Rhapsody in Blue (Original)
By George Gershwin (1898-1937). Single piece for solo piano. 31 pages. Published by Alfred Publishing. (AP.PS0047)
ISBN 9780769230955. With introductory text (does not include words to the songs). 20th Century and Jazz. 9x12 inches.
George Gershwin's own piano solo version.
Sunday, August 31, 2008
Special Books Serie - 4
Front Cover Album Serie - 6
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JACK MCDUFF The Dynamic Jack McDuff (1964 US 7-track LP, front laminated pasted gatefold picture sleeve. This copy has been clearly AUTOGRAPHED
Front Cover Album Serie - 3
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MADELEINE PEYROUX Half The Perfect World (Authentic 2006 US AUTOGRAPHED 12-track CD album, boldly signed by Madeleine across the front cover in silver pen.
Historic Banners Serie - 5
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ELVIS COSTELLO AND THE RUDE 5 Framed 1991 Concert Poster (Superb 1991 US 'Bill Graham Presents' concert poster for the May 28 & 29 and June 3 & 4 concerts at the Wiltern Theatre in Los Angeles and May 31 & Jun 1 concerts at the Greek Theatre in Berkeley with special guest Sam Phillips. This poster features one side of the background in a flurescent orange and the other in flurescent green, each side has a different coloured green palm tree image with Elvis' face at the top. This poster has been personally dedicated & signed by the promoter Bill Graham at the bottom in a black pen.
Steinway Buys ArkivMusic
By Wes Phillips
May 24, 2008 — Steinway Musical Instruments, Inc. announced May 19 that it was acquiring online classical retailer ArkivMusic, LLC for $3 million in cash at closing and three annual payments of $500,000.
ArkivMusic has been one of the recording industry's few success stories, the result of its core staff's passion for classical music and its realization that the old model of shipping product all over the country looking for customers was grossly inefficient. ArkivMusic not only utilized the Internet's efficiencies, but it created a unique "on-demand" manufacturing model wherein CDs are created after the order has been placed. As a result, the company's annual growth has pegged at about 30% per year over the last four years. The company did more than $8 million in sales in 2007.
"This is a fantastic deal for us and the companies we work with," ArkivMusic's President Eric Feidner told Stereophile. "Steinway will provide us with the capital to grow our company to meet its potential, guaranteeing a strong classical music presence in the prerecorded music market."
"Also very important, we will continue to operate independently. The management team is locked in for the long term and all employees continue in their current roles."
That's a smart move on Steinway's part, because much of the value in ArkivMusic is the depth of knowledge and passion of the ArkivMusic staff.
Steinway CEO Dana Messina sees it that way. "We are excited to have ArkivMusic and its employees join Steinway. We share a passion for supporting outstanding music and musicians, and ArkivMusic is one of the shining lights in the classical music business these days. This acquisition will help Steinway promote thousands of musicians that use our instruments around the globe."
Saturday, August 30, 2008
Jazz at Lincoln Center 01
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The words of JALC
To enrich the artistic substance and perpetuate the democratic spirit of America's music. From down home and elegant concert performances by the Jazz at Lincoln Center Orchestra... to entertaining educational programs that bring the sound and feeling of jazz into the lives of thousands of kids and grownups... to innovative collaborative programs with artists in diverse idioms: we offer top quality musicianship and universal friendship. By taking the feeling of jazz on tour and by inviting artists and audiences from all over the world into our new home in New York City, Frederick P. Rose Hall, we bring people together for a simple purpose: To Have a Profoundly Good Time. Welcome is our motto.
