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University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON School of Humanities: Music Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Thesis for the degree of Doctor of Philosophy October 2012 i UNIVERSITY OF SOUTHAMPTON ABSTRACT Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Josef Zawinul (1932-2007) holds a rare place in the world of jazz in view of the fact that as a European he forged a long and distinguished musical career in America. Indeed, from a position of relative obscurity when he arrived in New York in 1959, he went on to become one of contemporary jazz’s most prolific and commercially successful composers. The main focus of this dissertation will be Zawinul’s rise to prominence in American jazz during the 1960s and 1970s. -
An Interview with Sherman Ferguson
AN INTERVIEW WITH SHERMAN FERGUSON LOS ANGELES, CALIFORNIA KCRW-FM September 7, 1981 Bob Rosenbaum 1981, All Rights Reserved (music — "On the Stairs," Pat Martino) DO YOU HAVE LIKE A — SOME MUSICIANS USE A REFERENCE POINT, OTHER DRUMMERS OR OTHER "ON THE STAIRS," WHICH FEATURES GUITARIST PAT HORN PLAYERS. DO YOU LISTEN TO OTHER DRUMMERS MARTINO, EDDIE GREEN ON THE PIANO, TYRONE SPECIFICALLY? BROWN ON BASS AND DRUMMER SHERMAN FERGUSON, You mean, for inspiration? I listen to all the WHO IS WITH US HERE THIS EVENING. YOU WERE JUST other drummers for inspiration! Yeah. ABOUT TO TELL ME THAT "ON THE STAIRS" WAS WRITTEN ON THE STAIRS... ANY PARTICULAR DRUMMER? BILLY HART IS ONE Literally on the stairs, yeah. WHO IS— Oh, Billy Hart, he's like a brother to me. I love IN WHAT WAY? DID YOU WRITE IT? him. He's been a major influence on me. No, that's Pat's tune. But we were working in Grendal's Land, Philadelphia, and we were on YOU WROTE A SONG FOR HIM. our way down to do the second set, and he Yeah I did. A couple of years ago. Boy, it's been started, you know, fooling around with more than a couple of years. About 10 years ago. something. And (laughs) he literally, he wrote it Boy, how time flies! going down the stairs! And it's a real nice tune. And it's alot of fun to play. THAT WAS IN PHILADELPHIA. Yeah, with the Catalyst band. On our very first album. That was my very first composition to be I listen to a little bit of recorded. -
A Journal for Contemporary Music (1971-1988)
Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Reynolds, Lyndon. 1975. ‘Miles et Alia’. Contact, 11. pp. 23-26. ISSN 0308-5066. ! [I] LYNDON REYNOLDS Ill Miles et Alia The list of musicians who have played with Miles Davis since 1966 contains a remarkable number of big names, including Wayne Shorter, Herbie Hancock, Tony Williams, Chick Corea, Joe Zawinul, Jack de Johnette, Dave Hol l and, John McLaughlin and Miroslav Vitous. All of these have worked success fully without Miles, and most have made a name for themselves whilst or since working with him. Who can say whether this is due to the limelight given them by playing alongside , Miles, the musical rewards of working with him, or Miles's talent-spotting abili- ties? Presumably the truth is a mixture of all these. What does Miles's music owe to the creative personalities of the musicians working with him? This question is unanswerable in practice, for one cannot quan- tify individual responsibility for a group product - assuming that is what Miles's music is. It is obvious that he has chosen very creative musicians with which to work, and yet there has often been an absence of conspicuous, individual, free solo playing in his music since about 1967. It would appear that Miles can absorb musical influences without losing his balance. What we find then, is a nexus of interacting musicians, centring on Miles; that is, musicians who not only play together in various other combinations, but influence each other as well. Even if the web could be disentangled (I know not how, save with a God's-eye-view), a systematic review of all the music that lies within it would be a task both vast and boring. -
BIO TIGRAN HAMASYAN in Its Ever-Evolving State, Jazz Invites Into
