingness to allow other younger musicians to Miles Davis 1st edition really enables Miles to get out of the 3 year rut he was in professionally, and this ability I believe fostered a new creative burst that lasted all the way until The Man with the Horn Miles comprehensively burned out inbut while his comeback six years later was uncertain, his s edginess was now softened by the rediscovery of his early lyricism. Retrieved January 12, Gems by johnpink. Miles Davis's 20 greatest albums – ranked! Jason Statham - every film - ranked! Subscribe today. Retrieved January 26, Retrieved June 12, Retrieved April 4, Retrieved November 14, Sign in for more lists. The Milestones band, with John Coltrane and Cannonball Adderley on saxes, was the core, with the graceful pianist Bill Evans added, and the use of modes rather than song chords throughout gave the music an ethereal, free-associative spaciousness that draws new audiences to jazz to this day. Ended: Sep 30, PDT. The arrangements for that group were scored for instruments Miles Davis 1st edition used in jazz such as French horn and tuba. Miles Davis 1st edition by pundits and fans, radiating an enduringly contemporary sound, and with un-jazz-like sales of 4 million plus at the last count, Kind of Blue — the session recorded in just a few hours and with minimal rehearsal — changed the way listeners and practitioners everywhere heard and made music. Maggie Smith's 20 best films — ranked! Retrieved June 6, Facebook Twitter. Seller: rare-book-cellar Seller's other items. When Davis began to become more interested in the rocksouland funk music of the late s, the Second Quintet unraveled. Goodreads helps you follow your favorite authors. He capped this period of his career with Kind of Blueperhaps the most celebrated album in the history of jazz. Live at the Plugged NickelE. Jazz by hkim. US: Oxford University Press. I also use services such as Viglink and Skimlinks to earn income via links placed inside articles. Judi Dench - every film - ranked! In the meantime, the Miles Davis 1st edition mainstream continually broadened and expanded through the contributions of a wide range of talents from saxophonists Sonny Rollins, John Coltrane, Eric Dolphy,…. Learn More in these related Britannica articles:. Writers Wanted. In the summer ofDavis performed a noted set at the Newport Jazz Festivaland had been approached by Columbia Records executive George Avakianoffering a contract with the label if he could form a regular band. Top 20 J-horror films - ranked! Davis continued in this style for a few years, with the album Miles Davis 1st edition and the film soundtrack A Tribute to Jack Johnson being particular highlights. Miles Miles Davis 1st edition Davis Jr. Time stands still on this Davis classic. Davis grew up in East St. Miles Davis Quintet Jazz Discography Project. Martin Luther King Jr. The note is only 20 Miles Davis 1st edition. American Jazz Classics. His acclaimed album Kind of Blue is generally stated to be the best-selling jazz album of all time, Miles Davis 1st edition although the data are not conclusive. Louis area before moving to New York City in to study at the Institute of Musical Art now the Juilliard School —although he skipped many classes and instead was schooled through jam sessions with masters such as Dizzy Gillespie and Charlie Parker. Miles began dating younger woman, listening to younger pop music of the day, all kinds of new electronic instruments were being invented and experimented with. The best X Factor finalists - ranked! From a film-score assignment about boxing legend Jack Johnson, Miles launched a new band hiring Stevie Wonder bassist Michael Henderson among others and built a thrillingly hard-rocking sound out of long studio jams and radical editing. Banner image by sockii. Threads collapsed expanded unthreaded. Dog weepie movies - ranked! Miles Davis 1st edition the first to learn about new releases! Top 10 