Special Book Serie - 3
The most comprehensive Jazz Theory book ever published! Over 500 pages of text and over 750 musical examples. Written in the language of the working jazz musician, this book is easy to read and user-friendly. At the same time, it is the most comprehensive study of jazz harmony and theory ever published. "The Jazz Theory Book" takes the student from the most basic techniques such as chord construction and the II-V-I progression through scale theory, the blues, "I've Got Rhythm" changes, slash chords, the bebop and pentatonic scales, how to read a lead sheet and memorize tunes and a study of reharmonization that is almost a book in itself. Satisfaction guaranteed or money will be refunded. Mark Levine has worked with Bobby Hutcherson, Cal Tjader, Joe Henderson, Woody Shaw, and many other jazz greats.
Endorsements
"This could be the single finest music book of any type I've ever seen. It's certainly the best explanation of the mechanics of jazz, and the amazing depth of the content is matched by the care and accuracy of the presentation. An invaluable resource for all improvising musicians regardless of instrument."-Bass Player Magazine
Luciana Souza, jazz & bossa nova singer
Grammy winner Luciana Souza is one of Jazz’s leading singers and interpreters. Hailing from S�Paulo, Brazil, she grew up in a family of Bossa Nova innovators. Her work as a performer transcends traditional boundaries around musical styles, offering solid roots in jazz, sophisticated lineage in world music, and an enlightened approach to classical repertoire and new music.
As a leader, Luciana Souza has seven acclaimed releases including her three Grammy nominated records "Brazilian Duos," 2002, "North and South," 2003, and "Duos II," 2005. Her debut recording for Universal/Verve, "The New Bossa Nova, " (2007) was met with critical acclaim (Bilboard Latin Jazz Album of the Year) and offers an exquisite and personal interpretation on songs by Joni Mitchell, Leonard Cohen, and Steely Dan, and a sublime duet with James Taylor. The record was produced by Ms. Souza’s husband, Larry Klein.
Ms. Souza has performed and recorded with greats like Herbie Hancock (on his Grammy winning record, River – The Joni Letters), Paul Simon, Maria Schneider, Danilo Perez, John Patitucci, Hermeto Pascoal, and many others. Her complete discography contains more than 50 records as a side singer. Luciana Souza’s singing has been called "transcendental, "perfect, " and of "unparalleled beauty. " Entertainment Weekly said, "Her voice traces a landscape of emotion that knows no boundaries. "
Luciana Souza has been a prominent soloist in two important works by composer Osvaldo Golijov – La Pasion According to St. Mark, and Oceana. She has performed with the Bach Akademie Stuttgart, the Boston Symphony Orchestra, and the Brooklyn Philharmonic. Other orchestral appearances include de Falla's "El Amor Brujo" with the New York Philharmonic, the Atlanta Symphony, and the Los Angeles Philharmonic. Her work in chamber music includes a fruitful collaboration with the Los Angeles Guitar Quartet.
Ms. Souza began her recording career at age three with a radio commercial, and recorded more than 200 jingles and soundtracks, becoming a first-call studio veteran at age 16. She spent four years on faculty at Berklee College of Music in Boston, where she received a Bachelor's in Jazz Composition. Ms. Souza earned a Master's degree in Jazz Studies from New England Conservatory of Music and taught for four years at the prestigious Manhattan School of Music, in New York City. In 2005, Luciana was awarded Female Jazz Singer of the Year, by the Jazz Journalists Association.
