Oscar Hernandez
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Charles Mcpherson Leader Entry by Michael Fitzgerald
Charles McPherson Leader Entry by Michael Fitzgerald Generated on Sun, Oct 02, 2011 Date: November 20, 1964 Location: Van Gelder Studio, Englewood Cliffs, NJ Label: Prestige Charles McPherson (ldr), Charles McPherson (as), Carmell Jones (t), Barry Harris (p), Nelson Boyd (b), Albert 'Tootie' Heath (d) a. a-01 Hot House - 7:43 (Tadd Dameron) Prestige LP 12": PR 7359 — Bebop Revisited! b. a-02 Nostalgia - 5:24 (Theodore 'Fats' Navarro) Prestige LP 12": PR 7359 — Bebop Revisited! c. a-03 Passport [tune Y] - 6:55 (Charlie Parker) Prestige LP 12": PR 7359 — Bebop Revisited! d. b-01 Wail - 6:04 (Bud Powell) Prestige LP 12": PR 7359 — Bebop Revisited! e. b-02 Embraceable You - 7:39 (George Gershwin, Ira Gershwin) Prestige LP 12": PR 7359 — Bebop Revisited! f. b-03 Si Si - 5:50 (Charlie Parker) Prestige LP 12": PR 7359 — Bebop Revisited! g. If I Loved You - 6:17 (Richard Rodgers, Oscar Hammerstein II) All titles on: Original Jazz Classics CD: OJCCD 710-2 — Bebop Revisited! (1992) Carmell Jones (t) on a-d, f-g. Passport listed as "Variations On A Blues By Bird". This is the rarer of the two Parker compositions titled "Passport". Date: August 6, 1965 Location: Van Gelder Studio, Englewood Cliffs, NJ Label: Prestige Charles McPherson (ldr), Charles McPherson (as), Clifford Jordan (ts), Barry Harris (p), George Tucker (b), Alan Dawson (d) a. a-01 Eronel - 7:03 (Thelonious Monk, Sadik Hakim, Sahib Shihab) b. a-02 In A Sentimental Mood - 7:57 (Duke Ellington, Manny Kurtz, Irving Mills) c. a-03 Chasin' The Bird - 7:08 (Charlie Parker) d. -
A Study of the Rap Music Industry in Bogota, Colombia by Laura
The Art of the Hustle: A Study of the Rap Music Industry in Bogota, Colombia by Laura L. Bunting-Hudson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Laura L. Bunting-Hudson All Rights Reserved ABSTRACT The Art of the Hustle: A Study of the Rap Music Industry in Bogota, Colombia Laura L. Bunting-Hudson How do rap artists in Bogota, Colombia come together to make music? What is the process they take to commodify their culture? Why are some rappers able to become socially mobile in this process, while others are less so? What is technology’s role in all of this? This ethnography explores those questions, as it carefully documents the strategies utilized by various rap groups in Bogota, Colombia to create social mobility, commoditize products and to create a different vision of modernity within the hip-hop community, as an alternative to the ideals set forth by mainstream Colombian society. Resistance Art Poetry (RAP), is said to have originated in the United States but has become a form of international music. In conducting ethnographic research from December of 2012 to October 2014, I was able to discover how rappers organize themselves politically, how they commoditize their products and distribute them to create various types of social mobilities. In this dissertation, I constructed models to typologize rap groups in Bogota, Colombia, which I call polities of rappers to discuss how these groups come together, take shape, make plans and execute them to reach their business goals. -
SKIVLISTA SU VT 17 (+ Tips) SEM 1: CHARLIE PARKER
SKIVLISTA SU VT 17 (+ tips) SEM 1: CHARLIE PARKER - ”Cherokee”, 1942 (The Baronesse) - ”Confirmation” -53 (CP Quartet, In Person) DIZZY GILLESPIE - ”Woodyn´You” (DG the Verve & Philips small group sessions) - ”Hot House” 1945, (Charlie Parker Quintet) MILES DAVIS - ”Little Willie Leaps” 1947 (Parker på tenorsax) - ”On Green Dolphin Street” -59 (Kind of Blue, Legacy) - ”Jean Pierre”, 1982 (We Want Miles) STAN GETZ - ”Three Little Words”, -58 (SG and the Oscar Peterson Trio) - ”Blood Count”, 1987 (m Kenny Barron, Live at Montmartre) ”I´m late, I´m late”, 1961 (Focus) CANNONBALL