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DISCAHOLIC auction #3 2021 OLD SCHOOL: NO JOKE! This is the 3rd list of Discaholic Auctions. Free Jazz, improvised music, jazz, experimental music, sound poetry and much more. CREATIVE MUSIC the way we need it. The way we want it! Thank you all for making the previous auctions great! The network of discaholics, collectors and related is getting extended and we are happy about that and hoping for it to be spreading even more. Let´s share, let´s make the connections, let´s collect, let´s trim our (vinyl)gardens! This specific auction is named: OLD SCHOOL: NO JOKE! Rare vinyls and more. Carefully chosen vinyls, put together by Discaholic and Ayler- completist Mats Gustafsson in collaboration with fellow Discaholic and Sun Ra- completist Björn Thorstensson. After over 33 years of trading rare records with each other, we will be offering some of the rarest and most unusual records available. For this auction we have invited electronic and conceptual-music-wizard – and Ornette Coleman-completist – Christof Kurzmann to contribute with some great objects! Our auction-lists are inspired by the great auctioneer and jazz enthusiast Roberto Castelli and his amazing auction catalogues “Jazz and Improvised Music Auction List” from waaaaay back! And most definitely inspired by our discaholic friends Johan at Tiliqua-records and Brad at Vinylvault. The Discaholic network is expanding – outer space is no limit. http://www.tiliqua-records.com/ https://vinylvault.online/ We have also invited some musicians, presenters and collectors to contribute with some records and printed materials. Among others we have Joe Mcphee who has contributed with unique posters and records directly from his archive. -
Cecil Taylor 3 Phasis Mp3, Flac, Wma
Cecil Taylor 3 Phasis mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: 3 Phasis Country: US Released: 1979 Style: Free Jazz, Avantgarde, Free Improvisation MP3 version RAR size: 1205 mb FLAC version RAR size: 1983 mb WMA version RAR size: 1218 mb Rating: 4.9 Votes: 556 Other Formats: AHX MMF AC3 DXD MP4 XM MP2 Tracklist A Side One 28:22 B Side Two 28:50 Companies, etc. Phonographic Copyright (p) – Recorded Anthology Of American Music, Inc. Copyright (c) – Recorded Anthology Of American Music, Inc. Recorded At – Columbia Recording Studios Mastered At – Sterling Sound Credits Alto Saxophone – Jimmy Lyons Artwork [Cover Art] – Paul Jenkins Bass – Sirone Design [Cover] – Michael Sonino Drums – Ronald Shannon Jackson Engineer [Assistant Recording] – Ken Robertson Engineer [Recording, Editing, And Mixing] – Don Puluse Mastered By – Ted Jensen Photography By – Marc Brasz Piano – Cecil Taylor Producer – Sam Parkins Trumpet – Raphé Malik* Violin – Ramsey Ameen Notes Recorded in April 1978 at Columbia Recording Studios, 30th Street, New York, NY. Other versions Category Artist Title (Format) Label Category Country Year New World 80303-2, NW Cecil 3 Phasis (CD, 80303-2, NW Records, New US 1996 303-2 Taylor Album, RE) 303-2 World Records Cecil 3 Phasis (CD, New World NW 303-2 NW 303-2 US Unknown Taylor Album, RE) Records Related Music albums to 3 Phasis by Cecil Taylor Jazz Cecil Taylor - Innovations Jazz Cecil Taylor - Great Paris Concert «2» Rock dt's - Widow Of An All-American Jazz Cecil Taylor Unit - Akisakila - Cecil Taylor Unit In Japan Jazz Cecil Taylor / Buell Neidlinger - New York City R&B Jazz Cecil Taylor - Conquistador! Jazz Cecil Taylor - The World Of Cecil Taylor Jazz Cecil Taylor - Buell Neidlinger - New York City R&B Jazz Cecil Taylor Trio And Quintet - Love For Sale Jazz Cecil Taylor / Charles Tolliver / Grachan Moncur / Archie Shepp - The New Breed. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Lockett, P.W. (1988). Improvising pianists : aspects of keyboard technique and musical structure in free jazz - 1955-1980. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/8259/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] IMPROVISING PIANISTS: ASPECTS OF KEYBOARD TECHNIQUE AND MUSICAL STRUCTURE IN FREE JAll - 1955-1980. Submitted by Mark Peter Wyatt Lockett as a thesis for the degree of Doctor of Philosophy The City University Department of Music May 1988 TABLE OF CONTENTS Page No I List of Figures 3 IIListofRecordings............,........ S III Acknowledgements .. ..... .. .. 9 IV Abstract .. .......... 10 V Text. Chapter 1 .........e.e......... 12 Chapter 2 tee.. see..... S S S 55 Chapter 3 107 Chapter 4 ..................... 161 Chapter 5 ••SS•SSSS....SS•...SS 212 Chapter 6 SS• SSSs•• S•• SS SS S S 249 Chapter 7 eS.S....SS....S...e. -