Please visit www.lucianasouza.com
Friday, August 29, 2008
Thursday, August 28, 2008
Telarc Records
Published: July 22, 2008 Telarc, established by Jack Renner and Robert Woods in 1977 in Cleveland, Ohio began as a classical music label, later branching into jazz with the 1989 release of Andre Previn's After Hours and eventually adding blues to its docket in 1993. In 2005, the company was annexed by Concord Music Group, while retaining its distinctive identity and reputation for audio excellence. Telarc's central mission is to create outstanding recorded performances using the highest fidelity on its naturalistic recordings; its prominent calling card is acoustical perfectionism, manifested through craftsmanship and progressive technology. The craftsmanship is a result of long experience, attention to detail and a "less-is-best" philosophy towards mic-ing, mixing and related production values. Cultivating a guild-like family atmosphere, Renner and Woods have honed their expertise within a close circle of collaborators, particularly ace engineers Michael Bishop and Robert Friedrich. Pioneering technology has also played a key role. In 1978, it was first to cut direct-to-disc LPs; the same year it was first in the US to release commercial classical music in digital format; in 1983 Telarc co-inaugurated compact discs; in 1988 it introduced audiophiles to 20-bit sampling (made possible by an innovative proprietary analog-to-digital converter) and in 1996 expanded commercial sampling rates to 24-bits. Elaine Martone, Executive VP of Production, a 27-year veteran and top-shelf classical/jazz producer, observed: "Our musicians always comment on the great sound quality... It's one of the things we're known for and we take a lot of time and care... We bring in piano techs and our own gear—all of that takes more time and more money—but it's one of the things that we just do as a matter of course." Pianist/composer Michel Camilo confirms: "They really care about getting the best possible sound you can ever get. So there's a lot of effort involved in that and a lot of attention to detail...and when you go to the studio and you see all this stuff they bring into the studio to record, the extra gear, it's pretty impressive." Telarc offers Super Audio (SACD) and 5.1 DTS Surround multi-track CDs in continued efforts to satisfy the most discerning ears. Hi-res downloads, asserts Jason Linder, VP of Marketing, are "just down the pike." "We look at our artists as partners," says Wilpizeski. "It's not like, 'We're going to do the work, you go out there and play the concert.' They have to do more than that these days." – Mike Wilpizeski Telarc established itself as a preeminent jazz label through releases by Dave Brubeck, Ahmad Jamal, Oscar Peterson and Ray Brown, among others. After Previn's date, Ray Brown approached them to record his trio with Peterson and Herb Ellis live at Blue Note. Telarc's palette expanded in the next two decades to include crooners John Pizzarelli and Tony DeSare, chanteuses Tierney Sutton and Ann Hampton Callaway and up-and-comer Melissa Morgan, Latinos Arturo Sandoval and Michel Camilo, the classically-rooted jazz string quartet Turtle Island String Quartet, fusionist's Hiromi and Al Di Meola and 'mainstream' eclectics Benny Green, Monty Alexander, Geri Allen and Saxophone Summit. Acts like Hiromi have attracted a younger demographic into Telarc's fold, fans more likely to whet their musical whistles in the digital realm via MySpace, artist webpages, iTunes, eMusic, blogs and podcasts. Telarc has even recorded two live albums at Starbucks, bringing jazz to the java generation. Online accessibility is immense, Linder notes, but as more people surf for new sounds, decreasingly reliant on traditional media (magazine reviews, retail stores), it increases pressure on indie labels "to be everywhere, all the time." New York based publicist Mike Wilpizeski is Telarc's liaison to the many artists and industry professionals who live in or pass through the jazz hub. He praises the "down-to-earth," artist-friendly nature of his company: "They're very straight-up with their artists...which is refreshing." He contrasts this with the "bottom-line, bean-counting, quarter-to-quarter" mentality of his former major label employers, which created tense working conditions and rapid employee turnover. Telarc, by comparison, is downright cozy: "I've been there ten years and I'm one of the new guys...Bob [Woods, president] knows all of us...so it's family oriented." Martone emphasizes the collaborative nature of label-artist relations. "There's the good and the bad part of this: we don't have a pop or a rock division that supports our classical and jazz—we are allowed to do what we do. That's the good part. The bad part is it's a hard thing to find a creative way to artistic fulfillment and turning a profit. The beauty of it is that we're all working as a team... We look at how much is it going to cost, how much do we think it can sell and we're very conservative about that. You have to be when record retail is in the state it's in." Interestingly, while artists once toured to foster record sales, today CD releases function primarily as merchandise to promote bookings, so artists and labels must cooperate for mutual survival. "We look at our artists as partners," says Wilpizeski. "It's not like, 'We're going to do the work, you go out there and play the concert.' They have to do more than that these days." In spite of sagging sales, Telarc musicians enjoy artistic autonomy. "They always give me a full freedom on what I would like to do in the album making, with love and respect," writes Hiromi. "They really care for artists and I am very grateful to have that." Camilo is similarly satisfied: "I could be the producer of my own recordings and I could pick and choose whatever I wanted to do, mainly." Martone remains optimistic: "The business as we know doesn't resemble the business of five years ago, which wasn't the way the business was ten years ago. I have lived through four major downturns in the industry. How much further down can it go? Still, the question that I always like to ask is, 'In the face of this, now what? What can we create? Because even in all these challenges, there's still opportunity. You always have to look for the opportunity and never settle for less than excellence."
