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The Historic Recordings of the Song Desafinado: Bossa Nova Development and Change in the International Scene1
The historic recordings of the song Desafinado: Bossa Nova development and change in the international scene1 Liliana Harb Bollos Universidade Federal de Goiás, Brasil [email protected] Fernando A. de A. Corrêa Faculdade Santa Marcelina, Brasil [email protected] Carlos Henrique Costa Universidade Federal de Goiás, Brasil [email protected] 1. Introduction Considered the “turning point” (Medaglia, 1960, p. 79) in modern popular Brazi- lian music due to the representativeness and importance it reached in the Brazi- lian music scene in the subsequent years, João Gilberto’s LP, Chega de saudade (1959, Odeon, 3073), was released in 1959 and after only a short time received critical and public acclaim. The musicologist Brasil Rocha Brito published an im- portant study on Bossa Nova in 1960 affirming that “never before had a happe- ning in the scope of our popular music scene brought about such an incitement of controversy and polemic” (Brito, 1993, p. 17). Before the Chega de Saudade recording, however, in February of 1958, João Gilberto participated on the LP Can- ção do Amor Demais (Festa, FT 1801), featuring the singer Elizete Cardoso. The recording was considered a sort of presentation recording for Bossa Nova (Bollos, 2010), featuring pieces by Vinicius de Moraes and Antônio Carlos Jobim, including arrangements by Jobim. On the recording, João Gilberto interpreted two tracks on guitar: “Chega de Saudade” (Jobim/Moraes) and “Outra vez” (Jobim). The groove that would symbolize Bossa Nova was recorded for the first time on this LP with ¹ The first version of this article was published in the Anais do V Simpósio Internacional de Musicologia (Bollos, 2015), in which two versions of “Desafinado” were discussed. -
Booker Little
1 The TRUMPET of BOOKER LITTLE Solographer: Jan Evensmo Last update: Feb. 11, 2020 2 Born: Memphis, April 2, 1938 Died: NYC. Oct. 5, 1961 Introduction: You may not believe this, but the vintage Oslo Jazz Circle, firmly founded on the swinging thirties, was very interested in the modern trends represented by Eric Dolphy and through him, was introduced to the magnificent trumpet playing by the young Booker Little. Even those sceptical in the beginning gave in and agreed that here was something very special. History: Born into a musical family and played clarinet for a few months before taking up the trumpet at the age of 12; he took part in jam sessions with Phineas Newborn while still in his teens. Graduated from Manassas High School. While attending the Chicago Conservatory (1956-58) he played with Johnny Griffin and Walter Perkins’s group MJT+3; he then played with Max Roach (June 1958 to February 1959), worked as a freelancer in New York with, among others, Mal Waldron, and from February 1960 worked again with Roach. With Eric Dolphy he took part in the recording of John Coltrane’s album “Africa Brass” (1961) and led a quintet at the Five Spot in New York in July 1961. Booker Little’s playing was characterized by an open, gentle tone, a breathy attack on individual notes, a nd a subtle vibrato. His soli had the brisk tempi, wide range, and clean lines of hard bop, but he also enlarged his musical vocabulary by making sophisticated use of dissonance, which, especially in his collaborations with Dolphy, brought his playing close to free jazz. -
Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler. -
Victory and Sorrow: the Music & Life of Booker Little
ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA 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 & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P. -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
Powell, His Trombone Student Bradley Cooper, Weeks
Interview with Benny Powell By Todd Bryant Weeks Present: Powell, his trombone student Bradley Cooper, Weeks TBW: Today is August the 6th, 2009, believe it or not, and I’m interviewing Mr. Benny Powell. We’re at his apartment in Manhattan, on 55th Street on the West Side of Manhattan. I feel honored to be here. Thanks very much for inviting me into your home. BP: Thank you. TBW: How long have you been here, in this location? BP: Over forty years. Or more, actually. This is such a nice location. I’ve lived in other places—I was in California for about ten years, but I’ve always kept this place because it’s so centrally located. Of course, when I was doing Broadway, it was great, because I can practically stumble from my house to Broadway, and a lot of times it came in handy when there were snow storms and things, when other musicians had to come in from Long Island or New Jersey, and I could be on call. It really worked very well for me in those days. TBW: You played Broadway for many years, is that right? BP: Yeah. TBW: Starting when? BP: I left Count Basie in 1963, and I started doing Broadway about 1964. TBW: At that time Broadway was not, nor is it now, particularly integrated. I think you and Joe Wilder were among the first to integrate Broadway. BP: It’s funny how it’s turned around. When I began in the early 1960s, there were very few black musicians on Broadway, then in about 1970, when I went to California, it was beginning to get more integrated. -