Merchant Ivory films - ranked! Released: November 5, Label: Warner Bros. This, with saxophonist John Coltrane, is the dazzling first. Just a moment while we sign you in to your Goodreads account. Blue In Green. He formed his Second Great Quintet in TAGS: miles davismodern jazz. Earl ColemanAnn Baker. The saxophonist Wayne Shorter broods, the embryonic soul-star George Benson plays terse guitar, Herbie Hancock Miles Davis 1st edition the formerly unjazzy Fender Rhodes and Tony Williams drums up a perfect storm. Download as PDF Printable version. All About Jazz. Give Feedback External Websites. Retrieved October 18, Spacial Anomaly is not to be held liable for the content of our individual contributors. The 10 best Glenn Close movies - ranked! Retrieved June 24, Add Review ejlyall3 October 18, Report. He recorded many studio albums under that record label from throughas well as Blue Moodsissued by Debut Records inand three sessions for Blue Note Records. It seems the stereo pressings of this album had Miles Davis 1st edition many label variations. The Milestones band, with John Coltrane and Cannonball Adderley on saxes, was the core, with the graceful pianist Bill Evans added, and the use of modes rather than Miles Davis 1st edition chords throughout gave the music an ethereal, free-associative spaciousness that draws new audiences to jazz to this day. Wayne Shorter fit the bill and then some. Davis made his debut as a leader in the sessions featuring Parker, pianist John Lewisbassist Nelson Boyd and drummer Max Roach. Other parts of the vinyl and sleeve is totally identical. This is the first pressing? https://cdn-cms.f-static.net/uploads/4565127/normal_5fbd585568e4f.pdf https://cdn-cms.f-static.net/uploads/4564479/normal_5fbe236a8d282.pdf https://cdn-cms.f-static.net/uploads/4564620/normal_5fbd35b14f53e.pdf https://cdn-cms.f-static.net/uploads/4564952/normal_5fbe89d23a28d.pdf https://cdn-cms.f-static.net/uploads/4564926/normal_5fbe4d36e5072.pdf https://cdn-cms.f-static.net/uploads/4565040/normal_5fbe310eaf38c.pdf.
Load more

Recommended publications
  • June 2020 Volume 87 / Number 6
    JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton 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; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
    [Show full text]
  • A City "... Waiting for the Sunrise " : Toronto in Song and Sound*
    A City "... Waiting for the Sunrise " : Toronto in Song and Sound* Michael J. Doucet Abstract: One aspect of urban culture is examined to evaluate Toronto's position within the urban hierarchy, namely, the production of songs and sounds about the city. Although much music has been performed and created in Toronto over the years, and many songs have been urritten about a variety of features of life in the city, the musical images of Toronto remain largely unknown beyond its borders—even to many of the city's own residents. If Toronto is a "world-class city," the evidence for such a claim would have to be found on other dimensions than the one explored here. No one ever wrote / A single note / About Toronto. — Johnny Wayne and Frank Shuster (19%) I find that lately, I'm missing old Toronto, Where bass is strong and drums are full of fire. — from the Lenny Breau song "New York City" (1987) No nation can exist by the balance sheet alone. Stories, song, dance, music, art and the rest are the lifeblood of a country, the cultural images defining a people just as surely as their geography and the gross national product. — Robert Lewis, editor of Maclean's (19%) Interestingly, though, we don't seem to have an immediately identifiable style. The last time anyone spoke about a 'Toronto Sound' [former Mayor] Alan Lamport was booting hippies out of Yorkville. Unlike a Nashville or Manchester, there isn't any one thing that makes you say 'That's Toronto' -- Bob Mackowycz, writer and broadcaster (1991) Toronto itself doesn't have a distinctive civic culture.
