Elvin Jones Coalition Mp3, Flac, Wma
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Playlist - WNCU ( 90.7 FM ) North Carolina Central University Generated : 01/26/2012 03:58 Pm
Playlist - WNCU ( 90.7 FM ) North Carolina Central University Generated : 01/26/2012 03:58 pm WNCU 90.7 FM Format: Jazz North Carolina Central University (Raleigh - Durham, NC) This Period (TP) = 01/19/2012 to 01/25/2012 Last Period (TP) = 01/12/2012 to 01/18/2012 TP LP Artist Album Label Album TP LP +/- Rank Rank Year Plays Plays 1 1 Jimmy Owens The Monk Project IPO 2012 12 14 -2 2 7 John Stein Hi Fly Whaling City Sound 2011 9 6 3 2 12 Chick Corea Further Explorations Concord Jazz 2012 9 4 5 4 9 Christian Tamburr Places Tamburr Worldwide 2011 8 5 3 4 25 Hendrik Meurkens Live At Bird's Eye Zoho 2011 8 3 5 6 9 Hal Galper Trip The Light Fantastic Origin 2011 7 5 2 7 2 Roy Haynes Roy-Alty Dreyfus 2011 6 7 -1 7 12 Vanguard Jazz Orchestra Forever Lasting - Live in Planet Arts 2011 6 4 2 Tokyo 7 25 North Carolina Central Slightly Blued Self-Released 2010 6 3 3 University Jazz Ensemble 7 25 Kenny Burrell Tenderly HighNote 2011 6 3 3 7 292 Etta James Tell Mama Cadet 1969 6 0 6 12 7 Mary Louise Knutson In The Bubble Meridian Jazz 2011 5 6 -1 12 42 Ken Fowser & Behn DuoTone Posi-Tone 2011 5 2 3 Gillece 12 75 James Moody & Hank Our Delight IPO 2008 5 1 4 Jones 12 292 Ann Hampton Callaway Blues In The Night Telarc Jazz 2006 5 0 5 12 292 Tim Mayer Resilience JLP 2011 5 0 5 12 292 Etta James At Last! Chess 1961 5 0 5 18 2 Houston Person So Nice HighNote 2011 4 7 -3 18 25 Christian McBride Big The Good Feeling Mack Avenue 2011 4 3 1 Band 18 25 Pat Martino Undeniable: Live At Blues HighNote 2011 4 3 1 Alley 18 25 Ed Reed Born To Be Blue Blue Shorts 2011 -
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
Dance Theater of Harlem and a Large-Scale Recycling of Rhythms
dance theater of harlem and a large-scale recycling of rhythms. Moreover, the Stolzoff, Norman C. Wake the Town and Tell the People: Dance- philosophical and political ideals featured in many roots hall Culture in Jamaica. Durham, N.C.: Duke University reggae lyrics were initially replaced by “slackness” themes Press, 2000. that highlighted sex rather than spirituality. The lyrical mike alleyne (2005) shift also coincided with a change in Jamaica’s drug cul- ture from marijuana to cocaine, arguably resulting in the harsher sonic nature of dancehall, which was also referred to as ragga (an abbreviation of ragamuffin), in the mid- Dance Theater of 1980s. The centrality of sexuality in dancehall foregrounded arlem ❚❚❚ H lyrical sentiments widely regarded as being violently ho- mophobic, as evidenced by the controversies surrounding The Dance Theater of Harlem (DTH), a classical dance Buju Banton’s 1992 hit, “Boom Bye Bye.” Alternatively, company, was founded on August 15, 1969, by Arthur some academics argue that these viewpoints are articulat- Mitchell and Karel Shook as the world’s first permanent, ed only in specific Jamaican contexts, and therefore should professional, academy-rooted, predominantly black ballet not receive the reactionary condemnation that dancehall troupe. Mitchell created DTH to address a threefold mis- often appears to impose on homosexuals. While dance- sion of social, educational, and artistic opportunity for the hall’s sexual politics have usually been discussed from a people of Harlem, and to prove that “there are black danc- male perspective, the performances of X-rated female DJs, ers with the physique, temperament and stamina, and ev- such as Lady Saw and Patra, have helped redress the gen- erything else it takes to produce what we call the ‘born’ der balance. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
25 Years of Keeping Jazz Alive