ADDERLY MED JOHN COLTRANE - ”Limehouse Blues” -59, (Cannonball Quintet in Chicago) SEM 2: SONNY STITT - ”I´ll Remember April”, -59, (SS with the Oscar Peterson Trio) - ”I Want to be Happy”, -51, (SS Quartet with Bud Powell) - ”Dark Eyes”, -58, (For Musicians Only, m Dizzy, Getz) J. J. JOHNSON - ”Lover Man”, -53 (m Clifford Brown, Brownie Speaks) - ”Riviera”, (All That Jazz vol 76, Jay & Kai) JULIAN CANNONBALL ADDERLEY - ”Star Eyes”, (The very Best of CA Quintet ) - Limehouse Blues” (CA Quintet Live in Chicago -59) CLIFFORD BROWN - ”Come Rain or Come Shine”, (Gigi Gryce – Clifford Brown Sextet, Paris -53) - ”Stardust”, (CB with Strings, -55) SEM 3. DIZZY GILLESPIE - ”Manteca”, (D.G. Big Band 1947 m Cano Pozo – congas) - ”Groovin High” (Live at Birdland, NYC, 1956) COUNT BASIE - ”April in Paris”, (April in Paris, Verve, 1957) - ”Midnight Blue”, (The Atomic Basie, 1957) DUKE ELLINGTON - ”Black & Tan Fantasy”, (D.E. at Newport 1956) - ”Diminuendo in Blue” , (------- @ --------) STAN KENTON - ”Lover” , (100 years anniversary edition) HARRY ARNOLD - ”Easy Living”, (Live radio 1959, voc Monica Z) GERRY MULLIGAN - ”Broadway”, (G.M. -
Radio Wars and Revolution in the Caribbean, 1959
1 Alejandra Bronfman Radio Wars and Revolution in the Caribbean, 1959 Abstract For most places in the Caribbean, the term Cold War fails to describe the contentious, noisy, violent politics of the 1950s and ‘60s. In the rapidly changing political contexts of 1957–62, Haiti’s Francois Duvalier and Cuban Fidel Castro rose to power, while in the Dominican Republic Rafael Trujillo’s regime weakened and ended with his assassination in 1961. Actors across the ideological spectrum engaged in transnational ‘Radio Wars’ in their efforts to both undermine and prop up particular regimes. This article will explore those radio wars, understanding them not just as an enactment of the complex politics of the day, but also as the expression of a par- ticular kind of utopian imagining of radio’s potential for political mobilisation. It considers the politics of clandestine broadcasting across ideological, racial and national boundaries in the 1950s and ‘60s Caribbean. Expanding on and engaging a burgeoning literature on radio in Latin America and the Caribbean, attention to ‘Radio Wars’ adds fresh perspectives to histories of the Cold War, decolonisation, and the soundscapes of dictatorship and empire. More pre- cisely, it moves beyond a Soviet-US binary and considers the role of broadcasting and propa- ganda in the making of an inter-Caribbean war of frequencies. KEYWORDS: Broadcasting, Cold War, Cuba, Haiti, Caribbean In a recent article, Kate Lacey observes: ‘Despite notable exceptions, the volume and scope of the national broadcasting histories are freighted heavily towards the Global North.’1 Indeed, broad- casting in the Caribbean has not enjoyed the same depth and breadth of study as North American or European broadcasting. -
Jazz at the Crossroads)
MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs. -
Celina González: the “Queen” of Punto Cubano 1 Ivor Miller and Ivania Díaz2, Northwestern University
Celina González: The “Queen” of punto cubano 1 Ivor Miller and Ivania Díaz2, Northwestern University Introduction the Communist Youth Party (UJC), where Drummer Iván Ayala3 grew up in New the chorus of “¡Long live Changó !” “¡Qué York City listening to the music of Celina viva Changó!” was chanted by thousands of González. As a child in the 1960s he was socialist Cuba’s “New M en” at the Square taken to Puerto Rican espiritista ceremonies of the Revolution.5 Celina is a major figure where, instead of using drums, practitioners in Cuban music and cultural identity. Her would play Celina’s records to invoke the 1948 song “Santa Bárbara” was a spirits. This is one of the ways that Celina’s groundbreaking event in modern Cuban music and the dedication of her