    [Show full text]
  • Accentuate the Negative? on Teaching Biographical Details in Jazz History
    2014 Hawaii University International Conferences Arts, Humanities & Social Sciences January 4, 5 & 6 2014 Ala Moana Hotel, Honolulu, Hawaii Accentuate the Negative? On Teaching Biographical Details in Jazz History Robert L. Foster Department of Music Georgia Regents University Accentuate the Negative? Accentuate the Negative? On Teaching Biographical Details in Jazz History Accentuate the Negative? Abstract Jazz history professors and book authors may be prejudicing their students’ impressions of jazz by including negative biographical information about the major musicians. This author scrutinizes biographical presentations that are unnecessarily disparaging of the musicians, including too much data that is musically inconsequential. Some of these instances illustrate how the quality of recorded performances contradicts what would be expected after reading detailed accounts of a musician’s personal weaknesses. This author asks whether such details are detrimental to a balanced and respectful view of the musician’s historic musical contributions and stature. Authors and publishers of materials for introductory jazz courses are urged to consider the implications, and teachers are advised to be more mindful in selecting what they present in lectures, textbooks, and supplementary material. Accentuate the Negative? On Teaching Negative Biographical Details in Jazz History Biographical details for great musicians are included in most of today’s textbooks for courses titled Introduction to Jazz and Jazz History. However, educational goals for
    [Show full text]
  • The Debut Records Story Mp3, Flac, Wma
    Various The Debut Records Story mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: The Debut Records Story Country: US Released: 1997 MP3 version RAR size: 1781 mb FLAC version RAR size: 1877 mb WMA version RAR size: 1448 mb Rating: 4.5 Votes: 776 Other Formats: MIDI ADX FLAC MP2 VQF AAC VOC Tracklist CD1 –Charlie Parker, Miles Davis, Max Roach, Duke Jordan, 1. Dizzy Atmosphere Tommy Potter –Charlie Parker, Miles Davis, Max Roach, Duke Jordan, 2. The Way You Look Tonight Tommy Potter –Charlie Parker, Red Rodney, Al Haig, Tommy Potter, 3. Ornithology Roy Haynes –Charlie Parker, Red Rodney, Al Haig, Tommy Potter, 4. Hot House Roy Haynes –Charlie Parker, Red Rodney, Al Haig, Tommy Potter, 5. Confirmation Roy Haynes 6. –Spaulding Givens, Charles Mingus Body And Soul 7. –Spaulding Givens, Charles Mingus Blue Moon 8. –The Charles Mingus Quintet Extrasensory Perception 9. –The Charles Mingus Quintet Portrait (Take 2) 10. –The Charles Mingus Quintet Paris In Blue 11. –Max Roach Septet Sfax 12. –Max Roach Septet Orientation 13. –Max Roach Quartet Just One Of Those Things 14. –The Gordons , The Hank Jones Trio* Bebopper 15. –The Gordons , The Hank Jones Trio* You And Me 16. –Bud Powell Trio* Embraceable You 17. –Bud Powell Trio* Cherokee 18. –Bud Powell Trio* Lullaby Of Birdland –Dizzy Gillespie, Charlie Parker, Bud Powell, Charles 19. Perdido Mingus, Max Roach CD2 –Dizzy Gillespie, Charlie Parker, Bud Powell, Charles 1. Salt Peanuts Mingus, Max Roach –Dizzy Gillespie, Charlie Parker, Bud Powell, Charles 2. A Night In Tunisia Mingus, Max Roach 3. –Billy Taylor, Charles Mingus Bass-ically Speaking 4.
    [Show full text]
  • Musicians with Complex Racial Identifications in Mid-Twentieth Century American Society
    “CASTLES MADE OF SAND”: MUSICIANS WITH COMPLEX RACIAL IDENTIFICATIONS IN MID-TWENTIETH CENTURY AMERICAN SOCIETY by Samuel F.H. Schaefer A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Public History Middle Tennessee State University December 2018 Thesis Committee: Dr. Kristine McCusker, Chair Dr. Brenden Martin To my grandparents and parents, for the values of love and empathy they passed on, the rich cultures and history to which they introduced me, for modeling the beauty of storytelling, and for the encouragement always to question. ii ACKNOWLEDGEMENTS For serving on my committee, encouraging me to follow my interests in the historical record, great patience, and for invaluable insights and guidance, I would like to thank Dr. Brenden Martin and especially Dr. Kristine McCusker, my advisor. I would also like to thank Dr. Thomas Bynum and Dr. Louis Woods for valuable feedback on early drafts of work that became part of this thesis and for facilitating wonderful classes with enlightening discussions. In addition, my sincere thanks are owed to Kelle Knight and Tracie Ingram for their assistance navigating the administrative requirements of graduate school and this thesis. For helpful feedback and encouragement of early ideas for this work, I thank Dr. Walter Johnson and Dr. Charles Shindo for their commentary at conferences put on by the Louisiana State University History Graduate Student Association, whom I also owe my gratitude for granting me a platform to exchange ideas with peers. In addition, I am grateful for the opportunities extended to me at the National Museum of African American Music, the Musicians Hall of Fame and Museum, and the Center for Popular Music, which all greatly assisted in this work’s development.