James Carter: Something Old, Something New
Published: August 4, 2008 Multi-instrumentalist James Carter has always had eclectic tastes. That was evident on his debut, JC on the Set (Columbia, 1994), where the squeaks and blips linked him to the avant camp of Eric Dolphy and the tenor swoons nestled him comfortably within the traditional velvet of Coleman Hawkins and Ben Webster. Subsequent releases found him venturing further along each of those paths individually, splitting the new and the traditional like Proust taking Swann's Way (1913) and The Guermantes Way/ (1921) separately so as to conquer and know the full character of each. Soon entire James Carter projects were devoted to exploring the work of a single artist—Django Reinhardt on Chasin' the Gypsy (Atlantic, 2000), Billie Holiday with Gardenias for Lady Day (Columbia/Sony, 2003) and rock band Pavement for Gold Sounds(Brown Brothers, 2005). Carter's Present Tense (Emarcy, 2008) shows him bringing it all back home. There's a Reinhardt cover ("Pour Que Ma Vie Memeure"), an ode to Dolphy ("Bro. Dolphy") and a tune purportedly delivered to Carter in a dream by Lady Day herself ("Sussa Nita"). The Motown jump of his early records also makes a strong comeback. Yet amidst any return-to-form talk, Carter has also made much of the increased lyricism in his playing. Does that mean the record serves both as a summation of his career to this point and a launching off into something new? "Yeah, I would definitely say that, on both ends," Carter acknowledges via phone from his home in Detroit. But the spark of the new, he says, has always been part of his game. "[I'm] not only willing to deal with other areas, but other people and personnel as well. It seems I have a ten-year itch regarding that, because back in '98 ... with In Carterian Fashion (Atlantic), that was the first signal that I had personnel changes. It's a good thing. The nuances, the different energies, and just being able to play with [new] people." "At the same time ... you got to deal with the [music's] nucleus," he says. "I've always been a fan of people like Duke Ellington and [Count] Basie—those nucleuses that have been together for years, and the longevity and how you can [communicate] telepathically. It's just really hip." As an example, Carter points to his seven-year musical relationship with drummer Leonard King and organist Gerard Gibbs, a partnership kicked off by the 2001 date recorded for Live at Baker's Keyboard Lounge (Warner Bros, 2004). "As far as I'm concerned the organ group's MJQ [Modern Jazz Quartet] for me. That's a fixed personnel. And anything that gets added—special guests and whatever—[fits] on top of that. There's no way I could see getting another organist or something like that. No. Forget it." Yet neither King nor Gibbs is present on Present Tense (though both are part of Carter's current road team) and the extended jams of Baker's and 2005's Out of Nowhere (Halfnote Records) have been replaced on the new record by more truncated numbers. Still, Carter insists he's not trying to move away from anything. Rather, he means to expose the different paths he's constantly traveling within himself. "I feel anything that comes up. There's always avenues of expression for whatever the vibes are that I'm feeling at the time. And the company that I'm in ... helps evoke that." Carter says there was a conscious effort to limit the latest set to "miniature performances" in the hopes that the music would be more radio-friendly. He feels stations currently dominated by smooth jazz might be incited to expand their playlists if the time obstacle were removed. "I'm not tired of NPR being our best friend or nothing like that, but other stations could be too if they see something that's under six or seven minutes," Carter reasons. "You hear dribs and drabs of [more classically-tinged jazzed] on some stations like CD 101.9 in New York or all the smooth jazz stations—I don't really hear it [in Detroit] on V98.7—but there are certain smooth jazz stations, particularly out on the East Coast, that give it up to the classics, every hour on the hour. They just got to give props to what their predecessors played. And I think that if people are a bit more exposed to what the traditional stance is [they'd see] it's just as viable as anything else. It's certainly viable to us—the practitioners of it. It's still relevant." While Carter would likely stop short of labeling his efforts a "mission"—an attempt to restore jazz to radio for the masses—it's clear there's been a shift in his personal stance. "I didn't get hung up with—oh my God, we're over such-and-such amount of time," he says of the Present Tense sessions. "More or less, if [a tune] felt complete there was nothing else I needed to do. 