followers music, reviving Cuban rural music (“música have blasted through the U.S. embargo guajira, el punto cubano”) for a national and against Cuba, which has deprived us of international audience, and infusing it with some of the planet’s most potent music, art, Afro-Cuban creole spirituality. Celina is and literature for thirty-two years. Ivan’s herself a guajira (country girl), and is fiercely experience shows the ingenuity of working proud of it. She grew up near the Sierra people in maintaining human connections Maestra, the mountainous region in eastern that are essential to them, in spite of govern Cuba where many slave rebellions, the War ments’ attempts to keep them apart. Hailed of Independence, and the Cuban Revolu as musical royalty in Colombia, Venezuela, tion were fomented. -
Sarah Hudson
SARAH HUDSON 5 AUS Katy Perry “Dark Horse” (ft. Juicy J) Prism Capitol Co-Writer 3 CAN 11 US 7 CAN UK 8 AUS 2 US UK CAN Katy Perry “Swish Swish” (ft. Nicki Minaj) Witness Capitol Co-Writer ●AUS US CAN AUS ●UK Dua Lipa Levitating (feat. Madonna and Single Warner Records Co-Writer Missy Elliott) [The Blessed Madonna Remix] ●UK Dua Lipa “Physical” Future Nostalgia Warner Records Co-Writer ●CAN “Levitating” US Iggy Azalea “Black Widow” (ft. Rita Ora) The New Classic Def Jam Co-Writer ●CAN 4 US 2 CAN UK AUS ●AUS Illenium “Good Things Fall Apart ft. Jon ASCEND Astralwerks Co-Writer Bellion” ●US 4 US Justin Bieber “The Feeling” (ft. Halsey) Purpose Def Jam Co-Writer 4 UK ●US 4 CAN 3 AUS 2 CAN Camila Cabello "Something's Gotta Give" Camila Epic Co-Writer, Co- US Producer ●UK ●AUS 2 CAN Dua Lipa “Genesis” Dua Lipa Warner Records Co-Writer UK US ●AUS RAYE “South East London” Blue Story, Music Roc Nation Co-Writer Inspired By The Original Motion Picture Years & Years “Karma” Palo Santo Polydor Records Co-Writer “Palo Santo” SARAH HUDSON 2 US Nicki Minaj “Get On Your Knees” (ft. Ariana The Pinkprint Republic Co-Writer ●UK Grande) Santigold “Banshee” 99 Cents Atlantic Co-Writer Superfruit “Fantasy” Future Friends RCA Co-Writer CAN Katy Perry “Hey Hey Hey” Witness Capitol Co-Writer ●AUS “Tsunami” “Pendulum” “Mind Maze” “Miss You More” “Bigger Than Me” “Dance With The Devil” “Act My Age” Kim Petras “o m e n” Turn Off The Light, BunHead Co-Writer “Close Your Eyes” Vol 1 “TRANSylvania” “Turn Off The Light” “Tell Me It’s A Nightmare” “i don’t wanna die…” “In The Next Life” “Boo! Bitch!” Sasha Sloan “Version of Me” Loser EP RCA Co-Writer Alma “Cowboy” Single PME Records Co-Writer ●UK Little Mix “The National Manthem” LM5 Syco Music/Sony Music Co-Writer The “Blue” Hard To Imagine Columbia Co-Writer Neighbourhood “Dust” The Neighbourhood “Heaven” Ever Changing Brooke Candy “Oomph” Single Self-released Co-Writer Brooke Candy “Nuts” ft. -
Versión De Este Articulo En
Recordando a Barbarito Diez Por Roberto Pérez Betancourt Este hombre alto, de piel oscura, nervios de acero, rostro y cuerpo impávidos bajo las luces de todos los escenarios, rompió barreras y tabúes, y a fuerza de cantar lindo asombró al mundo latino durante más de 58 años con una voz especial, distintiva para el danzón, y fue llamado para la posteridad “Caballero de la música popular cubana”. Así lo nombra el célebre periodista Orlando Castellanos, en entrevista radial, publicada en Cuba, poco después del fallecimiento de Barbarito en Ciudad de La Habana, el seis de mayo de 1995, a los 85 años de edad. ´ Había nacido en un lejano batey del ya demolido central azucarero San Rafael de Jorrín, en el municipio de Bolondrón de la provincia de Matanzas, unos 150 kilómetros al sudeste de la capital cubana. Sin haber estudiado música, este artista de talento innato mantuvo su brillo y estilo distintivos en escenarios internacionales, prácticamente hasta su deceso. Muchos creen que Barbarito Diez nació en la región oriental de Manatí, provincia Página 1 de 11 – Semanario “El Veraz”- elveraz.com de las Tunas, porque desde los cuatro años de edad su familia se trasladó a ese sitio, donde su padre Eugenio trabajaba como obrero. Cuentan biógrafos del artista, que desde temprana edad escolar, la maestra de la escuelita de Manatí, a la que asistía el niño, descubrió que este estaba dotado de una bella voz y singular entonación, y alimentó en él sus instintos para cantar. A los 20 años de edad, Barbarito estaba listo para conquistar el mundo del arte. -