April 2011 Vol. 26 No. 3 www.wmichjazz.org An All-Volunteer orgAnizAtion Retrospective 25 Years of Keeping Jazz Alive Wmjs: 1986 - 2011 Beginnings By Betty Forrest Quite often a good Nancy Gould, Kathi Swets, program, an orga- and Bob & Ginny Taylor. nization, or even a By April the first edition business, is developed of Jazz Notes was mailed to out of what was es- 40 people and our first public sentially one person’s meeting/gig was held at the individual, even self- former Pockett’s Club where ish, motive. Mine was one of our founding members, to establish a support Bruce Early, was appearing group to help promote with his big band (which has an annual Jimmy now evolved into the Grand Forrest Scholarship Rapids Jazz Orchestra). Mem- Fund concert. After bership rose to nearly 100 at Jimmy’s death in Au- a June jazz party held at the gust 1980, I had estab- home of Jim and Nancy lished a fund through Gould (Jim was drafted to GRJC to award mon- be our first President), and we ies to students major- felt we were off and running. ing in jazz studies by By the end of 1986, when we presenting an annual had our first annual holiday concert featuring pop- party, we had written by-laws, ular jazz stars that he established our non-profit had known or played Jimmy Forrest status, had money in the bank, with during his own 40-year career on tenor saxophone. and a membership of nearly 150! We call these our Charter Successful concerts were given each of the following five Members, and of these, 90 were still with us nearly 10 years years, with the Count Basie Orchestra appearing on later. -
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron. -
Record-Mirror-1978-0
July 29, 1978 15p 1 - PISTOLS STEVE, PAUL AND SID CLOUT IN COLOUR IG o 1! 14 1{ OWING to technical difficulties last week's British album chart has been reprinted. p Ip, SINGLES UKALBUMS USsINciS' ALBUMS 1 YOU'RE THRONE THAT WANT. Trevolta Newton -john RSO RSO 1 SHADOW DANCING, Andy Gibb RSO 1 GREASE, Soundtrack 1 1 SATURDAY NIGHT FEVER. Various RSO 211 2 2 S%,RIF SONG, Father Abraham Dices 2 2 BAKER STREET, Gerry Ralferry Unhed Artists 2 1 SOME GIRLS. Rolling Stenos Rolling Stones 2 2 LIVE AND DANGEROUS, Thin Uuy Vertigo 3 4 SUBSTITUTE, Clout Carrara 3 3 klISS YOU. Rolling Stones Rolling Stones 3 5 NATURAL HIGH, Commodores Morown 3 4 SOME GIRLS, Rolling Stones EMI 4 3 DANCING IN THE CITY, Marshall Hain Harvest 1 P 4 5 LAST DANCE, Donna Summer Casablanca 4 4 STRANGER IN TOWN, Bob Seger Canna 4 5 THE KICK INSIDE, Kate Bush EMI S to BOOGIE 0001E BOGIE. A Taste Of Honey Caonoi 5 6 GREASE Frankle Valli RSO 5 8 DARKNESS AT THE EDGE Bruce Sodnoetoen Co imbia 5 - 20 GOLDEN GREATS, The Hollins EMI 6 6 LIKE CLOCKWORK, Boomtown Rats Ensign 6 10 THREE TIMES A LADY, Commodores Motown 6 3 CITY TO CITY Gerry Rafferty Unhed Aman 6 3 STREET LEGAL. Bob Dylan CBS 7 5 A LITTLE BIT OF SOAP. Showaddvweddy Arista 7 4 STILL THE SAME, Bob Seger Caphol 7 7 SHADOW DANCING, Andy Gibb RSO 7 7 OCTAVE, Moody Blues Dicta 8 7 WILD WEST HERO, Electric Light Orchestra Jet B 8 USE TA BE MY GIRL O'Jays Phil let 8 9 DOUBLE VISION, Foreigner Atlantic 8 10 WAR OF THE WORLDS, Jeff Wayne s Musical Version CBS 9 8 AIRPORT, Motors Virgin 9 7 THE GROOVE LINE, Heetwave Epic 9 B SATURDAY NIGHT FEVER. -
Monty Alexander to Play Lincoln's Royal Grove
Berman Music Foundation Monty Alexander Pianist's March 9 appearance blends jazz, reggae Monty Alexander to play Lincoln's Royal Grove WinterjSprin~f20q2 By Tom [neck . Vol~ltNtH)1b~tl ..· Alexander, warming to the subject. o stranger to the irresistible "It's somethin' that is about dancin' 41 rhythms of reggae, Jamaica and feelin' good. People like to feel a 41 N 41 born jazz pianist Monty Alexander has rhythm, and when you apply a different Jazz ... sown and cultivated a common ground In this issue of approach, it is a happy marriage for the Alexander ..................... , by creating a popular musical fusion on listener, and certainly for me playin' it, his last three Telarc Jazz recordings. because even though it's different from Prez Sez .............................. 