'What was the time on that?' 'Oh, it was like four minutes and twenty-three seconds.' 'Cool.'" Carter's own exposure to tradition came from listening to his mother sing along to the radio, and from leafing through the albums he found in the family home. Spirited by the images on the albums' covers, he'd sneak into the room of a musician lodging with the family and pose with the alto sax he found there. Getting caught with the horn red-handed exposed Carter's love for the instrument, and in a sense kick-started his musical education. But after enduring the grade school band for a while, Carter felt his love of jazz was not being supported and was on the verge of putting down the sax for good. Thankfully, his older brother Kevin stepped in and introduced him to a teacher named Donald Washington, a man Carter came to regard as a surrogate father, and still affectionately refers to as "Pops." Carter says Washington taught him "basically for the love of it," charging only $5 for two- to three-hour lessons. "First off, when I went to his house," Carter recalls, "and saw—smelt—just the art that was in the air, and then went downstairs and saw the saxophones and the clarinets on the stand... It was like a parallel universe from what was going on at our house. I was in awe. I think environment definitely plays a roll in the development of the individual." Washington was "providing the necessary tools and encouragement" that Carter feels every young musician needs. "Particularly the encouragement is necessary—quite instrumental." He describes the education he received from Washington as "well-rounded." In addition to the one-on-one instruction, he also borrowed books and albums (including Dolphy's Prestige releases) from Washington, and watched PBS's From Jump Street with host Oscar Brown Jr. It was all "part of the lesson," Carter says, and set the archetype for how he himself would later conduct private lessons. But it was the soul and conviction he heard in Washington's playing that notched the first profound influence on Carter's own style of performance. In addition, the multi-instrumentalism in Washington's attack, echoed by recording artists like Dolphy and left open for Carter to explore in his own playing (thanks to his sympathetic middle school teacher Valerie Turner), freed Carter at an early age from the notion of a single rail. "I just try to keep everything simple, saying, 'Look, this is the woodwind family.' As opposed to, 'This is the sax, this is the flute, this is the clarinet...'" "What interested me when hearing multi-instrumentalists was that you could hear the different personalities of an individual coming through the different instruments," Carter explains. "It was like a miniature orchestra all to themselves. Like the way Duke looks at [Ben] Webster and writes certain things, or hears certain things, for that particular instrument. There are certain things that a 'pit bull' can do that a tenor or soprano or whatever can't. And you wind up cross-pollinating, cross-influencing each other, and hopefully the possibilities are infinite as far as being able to touch an individual [listener]." "I just try to keep everything simple, saying, 'Look, this is the woodwind family.' As opposed to, 'This is the sax, this is the flute, this is the clarinet...' And play within those parameters, keep the parameters entirely in my hands. Once it's established, it's a very hip thing to do. Not only financial-wise, by being able to play more than one instrument, but also just [by having] more knowledge, and another avenue of expression within the same family." Lately, Carter, who identified himself in the June 2008 issue of Jazz Times as a "frustrated guitarist," has dropped hints that the family might be expanding. "I'm threatening to get on 'em," he says (perhaps jokingly) in reference to the two guitars he owns. He then launches into a hilarious imitation of the grumblings he always gets in response from brother Kevin, the guitarist. Which makes you think—for now, at least—the six string will remain out of Carter's public arsenal. He says it's nothing more than the obvious that turns him on about the electric guitar: the electricity, "the sense that it's being powered." "The feeling you get when you hear 'Still Raining' and 'Hear My Train a Coming' by [Jimi] Hendrix, the stuff from Charlie Christian like 'Solo Flight,'" muses Carter. "Man! There's a sort of air in there that's charged. I like that energy. And for a whole lot of people who consider it unprofessional to try and do that on a saxophone—boop 'em." You don't have to talk with Carter long to know how he feels about conformity. His albums are labeled with the mantra "peace and