Bossa Antigua Transcription Jim Hall
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Jim Hall's Comping On
Jim Hall’s Comping on “The Days of Wine and Roses” By Tim Fischer Many guitarists find themselves at a loss when first asked to take on the role of the sole harmonic instrument in a small jazz combo. Often times, jazz guitarists develop their comping as members of a big band rhythm section, where three-note chord voicings with the root in the bass and four quarter notes to the bar are stock- in-trade. This traditional style of rhythm guitar does not always transition well into the small jazz combo, and many guitarists without small group combo experience are left with questions about voicings, rhythms, and bal- ancing silence with interaction. Mastering accompaniment, like improvisation, is a life-long process and is best developed by studying the recordings and transcriptions of the master musicians. In this article, we will study guitar comping in the rhythm section by looking at Jim Hall’s accompaniment behind Art Farmer’s solo on the standard “The Days of Wine and Roses,” from Farmer’s 1963 album Interaction. Jim Hall helped popularize the use of the guitar as a valid replacement for the piano in the rhythm section through his sideman work with such high-profile artists as Sonny Rollins,Art Farmer, Paul Desmond, Chico Hamilton, and Jimmy Guiffre during the 50’s and 60’s. Often cited as the father of modern jazz guitar, Hall’s accompaniment style in each one of the aforementioned artists’ recordings details how Hall adapted to the musi- cal demands of each situation. As the album title states, the Art Farmer quartet of 1963 and 1964 was based on active interaction between its members, which also included Steve Swallow on upright bass and Walter Perkins on drums. -
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis 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 Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney. -
BIOGRAPHIES, INTERVIEWS, ITINERARIES, WRITINGS & NOTES BOX 1: BIOGRAPHY,1940S-1950S
HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 1: PAPERS SUBSERIES D: BIOGRAPHIES, INTERVIEWS, ITINERARIES, WRITINGS & NOTES BOX 1: BIOGRAPHY,1940s-1950s 1D.1.1: Biography, 1942: “Iola Whitlock marries Dave Brubeck,” Pacific Weekly, 9-25-42 1.D.1.2: Biography, 1948: Ralph J. Gleason. “Long awaited Garner in San Francisco…Local boys draw comment” [Octet at Paradise in Oakland], Down Beat (12-1-48), pg. 6 1.D.1.3: Biography, 1949 a- “NBC Conservatory of Jazz,” San Francisco, Apr 5, 1949 [radio program script for appearance by the Octet; portion of this may be heard on Fantasy recording “The Dave Brubeck Octet”; incl. short biographies of all personnel] b- Lifelong Learning, Vol. 19:6 (Aug 8, 1949) c- [Bulletin of University of California Extension for 1949-50, the year DB taught “Survey of Jazz”] d- “Jazz Concert Set” 11-4-49 e- Ralph J. Gleason. “Finds little of interest in lst Annual Jazz Festival [San Francisco],” Down Beat (12-16-49) [mention of DB Trio at Burma Lounge, Oakland; plans to play Ciro’s, SF at beginning of 1950], pg. 5 f- “…Brubeck given musical honors” Oakland Tribune, December 16, 1949 g- DB “Biographical Sketch,” ca Dec 1949 h- “Pine Tree Club Party at Home of Mrs. A. Ellis,” <n.s.> n.d. [1940s] i- “Two Matrons are Hostesses to Pine Tree Club,” <n.s.> n.d. [1940s] (on same page as above) 1.D.1.4: Biography, 1950: “Dave Brubeck,” Down Beat, 1-27-50 a- Ralph J. Gleason. “Swingin the Golden Gate: Bay Area Fog,” Down Beat 2- 10-50 [DB doing radio show on ABC] 1.D.1.5: BIOGRAPHY, 1951: “Small band of the year,” Jazz 1951---Metronome Yearbook, n.d. -
THELONIOUS MONK SOLO Monkrar
