Cannonball Adderley Oleo Transcription
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JAZZ FUNDAMENTALS Jazz Piano, Theory, and More
JAZZ FUNDAMENTALS Jazz Piano, Theory, and More Dr. JB Dyas 310-206-9501 • [email protected] 2 JB Dyas, PhD Dr. JB Dyas has been a leader in jazz education for the past two decades. Formerly the Executive Director of the Brubeck Institute, Dyas currently serves as Vice President for Education and Curriculum Development for the Thelonious Monk Institute of Jazz at UCLA in Los Angeles. He oversees the Institute’s education and outreach programs including Jazz In America: The National Jazz Curriculum (www.jazzinamerica.org), one of the most significant and wide-reaching jazz education programs in the world. Throughout his career, he has performed across the country, taught students at every level, directed large and small ensembles, developed and implemented new jazz curricula, and written for national music publications. He has served on the Smithsonian Institution’s Task Force for Jazz Education in America and has presented numerous jazz workshops, teacher-training seminars, and jazz "informances" around the globe with such renowned artists as Dave Brubeck and Herbie Hancock. A professional bassist, Dyas has appeared with Jamey Aebersold, David Baker, Jerry Bergonzi, Red Rodney, Ira Sullivan, and Bobby Watson, among others. He received his Master’s degree in Jazz Pedagogy from the University of Miami and PhD in Music Education from Indiana University, and is a recipient of the prestigious DownBeat Achievement Award for Jazz Education. 3 Jazz Fundamentals Text: Aebersold Play-Along Volume 54 (Maiden Voyage) Also Recommended: Jazz Piano Voicings for the Non-Pianist and Pocket Changes I. Chromatic Scale (all half steps) C C# D D# E F F# G G# A A# B C C Db D Eb E F Gb G Ab A Bb B C Whole Tone Scale (all whole steps) C D E F# G# A# C Db Eb F G A B Db ___________________________________________________________________________________________________________ II. -
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. -
The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT for the ARTS
2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT FOR THE ARTS 2015 Fellows Carla Bley George Coleman Charles Lloyd Joe Segal NEA Jazz Masters 2015 Contents Introduction ..............................................................................1 A Brief History of the Program ................................................2 Program Overview ...................................................................5 2015 NEA Jazz Masters............................................................7 Carla Bley .......................................................................................8 George Coleman............................................................................9 Charles Lloyd ...............................................................................10 Joe Segal ......................................................................................11 NEA Jazz Masters, 1982–2015..............................................12 NEA Jazz Masters Awards Ceremony ...................................14 Pianist Jason Moran and guitarist Bill Frisell perform 2014 NEA Jazz Master Keith Jarrett’s “Memories of Tomorrow” at the 2014 awards concert. Photo by Michael G. Stewart The NEA is committed to preserving the legacy of jazz not just for this ”generation, but for future generations as well. ” IV NEA Jazz Masters 2015 IT IS MY PLEASURE to introduce the 2015 class of NEA Jazz Masters. The NEA Jazz Masters awards—the nation’s highest recognition of jazz in America—are given to those who have reached the pinnacle of their art: musicians -
Finding Aid to the Historymakers ® Video Oral History with Sonny Rollins
Finding Aid to The HistoryMakers ® Video Oral History with Sonny Rollins Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Rollins, Sonny Title: The HistoryMakers® Video Oral History Interview with Sonny Rollins, Dates: December 3, 2016 Bulk Dates: 2016 Physical 8 uncompressed MOV digital video files (3:30:19). Description: Abstract: Jazz composer and saxophonist Sonny Rollins (1930 - ) composed the jazz standards “Oleo,” “Airegin,” and “Doxy,” and released over sixty albums in his name, including Saxophone Colossus (1956) and Freedom Suite (1958). Rollins was interviewed by The HistoryMakers® on December 3, 2016, in Woodstock, New York. This collection is comprised of the original video footage of the interview. Identification: A2016_113 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Jazz composer and saxophonist Sonny Rollins was born on September 7, 1930 in New York City. His parents, immigrants from the U.S. Virgin Islands, raised him in Manhattan’s central Harlem and Sugar Hill neighborhoods. Rollins received his first alto saxophone at seven years old; and was heavily influenced by saxophonist Charlie Parker by the time he enrolled at Edward W. Stitt Junior High School. Rollins switched to tenor saxophone, and was mentored by pianist Thelonious Monk. Upon graduating from high school, Rollins made his first recordings with Babs Gonzales, J.J. Johnson, Bud Powell, and Fats Navarro. He went on to record with such jazz legends as Miles Davis, the Modern Jazz Quartet, Charlie Parker and Thelonious Monk. In 1954, Rollins’ compositions “Oleo,” “Airegin,” and “Doxy” were featured on Miles Davis’ Bags' Groove. -
JJ Bio Full 2020 (400)