forward motion," not "sleep and play as you're told." He sees little value in staying put. "If that were the case, I don't think the arts, or people in general, would be as advanced as they are now," he argues, citing the case of Ben Webster rushing Charlie Parker on stage to tell Bird how the tenor should—and should not—be played. It's stories like that one that fuel Carter's own dogged perseverance in the face of the criticism that he too often bucks tradition. He recalls how his rendition of "Strange Fruit" on Gardenias was dubbed "over the top" by some. "Everybody knows what 'Strange Fruit' was about," he says. "There is no Muzak version of that. Come on." Taking nothing away from the Holiday version, Carter says he felt it necessary, in light of the song's subject matter, "to show what angst sonically can represent." His ability to make music is an endowment from the Creator, Carter explains in a voice that doesn't attempt to mask the annoyance he feels when told how he should and should not go about making that music. "If it's not your cup of tea, fine. Step aside and let somebody else sip from the cup. It doesn't mean there's poison in it just because you don't dig it, or don't understand it at a particular time. I feel that a whole lot of that comes about as a result of the individual not being comfortable within themselves." As Carter sees it, this is often the trouble with how listeners react to electric instruments. And he's dismayed that there are still discussions in the new millenium about the validity of trying to replicate an electric sound on an acoustic instrument. "Everybody that's come up within the last half of the 20th century knows the power of an electric guitar, the power of an organ," he contends. And he believes it's only natural that someone who enjoys that power would want to emulate it in some way. "If the Creator gives you the ear, the intestinal fortitude, the equipment to make these things come to pass, then it's your duty to make it happen." Equipment in particular, he feels, plays an important role. If the equipment isn't up to par it's only going to result in the musician's frustration. It's this belief that led him to the Lawton mouthpiece. "[Geoff Lawton] made a heck of a mouthpiece during his lifetime," says Carter, who first fit the late Englishman's handiwork onto his baritone sax, then brought it home to the rest of the saxes in his family. Not having to go back and forth, changing embouchure positions, eases the transition from one horn to the next, Carter explains, and helps facilitate his multi-instrumentalism. "I have wide setups. Having wider setups promotes higher harmonics and more volume. [From there] it's just about being able to harness it. Just like it is with electricity. You got to be able to harness it." Bringing the discussion back to the Creator, Carter says the opportunity to work with legendary producer and co-founder of Mosaic Records Michael Cuscuna, who produced Present Tense, was like a chronic headache sufferer's chance "to meet Joseph Bayer, or whatever the cat's name is." Cuscuna was invaluable for his tune selections, Carter notes, but says he hesitated initially when Cuscuna brought him "Rapid Shave," the number that leads off the new record. Carter thought it might be difficult to bring something to the tune Stanley Turrentine and Shirley Scott had not. But then he hit on the idea of playing it with his baritone sax. "Once again, getting back into the multi-instrumentalism thing," Carter says. "Just being able to have that option. You have it as a variable to help make [the tune] your own. And give it that kind of relevancy that you hear and you want others to hear through you. It's very important." Cuscuna's honesty and patience from the control booth was another key element to the record's success, Carter feels. Cuscuna wasn't a dictator, but rather gave mild suggestions like, "'I think we can give that another stab, what do you think?'" when he felt a tune wasn't all it could be. "There was a dialogue happening. And just [his] watching the sensitivity amongst the other cats while we were in the studio. It was refreshing. And it was the beginning of what I would eventually see out of Universal and Emarcy as a whole, which kind of reminded me of the early days of Atlantic, as far as the family of people ... within the label. It's pretty cool." "Just like with anything else, there's got to be a foundation to build things on," Carter says. It's a response to a question about his affinity for exploring the lower tonal range of the saxophone. But it's also a statement that seems to sum up his approach to music in general: "Just having a foundation to soar from and to come back to or leave all together."