The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format. -
The Avant-Garde in Jazz As Representative of Late 20Th Century American Art Music
THE AVANT-GARDE IN JAZZ AS REPRESENTATIVE OF LATE 20TH CENTURY AMERICAN ART MUSIC By LONGINEU PARSONS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2017 © 2017 Longineu Parsons To all of these great musicians who opened artistic doors for us to walk through, enjoy and spread peace to the planet. ACKNOWLEDGMENTS I would like to thank my professors at the University of Florida for their help and encouragement in this endeavor. An extra special thanks to my mentor through this process, Dr. Paul Richards, whose forward-thinking approach to music made this possible. Dr. James P. Sain introduced me to new ways to think about composition; Scott Wilson showed me other ways of understanding jazz pedagogy. I also thank my colleagues at Florida A&M University for their encouragement and support of this endeavor, especially Dr. Kawachi Clemons and Professor Lindsey Sarjeant. I am fortunate to be able to call you friends. I also acknowledge my friends, relatives and business partners who helped convince me that I wasn’t insane for going back to school at my age. Above all, I thank my wife Joanna for her unwavering support throughout this process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF EXAMPLES ...................................................................................................... 7 ABSTRACT -
The Big Question: List Prices on Catalog Product Montgomery
Jan. 4, 1975 $1.50 ART ANL bEdORDINGS DEPARTMlI YES/THE ULTIMATE CHART AgFIRMATIVE The Big Question: Here's Our Answer (Ed) Col Canada Drops List Prices On Catalog Product Racks, Retailers, Distribs Separate Meets At NARM Montgomery Named RCA Promo Chief www.americanradiohistory.com 1974 CBS Inc On his first date, Alvin "In Flight" is filled with the Lee went all the way. He superb musicianship that embarked on his new has brought Alvin to the solo career with a simull- forefront of rock 'n' roll- taneous appearance and live recording original tunes and personalized versions at London's prestigious Rainbow Theatre. of classics like "Don't Be Cruel," "Money And the results, captured on his double Honey"and"Keep A KnockinY And a surprise album, "In Flight," are phenomenal. treat: "Freedom for the Stallion." "In Flight"delighted the normally Alvin Lee & Co. are coming right conservative English critics:"the sound behind their new album with an throughout from all angles is exceptional"; extensive international tour, too. "Lee and his band are very tight, almost faultless";"Lee has never played better." Alvin Lee & Co."In Flight." PG 33187` The auspicious beginning of a great new career. On Columbia Records and Tapes THE WINTER TOUR January 16 Pittsburgh, Pa. (Syria Mosque) February 4 Miami, Fla. (Auditorium) 17 Hershey, Pa. (The Arena) 1 St. Louis, Mo. (Ambassador Theatre) 5 Charleston, S.C. (Civic Center) 18 New York, N.Y. (Academy of Music) 6 San Diego, Calif. (Civic Center) 6 Atlanta, Ga. (Municipal Auditorium) 19 Baltimore, Md. (Civic Center) 7 Long Beach, Calif. -
The Avant-Garde 15
CURRENT A HEAD ■ 407 ORNETTE COLEMAN lonely woman CECIL TAYLOR bulbs CECIL TAYLOR willisau concert, part 3 ALBERT AYLER ghosts DAVID MURRAY el matador THE AVANT-GARDE 15 Forward March T e word “avant-garde” originated in the French military to denote the advanced guard: troops sent ahead of the regular army to scout unknown territory. In English, the word was adapted to describe innovative composers, writers, painters, and other artists whose work was so pioneering that it was believed to be in the vanguard of contemporary thinking. Avant-gardism represented a movement to liberate artists from the restraints of tradition, and it often went hand-in-hand with progressive social thinking. T ose who championed avant-garde art tended to applaud social change. T ose who criticized it for rejecting