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 -
Jazzletter P-Q Ocrober 1986 P 5Jno;..1O
Jazzletter P-Q ocrober 1986 P 5jNo;..1o . u-1'!-an J.R. Davis,.Bill Davis, Rusty Dedrick, Buddy DeFranco, Blair The Readers . Deiermann, Rene de Knight,‘ Ron Della Chiesa (WGBH), As of August 25, I986, the JazzIetrer’s readers were: Louise Dennys, Joe Derise, Vince Dellosa, Roger DeShon, Michael Abene, John Abbott, Mariano F. Accardi, Harlan John Dever, Harvey Diamond, Samuel H. Dibert’, Richard Adamcik, Keith Albano, Howard Alden, Eleanore Aldrich, DiCarlo, Gene DiNovi, Victor DiNovi, Chuck Domanico, Jeff Alexander, Steve Allen, Vernon Alley, Alternate and Arthur Domaschenz, Mr. and Mrs. Steve Donahue, William E. Independent Study Program, Bill Angel, Alfred Appel J r, Ted Donoghue, Bob Dorough, Ed Dougherty, Hermie Dressel, Len Arenson, Bruce R. Armstrong, Jim Armstrong, Tex Arnold, Dresslar, Kenny Drew, Ray Drummond, R.H. Duffield, Lloyd Kenny Ascher, George Avakian, Heman B. Averill, L. Dulbecco, Larry Dunlap, Marilyn Dunlap, Brian Duran, Jean Bach, Bob Bain, Charles Baker (Kent State University Eddie Duran, Mike Dutton (KCBX), ' School of Music), Bill Ballentine, Whitney Balliett, Julius Wendell Echols, Harry (Sweets) Edison,Jim_Eigo, Rachel Banas, Jim Barker, Robert H. Barnes, Charlie Barnet, Shira Elkind-Tourre, Jack Elliott, Herb Ellis, Jim Ellison, Jack r Barnett, Jeff Barr, E.M. Barto Jr, Randolph Bean, Jack Ellsworth (WLIM), Matt Elmore (KCBX FM), Gene Elzy Beckerman, Bruce B. Bee, Lori Bell, Malcolm Bell Jr, Carroll J . (WJR), Ralph Enriquez, Dewey Emey, Ricardo Estaban, Ray Bellis MD, Mr and Mrs Mike Benedict, Myron Bennett, Dick Eubanks (Capital University Conservatory of Music), Gil Bentley, Stephen C. Berens MD, Alan Bergman, James L. Evans, Prof Tom Everett (Harvard University), Berkowitz, Sheldon L. -
The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 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 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. 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. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 -
Did You Receive This Copy of Jazzweek As a Pass Along?
JazzWeek with airplay data powered by jazzweek.com • Feb. 6, 2006 Volume 2, Number 11 • $7.95 In This Issue: Surprises at Berklee 60th Anniversary Concert . 4 Classical Meets Jazz in JALC ‘Jazz Suite’ Debut . 5 ALJO Embarks On Tour . 8 News In Brief . 6 Reviews and Picks . 15 Jazz Radio . 18 Smooth Jazz Radio. 25 Industry Legend Radio Panels. 24, 29 BRUCE LUNDVALL News. 4 Part One of our Two-part Q&A: page 11 Charts: #1 Jazz Album – Jae Sinnett #1 Smooth Album – Richard Elliot #1 Smooth Single – Brian Simpson JazzWeek This Week EDITOR/PUBLISHER Ed Trefzger n part one of our two part interview with Bruce Lundvall, the MUSIC EDITOR Tad Hendrickson Blue Note president tells music editor Tad Hendrickson that Iin his opinion radio indeed does sell records. That’s the good CONTRIBUTING EDITORS news. Keith Zimmerman Kent Zimmerman But Lundvall points out something that many others have CONTRIBUTING WRITER/ pointed out in recent years: radio doesn’t make hits. As he tells Tad, PHOTOGRAPHER “When I was a kid I would hear a new release and they would play Tom Mallison it over and over again. Not like Top 40, but over a period of weeks PHOTOGRAPHY you’d hear a tune from the new Hank Mobley record. That’s not Barry Solof really happening much any more.” Lundvall understands the state Founding Publisher: Tony Gasparre of programming on mostly non-commercial jazz stations, and ac- ADVERTISING: Devon Murphy knowledges that kind of focused airplay doesn’t happen. Call (866) 453-6401 ext. 3 or This ties into my question of last week – does mainstream jazz email: [email protected] radio play too much music that’s only good, but not great? I’ve SUBSCRIPTIONS: received a few comments; please email me with your thoughts on Free to qualified applicants this at [email protected]. -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition.