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A Period of Rapid Evolution in Bass Playing and Its Effect on Music Through the Lens of Memphis, TN
A period of rapid evolution in bass playing and its effect on music through the lens of Memphis, TN Ben Walsh 2011 Rhodes Institute for Regional Studies 1 Music, like all other art forms, has multiple influences. Social movements, personal adventures and technology have all affected art in meaningful ways. The understanding of these different influences is essential for the full enjoyment and appreciation of any work of art. As a musician, specifically a bassist, I am interested in understanding, as thoroughly as 1 http://rockabillyhall.com/SunRhythm1.html (date accessed 7 /15/11). possible, the different influences contributing to the development of the bass’ roles in popular music, and specifically the sound that the bass is producing relative to the other sounds in the ensemble. I am looking to identifying some of the key influences that determined the sound that the double and electric bass guitar relative to the ensembles they play in. I am choosing to focus largely on the 1950’s as this is the era of the popularization of the electric bass guitar. With this new instrument, the sound, feeling and groove of rhythm sections were dramatically changed. However, during my research it became apparent that this shift involving the electric bass and amplification began earlier than the 1950’s. My research had to reach back to the early 1930’s. The defining characteristics of musical styles from the 1950’s forward are very much shaped by the possibilities of the electric bass guitar. This statement is not taking away from the influence and musical necessity that is the double bass, but the sound of the electric bass guitar is a defining characteristic of music from the 1950s onward. -
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 ............................................................................................................................ -
Monterey Jazz Festival
DECEMBER 2018 VOLUME 85 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová 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; 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 Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; -
Butler University School of Music Duckwall Artist Series Open Sky Bird at 100: a Tribute to Charlie Parker
BUTLER UNIVERSITY SCHOOL OF MUSIC DUCKWALL ARTIST SERIES presents OPEN SKY BIRD AT 100: A TRIBUTE TO CHARLIE PARKER Matt Pivec, saxophones Jesse Wittman, bass Sandy Williams, guitar Kenny Phelps, drums Steve Allee, piano Eidson-Duckwall Recital Hall Tuesday, October 13, 2020 • 7:30 P.M. The fourteenth program of the Butler University School of Music 2020-21 season PROGRAM Repertoire will be announced from the stage. BIOS MATT PIVEC As a performer of jazz and popular music, Matt has worked with Ray Charles, Aretha Franklin, The Temptations, Dave Rivello, Bob Brookmeyer, Peter Erskine, Maria Schneider, Julia Dollison, Melvin Rhyne, the Buselli-Wallarab Jazz Orchestra, the Indianapolis Symphony Orchestra, the Rochester Philharmonic Pops Orchestra, and the national touring companies of Hairspray, 42nd Street, and The Producers. As a band leader and soloist, Matt has performed at jazz festivals and venues throughout the United States. He has three albums to his credit: Live at Snider Hall, Psalm Songs, and the recently released Time and Direction. Currently, Matt is the Director of Jazz Studies at Butler University where he leads the Jazz Ensemble and teaches courses in the jazz studies curriculum. Under his direction, Butler ensembles have performed with world-renowned guest artists such as Kurt Elling, Christian McBride, Bobby Sanabria, Donny McCaslin, Fred Sturm, Melvin Rhyne, Steve Allee, Ted Poor, and the Wee Trio. Matt received the Doctor of Musical Arts (Saxophone Performance and Literature) and Master of Music (Jazz Studies and Contemporary Media) degrees from the Eastman School of Music in Rochester, New York. While at Eastman, Matt studied with Ramon Ricker. -
Imaginary Miles: Modeling Musebots After Musicians
Imaginary Miles: Modeling Musebots after Musicians Arne Eigenfeldt School for the Contemporary Arts Simon Fraser University, Vancouver, Canada [email protected] ABSTRACT ing and simulation [4]. One facet of computational musi- cology is to prove the validity of the derived model Musebots are autonomous musical agents that interact through generation [5]; however, it should be pointed out with other musebots to create music. Inaugurated in that its specific goals are different from those of the pro- 2015, musebots are now an established practice in the duction systems found within MuMe, in that the resulting field of musical metacreation, which aims to automate generation is not meant to have artistic validity. aspects of creative practice. Musebots have been present- The work described in this paper is firmly within the ed as continuously running installations, in which ensem- MuMe field: while using methods derived from machine- bles, curated from the pool of community-coded agents, learning to produce a loose model of a specific stylistic interact autonomously with one another for five to seven corpus, the goal is not to exactly reproduce the model; minutes, emphasising their (often) disparate styles. Imag- instead, the model is a starting point for more general inary Miles, while continuing the musebot tradition of compositional explorations of musical agent relation- open-source development, presents musebots coded only ships. by the author. Furthermore, the generated style is quite explicit – late 1960s jazz, specifically the Miles Davis 1.3 Musebots groups of that era. While individual musebots are mod- elled after specific musicians, Imaginary Miles is not an The open source musebot protocol1 was originally devel- effort at computational musicology that attempts to per- oped to coordinate generative music software ensembles fectly replicate its models; instead, the ensemble’s unique [6] and facilitate modularised prototyping of designs [7]. -