prevailing standards couched their dismay in warnings against moral laxity or political anarchy. In the end, however, all art, traditional or avant-garde, must stand on its merit, inde- pendent of historic infl uences. T e art that outrages one generation often becomes the tradition and homework assignments of the next: the paintings of Paul Cézanne and Pablo Picasso, music of Gustav Mahler and Claude Debussy, and writings of Marcel Proust and James Joyce were all initially considered avant-garde. Two especially promi- nent twentieth-century avant-garde movements gathered steam in the decades follow- ing the world wars, and jazz was vital to both. Sonny Rollins combined the harmonic progressions of bop with the freedom of the avant-garde and sustained an international following. He appeared with percussionist Victor See Yuen and trombonist Clifton © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM Anderson at a stadium in Louisiana, 1995. -
Friday, Oct. 25 at the Graduate Center, Elebash Hall
1 Friday, Oct. 25 at The Graduate Center, Elebash Hall Session 1: the 1950s & 60s in context 9:00-9:30 am, Eric Charry, “The Development of Cecil Taylor’s Musical Language in the 1950s and 1960s” Cecil Taylor’s new musical language is audible from his very first album, Jazz Advance, recorded in fall 1956 when he was 27 years old. By exploring the interplay of pianistic textures (interactions between the two hands) and directional gestures and contours (ascending or descending lines, moving or static clusters), Taylor created new stories to be told and laid the foundation for developments that have resounded to the present day. Taylor’s approach precluded the necessity for a steady pulse and meter, and with the arrival of drummer Sunny Murray in 1960 and bassist Henry Grimes in 1961 his unit began to join him in breaking through the musical forms of the day and forging new ones. Taylor’s innovations yielded an extraordinary burst of extended solo piano recordings, from Carmen with Rings (1967) and Praxis (1968) through Indent (1973) and Silent Tongues (1974). Few in Taylor’s generation systematized and wrote down the codes to their language for others to decipher, with exceptions like George Russell (1923-2009). Anthony Braxton (1945-) would do just that for his own music in his 5-volume Composition Notes (1988), which codified a system of 99 “sound classifications,” including gestures such as accelerating, gliss, long, low, parallel, and trills. The intellectual underpinnings of Braxton’s music from the late 1960s onward can be linked directly to Taylor’s breakthroughs. -
Discographie
CHRISTIAN SCHOLZ UNTERSUCHUNGEN ZUR GESCHICHTE UND TYPOLOGIE DER LAUTPOESIE Teil III Discographie GERTRAUD SCHOLZ VERLAG OBERMICHELBACH (C) Copyright Gertraud Scholz Verlag, Obermichelbach 1989 ISBN 3-925599-04-5 (Gesamtwerk) 3-925599-01-0 (Teil I) 3-925599-02-9 (Teil II) 3-925599-03-7 (Teil III) [849] INHALTSVERZEICHNIS I. PRIMÄRLITERATUR 389 [850] 1. ANTHOLOGIEN 389 [850] 2. VORFORMEN 395 [865] 3. AUTOREN 395 [866] II. SEKUNDÄRLITERATUR 439 [972] III. HÖRSPIELE 452 [1010] ANHANG 460 [1028] IV. VOKALKOMPOSITIONEN 460 [1029] V. NACHWORT 471 [1060] [850] I. PRIMÄRLITERATUR 1. ANTHOLOGIEN Absolut CD # 1. New Music Canada. A salute to Canadian composers and performers from coast to coast. Ed. by David LL Laskin. Beilage in: Ear Magazine. New York o. J., o. Angabe der Nummer. Beiträge von Hildegard Westerkamp u. a. CD Absolut CD # 2. The Japanese Perspective. Ed. by David LL Laskin. Special Guest Editor: Toshie Kakinuma. Beilage in: Ear Magazine. New York o. J., o. Angabe der Nummer. Beiträge von Yamatsuka Eye & John Zorn, Ushio Torikai u. a. CD Absolut CD # 3. Improvisation/Composition. Beilage in: Ear Magazine. New York o. J., o. Angabe der Nummer. Beiträge von David Moss, Joan La Barbara u. a. CD The Aerial. A Journal in Sound. Santa Fe, NM, USA: Nonsequitur Foundation 1990, Nr. 1, Winter 1990. AER 1990/1. Mit Beiträgen von David Moss, Malcolm Goldstein, Floating Concrete Octopus, Richard Kostelanetz u. a. CD The Aerial. Santa Fe, NM, USA: Nonsequitur 1990, Nr. 2, Spring 1990. AER 1990/2. Mit Beiträgen von Jin Hi Kim, Annea Lockwood, Hildegard Westerkamp u. a. CD The Aerial. -
Listening at the Edges: Aural Experience and Affect in a New York Jazz Scene