Jerome Jennings is a drummer, activist, bandleader, composer, sideman and educator. His debut recording ‘The Beast’ is a reflection of the every day joys and traumas of black life in the U.S. It was named one of the top three Jazz releases by NPR, received a four star rating in Downbeat Magazine, and was nominated for the prestigious French ‘Grand Prix du Disque’ award for Album of the Year in 2016. Jerome’s sophomore recording, ‘Solidarity’, released November 2019 was recognized by NPR as best music that spoke truth to power of 2019. Jerome is a pertinent performer. To date Jerome has performed, toured and recorded with legendary musicians like Sonny Rollins, Hank Jones, Gerald Wilson, Christian McBride, Ron Carter, Dee Dee Bridgewater, Wynton Marsalis (J@LC), The Count Basie Orchestra, Philip Bailey, Henry Butler, and countless others. He has also made recordings and shared the stage with contemporary musicians Sean Jones, Camille Thurman, Jazzmeia Horn, Christian Sands, Charenee Wade, and Bokani Dyer to name a few. The summer of 2007 Jerome earned a MM from the prestigious Juilliard School in Manhattan NY. Jerome has been the Resident Director of The Juilliard Jazz Orchestra since fall 2017. He passed Jazz At Lincoln Centers Swing University 301 history course: The most comprehensive study of jazz from a non- performance perspective, available. Jazz At Lincoln Center has Jerome Jennings on file as an accredited jazz scholar. Jerome has participated as a spoke on several panels including Chamber Music America: Music, Language, and Revolution; Lincoln Center: Freedom’s State of Mind; Winter Jazz Festival: Jazz & Gender: A Discussion Of Community, Culture & Participatory Allies. -
The Modality of Miles Davis and John Coltrane14
CURRENT A HEAD ■ 371 MILES DAVIS so what JOHN COLTRANE giant steps JOHN COLTRANE acknowledgement MILES DAVIS e.s.p. THE MODALITY OF MILES DAVIS AND JOHN COLTRANE14 ■ THE SORCERER: MILES DAVIS (1926–1991) We have encountered Miles Davis in earlier chapters, and will again in later ones. No one looms larger in the postwar era, in part because no one had a greater capacity for change. Davis was no chameleon, adapting himself to the latest trends. His innovations, signaling what he called “new directions,” changed the ground rules of jazz at least fi ve times in the years of his greatest impact, 1949–69. ■ In 1949–50, Davis’s “birth of the cool” sessions (see Chapter 12) helped to focus the attentions of a young generation of musicians looking beyond bebop, and launched the cool jazz movement. ■ In 1954, his recording of “Walkin’” acted as an antidote to cool jazz’s increasing deli- cacy and reliance on classical music, and provided an impetus for the development of hard bop. ■ From 1957 to 1960, Davis’s three major collaborations with Gil Evans enlarged the scope of jazz composition, big-band music, and recording projects, projecting a deep, meditative mood that was new in jazz. At twenty-three, Miles Davis had served a rigorous apprenticeship with Charlie Parker and was now (1949) about to launch the cool jazz © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM movement with his nonet. wwnorton.com/studyspace 371 7455_e14_p370-401.indd 371 11/24/08 3:35:58 PM 372 ■ CHAPTER 14 THE MODALITY OF MILES DAVIS AND JOHN COLTRANE ■ In 1959, Kind of Blue, the culmination of Davis’s experiments with modal improvisation, transformed jazz performance, replacing bebop’s harmonic complexity with a style that favored melody and nuance. -
“Cannonball” Adderley
Journal of Jazz Studies vol. 9, no. 1, pp. 101-106 (Summer 2013) Portrait of Cannonball: Cary Ginell's Walk Tall Dustin Mallory Walk Tall: The Music and Life of Julian “Cannonball” Adderley. By Cary Ginell. Milwaukee: Hal Leonard Books, 2013. 190 pp. $18.99. Very few jazz musicians can say that their band had a Top 20 single and a Top 20 album. Within that elite group of artists, only two men can state in the same breath that they also performed on jazz’s best-selling album of all time, Kind of Blue. One is Miles Davis and the other is Julian “Cannonball” Adderley. Cannonball’s success in album sales is just one measure of his achievements, albeit a tangible one. However, a casual stroll through the practice rooms of any jazz school in the country or jazz club in a city will aurally reveal the sheer volume of musicians that practice, perform, and revere the vocabulary that poured from Cannonball’s saxophone. Yet, despite the respect that Cannonball has been accorded over the years, both measureable and immeasurable, there is relatively little in the way of published biographical information. With the exception of the occasional feature in a periodical, an entry in The Encyclopedia of Jazz, a handful of scholarly works, and a few publications geared toward theory or discography,1 Mr. Adderley’s biography has gone largely unwritten. Furthermore, it can be said definitively that there is nothing in the marketplace that even closely resembles a comprehensive biography. Cary Ginell’s Walk Tall is one of the first publications that sets theory, analysis, and discography on the back burner in favor of history/biography. -
Flamenco Sketches”
Fyffe, Jamie Robert (2017) Kind of Blue and the Signifyin(g) Voice of Miles Davis. PhD thesis. http://theses.gla.ac.uk/8066/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] Kind of Blue and the Signifyin(g) Voice of Miles Davis Jamie Robert Fyffe Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow October 2016 Abstract Kind of Blue remains one of the most influential and successful jazz albums ever recorded, yet we know surprisingly few details concerning how it was written and the creative roles played by its participants. Previous studies in the literature emphasise modal and blues content within the album, overlooking the creative principle that underpins Kind of Blue – repetition and variation. Davis composed his album by Signifyin(g), transforming and recombining musical items of interest adopted from recent recordings of the period. This thesis employs an interdisciplinary framework that combines note-based observations with intertextual theory. -