THELONIOUS MONK - SOLO MONK.rar >>> DOWNLOAD (Mirror #1) 1 / 3 MidwayUSA..is..a..privately..held..American..retailer..of..various..hunting..and..outdoor- related..products.. SoloMonkMP3.rar...Premium..Download..Thelonious..Monk..-..Solo..Monk..(1965)..- ..Fast..&..Anonymous...Add..comment...Your..Name...Your..E-Mail.. Thelonious...Monk.zipka*****l.com132.95...MBThelonious...Monk.zip..... Despite.various.reissue.forma ts.over.several.decades,.the.seven.original.LPs.contained.in.Thelonious.Monk.-.The.Riverside.Tenor.S essions.stood.perfectly.well.on.their... thelonious..monk..-..live..at..the..olympia,paris..may..23rd,1965..-..cd..2.zip. ]Thelonious...Monk.../...S olo...Monk...Solo...Monk...:...Thelonious...Monk.../:...Sbme...Special...Mkts....:...2003/08/19.......Theloni ous...Monk...(p)........... Monk's...Point...10....I...Should...Care...11....Ask...Me...Now...12....These...Fooli sh...Things...(Remind...Me...Of...You)...13....Introspection...14....Darn...That...Dream...15....Dinah...(Ta ke...1)...16....Sweet...And...I..... Solo.Monk.is.the.eighth.album.Thelonious.Monk.released.for.Columbi a.Records.in.1965..The.album.is.composed.entirely.of.solo.piano.work.by.Monk..The.Allmusic.review. by... THELONIOUS..MONK..-..Monk's..Music..-..Amazon.com..Music..Interesting.....Though,..I..will..say.. it's..pretty..remarkable..that..Monk..doesn't..solo..much..on..this..recording.. Solo.Monk. 1964.Solo.M onk..1964.It's.Monk's.Time.(Remastered.2003).1964.Live.At.The.1964.Monterey.Jazz.Festival....1958. Thelonious.In.Action..1957.Thelonious.Monk.With.John... Thelonious..Monk's..solo..recordings..offer..f ascinating..insight..into..the..compositional..and..improvisational..talents..of..one..of..music's..true..o ddballs,..and..Alone..In..San.... My..favourite..album:..Brilliant..Corners..by..Thelonious..Monk.....Thelo nious..Monk's..Brilliant..Corners.....and..Rollins's..lazily..unfolding..and..huge-toned..tenor..solo. -
A Search and Retrieval Based Approach to Music Score Metadata Analysis
A Search and Retrieval Based Approach to Music Score Metadata Analysis Jamie Gabriel FACULTY OF ARTS AND SOCIAL SCIENCES UNIVERSITY OF TECHNOLOGY SYDNEY A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy April 2018 CERTIFICATE OF ORIGINAL AUTHORSHIP I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as part of the collaborative doctoral degree and/or fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. This research is supported by the Australian Government Research Training Program. Production Note: Signature: Signature removed prior to publication. _________________________________________ Date: 1/10/2018 _________________________________________ i ACKNOWLEGEMENT Undertaking a dissertation that spans such different disciplines has been a hugely challenging endeavour, but I have had the great fortune of meeting some amazing people along the way, who have been so generous with their time and expertise. Thanks especially to Arun Neelakandan and Tony Demitriou for spending hours talking software and web application architecture. Also, thanks to Professor Dominic Verity for his deep insights on mathematics and computer science and helping me understand how to think about this topic in new ways, and to Professor Kelsie Dadd for providing me with some amazing opportunities over the last decade. -
Jazzletter Jujy 1936, VOI
Jazzletter Jujy 1936, VOI. 5 NO. 7 \ how much jazz had infused his playing. The miscegenation of Are You Reading jazz and hillbilly has longgone on in-Nashville. and some ofthe best of its players are at ease in both idioms. Someone Else’s Copy? Lenny Breau came up through country-and-western music. Each issue of The Underground Grammarian contains the his parents beingprofessionals in the field. and it was'Nashville above question. lt’s discouraging. in the struggle to keep a small that made him welcome. He is. like Garland,‘Carllile and Reed, publication alive. to hear someone say something like, “-1 just the result ofthejazz-country fusion, exceptythat Breau took it a love it. A friend sends me his copies when he’s through with step further and brought into his work the full range ofclassical them.” . A guitar technique. Chet Atkins was the first a&r man to givehim ' In publications supported by advertising. salesmen boast to his head, letting him record for RCAia milestone album in potential advertisers about how many people read each copy. which he showed 0-ff his startling. .for the time, jazz-classical and to the advertiser seeking exposure of his message. those ‘technique, Gene Bertoncini, who is ‘probably the best living figures have weight. He is less interested in how manyypeople exponent of jazz on the five-finger classical guitar. admires buy a periodical than in how many see it. An important Breau; but then you’ll search far to find a guitarist who doesn’t. phenomenon in periodical publishing is what is known as Lenny was a heroin addict. -