BIO TIGRAN HAMASYAN In its ever-evolving state, jazz invites into its fold imaginative artists who freely and courageously pursue their own vision, not only built on tradition but also infused with their own personality and passion. In the case of pianist/keyboardist Tigran Hamasyan, potent jazz improvisation fuses with the rich folkloric music of his native Armenia. Tigran is one of the most remarkable and distinctive jazz-meets-rock pianists of his generation. Tigran’s fresh sound is marked by an exploration of time signatures, charged dynamics, the shifting between acoustic and electric modes of expression, all undergirded by an affinity to the grind of heavy metal. Born in Gyumri, Armenia, in 1987, Tigran grew up in a household that was full of music—his father more of a rock fan while his uncle was a huge jazz buff. When he was just a toddler, Tigran gravitated to tape players and the piano instead of regular childhood toys, and by the time he was 3, he was working his way through figuring out songs on piano by the Beatles, Louis Armstrong, Led Zeppelin, Deep Purple, Black Sabbath and Queen. His jazz tastes early on were informed by Miles Davis’s fusion period, and then around the age of 10 when his family moved to Yerevan, he came to discover the classic jazz songbook under the aegis of his teacher Vahag Hayrapetyan, who had studied with Barry Harris. Tigran chose to study music. While he studied classical music at an Armenian high school geared toward music studies, Tigran continued to grow on his own as a jazz pianist. -
November 1983
VOL. 7, NO. 11 CONTENTS Cover Photo by Lewis Lee FEATURES PHIL COLLINS Don't let Phil Collins' recent success as a singer fool you—he wants everyone to know that he's still as interested as ever in being a drummer. Here, he discusses the percussive side of his life, including his involvement with Genesis, his work with Robert Plant, and his dual drumming with Chester Thompson. by Susan Alexander 8 NDUGU LEON CHANCLER As a drummer, Ndugu has worked with such artists and groups as Herbie Hancock, Michael Jackson, and Weather Report. As a producer, his credits include Santana, Flora Purim, and George Duke. As articulate as he is talented, Ndugu describes his life, his drumming, and his musical philosophies. 14 by Robin Tolleson INSIDE SABIAN by Chip Stern 18 JOE LABARBERA Joe LaBarbera is a versatile drummer whose career spans a broad spectrum of experience ranging from performing with pianist Bill Evans to most recently appearing with Tony Bennett. In this interview, LaBarbera discusses his early life as a member of a musical family and the influences that have made him a "lyrical" drummer. This accomplished musician also describes the personal standards that have allowed him to maintain a stable life-style while pursuing a career as a jazz musician. 24 by Katherine Alleyne & Judith Sullivan Mclntosh STRICTLY TECHNIQUE UP AND COMING COLUMNS Double Paradiddles Around the Def Leppard's Rick Allen Drumset 56 EDUCATION by Philip Bashe by Stanley Ellis 102 ON THE MOVE ROCK PERSPECTIVES LISTENER'S GUIDE Thunder Child 60 A Beat Study by Paul T. -
Muni 20081106
MUNI 20081106 JAZZ ROCK, FUSION… 01 Ballet (Mike Gibbs) 4:55 Gary Burton Quartet : Gary Burton-vibes; Larry Coryell-g; Steve Swallow-b; Roy Haynes-dr. New York, April 18, 1967. RCA LSP-3835. 02 It’s All Becoming So Clear Now (Mike Mainieri) 5:25 Mike Mainieri -vib; Jeremy Steig-fl; Joe Beck-elg; Sam Brown-elg,acg; Warren Bernhardt-p,org; Hal Gaylor-b; Chuck Rainey-elb; Donald MacDonald-dr. Published 1969. Solid State SS 18049. 03 Little Church (Miles Davis) 3:17 Miles Davis -tp; Steve Grossman-ss; Chick Corea, Herbie Hancock-elp; Keith Jarrett-org; John McLaughlin-g; Dave Holland-b,elb; Jack DeJohnette-dr; Airto Moreira-perc; Hermeto Pascoal-dr,whistling,voc,elp. New York, June 4, 1970. Columbia C2K 65135. 04 Medley: Gemini (Miles Davis) /Double Image (Joe Zawinul) 5:56 Miles Davis -tp; Wayne Shorter-ss; Joe Zawinul, Chick Corea-elp; John McLaughlin-g; Dave Holland-b; Khalil Balakrishna-sitar; Billy Cobham, Jack DeJohnette-dr; Airto Moreira-perc. New York, February 6, 1970. Columbia C2K 65135. 05 Milky Way (Wayne Shorter-Joe Zawinul) 2:33 06 Umbrellas (Miroslav Vitouš-W. Shorter-J. Zawinul) 3:26 Weather Report : Wayne Shorter -ss,ts; Miroslav Vitouš-b; Joe Zawinul -p,kb; Alphonse Mouzon-dr; Airto Moreira-perc. 1971. Columbia 468212 2. 07 Birds of Fire (John McLaughlin) 5:39 Mahavishnu Orchestra : John McLaughlin -g; Jerry Goodman-vio; Jan Hammer-kb,Moog syn; Rick Laird-b; Billy Cobham-dr. New York, 1973. Columbia KC 31996. 08 La Fiesta (Chick Corea) 7:49 Return to Forever : Joe Farrell-ss; Chick Corea -elp; Stanley Clarke-b; Airto Moreira-dr,perc; Flora Purim-perc. -
Jaco Three Views of His Secrets