Teddyloid Feat. Bonjour Suzuki
Teddyloid Pipo Password mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Pop Album: Pipo Password Country: Japan Released: 2016 Style: J-pop, Dance-pop, Electro MP3 version RAR size: 1369 mb FLAC version RAR size: 1190 mb WMA version RAR size: 1703 mb Rating: 4.1 Votes: 993 Other Formats: AUD VOC MPC MP1 FLAC APE MP3 Tracklist Hide Credits 1 Pipo Password 4:25 Pipo Password (☆Taku Takahashi Remix) 2 4:53 Mixed By – Mitsunori IkedaRemix – ☆Taku Takahashi* Pipo Password (Luluco on Silent Planet Remix) 3 4:42 Remix – Teddyloid 4 Pipo Password (Instrumental) 4:25 Companies, etc. Recorded At – Madeleine Studio Mixed At – Black Moon Sounds Studio Mixed At – Tachytelic Heim Credits Lyrics By, Recorded By – Bonjour Suzuki Mixed By – Teddyloid (tracks: 1, 3, 4) Music By, Producer – Teddyloid Notes Recorded by Bonjour Suzuki at Madeleine Studio. Mixed by TeddyLoid at Black Moon Sounds Studio. Track 2 mixed by Mitsunori Ikeda (Tachytelic Inc) at Tachytelic Heim. ☆Taku Takahashi (m-flo) by the courtesy of rhythm zone/AVEX MUSIC CREATIVE INC. Track 1 was used as the ending theme for the anime series 宇宙パトロールルル子 (Space Patrol Luluco). Barcode and Other Identifiers Barcode: 4 580325 321968 Related Music albums to Pipo Password by Teddyloid Taku Sugimoto - Live In Kansai Taku Takahashi - Under The Same Sky Antonio Ruiz Pipó - Volume 1 Albèniz Falla Granados Pipo Pescador - Zapatopato Pipo De Clown, Petra , Mammaloe, Dikke Deur En De Damrakkertjes - Het Pipo-Lied Soft - Bonjour Bonshanfarm Sound Holic Vs. Eurobeat Union - Eurobeat Holic Juice Machine / Path To Lobster Believers - Weak Password Irwin Goodman - Oli Simmarit Sammarit Kummarit Ja Pipo / Anteeksi Väärä Numero Pipo Ti - Serious Ting. -
New World NW 271 Jazz Historians Explain the Coming of Bebop—The Radically New Jazz Style That Established Itself Toward
Bebop New World NW 271 Jazz historians explain the coming of bebop—the radically new jazz style that established itself toward the end of World War II—as a revolutionary phenomenon. The motives ascribed to the young pioneers in the style range from dissatisfaction with the restrictions on freedom of expression imposed by the then dominant big-band swing style to the deliberate invention of a subtle and mystifying manner of playing that could not be copied by uninitiated musicians. It has even been suggested that bebop was invented by black musicians to prevent whites from stealing their music, as had been the case with earlier jazz styles. Yet when Dizzy Gillespie, one of the two chief architects of the new style, was asked some thirty years after the fact if he had been a conscious revolutionary when bebop began, his answer was Not necessarily revolutionary, but evolutionary. We didn't know what it was going to evolve into, but we knew we had something that was a little different. We were aware of the fact that we had a new concept of the music, if by no other means than the enmity of the [older] musicians who didn't want to go through a change.... But it wasn't the idea of trying to revolutionize, but only trying to see yourself, to get within yourself. And if somebody copied it, okay! Were he able, the other great seminal figure of bebop, alto saxophonist Charlie Parker, would probably amplify Gillespie's opinion that the new music arose from inner needs rather than external factors. -
Avex Music Collection”配信開始!