    [Show full text]
  • Debut Records
    Debut Records 78 RPM Singles Ten-Inch LPs Dates for the 12” LPs Compiled by Frank Daniels 78 RPM Singles Debut M-101 Charles Mingus “Precognition”/ “Portrait” First Appearance in Trade Magazines: First Pressing: Song times on label; address is on Byron Ave. Later Pressings: No song times; address is on Carpenter Ave. Matrix Numbers: RKV-5241/2 Debut M-102 Charles Mingus “Paris in Blue”/ “Make Believe” First Appearance in Trade Magazines: First Pressing: White or Yellow label with blue print; Carpenter address Matrix Numbers: E2CB-6494/5 (RCA Victor, 1952) Debut M-103 Charles Mingus “Montage”/ “Extrasensory Perception” First Appearance in Trade Magazines: First Pressing: Matrix prefix is hyphenated twice, as E2-CB- and E2-KB-. Matrix Numbers: E2CB-6497/E2KB-6500 (RCA Victor, 1952) Debut M-104 Hal Mitchell “Confidentially”/ “Mitch’s Blues” First Appearance in Trade Magazines: First Pressing: Yellow label Matrix Numbers: E3CB-2914/6 (RCA Victor, 1953) Debut M-105 Max Roach “Orientation”/ “Mobleyzation” First Appearance in Trade Magazines: First Pressing: White label with blue print, Yellow label Debut M-106 Max Roach “Glow Worm”/ “SFAX” First Appearance in Trade Magazines: First Pressing: White label with blue print Debut M-107 Max Roach “Just One of Those Things”/ “Drum Conversation” First Appearance in Trade Magazines: First Pressing: Yellow label with Third Avenue Address Matrix Numbers: RM-502/507 Debut M-108 Max Roach “Kismet”/ “Chi-Chi” First Appearance in Trade Magazines: First Pressing: Yellow label with Third Avenue Address Matrix
    [Show full text]
  • Universidade Tecnológica Federal Do Paraná Curso De Bacharelado Em Design Departamento Acadêmico De Desenho Industrial
    UNIVERSIDADE TECNOLÓGICA FEDERAL DO PARANÁ CURSO DE BACHARELADO EM DESIGN DEPARTAMENTO ACADÊMICO DE DESENHO INDUSTRIAL VICTOR RAFAEL DE ALMEIDA WE INSIST! FREEDOM NOW: MAX ROACH, O JAZZ E O DESIGN GRÁFICO NA LUTA POR DIREITOS CIVIS CURITIBA 2014 VICTOR RAFAEL DE ALMEIDA WE INSIST! FREEDOM NOW: MAX ROACH, O JAZZ E O DESIGN GRÁFICO NA LUTA POR DIREITOS CIVIS Trabalho de Conclusão de Curso apresentado à disciplina de TCC 2, do Curso de Bacharelado em Design da Universidade Tecnológica Federal do Paraná, Campus Curitiba. Orientadora: Profa. Ana Claudia Camila Veiga de França CURITIBA 2014 Ministério da Educação Universidade Tecnológica Federal do Paraná Câmpus Curitiba PR Diretoria de Graduação e Educação Profissional UNIVERSIDADE TECNOLÓGICA FEDERAL DO PARANÁ Departamento Acadêmico de Desenho Industrial TERMO DE APROVAÇÃO TRABALHO DE CONCLUSÃO DE CURSO Nº 86 “WE INSIST ! FREEDOM NOW: MAX ROACH, O JAZZ E O DESIGN GRÁFICO NA LUTA POR DIREITOS CIVIS” por VICTOR RAFAEL DE ALMEIDA Trabalho de Conclusão de Curso apresentado no dia 09 de fevereiro de 2015 como requisito parcial para a obtenção do título de BACHAREL EM DESIGN do Curso de Bacharelado em Design, do Departamento Acadêmico de Desenho Industrial, da Universidade Tecnológica Federal do Paraná. O aluno foi arguido pela Banca Examinadora composta pelos professores abaixo, que após deliberação, consideraram o trabalho aprovado. Banca Examinadora: Prof(a). Drª. Marinês Ribeiro dos Santos DADIN - UTFPR Prof(a). Msc. Marcelo Abílio Públio DADIN - UTFPR Prof(a). Msc. Ana Cláudia Camila Veiga de França Orientador(a) DADIN – UTFPR Prof(a). Esp. Adriana da Costa Ferreira Professor Responsável pela Disciplina de TCC DADIN – UTFPR CURITIBA / 2015 “A Folha de Aprovação assinada encontra-se na Coordenação do Curso”.