Listening at the Edges: Aural Experience and Affect in a New York Jazz Scene by Matthew Somoroff Department of Music Duke University Date:_______________________ Approved: ___________________________ Louise Meintjes, Co-Supervisor ___________________________ Paul Berliner, Co-Supervisor ___________________________ Philip Rupprecht ___________________________ Mark Anthony Neal 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 2014 ABSTRACT Listening at the Edges: Aural Experience and Affect in a New York Jazz Scene by Matthew Somoroff Department of Music Duke University Date:_______________________ Approved: ___________________________ Louise Meintjes, Co-Supervisor ___________________________ Paul Berliner, Co-Supervisor ___________________________ Philip Rupprecht ___________________________ Mark Anthony Neal 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 2014 Copyright by Matthew Somoroff ©2014 Abstract In jazz circles, someone with “big ears” is an expert listener, one who hears the complexity and nuance of jazz music. Listening, then, figures prominently in the imaginations of jazz musicians and aficionados. While jazz scholarship has acknowledged the discourse on listening within various jazz cultures, to date the actual listening practices of jazz musicians and listeners remain under-theorized. This dissertation investigates listening and aural experience in a New York City community devoted to avant-garde jazz. I situate this community within the local history of Manhattan’s Lower East Side, discuss the effects of changing neighborhood politics on music performance venues, and analyze social interactions in this scene, to give an exposition of “listening to music” as a practice deeply tied into other aspects of my interlocutors’ lives. -
Cadence the Independent Journal of Creative Improvised Music
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC VOLUME 38 NUMBER 2 APRIL MAY JUNE 2012 Cadence The Independent Journal of Creative Improvised Music April - May - June 2012 ABBREVIATIONS USED Vol. 38 No. 2 (400) 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 Editor: 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. tpt: trumpet All rights reserved. tba: tuba v tbn: valve trombone Reproduction or use of contents prohibited without written vib: vibraphone permission from publisher (except use of short quotes, please credit vla: viola Cadence Magazine). -
Cecil Taylor: Life As
Cecil Taylor: Life As... Structure within a free improvisation Kaja Draksler Trboje, Slovenia, june 2013 Cecil Taylor: Life As... Structure within a free improvisation Acknowledgements! 2 Introduction! 3 Biography and influences! 4 Biography! 4 Influences! 5 Cecil Taylor: Life As... (Momentum Space, Verve 1999)! 8 Language! 8 Four main behaviors! 8 Intervals! 16 Register! 18 Rhythm! 18 Expression Tools! 21 Dynamics! 21 Pedaling! 22 Personal technique! 24 Structure! 28 Introduction! 29 Development! 30 Recapitulation! 35 Implications of tonalities! 37 Notation and its relation to music! 40 Cecil Taylor’s relationship with the European classical music! 42 Conclusion! 45 Sources! 47 Appendix! 50 2 Acknowledgements The majority of the material in this research, was written for my master’s degree thesis, during the study of classical composition at the Conservatorium van Amsterdam. The research coordinator was Michiel Schuijer and the external advisor was Vijay Iyer. The original work has been revised and enriched, resulting in the version you are about to read. I wish to express my deepest gratitude to my mentor Vijay Iyer for his enthusiasm, support, guidance and advising. His precious insights were essential for this research. I would like to extend my sincere thanks to Trevor Grahl for the language revision and refinements made to the text. Finally, my heartfelt thanks to George Dumitriu for his care, encouragement and understanding. 3 Introduction “To play with Cecil Taylor, you need the stamina of an athlete and the imagination of a God!” (Tony Oxley in an interview with Panken, 2001) Cecil Taylor’s free improvisations are beautifully structured compositions. The material Taylor is using is pre-considered and fairly restricted; therefore, cohesive and at the same time, colorful and varied.