How to Play in a Band with 2 Chordal Instruments
FEBRUARY 2020 VOLUME 87 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton 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; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
There Are Many Typical Duo Configurations – Piano and Bass
There are many typical duo configurations – piano and bass, piano and guitar, guitar and bass – and many outstanding duo recordings in the jazz archives, but the joining of Jim Hall on guitar and Bob Brookmeyer on valve trombone is far from typical. The challenges of performing in a jazz duo ensemble are tremendous, and the exposure is absolute — there's simply nowhere to hide. But that doesn't seem to bother these two, and they don't try to make it easy on themselves either. Sometimes duo partners do little more than accompany or comp for one another while swapping endless solos. Not Jim and Bob. Instead, in the true spirit of ensemble playing, both are equal partners in producing the music. They work together to lay down the melody, fill out the harmonies, and keep the rhythm, all the while applying their improvisational magic that makes it jazz. This particular performance was recorded live in 1979 at the North Sea Jazz Festival; it was part of a three-week European tour. Bob and Jim first worked together as a duo in 1978, just one year earlier, but their first collaborative experience together came twenty years before that, when Jim and Bob were both members of the Jimmy Giuffre Trio. “Giuffre’s idea was to have three linear instruments improvise collectively,” recalls Jim. “He believed it didn’t make any difference whether or not the group had bass or drums. He said the instruments should be able to keep time themselves. It was damn hard, but it was one of the most enlarging experiences I’ve had.” Despite that early experience, Bob says, "When we first had the idea of playing duo together, we were not at all sure that it would work. -
NEWSLETTER Senior Center in the State of Washington September 2021 the Latest from the Anacortes Senior Activity Center
1701 22nd St. Anacortes, WA 98221 (360) 293-7473 / Fax: (360) 293-7834 Normal hours 9 a.m. - 3 p.m. Mon - Fri ASAC is the only nationally accredited NEWSLETTER senior center in the state of Washington September 2021 The Latest from the Anacortes Senior Activity Center The Anacortes Senior Activity Center has now been open to in-person guests for two months. We have enjoyed being a part of the connections made with Anacortes residents and are daily reminded of the importance that the Center has in the lives of our guests, volunteers and staff. We are excited to be a part of the programs listed in this month’s newsletter and have added several new offerings. Also please be aware that masks are required at all times inside the build- ing. If you have any questions about our programs, contact Lea DeVere at (360) 293-7473. SPECIAL EVENTS AND PROGRAMS Are You Ready to Cut the Cord? With the high price of internet cable and services, many people are choosing to “Cut the Cable.” Consumers are tired of ever-increasing charges for TV channels that they never use and for shoddy customer service. Computer assistance volunteer Martin Harris will help you cut the cable cord. Choose between one of two classes, at 1:30 p.m. on Wednesday, September 15, or at 1:30 p.m. on Thursday, September 16. Martin will help you assess the pros and cons of dropping those cable TV services and help you find ways to access your TV and entertainment sources via the internet. -
Round Midnight”