From Guy Warren to Kofi Ghanaba: a Life of Transatlantic (Dis)Connections
Individual Life From Guy Warren to Kofi Ghanaba: A Life of Transatlantic (Dis)Connections Robin D. G. Kelley “ here has never been anybody in the history of Jazz music like me . I am Tto Jazz music what Kwame Nkrumah was to modern African politics.”1 These bold words belong to the late Kofi Ghanaba, the Ghanaian-born drum- mer who pioneered jazz-African fusion music during the era of decolonization. Anyone familiar with Ghanaba and his music, whether as the wise African in Haile Gerima’s celebrated film “Sankofa,” or as the young, dynamic percussion- ist Guy Warren who had taken London, Chicago, and New York by storm in the 1950s, will immediately recognize his legendary hubris. But there is a grain of truth here beyond his conceit. Their lives might be read as parallel stories of two important Ghanaian-born intellectuals whose transatlantic travels between the United States, the United Kingdom, and West Africa profoundly shaped their politics, ideas, and identities. Both men studied at Achimota College in the Gold Coast; both men spent time in the United Kingdom where they encountered an African diasporic community whose politics and art widened their horizons; and both men spent several years in the United States, which they initially envi- sioned as a land of freedom and possibility in an era when the United Kingdom’s imperial fortunes were declining and the so-called American Century was beginning. Nkrumah first arrived in London in 1935, just after Italy invaded Ethiopia. Although he was passing through en route to the United States, Nkrumah fell in with a group of like-minded activists mobilizing against the occupation and demanding that the League of Nations protect Ethiopia’s sovereignty. -
SELECTED SOLOS of CHARLIE HADEN: TRANSCRIPTIONS and ANALYSIS
SELECTED SOLOS of CHARLIE HADEN: TRANSCRIPTIONS and ANALYSIS By JONATHAN ZWARTZ A thesis submitted for the degree of Master of Philosophy (Music) August 2006 School of Music, Faculty of Arts, The Australian National University I hereby state that this thesis is entirely my own original work. Acknowledgements I would like to sincerely thank the following people for their assistance in this folio.Mike Price, Nick Hoorweg, Jenny Lindsay, Dylan Cumow, Jane Lindsay, Peter Dasent, Sally Zwartz. Abstract Charlie Haden is a unique bassist in jazz today. He has an instantly identifiable sound, and broad stylistic taste in both the music that he records and the musicians he records with. The one constant throughout his recorded work is his own distinctive musical style. I was attracted to Charlie Haden’s playing because of his individual approach, particularly his soloing style on more traditional song forms as opposed to the freer jazz forms that he became famous for play ing and soloing on in the earlier part of his career. For the purpose of this analysis, I chose duet settings for the reason that duets are more intimate by nature and perhaps because of that, more revealing. Haden has a reputation for simplicity in his soloing. Indeed, he employs no great theatrical displays of technical virtuosity like other bass soloists. However, my analysis of Haden’s performances show that he is a master soloist in command of his instrument and the musical principles of harmony, melody and rhythm, all incorporated within the particular piece he’s soloing on, coupled with the uncanny ability to ‘tell a story’ when he solos. -
An In-Depth Analysis of Classic Jazz Compositions for a Graduate Jazz Guitar Recital Derick Cordoba Florida International University
Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 7-20-2007 An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital Derick Cordoba Florida International University DOI: 10.25148/etd.FI14061511 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the Music Performance Commons Recommended Citation Cordoba, Derick, "An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital" (2007). FIU Electronic Theses and Dissertations. 2495. https://digitalcommons.fiu.edu/etd/2495 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. AN IN-DEPTH ANALYSIS OF CLASSIC JAZZ COMPOSITIONS FOR A GRADUATE JAZZ GUITAR RECITAL A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF MUSIC by Derick Cordoba 2007 To: Dean Juan Antonio Bueno College of Architecture and the Arts This thesis, written by Derick Cordoba, and entitled An In-depth Analysis of Classic Jazz Compositions for a Graduate Jazz Guitar Recital, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. Sam Lussier Gary Campbell Michael Orta, Major Professor Date of Defense: July 20, 2007 The thesis of Derick Cordoba is approved. Dean Juan Antonio Bueno College of Architecture and the Arts Dean George Walker University Graduate School Florida International University, 2007 •• 11 ABSTRACT OF THE THESIS AN IN-DEPTH ANALYSIS OF CLASSIC JAZZ COMPOSITIONS FOR A GRADUATE JAZZ GUITAR RECITAL by Derick Cordoba Florida International University, 2007 Miami, Florida Professor Michael Orta, Major Professor The purpose of this thesis was to analyze jazz compositions by several great composers.