Wednesday, August 27, 2008
All I Really Need to Know I Learned from Jazz Musicians
Published: July 20, 2008 by Jessica Jones
Trust improvise give all you are to the bottom of the barrel don't fold don't fold know the melody before you start improvising and never avoid a solo just because you don't know the melody tell a story weave your little heart out dance like you will never get another chance let the baby play let the baby play listen to the music find the voice that speaks to you they won't believe it until they hear you play play all day play all night play on the street play for yourself save yourself save the world send your vibrations start the revolution with yourself find the peace in the center of the chaos find the chaos in the center of the peace take your piece take a big bite don't waste your time in translation the music will take you home the music will be your home the music will give you a reason the music will swallow its tongue and come out laughing trust improvise grow and be bold take your time take your chorus everything on the one fast is just slow subdivided take pride take a breath take another know the lyrics listen to the bass find your place if you get lost just come back it's all still here for you there is room for you write a tune or two speak through your horn what's your story feel be real trust and go time is a construct time is everything time is a flowing delicate golden hunk of what links us makes us alone together its where we meet in our same differences learn your lessons press on each one teach one elders carry the seed you have in you all you'll ever need the music is the blood of the people who make it its not just a ii-v-I its joyangerforgiveness juice and your only escape and more real than anything you see and too hot to touch and too accepting to look at straight in the eye but you need to try and fall down and then get up and keep playing which is praying which is staying to make the most of what you have with your trust love boldness.
The sound of the music has a message and it's not a message that is in the language of words. Words can only dance around the edges of it. Words can't describe a color you've never seen or the sound of your mother's voice. It is possible that the only way to get the message is to listen to the music. That it is really as simple and beautiful and unavoidable as that. There is something for you in the music and you are the only one who will recognize what it is and which music has it for you. You might have to look a lot of places. You might, like me, find the clues in all kinds of strange and captivating spots. Wayne Shorter said he tries to play like Humphrey Bogart walks. Albert Ayler said music is the healing force of the universe. Maya Angelou says she could crawl in and wrap herself up in the notes of Lester Young.
I teach a small high school jazz band in Brooklyn, New York. I gave them an assignment to burn me a CD of 5 jazz songs that had a unifying theme and to write liner notes for the CD. Of course, most of them didn't know what liner notes are because they acquire their music disembodied from any context or explanation or pretty much any tactile experience other than computer keyboard-poking. They didn't have the hours spent hanging around the record store flipping through the jazz albums, memorizing the covers and trying to imagine the sounds that went with the photos like my friends and I did. This means they also didn't have access to the jazz record store manager or owner, who loves to tell you what's the next amazing record you should listen to if you liked that one. Or who, like our friend Berigan in Berkeley, had a theory that you should build your modern jazz collection by first buying all the records by Miles, Art Blakey and Mingus and then buying all the records by everyone who ever played with those people.
The teenagers have their own way, now, to find the music. But it is often headless and floating and takes more work to figure out who is playing and when everything happened. The urgency and hope of the music that paralleled the civil rights unrest is just a history lesson to them. The sting of social criticism in rap is more familiar, but is hidden beneath the thick brambles of consumer-hungry omnipresence by more generic music.