2 It began with the 1999 release Stir gettin' on the bandstand with a straight Allyson ........................ 4 It Up: The Music of Bob Marley and ahead jazz musician, I find the value in Russ Long .......................... 6 continued in 2000 with Monty Meets it. To me, it's a whole world of culture. Sly and Robbie, a collaboration with It's my life as a young Jamaican and Tomfoolery ..................... 7 reggae pioneers Sly Dunbar and Robbie keepin' in touch with what's come out Rufus Thomas ................... .7 Shakespeare. With last year's Gain' of Jamaica." Cartwright. .................. 8 Yard, Alexander documented the brave Alexander was born in Kingston, Last Chorus ...................... 9 new sound in live performance at the Jamaica, in 1944. He developed his key Manchester Craftsmen's Guild in Pitts board technique by working with some Jazz on Disc. -
Jen Hoyt Group Song List
JEN HOYT GROUP SONG LIST Thank you for downloading the Splash! song list! Which specific songs we perform at any given event is based on 3 primary factors: 1) Popular music that will create an unforgettable party. We “read” your crowd and all the age groups in attendance, calling songs accordingly. This is an artful skill at which we excel. Our reviews are due, in large part, to this expertise. 2) General musical styles that fit into your personal preferences, as well as specific feedback on your favorite songs. No two events are the same, so we want plenty of feedback so we can accommodate you. 3) What we perform best; songs that help to make us who we are. This in addition to you choosing all the material for any formal dances. We’ll also learn two new songs for you that are not a regular part of our repertoire! (Formality dances take precedence). Swing & Classic Song Title Artist Louis Armstrong Sunny Side Of The Street Louis Armstrong They Can’t Take That Away Nat King Cole Autumn Leaves Nat King Cole For Sentimental Reasons Nat King Cole L.O.V.E George Gershwin Our Love Is Here To Stay Benny Goodman Moonglow Cole Porter Night And Day Billie Holiday All Of Me Carmen McRae Del Sasser Sarah Vaughn Ain't Misbehavin' Ella Fitzgerald It Could Happen To You Ella Fitzgerald Paper Moon Ella Fitzgerald In A Mellow Tone Ella Fitzgerald Tisket-A-Tasket Ella Fitzgerald Black Coffee Ella Fitzgerald Honey Suckle Rose Ella Fitzgerald Blues In The Night Ella Fitzgerald It Might As Well Be Spring Ella Fitzgerald My Romance Ella Fitzgerald Lullaby Of -
In 1948, When Charles Mcpherson Was Nine Years Old, His Family Moved from Joplin, MO, to Detroit
FROM BEBOP TO BALLET Alto Saxophonist Charles McPherson: A True Giant of Jazz By Sanford Josephson I first saw Charles McPherson perform in June 1974 at a Newport Jazz Festival in New York concert entitled, “The Musical Life of Charlie Parker”. A big band led by pianist Jay McShann had a saxophone section with three altos: McPherson, Sonny Stitt, and Phil Woods. Throughout the early and mid-’70s, I would see McPherson and trumpeter Lonnie Hillyer regularly at a club in the Village called Boomers on Bleecker Street. I last saw McPherson play live in December 2015 at William Paterson University and was hoping to see him again at the first Main Stage Concert of this year’s Sarasota Jazz Festival, which was canceled (except for the previous night’s Pub Crawl) due to the coronavirus. McPherson was scheduled to appear on March 12 with NEA Jazz Master pianist Dick Hyman, clarinetist/ saxophonist Ken Peplowski, the festival’s music director, and guitarist Russell Malone. Fortunately, in anticipation of the Sarasota performance, I had interviewed him by phone on March 6. In 1948, when Charles McPherson was nine years old, his family moved from Joplin, MO, to Detroit. “It was better up north,” he told me. “It was a big city. It was booming. Blue collar, working people were very healthy. Money was flowing. The jazz clubs were successful, and there was a great musical scene.” McPherson’s family lived on a street that was about a block away from the Blue Bird, “the hippest jazz club in Detroit.” Pianist Barry Harris lived around the corner from the McPhersons, and the future trumpeter, Lonnie Hillyer, lived on the same street. -
