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The Hilltop 3-18-1977
Howard University Digital Howard @ Howard University The iH lltop: 1970-80 The iH lltop Digital Archive 3-18-1977 The iH lltop 3-18-1977 Hilltop Staff Follow this and additional works at: http://dh.howard.edu/hilltop_197080 Recommended Citation Staff, Hilltop, "The iH lltop 3-18-1977" (1977). The Hilltop: 1970-80. 181. http://dh.howard.edu/hilltop_197080/181 This Book is brought to you for free and open access by the The iH lltop Digital Archive at Digital Howard @ Howard University. It has been accepted for inclusion in The iH lltop: 1970-80 by an authorized administrator of Digital Howard @ Howard University. For more information, please contact [email protected]. •• Hilltop Highlights ''/)cl \ f ' ! < c 111c <' Cf(•<.. A Brother Is Gon.e ...... p4 !l(Jfl1i11~ Alh aji Dada Us man ..... c p5 Securit y Co unc il Debate p6 111 h<1u1" c/e11L1n c/" HU Cho ir Globetrots .... p7 • ' Faculty Art Exhibition . p8 Bison Sto rm Miami ....••• p9 ) . , ''THE VOICE OF THF HOWARD COMMUNITY'' Track Ninth Best .. ....... p10 • Vol1.' 59, No. 21 Howard University, Washington, D.C. 20059 '' 18 March 1977 H U Mourns Loss of Alumnus Memorial Fund Established Funeral Services Held shi ps and serve as a By Denise R. Williams Cheek, joined Maurice's memorial to the contri By Venola Rolle Hilltop Stilffwriter family and friends, the city , butions that Williams made Hilltop Stilffwriter to the broadcast jou rnalism council -- lead by Mayor WHUR - FM, Howard Walter Washington and O.C. field for years to come. A tense, gloomy quiet University radio station, 1n Delegate Walter Fauntroy - The station manager in filled W H UR-F M's news conjunction with the and WHUR-FM's·staff at Tur dicated that the goal 1s to room Wednesday, March 9, Howard University School of ner Me.morial A.M.E. -
The History and Development of Jazz Piano : a New Perspective for Educators
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1975 The history and development of jazz piano : a new perspective for educators. Billy Taylor University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Taylor, Billy, "The history and development of jazz piano : a new perspective for educators." (1975). Doctoral Dissertations 1896 - February 2014. 3017. https://scholarworks.umass.edu/dissertations_1/3017 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. / DATE DUE .1111 i UNIVERSITY OF MASSACHUSETTS LIBRARY LD 3234 ^/'267 1975 T247 THE HISTORY AND DEVELOPMENT OF JAZZ PIANO A NEW PERSPECTIVE FOR EDUCATORS A Dissertation Presented By William E. Taylor Submitted to the Graduate School of the University of Massachusetts in partial fulfil Iment of the requirements for the degree DOCTOR OF EDUCATION August 1975 Education in the Arts and Humanities (c) wnii aJ' THE HISTORY AND DEVELOPMENT OF JAZZ PIANO: A NEW PERSPECTIVE FOR EDUCATORS A Dissertation By William E. Taylor Approved as to style and content by: Dr. Mary H. Beaven, Chairperson of Committee Dr, Frederick Till is. Member Dr. Roland Wiggins, Member Dr. Louis Fischer, Acting Dean School of Education August 1975 . ABSTRACT OF DISSERTATION THE HISTORY AND DEVELOPMENT OF JAZZ PIANO; A NEW PERSPECTIVE FOR EDUCATORS (AUGUST 1975) William E. Taylor, B.S. Virginia State College Directed by: Dr. -
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. -
David Liebman Papers and Sound Recordings BCA-041 Finding Aid Prepared by Amanda Axel
David Liebman papers and sound recordings BCA-041 Finding aid prepared by Amanda Axel This finding aid was produced using the Archivists' Toolkit November 30, 2018 Describing Archives: A Content Standard Berklee Archives Berklee College of Music 1140 Boylston St Boston, MA, 02215 617-747-8001 David Liebman papers and sound recordings BCA-041 Table of Contents Summary Information ................................................................................................................................. 3 Biographical/Historical note.......................................................................................................................... 4 Scope and Contents note............................................................................................................................... 4 Arrangement note...........................................................................................................................................4 Administrative Information .........................................................................................................................5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 Scores and Charts................................................................................................................................... -