    [Show full text]
  • The Use of Two Basses in the Jazz Avant-Garde of the 1960S
    UNIVERSITY OF CALIFORNIA SAN DIEGO Double Down ! : The Use Of Two Basses in the Jazz Avant-Garde of the 1960s A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Contemporary Music Performance by Thomas Andrew Babin Committee in Charge : Professor Mark Dresser, Chair Professor David Borgo Professor Anthony Davis Professor Victoria Petrovich Professor Stephanie Richards 2021 Copyright, Thomas Andrew Babin, 2021 All Rights Reserved The dissertation of Thomas Andrew Babin is approved, and it is acceptable in quality and form for publication on microfilm and electronically. University of California, San Diego 2021 iii TABLE OF CONTENTS Dissertation Approval Page. ........................................................................................ iii Table of Contents ..................................................................................................... iv List of Figures ............................................................................................................ v List of Supplemental AudioFiles ................................................................................. vii Acknowledgements ................................................................................................ ix Vita ........................................................................................................................... x Abstract 0f the Dissertation ..................................................................................... xi Introduction
    [Show full text]
  • I at the Vanguard of Vinyl: a Cultural History of the Long-‐‑Playing
    At the Vanguard of Vinyl: A Cultural History of the Long-Playing Record in Jazz by Darren Mueller Department of Music Duke University Date:_______________________ Approved: ___________________________ Louise Meintjes, Supervisor ___________________________ Paul F. Berliner ___________________________ Mark Anthony Neal ___________________________ Philip Rupprecht ___________________________ Jacqueline Waeber Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in The Graduate School of Duke University 2015 i v ABSTRACT At the Vanguard of Vinyl: A Cultural History of the Long-Playing Record in Jazz by Darren Mueller Department of Music Duke University Date:_______________________ Approved: ___________________________ Louise Meintjes, Supervisor ___________________________ Paul F. Berliner ___________________________ Mark Anthony Neal ___________________________ Philip Rupprecht ___________________________ Jacqueline Waeber An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in The Graduate School of Duke University 2015 Copyright by Darren Mueller 2015 Abstract At the Vanguard of Vinyl investigates the jazz industry’s adoption of the long-playing record (LP), 1948–1960. The technological advancements of the LP, along with the incipient use of magnetic tape recording, made it feasible to commercially issue recordings running beyond the three-minute restrictions of the 78-rpm record. LPs began to feature extended improvisations, musical mistakes, musicians’ voices, and other moments of informal music making, revolutionizing the standard recording and production methods of the previous recording era. As the visual and sonic modes of representation shifted, so too did jazz’s relationship to white mainstream culture, Western European musical aesthetics, US political structures, and streams of Afro-modernism.
    [Show full text]
  • THE EARLY LIFE and MUSIC of CHARLES MINGUS by Ernest
    THE EARLY LIFE AND MUSIC OF CHARLES MINGUS by Ernest Aaron Horton Bachelor of Music, University of North Texas, 1998 Submitted to the Graduate Faculty of School of Arts and Sciences in partial fulfillment of the requirements for the degree of Masters in Arts University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This thesis was presented by Ernest Aaron Horton It was defended on November 29, 2005 and approved by Akin Euba, PhD, Andrew W. Mellon Professor of Music Mathew Rosenblum, PhD, Professor of Music Thesis Director:Nathan Davis, PhD, Professor of Music ii Copyright © by Ernest Aaron Horton 2005 iii THE EARLY LIFE AND MUSIC OF CHARLES MINGUS Ernest Aaron Horton, BM University of Pittsburgh, 2005 Charles Mingus has left a profound impact on the world of jazz. His career began in the early 1940s as a bassist in the Los Angeles area. As an instrumentalist his skill was unmatched. He quickly gained a national reputation that afforded him the opportunity to work with early jazz greats, such as Louis Armstrong and Kid Ory, contemporaries such as Dizzy Gillespie and Charlie Parker, and modern stars such as John Faddis and Toshiko Akioshi. In addition to his ability as a bassist, Mingus was a prolific composer. His creative output is often compared to the music of Duke Ellington. He continued to write music until he fell victim to Lou Gehrig’s disease in 1979. Through the efforts of his widow, Susan Graham Mingus, his music is still performed today. This paper is an examination of Mingus’ life and music through his life, the people with whom he was acquainted, and the music that he was a part of.