HOUSTON PERSON BIOGRAPHY – Courtesy of Highnote Records
HOUSTON PERSON BIOGRAPHY – Courtesy of HighNote Records He’s one of the best . He’s got bull chops!” – Dizzy Gillespie Dubbed “the natural heir to the Boss Tenor crown worn so long and so well by Gene Ammons” (Bob Porter), global performer Houston Person knows the music business inside out, from booking his own tours to producing his own albums. As eclectic as he is talented, Person has recorded everything from disco and gospel to pop and r&b, in addition to his trademark, soulful hard bop. After years as producer and house tenor for HighNote Records and touring with the late Etta Jones, Person is now known as a master of popular songs played in a relaxed, highly accessible style reminiscent of the great Ben Webster. Person grew up in Florence, South Carolina, and remembers his parents listening to lots of music at home, including jazz. First playing piano before switching to the tenor sax at age 17, he went on to study music at South Carolina State College (where he is included in the school’s Hall of Fame), and later pursued advanced studies at Hartt College of Music in Hartford, Connecticut. As a member of the United States Air Force band stationed in Germany, he played with Eddie Harris, Cedar Walton, and Don Ellis, later working as a sideman for organist Johnny "Hammond" Smith in the mid 1960s. Person built his reputation as a leader with a series of soulful recordings for Prestige in the 60s. However, for a large part of his career he was best-known for his legendary partnership with the great vocalist, Etta Jones, which lasted over 30 years until her death in 2001. -
DENON/PCM Digital Recordings GENERAL CATALOGUE
DENON/PCM digital recordings GENERAL CATALOGUE DENON 1980/81 DENON/PCM Cdigital recordings^ GENERAL CATALOGUE CONTENTS RECORD No. DESCRIPTION Page OX-7000 1 OB-7000 CLASSICAL 28 OQ-7000 29 YX-7500 JAZZ 30 YX-7200 38 POPULAR SX-7000 39 WP-7000 41 JAPANESE TRADITIONAL WX-7000 42 ZX-7000 45 OTHERS GX-7000 45 ST-6000 SPECIAL ISSUED ALBUM 46 OW-7000 AUDIO TECHNICAL RECORD (45 rpm) 47 AUDIO TECHNICAL RECORD (33 rpm Regular Stereo XG-7000 48 recordings) About DENON PCM [digital recording) System 50 NUMERICAL LIST FOR INVENTRY & ORDER 54 NOTICE: SELECTIONS INDICATED BY AN ASTERISK. (*) * are not available for FRANCE, BENELUX & SWITZERLAND. ** are not available for ALL EUROPEAN COUNTRIES. *** are not available for any countries except for AUSTRALIA & SOUTH EAST ASIA COUNTRIES. OX-7002—7009 JAN PANENKA PLAYS SCHUMANN CARNAVAL, 0P.9 OX-7002 Jan PANENKA, piano KINDERSZENEN, 0P.15 Recorded on Mar. 20 & 22, 1974 in Tokyo MUSSORGSKY : PICTURES AT AN EXHIBITION Takahiro SONODA, piano OX-7004 RACHMANINOV: (Baldwin SD 10) 3 PRELUDES OP. 23-2, 4 & 5 Recorded on Nov. 14/15, 1973 in Chiba Japan VIVALDI: SIX SONATAS FOR FLUTE AND HARPSICHORD, OP.13 No. 1 in C major Maxence LARRIEU, flute No. 3 in G major OX-7005 Robert VEYRON-LACROIX, No. 2 in C major harpsichord and realisation No. 4 in A major No. 5 in C major No. 6 in G major Recorded on June 17 & 18, 1974 in Tokyo FOUR TRIO SONATAS FOR TWO FLUTES AND HARPSICHORD C. Ph. E. BACH: TRIO SONATA IN D MINOR Jean-Pierre RAMPAL and TELEMANN: OX-7006 Maxence LARRIEU, flute TRIO SONATA IN E MINOR Motoko NABESHIMA, harpsichord C.