Charlie Christian's Influence on Wes Montgomery's
IMITATION, ASSIMILATION, AND INNOVATION: CHARLIE CHRISTIAN’S INFLUENCE ON WES MONTGOMERY’S IMPROVISATIONAL STYLE IN HIS EARLY RECORDINGS (1957-1960) A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY SHAWN SALMON DISSERTATION ADVISORS: DR. KEITH KOTHMAN AND MR. PAUL REILLY BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2011 For Elaina, Eamon, and Nia TABLE OF CONTENTS Introduction …………………………………………………………………………… 1 Need of the Study ……………………………………………………………. 4 Review of Literature ………………………………………………………….. 7 Methodology ………………………………………………………………… 13 Chronological List of Recordings Used for Study …………………………... 17 Chapter 1: Biographical History and Musical Development of Charlie Christian ….. 19 Life and Career ……………………………………………………………… 19 Charlie Christian, Jam Sessions, and the Bebop Movement ………....……... 22 Christian and Creativity ……………………………………………………... 24 Chapter 2: Biographical History and Musical Development of Wes Montgomery … 29 Life and Career ……………………………………………………………… 29 Chapter 3: Stylistic Traits of Charlie Christian Over Dominant-Seventh Harmonies . 39 Scales ………………………………………………………………………... 39 Arpeggios ………………………………………………………………….. .. 46 Use of Chromatic Pitches …………………………………………………… 55 Formulas and Enclosures …………………………………………………… 67 Harmonic Substitutions ……………………………………………………... 76 Concluding Remarks …………………………………………………………81 Chapter 4: Stylistic Traits of Wes Montgomery Influenced by Charlie Christian …. 83 Imitation in Jazz ……………………………………………………………. 84 Wes Montgomery -
Return of the Guitar Man
October 2011 | No. 114 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com George Benson Return of the Guitar Man ARE U SPECIASL GUIIST Vic Juris • Mary Halvorson • Loose Torque • Event Calendar When one thinks of the instrument that most closely defines jazz, the saxophone is the obvious choice. But guitar has been making a strong case for decades now and some of the most compelling players in jazz history have been six-stringers. New York@Night What makes the guitarist most interesting is that they often have the most 4 expansive view of jazz and its possibilities, saddled with less history and fewer Interview: Vic Juris archetypes. We feature three of them in this, our special Guitar Issue. George Benson (On The Cover) has been a polarizing figure, heir to the throne of Wes 6 by Ryan Blotnick Montgomery but willing to disappoint purists because of his crossover activities; Artist Feature: Mary Halvorson Benson plays Town Hall this month in support of his new (return-to-jazz) album Guitar Man. Vic Juris (Interview) got his start, like many of his kind, working with by Martin Longley 7 organists, but also absorbed the nascent fusion movement, establishing his On The Cover: George Benson credentials with Dave Liebman and as a leader and educator; Juris plays around by Bill Milkowski town several times this month. And Mary Halvorson (Artist Feature) has rightly 9 been described as a unique voice on her instrument, to which her various projects Encore: Lest We Forget: and appearances as a sideman attest; this month she plays with mentor Anthony 10 Braxton as well as leading or co-leading several typically wide-ranging projects. -
Alan Broadbent Michael Bisio Wallace Mcmillan
OCTOBER 2015—ISSUE 162 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM LAROY ALAN MICHAEL WALLACE WES BROADBENT50BISIO MCMILLAN MONTGOMERY Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2015—ISSUE 162 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Alan Broadbent 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : Michael Bisio 7 by clifford allen General Inquiries: [email protected] On The Cover : AACM 50th Anniversary 8 by kurt gottschalk Advertising: [email protected] Encore : LaRoy Wallace McMillan by ken waxman Editorial: 10 [email protected] Calendar: Lest We Forget : Wes Montgomery 10 by ken dryden [email protected] VOXNews: LAbel Spotlight : V.S.O.P. by ken dryden [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by katie bull US Subscription rates: 12 issues, $35 International Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin For subscription assistance, send check, cash or money order to the address above or email [email protected] Festival Report 13 Staff Writers David R. Adler, Clifford Allen, CD Reviews 14 Fred Bouchard, Stuart Broomer, Katie Bull, Thomas Conrad, Ken Dryden, Donald Elfman, Miscellany 43 Brad Farberman, Sean Fitzell, Kurt Gottschalk, Tom Greenland, Event Calendar Alex Henderson, Marcia Hillman, 44 Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Russ Musto, Joel Roberts, John Sharpe, Elliott Simon, Jazz is a music based on and dependent upon community. -
A Method for Electric Bass Improvisation Via a Detailed Analysis of the Improvisational Techniques of Jaco Pastorius from 1967-1968
Edith Cowan University Research Online Theses : Honours Theses 2007 A method for electric bass improvisation via a detailed analysis of the improvisational techniques of Jaco Pastorius from 1967-1968 Aaron Spiers Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Music Performance Commons Recommended Citation Spiers, A. (2007). A method for electric bass improvisation via a detailed analysis of the improvisational techniques of Jaco Pastorius from 1967-1968. https://ro.ecu.edu.au/theses_hons/1256 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1256 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. -
Riverside Label Discography
Discography of the Riverside Label The Riverside label was established in 1953 by traditional jazz enthusiasts Bill Grauer and Orrin Keepnews in New York City. Originally Grauer and Keepnews intended to reissue classic jazz that they purchased from long defunct labels. Later the label recorded jazz, folk, comedy, spoken word, sound effects, children’s and gospel. Shortly after starting the Riverside label, Grauer went to Richmond Indiana, to see Harry Gennett Jr. to try to purchase the recordings of the Gennett label. The Gennett Record label was formed in 1918 as a division of the Starr Piano Company in Richmond Indiana. In the early 20’s, the label started recording the early jazz bands that were performing in Chicago. Gennett made the first recordings of Ferd “Jellyroll” Morton, King Oliver’s Creole Jazz Band with Louis Armstrong and the Wolverines with Bix Beiderecke. The first recording of “Stardust” was made by its author Hoagy Carmichael in the Gennett Richmond studio The Gennett label had ceased operation in 1932, but many of the historic metal recording plates were still stored in Richmond. Grauer was able to purchase all of the remaining plates for $2000. Grauer began a massive reissue campaign, releasing much of the Gennett material on long playing albums for the first time. Later, Grauer obtained masters from other early jazz and blues labels, including Paramount, Circle, and QRS, and reissued that material. Although the early catalog of Riverside releases contained mostly purchased material, Riverside started recording jazz sessions on its own, including Thelonious Monk, Randy Weston, Wes Montgomery and Cannonball Adderley. -
The Impact of Technology on the Role and Function of the Bass in Jazz
The Impact of Technology on the Role and Function of the Bass in Jazz Peter Dowdall Thesis submitted for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide February 2012 TABLE OF CONTENTS Title Page ..................................................................................................................... i Table of Contents ........................................................................................................ ii List of Figures.............................................................................................................. iii Abstract........................................................................................................................ vii Declaration................................................................................................................... viii Acknowledgments........................................................................................................ ix Introduction. Project Summary, Literature Review, Theoretical Framework, Chapter Outline...................................................................................... 1 Chapter 1. The Bass and the Early Mechanical Roots of Jazz (1915-1930)............... 14 Chapter 2. The Bass, Technology and the Development of the Rhythm Section (1930-1945).................................................................... 45 Chapter 3. The Spoils of War and the Jazz Bass: Tape Recorders and Editing (1945-1960).............................................................................................. -
Finding Aid to the Historymakers ® Video Oral History with Larry Ridley
Finding Aid to The HistoryMakers ® Video Oral History with Larry Ridley Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Ridley, Larry Title: The HistoryMakers® Video Oral History Interview with Larry Ridley, Dates: November 30, 2016 Bulk Dates: 2016 Physical 6 uncompressed MOV digital video files (3:01:19). Description: Abstract: Jazz musician and music professor Larry Ridley (1937 - ) taught at Rutgers University from 1971 to 1999, and played with jazz legends such as Horace Silver, Sonny Rollins, John Coltrane, Duke Ellington, and Thelonious Monk. Ridley was interviewed by The HistoryMakers® on November 30, 2016, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2016_141 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Jazz musician and music professor Larry Ridley was born on September 3, 1937 in Indianapolis, Indiana to Lawrence and Nevolena Ridley. He was taught to play the violin at the age of five, but later became interested in jazz music and learned to play the bass. Ridley graduated from Shortridge High School in Indianapolis, Indiana. He went on to attend Indiana University in 1955, but completed his B.S. degree at New York University in 1971. He earned his M.A. degree in cultural policy from the State University of New York Empire State College in 1993, and his Ph.D. degree in performing arts from the University of Maryland, Eastern his Ph.D. degree in performing arts from the University of Maryland, Eastern Shore in 2005.