26 bassplayer.com /january2016 Jaco Three Views of his secreTs By e.e. Bradman About hAlf An hour into the new documentary Jaco, there’s a scene that reflects a cru- cial aspect of the Jaco Pastorius legend. It’s the fall of 1975, and Blood, Sweat & Tears drummer Bobby Colomby has flown a virtually unknown Jaco from Ft. Lauderdale to New York to record his debut with jazz luminaries Hubert Laws, Herbie Hancock, Don Alias, Wayne Shorter, and Lenny White. The product of those sessions, the soulful, eclectic stunner simply titled Jaco Pastorius, would shake the bass world to its foundations, of course, but the album cover—with its bold lettering across a no-nonsense black & white portrait by Don Hunstein—might suggest that the unsmiling young maestro was overly serious about making a good first impression. That wasn’t true at all. “It was wild,” says Return To Forever drummer Lenny White of the sessions in October 1975. “Basically, we would play, do a take, and go outside and play basketball.” “We could have done it on bicycles with microphones, and he would have played it perfectly,” remembers producer Colomby, still impressed four decades later. Far from nervous, in fact, 23-year-old Jaco was natural, relaxed, and in his element. “I walked into the studio, and Jaco’s eyes were lit up because he had found home—this was the level he belonged on,” recalls trombonist/musical direc- tor Peter Graves. These quintessential Pastorius hallmarks—soul- ful virtuosity, athletic showmanship, and superhu- man technique, with confidence to burn—are central bassplayer.com / january2016 27 CS JACO JEFF YEAGER Robert Trujillo themes of Jaco. -
October 2011
SEPTEMBE R - OCTOBER 2011 Featuring: Wynton Marsalis | Family Stone | Remembering Oscar Peterson | Incognito | John Williams/Etheridge | Pee Wee Ellis | JTQ | Colin Towns Mask Orch | Azymuth | Todd Rundgren | Cedar Walton | Carleen Anderson | Louis Hayes and The Cannonball Legacy Band | Julian Joseph All Star Big Band | Mike Stern feat. Dave Weckl | Ramsey Lewis | James Langton Cover artist: Ramsey Lewis Quintet (Thur 27 - Sat 29 Oct) PAGE 28 PAGE 01 Membership to Ronnie Scotts GIGS AT A GLANCE SEPTEMBER THU 1 - SAT 3: JAMES HUNTER SUN 4: THE RONNIE SCOTT’S JAZZ ORCHESTRA PRESENTS THE GENTLEMEN OF SWING MON 5 - TUE 6: THE FAMILY STONE WED 7 - THU 8: REMEMBERING OSCAR PETERSON FEAT. JAMES PEARSON & DAVE NEWTON FRI 9 - SAT 10: INCOGNITO SUN 11: NATALIE WILLIAMS SOUL FAMILY MON 12 - TUE 13: JOHN WILLIAMS & JOHN ETHERIDGE WED 14: JACQUI DANKWORTH BAND THU 15 - SAT 17: PEE WEE ELLIS - FROM JAZZ TO FUNK AND BACK SUN 18: THE RONNIE SCOTT’S BLUES EXPLOSION MON 19: OSCAR BROWN JR. TRIBUTE FEATURING CAROL GRIMES | 2 free tickets to a standard price show per year* TUE 20 - SAT 24: JAMES TAYLOR QUARTET SUN 25: A SALUTE TO THE BIG BANDS | 20% off all tickets (including your guests!)** WITH THE RAF SQUADRONAIRES | Dedicated members only priority booking line. MON 26 - TUE 27: ROBERTA GAMBARINI | Jump the queue! Be given entrance to the club before Non CELEBRATING MILES DAVIS 20 YEARS ON Members (on production of your membership card) WED 28 - THU 29: ALL STARS PLAY ‘KIND OF BLUE’ FRI 30 - SAT 1 : COLIN TOWNS’ MASK ORCHESTRA PERFORMING ‘VISIONS OF MILES’ | Regular invites to drinks tastings and other special events in the jazz calendar OCTOBER | Priority information, advanced notice on acts appearing SUN 2: RSJO PRESENTS.. -
Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings. -
The Object of This Paper Is to Prove That the Importance of Jaco Pastorius
What Does Donna Lee Mean? An Analysis of the Construction of Meaning in Music Uri González Uppsala Universitet Institutionen för musikvetenskap C-uppsats Ht 2004 Handledare: Lars Berglund Abstract This essay examines the construction of the meaning of bassist Jaco Pastorius’ solo on Charlie Parker’s composition Donna Lee (Pastorius 1976) according to musicologist Jean- Jacques Nattiez’ semiological tripartition theory. After the application of Nattiez’ approach, the following conclusions can be established: 1. At the time of its conception, 1976, Donna Lee represented both a big step forward in the developments of the instrumental possibilities of the electric bass. In its refusal to submit to exclusively rhythmic tasks it gradually became an increasingly soloistic voice. This arrived to the point where it actually was conceivable for a bass player to take upon a three chorus long solo on a classic jazz standard. 2. Despite this innovative spirit which drives Pastorius artistic output, his Donna Lee pays hommage to the jazz tradition and to the group of stylistic constraints that today characterize what is known as bebop. 3. The final meaning of Donna Lee and of any other musical text goes beyond its historical vicissitudes and its immanent structures. Meaning is not imposed by the exterior but is constructed by the individual mind in a perception that is creative and over-productive in a circular dialog with the environment. The essay will also make reference to the theories of musical semioticians and cognitive psychologists such as James Gibson, Robert Hatten, Ruben Lopez Cano, José Antonio Marina, among others. Table of contents ABSTRACT ............................................................................................................................ -
“I Felt a Kind of Sweet Giddiness When I Met Mingus.”
LONDON a MEMPHIS a EL PORTAL APRIL 2016 Issue 269 FEATURES 40 TRACEY THORN TheEverythingButTheGirl singer speaks to Andrew Male aboutthehighsandlowsoflife as an indie icon, and her new career as an acclaimed author. 46 FIELD MUSIC After12yearsofDIYjazz-pop- soul,andaheartyendorsement fromPrince,istheworldfinally ready for the Brewis Brothers? Ben Myers find out. 50 DAVE DAVIES TheyoungestKinkbrother takesMarkPaytressona journeyintohisremarkable musicalpast,andapresent world of psychic magick and extraterrestrials. 58 MICHAEL CHAPMAN Celebrating 50 years on the road, the hard-as-nails Yorkshire singer-songwriter givesBenThompsonamusical survival masterclass. 62 JONI MITCHELL Howdida’60sacousticfolkicon reinvent herself and confound her critics in the 1970s? David Frickewatchesthechanges. COVER STORY 70 IGGY POP On the eveofhisfarewellfrommusic, Mr James Osterberg speaks to KeithCameronabout50years on the rock’n’roll front line. Plus: Swan-song collaborators Josh Homme, Matt Helders andDeanFertitadiscussthe method and madness of Iggy old and new. “I felt a kind of sweet giddiness whenImetMingus.” JONIMITCHELLLOOKSBACKONTHE LIBERATIONOFHERJAZZYEARS.P62 Henry Diltz MOJO 3 Desert blooms: Joni Mitchell takes the air outside Las Vegas, Nevada, May 1978. MOJO 63 AN DOWN THE BLOCK OUTSIDE THE BAKED POTATO ON TUESDAY 3. Named after the main dish on the menu, the small, venerable Los Angeles jazz d by pianist Don Randi in 1970 – hosted a popular residency by a combo of top, ers who also happened to be among the busiest session musicians in town. The r, saxophonist Tom Scott, made records with John Coltrane’s producer Bob Thiele ing business in TV and movie scores. But the other cats were his equals in resumé. Sample was a founding member of hard-bop-turned-R&B stars The Crusaders; Bennett grew up in the bebop era and worked with singers Peggy Lee and Ella ummer John Guerin played with Thelonious Monk, Lou Rawls and Linda Ronstadt late line-up of The Byrds. -
Rock & Roll's War Against
Rock & Roll’s War Against God Copyright 2015 by David W. Cloud ISBN 978-1-58318-183-6 Tis book is published for free distribution in eBook format. It is available in PDF, Mobi (for Kindle, etc.) and ePub formats from the Way of Life web site. See the Free eBook tab at www.wayofife.org. We do not allow distribution of our free books from other web sites. Published by Way of Life Literature PO Box 610368, Port Huron, MI 48061 866-295-4143 (toll free) - [email protected] www.wayofife.org Canada: Bethel Baptist Church 4212 Campbell St. N., London Ont. N6P 1A6 519-652-2619 Printed in Canada by Bethel Baptist Print Ministry ii Table of Contents Introduction ...........................................................................1 What Christians Should Know about Rock Music ...........5 What Rock Did For Me ......................................................38 Te History of Rock Music ................................................49 How Rock & Roll Took over Western Society ...............123 1950s Rock .........................................................................140 1960s Rock: Continuing the Revolution ........................193 Te Character of Rock & Roll .........................................347 Te Rhythm of Rock Music .............................................381 Rock Musicians as Mediums ...........................................387 Rock Music and Voodoo ..................................................394 Rock Music and Insanity ..................................................407 Rock Music and Suicide ...................................................429