Mccoy Tyner Doesn't Like Interviews Might Be That Mccoy Tyner Doeso'r Have Much to Say
su rreal mccoy,n,hec,ub they're asking, "rrVho piano player?" But Philip r/Yatson has some questions of his own in this rare talk with the rarely talkatiye keyboard master, who has a new album ready and a British visit in the offing, Life, Coltrane and everything . Photo by Nick White. McCoy Tr,NER doesn't like interviews. Even his New York booking agents, Paul and Abbie Hofer, don't like interviews. You're not encouraged; McCoy cannot be con- racted; he's nor to be hassied. \When you do get a date, Tyner cancels. Then he cancels again, leaving a cursory and unapo- logetic, "Something came up". And when he finally ar:ives 4t minutes late for our lunch appointment in Greenwich Village, he is polite but profoundly saturnine; a man ill at ease wirh the situation and himself. He is either unfathomable behind dark glasses, or he looks away rwo feet to your left. For an imposing, big-faced man, his expressions give very little away. And he keeps his hands clasped tight in front of his mouth, further stifling the introverted gruffness io his voice. It leads you to believe the Hofers know something about Tyner that most don't. A man who describes himseif as "avery private person", and whose responses to questions about his music often run along the lines of "it's difficult ro articulate, difficult to put into words", the reason McCoy Tyner doesn't like interviews might be that McCoy Tyner doeso'r have much to say. O N T H E bandstand, of course, Tyner is somewhat more expansive. -
Airwaves (1983-12 and 1984-01)
AIR\XAVES A Service of Continuing Education and Extension University of Minnesota, Duluth Volume 4 Number 6 December 1983-January 1984 Tom .Paxton Thursday, Dec. 1 Marshall Performing Arts Center, UMD I\UMI) 103.Jfm Station Manager .... Tom Livingston Program Director ...... John Ziegler Asst. Program Director . Paul Schmitz Engineering ........... Kirk Kersten Re or¾ lo the Listener Producer/ Outreach .... Jean Johnson ~olunteer itaff By Tom Livingston, Station Manager Bill Agnew, Jay Anderson, Kath like " Bottle of Wine," "Ram bl in Boy, " Anderson, Mark Anderson, Bob "The Last Thing on My Mind," and Andresen, Leo Babeu, Chris Baker, Fall Fund Drive Concert Serles: Koko Taylor, Botto; "I'n:t Changing My Name to Chrysler" Todd Borstad, Dave Brygger, Jeff By just about every count our fall fund Paxton Coming Up . are just a few of the dozens he ha~ Cherne, Jan Cohen, Katrina drive was a great success. The Beatles Our second concert in the series that is written that are sung and p layed all over DeConcini, Bruce Eckland, Pat Eller, day and the Koko Taylor concert were funded in part by the Arrowhead the wor1d. We are proud to be Phil Enke, Doug Fifield, Susanna highlights and the hundreds of people Regional Arts Council featured Koko sponsoring this event, and hope you'll Frenkel, Matt Fust, Bev Garberg, Stan who called in with pledges made the Taylor and her Blues Machine. The join us December I, at the Marshall Goltz, Doug Greenwood, Jim Gruba, drive both emotionally and financially band was hot, and the large audience Performing Arts Center. Paul Hanson, Gordon Harris; Dean rewarding for the station and the staff. -
The Piano As Percussion Instrument in Jazz