2009年6月25日 avex20年、2000曲のMusic VideoがBeeTVで全て見放題! 史上最強の音楽チャンネル“avex music collection”配信開始! ニュース記事ご紹介のお願い 拝啓 貴社ますますご清栄の事とお喜び申し上げます。 この度、エイベックス通信放送(株)が運営するBeeTVにて、7月1日から、avexがこれまで20年間で発売してきた、数多くの ミリオンヒットの楽曲を含む、2000曲のMusic Videoを一挙配信することが決定致しました。 BeeTVは、5月1日からサービスを開始し、これまでドラマ、音楽、バラエティなど様々なジャンルの番組を配信し、配信開始 から1ヶ月で1000万ダウンロードを突破。さらに、会員は現在40万人を突破(6月15日時点)と急成長を遂げております。 そして、7月1日からは、ついにエイベックスがこれまで発売してきた20年間の数多くのアーティストの代表的な楽曲、“2000 曲のMusicVideoを一挙見放題”のサービスを開始いたします。 BeeTVの音楽チャンネルは、これまでも浜崎あゆみ、EXILEや倖田來未など人気アーティストの最新MusicVideo配信や、東 方神起のBeeTV限定のMusicVideoを先行配信してまいりました。そうした中、多くのBeeTV会員の皆様から、「他のアーティ ストのMusicVideoも見たい!」、「過去の大ヒット曲のMusicVideoを今、見たい!」と言った要望が数多く寄せられ、今回配信 開始することになりました。 今から30年前にウォークマンに代表されるヘッドホンステレオが発売されて以降、CD、MD、そしてipodに代表されるMP3プ レイヤーと、音楽をいつでもどこでも聞ける手段が時代によって変化してまいりました。 そして、2009年、BeeTVで配信される“avex music collection”は、BeeTVに加入さえしていれば、登録されている2000曲全 てをいつでも、どこでも視聴できるという“音楽を楽しむ新しい生活スタイル” を提案した番組となっております。まさに、これ からの音楽マーケットや全ての音楽ファンにインパクトを与えるような音楽メディアがまさに、今BeeTVに誕生いたします。 つきましては、こちらのニュースを是非、ご紹介いただければ幸いです。 敬具 ー記ー 番組情報 番組名:avex music collection 開始日:2009年7月1日 AM0:00~ 更新日:毎週水曜日 AM5:00更新 番組内容: 1)avexの過去のヒット曲から最新曲まで約2000曲以上が見放題 2)最新曲もリリース2週間前から毎週配信 ※7月1日より、7月14日発売の新曲musicvideoが配信 3)a-nationのライブ映像(約140点)も配信! 配信アーティスト数、楽曲数: 445アーティスト、2,000曲(7月1日時点)7月末には2,170曲の予定 ※注意事項 弊社所属アーティストの楽曲でも、サービス開始時期に配信を行っていない楽曲も一部ございます。 ご了承ください。 BeeTVとは エイベックスとNTTドコモが運営する携帯電話専用放送局。5月1日よりサービスを開始し、月額 315円(税込)でドラマやバラエティ、など8ジャンル20番組以上が見放題 番組を見るには 「avex music collection」を見るにはドコモの携帯電話で iチャネル→BeeTV もしくは iメニュー→動画→BeeTV で、「avex music collection」をクリックしていただければ見ることができます。 ■この件に関するお問い合わせ■ エイベックス通信放送株式会社 -
JAZZ: a Regional Exploration
JAZZ: A Regional Exploration Scott Yanow GREENWOOD PRESS JAZZ A Regional Exploration GREENWOOD GUIDES TO AMERICAN ROOTS MUSIC JAZZ A Regional Exploration Scott Yanow Norm Cohen Series Editor GREENWOOD PRESS Westport, Connecticut • London Library of Congress Cataloging-in-Publication Data Yanow, Scott. Jazz : a regional exploration / Scott Yanow. p. cm. – (Greenwood guides to American roots music, ISSN 1551-0271) Includes bibliographical references and index. Discography: p. ISBN 0-313-32871-4 (alk. paper) 1 . Jazz—History and criticism. I. Title. II. Series. ML3508.Y39 2005 781.65'0973—dc22 2004018158 British Library Cataloguing in Publication Data is available. Copyright © 2005 by Scott Yanow All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2004018158 ISBN: 0-313-32871-4 ISSN: 1551-0271 First published in 2005 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48-1984). 10 9 8 7 6 5 4 3 2 1 Contents Series Foreword vii Preface xi Chronology xiii Introduction xxiii 1. Sedalia and St. Louis: Ragtime 1 2. New Orleans Jazz 7 3. Chicago: Classic Jazz 15 4. New York: The Classic Jazz and Swing Eras 29 5. Kansas City Swing, the Territory Bands, and the San Francisco Revival 99 6. New York Bebop, Latin, and Cool Jazz 107 7.