October 2011 EARSHOT JAZZ in ONE EAR a Mirror and Focus for the Jazz Community
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Pop and Rock Listings
Pop and Rock Listings The New York By Times July 13, 2007 POP Full reviews of recent concerts: nytimes.com/music. BESNARD LAKES, JEALOUS GIRLFRIENDS (Tonight and Sunday) The Besnard Lakes, from Montreal, build childlike, Brian Wilsonesque melodies into fuzz-drenched epics fraught with violence. The Jealous Girlfriends, one of the best new bands in New York, float through soft and erotic clouds of guitar and keyboards that can turn grungy and turbulent; the soft and erotic stuff is whatʼs gotten their music on “Greyʼs Anatomy.” Tonight at 8:30, with Dappled Cities and the Muggabears, at the Mercury Lounge, 217 East Houston Street, at Ludlow Street, Lower East Side, (212) 260-4700, mercuryloungenyc.com; $12. Sunday at 8:30 p.m., with Dirty on Purpose, at Maxwellʼs, 1039 Washington Street, Hoboken, N.J., (201) 653-1703, maxwellsnj.com; $10 in advance, $12 at the door. (Ben Sisario) BLACK LIPS (Thursday) Sounding like a nightmarish variant of the 13th Floor Elevators or the Troggs, this Atlanta band plays a grisly version of 1960s garage rock, and its onstage antics have been known to descend into the scatological. With Turbo Fruits and the Coathangers. At 9 p.m., Maxwellʼs, 1039 Washington Street, Hoboken, N.J., (201) 653-1703, maxwellsnj.com; $12. (Sisario) BOOK OF KNOTS (Tonight) A supergroup the way only a New York avant- garde band can be, the Book of Knots is an occasional project, with members from Skeleton Key, Sleepytime Gorilla Museum, Tin Hat and Pere Ubu. Its second album, “Traineater” (Anti-), is an appropriately clangy elegy for rust- belt Americana; here the band plays what it says is its first and possibly only live performance, with friends Jon Langford of the Mekons and Carla Bozulich of the Geraldine Fibbers. -
Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N. -
Downbeat.Com December 2014 U.K. £3.50
£3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes 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] Advertising Sales Associate Pete Fenech 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, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman 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: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, -
Local Jazz Lives at Bellevue and Gig Harbor Festivals Bob Russell
INSIDE: Reviews of Marc Seales, Steve Rice Trio & Bud Shank Earshot J Seattle, July 1989 A Mirror and Focus for the Jazz Community I ^ Local Jazz Lives at Bellevue and Roots of Jazz: Gig Harbor Festivals Bob Russell Despite budget cuts and wavering sup Trumpeter Bob Russell started playing profession port from the Bellevue City Parks Depart ally in Kansas City in the 1920s, and moved to Seattle in 1944. Before coming to Seattle, he ment, it appears the Bellevue Jazz Festival, worked with drummer Vernon Brown in Milwau slated for July 10 - 16, will prevail as one of kee and recorded with Grant Moore's New Or the most important showcases for top local leans Black Devils. Brown sent for Russell in 1944 and throughout the '40s Russell was a member of jazz talent. Set in a beautiful downtown loca the popular Al Pierre band, which held down a tion against a backdrop of glass skyscrapers, steady job at Seattle s Marine (later Union) Club. the festival will spread out on a grass lawn so Laudatory mentions of Russell by other subjects ofthe "Roots of Jazz" project led us to draw out green, "it's like the lawn in your wildest his recollections. The following excerpts are from dreams," says organizer Jim Wilke. an interview taken by Ted Dzielak at Russell's This year's festival will feature a free home, March 7, 1989. This interview was made possible in part with support from the King County concert Friday evening, July 14; an evening Centennial Commission and the King County concert on Saturday, July 15 (admission S3); Landmarks Heritage Division. -
JREV3.8FULL.Pdf
JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc. -
Dvds DVDS 277
DVDs DVDS 277 CONCERTS & MUSIC Eric Clapton & Steve Winwood B.B. King Live from Madison Square Garden B.B. King Live AC/DC 2 DVDs ..................................................$27.99 17-WEA517585____ DVD ......................................................$14.99 40-7130HJDVD____ Blu-Ray Disc .........................................$17.99 40-7131HJBD____ Plug Me In Neil Diamond 2 DVDs ..................................................$29.99 40-10417____ Diana Krall Hot August Night/NYC Adele Live from Madison Square Garden Live in Rio DVD ......................................................$13.99 40-62711____ DVD ......................................................$14.99 40-EV302739____ Live at the Royal Albert Hall DVD & CD .............................................$18.99 40-90446____ Eagles Led Zeppelin The Band Farewell I Tour — Live from Melbourne Celebration Day 2 DVDs ..................................................$29.99 17-WEA970423____ DVD & 2 CDs .........................................$29.95 17-WEA532625____ The Last Waltz Hell Freezes Over Blu-Ray Disc & 2 CDs ...........................$34.95 17-WEA532628____ DVD ......................................................$14.99 40-M102021____ DVD ......................................................$24.99 40-B000437709____ Led Zeppelin History of The Eagles DVD 2-Pack ..........................................$29.99 17-WEA970198____ The Beatles The Story of an American Band Mothership ✸ 3 DVDs ............................................$34.99 40-347919____ The -
Downbeat.Com March 2014 U.K. £3.50
£3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson 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] Advertising Sales Associate Pete Fenech 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, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman 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: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene -
SA-Bio-4.2017.Pdf
Scott Amendola: Drummer/Composer/Bandleader/Educator “Amendola’s music is consistently engaging, both emotionally and intellectually, the product of a fertile and inventive musical imagination.” Los Angeles Times “If Scott Amendola didn't exist, the San Francisco music scene would have to invent him.” Derk Richardson, San Francisco Bay Guardian “Amendola has complete mastery of every piece of his drumset and the ability to create a plethora of sounds using sticks, brushes, mallets, and even his hands.”Steven Raphael, Modern Drummer “...drummer/signal-treater Scott Amendola is both a tyrant of heavy rhythm and an electric-haired antenna for outworldly messages (not a standard combination).” Greg Burk, LA Weekly For Scott Amendola, the drum kit isn’t so much an instrument as a musical portal. As an ambitious composer, savvy bandleader, electronics explorer, first-call accompanist and capaciously creative foil for some of the world’s most inventive musicians, Amendola applies his wide-ranging rhythmic virtuosity to a vast array of settings. His closest musical associates include guitarists Nels Cline, Jeff Parker, Charlie Hunter, Hammond B-3 organist Wil Blades, violinists Jenny Scheinman and Regina Carter, saxophonists Larry Ochs and Phillip Greenlief, and clarinetist Ben Goldberg, players who have each forged a singular path within and beyond the realm of jazz. While rooted in the San Francisco Bay Area scene, Amendola has woven a dense and far-reaching web of bandstand relationships that tie him to influential artists in jazz, blues, rock and new music. A potent creative catalyst, the Berkeley-based drummer is the nexus for a disparate community of musicians stretching from Los Angeles and Seattle to Chicago and New York. -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
Allison Miller's Boom Tic Boom
FOR IMMEDIATE RELEASE Contact: Glenn Siegel, 413-320-1089 [email protected] Pioneer Valley Jazz Shares presents: Allison Miller’s Boom Tic Boom Pioneer Valley Jazz Shares continues with a performance by Allison Miller’s Boom Tic Boom , on Sunday, May 8, at 7:30pm at the Institute for the Musical Arts , 165 Cape St. (Rt. 112), Goshen, MA. Boom Tic Boom features Jenny Scheinman , violin, Kirk Knuffke , cornet, Ben Goldberg , clarinet, Myra Melford , piano and Todd Sickafoose , bass. Single tickets ($15) available at www.jazzshares.org and at the door. The most poignant music is often inspired by watershed events in an artist’s life, and few occasions are more transformative than the arrival of one’s first child. For Allison Miller, the extraordinary drummer, composer and leader of her band Boom Tic Boom, that life-affirming experience provided the seed that led to the creation of her new full-length studio album, Otis Was a Polar Bear (The Royal Potato Family: April 8, 2016). The album is Miller’s latest collection of 10 original compositions following her 2013 critically acclaimed No Morphine, No Lilies, which Downbeat Magazine said “reveals her exemplary chops and stylistic breadth.” The birth of Miller’s (and partner Rachel’s) daughter Josie found the NYC-based drummer reordering her priorities and the very way in which she approached her art. Miller, praised by the All Music Guide as “one of the finest drummers on the scene, but also one of the most innovative compositional voices,” began writing Otis Was a Polar Bear during the summer of 2014 while touring with lauded singer-songwriter Natalie Merchant. -
Antioch University COMMON THREAD
Antioch University COMMON THREAD JANUARY 25, 2018 SANTA BARBARA CAMPUS & COMMUNITY BEGIN RECOVERY FROM THOMAS FIRE AND MONTECITO FLOOD DISASTERS The Antioch University Santa Barbara campus and surrounding community was significantly impacted by the Thomas Fire -now measured as the largest wildfire in California history- in December 2017, and by the subsequent floods and mudslides in Montecito on January 9, 2018. At the time of writing this, twenty lives were confirmed lost and three are missing as a result of the mudslide tragedy. Highway 101, the only highway route in and out of the city toward the south, remains closed as Caltrans clears mud and debris. To say the least, our entire campus community has been tremendously impacted by the injury and loss of people we may know. In addition, many of us have experienced damage and loss of homes and property, as well as the impact of damaged infrastructure, isolation or disruption of transportation, and local economic impact. Antioch University has responded in a number of ways to generously support students, staff, and faculty in Santa Barbara. For example, AU increased the number of pro Zoom accounts for each academic department which allow faculty to include all students in their classes so that they may make academic progress. We remain grateful to first responders, search and rescue crews, and the current search and recovery teams in our area. The compassion and kindness demonstrated by the recovery teams has been appreciated as we mourn the loss of those in our community, and acknowledge the profound impact on each one of us. -
Read Ebook {PDF EPUB} up by R.E.M. up by R.E.M
Read Ebook {PDF EPUB} Up by R.E.M. Up by R.E.M. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 660c7973f8a24e2c • Your IP : 116.202.236.252 • Performance & security by Cloudflare. The Real Reason R.E.M. Broke Up. Regardless of what your opinion about R.E.M. is, there's no denying that they shaped the face of alternative rock for years. Heck, they've basically been every kind of alternative rock band themselves. They spent their formative years as cult favorite college rockers. Then, they started attracting more and more attention until they were making music with genuine mainstream appeal. Between 1991 and 1992 alone, they released the folk- inspired Out of Time and the baroque Automatic For The People, making them easily the most successful band to attack the audiences of the early grunge era with both mandolins ("Losing My Religion") and string arrangements (A good chunk of Automatic ).