EIGHTY-EIGHT DRUMS: THE PIANO AS PERCUSSION INSTRUMENT IN JAZZ by Thomas Andrew Van Seters A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Thomas Andrew Van Seters 2011 Eighty-eight Drums: The Piano as Percussion Instrument in Jazz Thomas Andrew Van Seters Doctor of Musical Arts Faculty of Music University of Toronto 2011 Abstract Evidence of a link between piano and drumming performance practices in western music dates back to at least the mid-nineteenth century. The modern construction of the piano had yet to be fully standardized when percussive techniques were being applied to its keyboard. Since that time, pianists and drummers (especially those involved with the creation of groove-based music) have grown closer and closer, participating in what remains a richly symbiotic relationship. This study examines parallels between piano and drumming performance practices in jazz. In this context, drumming is acknowledged as an important inspiration guiding the expression of rhythm and percussive attack by non-drummers, pianists in particular. Historical connections between pianism and drumming in jazz are addressed through an examination of those legacies that are widely believed to derive from West African drumming, European march and dance traditions, and various aspects of the so-called "Latin tinge" from the Caribbean and South America. Playing techniques are compared in part based on the premise ii that similarities in musical output flow naturally from congruencies in instrumental architecture. Percussive action unites pianists and drummers, as do shared abilities to create rhythmic layers through the independent functioning of multiple limbs. -
Iii E. the Jazz Component: the Fantasy Collection
III E. THE JAZZ COMPONENT: THE FANTASY COLLECTION III E1. The LPs For many serious researchers into the changes and developments in jazz during the late 1940s and the early 1950s it is the LP albums which are part of the collection that will be of major interest. In particular Bill Belmont, as he assembled the Fantasy collection for the Archives, was able to locate a selection of the earliest 10” Prestige LPs which had been almost forgotten in the Fantasy warehouse. It should be emphasised, however, that these are not the original Prestige releases, which now sell for thousands of dollars on the collector’s market. To satisfy a small core of serious jazz enthusiasts, most of them in Japan, Fantasy manufactured facsimiles of many of the most important LPs in their catalog. Although the new albums are imprinted with an inconspicuous notice “Manufactured from master owned by Fantasy, Inc.” they are in every other respect identical with the originals. They are an invaluable time capsule of this crucial period of jazz’s development - and in their often primitive albums covers and minimal presentation they suggest the marginal nature of jazz as this period began. Also, in their LP format the modern listener has an insight into the programming concepts that led to the presentation of the material on the LP’s two sides. THE PRESTIGE 10”ALBUMS These have been reproduced with the original one color covers and - in the beginning - simply catalog listings on the back of the cover. The album notes, generally by Ira Gitler, begin after the first few examples. -
Black and Blue 33.092 1974 Grande Parade Du Jazz Black and Blue 950.504
Jazz Interpret Titel Album/Single Label / Nummer Jahr «Nice All Stars» black and blue 33.092 1974 Grande Parade du Jazz black and blue 950.504 Abdul-Malik Ahmed The Music of New Jazz NJ 8266 1961, 2002 Adams Pepper 10 TO 4 AT THE 5 SPOT Riverside 12-265 1958, 1976 Adderley Julian "Cannonball" in the land of EmArcy MG 36 077 1956 Adderley Cannonball sophisticated swing EmArcy MG 36110 Adderley Cannonball Jump for Joy Mercury MG 36146 1958 Adderley Cannonball TAKES CHARGE LANDMARKLLP-1306 1959, 1987 Adderley Cannonball African Waltz Riverside OJC-258 (RLP-9377) 1961 Adderley Cannonball Quintet Plus Riverside OJC-306 (RLP-9388) 1961 Adderley Cannonbal Sextet In New York Riverside OJC-142 (RLP-9404) 1962 Adderley Cannonball Cannonball in Japan Capitol ECJ-50082 1966 Adderley Cannonball Masters of jazz EMI Electrola C 054-81 997 1967 Adderley Cannonball Soul of the Bible SABB-11120 1972 Adderley Cannonball Nippon Soul Riverside OJC-435 (RLP-9477) 1990 Adderley Cannonball The quintet in San Francisco feat. Nat Adderley Riverside OJC-035 (RLP-1157) Adderley Cannonball Know what I mean ? with Bill Evans Riverside RLP 9433, alto AA 021 Adderley Julian Portrait of Cannonball Riverside OJC-361 (RLP-269) 1958 Adderley Nat We remember Cannon In + Out Records 7588 1991 Adderley with Milt Jackson Things are getting better Riverside OJC-032 (RLP-1128) 1958 Adderly Julian "Cannonball" & strings 1955 Trip Jazz TLP-5508 Albam Manny Jazz lab vol.1 MCA Coral PCO 7177 1957, 1974 Alexander Monty Monty strikes again MPS 68.044 1974, 1976 Alexander Monty Overseas -