    [Show full text]
  • Bette... New Tune R Legit Service Must Overcome Intimately Its File -Sharing Progeny
    $6.95 (U.S.), $8.95 (CAN.), £5.50 (U.K.), 8.95 (EUROPE), Y2,500 (JAPAN) 3 -DIGIT 908 #BCNCCVR * * * * * * * * * * * * * * * ** 111I111I111I1111I1H 1I111I11I111I111III111111II111I1 u A06 80101 #90807GEE374EM002# BLBD 508 001 MAR 04 2 MONTY GREENLY 3740 ELM AVE # A LONG BEACH CA 90807 -3402 Black Music' Historic Wee See Pages 20 and 58 THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO A MENT www.billboard.com OCTOBER 18, 2003 HOT SPOTS Napster's Bette... New Tune r Legit Service Must Overcome Intimately Its File -Sharing Progeny Rosemary Clooney BY BRIAN GARRITY and JULIANA KORANTENG Tribute Provides New On the verge of resurfacing as a commercial service, the once -notorious Napster must face Showcase For Midler its own double -edged legacy. 5 The DVD That Roared The legitimate digital music market that Nap - helped force into Walt Disney Home Video's BY CHUCK TAYLOR ster existence is poised "The Lion Kng" gets deluxe NEW YORK -Barry Manilow recalls wak- to go mainstream in DVD treatment and two -year ing from a dream earlier this year with North America and plan. marketing Bette Midler on his mind. Europe. Yet the maj- "It was the 1950s in my dream, and ority of digital music Bette wa: singing Rosemary Clooney consumers in those songs," Manilow says with a smile. territories continue to "Bette and I hadn't spoken in years, but I get their music for free picked u- the phone and told her I had an from Napster -like peer- i idea for a tribute album. I knew there was to -peer (P2P) networks. absolutely no one else who could do this." In Europe, legal and GOROG: GIVING CONSUMERS WHATTHEY WANT Midle- says, "The concept was ab- illegal downloads are on the solutely billiant.
    [Show full text]
  • Download PDF 55.3 KB
    Essential jazz strings discography by Paula Zeitlin In Historical Order * in print and available ** historical importance Contents Violin ................................................................................................................................................ 1 Viola................................................................................................................................................. 4 Cello................................................................................................................................................. 4 Bowed Bass..................................................................................................................................... 5 Jazz String/Mixed Ensembles ......................................................................................................... 5 Violin Stuff Smith (Hezekiah Leroy ** Joe Venuti and Eddie Lang, Vol. 1 and 2 : Gordon Smith) JSP Records, CD309 *Joe Venuti: Violin Jazz 1927-34 : Yazoo *Stuff Smith, Dizzy Gillespie, Oscar 1062 Peterson Verve MGV 8214 (1957) *Joe in Chicago 1978: Flying Fish (1993) ** Complete Stuff Smith Verve Sessions (4- The Best of Joe Venuti : Chiaroscuro CR 145 CD set), Mosaic Records MD4-186 *Hot Sonatas (with Earl Hines), 1975: Polygram 1999 Chiaroscuro CR 145 *Hot Swing Fiddle Classics (with Svend *The Essential Joe Venuti : Vanguard Asmussen, Emilio Caceras): Folklyric Classics (1995) (Arhoolie) 9025 *Joe Venuti/Stephane Grappelli: Venupelli *Hot Violins (with Venuti, Grappelli, Blues
    [Show full text]