Thelonious Monk’s “‘Round Midnight” Selected Bibliography/Discography Michael McClimon M539 – Introduction to Music Bibliography Prof. Phil Ponella 28 April, 2010 1 Bibliography Aikin, Jim. “Two Views of ‘‘Round Midnight’: A Classic Tune Then and Now.” Keyboard 11 (April 1985): 36-42. This article contains one page of text and two transcriptions of “‘Round Midnight,” one by Monk (from Thelonious Himself, April 1957) and another recorded by Richie Beirach. The article is intended primarily for keyboardists interested in Monk's music, but contains some other useful information too. Aikin pays a lot of attention to the mood of the tune, and is careful to point out that Monk's unusual piano technique is not "careless or sloppy," as some have criticized. Most of the insight into the music is available elsewhere, but the article remains valuable for Tom Darter's transcription of Monk's solo. Bowen, José A. “The History of Remembered Innovation: Tradition and Its Role in the Relationship between Musical Works and Their Performances.” The Journal of Musicology 11, no. 2 (Spring 1993): 139-73. Bowen uses Monk’s “‘Round Midnight” as a case study in describing the fluid nature of a musical work. The work, he asserts, is not the score, but the many and varied performances of the work itself. He uses the history of Monk’s tune, first as recorded by Cootie Williams, and with later interpretations by Dizzy Gillespie and Miles Davis, to illustrate that there is no strict requirement to constitute a musical work, but rather a set of family resemblances (following Wittgenstein). -
Music Business and the Experience Economy the Australasian Case Music Business and the Experience Economy
Peter Tschmuck Philip L. Pearce Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Music Business and the Experience Economy . Peter Tschmuck • Philip L. Pearce • Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Editors Peter Tschmuck Philip L. Pearce Institute for Cultural Management and School of Business Cultural Studies James Cook University Townsville University of Music and Townsville, Queensland Performing Arts Vienna Australia Vienna, Austria Steven Campbell School of Creative Arts James Cook University Townsville Townsville, Queensland Australia ISBN 978-3-642-27897-6 ISBN 978-3-642-27898-3 (eBook) DOI 10.1007/978-3-642-27898-3 Springer Heidelberg New York Dordrecht London Library of Congress Control Number: 2013936544 # Springer-Verlag Berlin Heidelberg 2013 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. -
How to Use This Songfinder
as of 3.14.2016 How To Use This Songfinder: We’ve indexed all the songs from 26 volumes of Real Books. Simply find the song title you’d like to play, then cross-reference the numbers in parentheses with the Key. For instance, the song “Ac-cent-tchu-ate the Positive” can be found in both The Real Book Volume III and The Real Vocal Book Volume II. KEY Unless otherwise marked, books are for C instruments. For more product details, please visit www.halleonard.com/realbook. 01. The Real Book – Volume I 10. The Charlie Parker Real Book (The Bird Book)/00240358 C Instruments/00240221 11. The Duke Ellington Real Book/00240235 B Instruments/00240224 Eb Instruments/00240225 12. The Bud Powell Real Book/00240331 BCb Instruments/00240226 13. The Real Christmas Book – 2nd Edition Mini C Instruments/00240292 C Instruments/00240306 Mini B Instruments/00240339 B Instruments/00240345 CD-ROMb C Instruments/00451087 Eb Instruments/00240346 C Instruments with Play-Along Tracks BCb Instruments/00240347 Flash Drive/00110604 14. The Real Rock Book/00240313 02. The Real Book – Volume II 15. The Real Rock Book – Volume II/00240323 C Instruments/00240222 B Instruments/00240227 16. The Real Tab Book – Volume I/00240359 Eb Instruments/00240228 17. The Real Bluegrass Book/00310910 BCb Instruments/00240229 18. The Real Dixieland Book/00240355 Mini C Instruments/00240293 CD-ROM C Instruments/00451088 19. The Real Latin Book/00240348 03. The Real Book – Volume III 20. The Real Worship Book/00240317 C Instruments/00240233 21. The Real Blues Book/00240264 B Instruments/00240284 22.