Downbeat.Com August 2010 U.K. £3.50
.K. £3.50 .K. U ugust 2010 2010 ugust downbeat.com a DownBeat 58th Annual CritiCs Poll // Joe Lovano // Muhal RiChard AbraMs // Keith Jarrett & Charlie HaDen // hank Jones august 2010 AUGUST 2010 Volume 77 – Number 8 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser AdVertisiNg Sales Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [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, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Marga- sak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Nor- man Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Go- logursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Jennifer Odell, -
Milestone Records Discography
Milestone Label Discography Milestone Records was established in New York City in 1966 by Orrin Keepnews and Dick Katz. The label recorded mostly jazz with a small amount of blues. The label was made part of Fantasy Records in 1972. Since that time it has been used as a reissue label in addition to new jazz recordings. Milestone has also reissued many historic jazz recordings, including the Jelly Roll Morton, King Oliver and the New Orleans Rhythm Kings recordings that were originally made in the 1920’s by Richmond Indiana label Gennett Records. This discography was compiled using Schwann catalogs from 1966 to 1982 and information from the Michael Fitzgerald website. www.JazzDiscography.com 2000 Series: MLP 2001 - The Immortal Ma Rainey - Ma Rainey [1966] Jealous Hearted Blues/Cell Bound Blues/Army Camp Harmony Blues/Explainin' The Blues/Night Time Blues/'Fore Day Honry Scat///Rough And Tumble Blues/Memphis Bound Blues/Slave To The Blues/Bessemer Bound Blues/Slow Driving Moan/Gone Daddy Blues MLP 2002 - The Immortal Johnny Dodds - Johnny Dodds [1967] Rampart Street Blues/Don't Shake It No More/Too Sweet For Words/Jackass Blues/Frog Tongue Stomp/C.C. Pill Blues//Oriental Man/Steal Away/Oh Daddy/Lonesome Blues/Long Distance Blues/Messin' Around No. 2 MLP 2003 - The Immortal Jelly Roll Morton - Jelly Roll Morton [1967] Froggy Moore/35th Street Blues/Mamanita/London Blues/Wolverine Blues/My Gal/ /Big Fat Ham/Muddy Water Blues/Mr. Jelly Lord/Fish Tail Blues MLP 2004 - The Immortal Blind Lemon Jefferson - Blind Lemon Jefferson [1967] Lemon's -
The History and Development of Jazz Piano : a New Perspective for Educators
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1975 The history and development of jazz piano : a new perspective for educators. Billy Taylor University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Taylor, Billy, "The history and development of jazz piano : a new perspective for educators." (1975). Doctoral Dissertations 1896 - February 2014. 3017. https://scholarworks.umass.edu/dissertations_1/3017 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. / DATE DUE .1111 i UNIVERSITY OF MASSACHUSETTS LIBRARY LD 3234 ^/'267 1975 T247 THE HISTORY AND DEVELOPMENT OF JAZZ PIANO A NEW PERSPECTIVE FOR EDUCATORS A Dissertation Presented By William E. Taylor Submitted to the Graduate School of the University of Massachusetts in partial fulfil Iment of the requirements for the degree DOCTOR OF EDUCATION August 1975 Education in the Arts and Humanities (c) wnii aJ' THE HISTORY AND DEVELOPMENT OF JAZZ PIANO: A NEW PERSPECTIVE FOR EDUCATORS A Dissertation By William E. Taylor Approved as to style and content by: Dr. Mary H. Beaven, Chairperson of Committee Dr, Frederick Till is. Member Dr. Roland Wiggins, Member Dr. Louis Fischer, Acting Dean School of Education August 1975 . ABSTRACT OF DISSERTATION THE HISTORY AND DEVELOPMENT OF JAZZ PIANO; A NEW PERSPECTIVE FOR EDUCATORS (AUGUST 1975) William E. Taylor, B.S. Virginia State College Directed by: Dr.