As it turned out, I was surprised by the liner notes my students came up with after they had perused some old examples of the form. Many of the CDs they turned in contained songs I'd never heard by artists I know fairly well, and the compiled CDs had intriguing themes reflecting their individual tastes. Or as ninth-grader Leo said, “It may not seem like it, but I took a really long time to find songs that I liked to put on the CD.”
Don't mind the disclaimer: the effort the kids put into this casual assignment showed. Their CDs were like little blossoms of differentiation, little road signs that indicated they were diverging. becoming themselves. And in their liner notes they offered more evidence of stretching their concepts and understanding. My students are way past the “Louis Armstrong was the first man on the moon and won the Tour de France” stage. They've moved on into the part where they take music personally. They've moved on into the part where they are listening.
Trust improvise love boldly love the music out listen breathe live while you are alive and love to the end of time amen.
Abrazzzzos
Cascais Jazz Festival
Este Artigo é cópia fiel da postagem de 26 de fevereiro de 2008, do Blog Ad Fotos, que pela sua importância, competência e interesse sociológico, aqui o reproduzo.
Artigo da Blitz
Nasceu casualmente num almoço entre dois amigos, um do jazz (Luís Villas-Boas) e outro do fado (João Braga), contornou a oposição do regime político e tornou-se o evento de referência da grande música negra norte americana no país, apresentando nomes como Miles Davis, Ornette Coleman, Dexter Gordon, Thelonious Monk e Dizzy Gillespie.
Nasceu casualmente num almoço entre dois amigos, um do jazz (Luís Villas-Boas) e outro do fado (João Braga), contornou a oposição do regime político e tornou-se o evento de referência da grande música negra norte americana no país, apresentando nomes como Miles Davis, Ornette Coleman, Dexter Gordon, Thelonious Monk e Dizzy Gillespie.
O mítico Cascais Jazz completa esteano 35 Invernos, tantos quantos são necessários para assinalar o primeiro grande festival de jazz em Portugal. Pouco passava das 22h00 quando no dia 20 de Novembro de 1971 o septeto do lendário Miles Davis subia ao palco do Pavilhão do Dramático para dar início ao primeiro Cascais Jazz.
Cerca de 12mil pessoas, incluindo alguns notáveis, como Amália Rodrigues, Zeca Afonso, Alexandre O’Neil e Adriano Correia de Oliveira, assistiam nessa noite ao nascimento de um dos mais importantes eventos culturais realizados em Portugal, que até então só rivalizara em audiência com o Festival de Vilar de Mouros, realizado quatro meses antes.
Quem estava desde logo bem ciente da importância do Cascais Jazz era Miles Davis, pelo que exigiu ser o primeiro músico a tocar, como recorda João Braga: «Ele disse-me uma coisa que nunca mais me esqueci: « este é o primeiro festival de jazz em Portugal e quero ser eu a abri-lo. Os outros só podem tocar a seguir a mim ».
E entre os outros encontrava-se nada menos do que Ornette Coleman, que estava previsto tocar antes e não achou graça nenhuma às exigências do trompetista.Miles Davis estreava-se em Portugal e trazia na sua bagagem musical a sonoridade e o repertório de quatro discos: Bitches Brew, que criara a fusão entre o jazz e o rock, Black Beauty, Live at the Fillmore East e Live Evil.
Quem esperava, pois, ouvir o Miles do tempo dos seus lendários quintetos dos anos 50 e 60 não podia deixar de estranhar este projecto de ruptura, claramente orientado para audiências mais jovens.
Talvez por isso o mago do trompete já não usava fatos de alta-costura italiana, apresentando-se agora como uma estrela do rock. Diniz de Abreu descrevia assim no Diário Popular a sua nova indumentária: «Colete de pele preto, camisa da mesma cor, calça verde acetinada, muito justa, um lenço ao pescoço, caído em duas pontas , cinto dourado; botas prateadas , óculos escuros».
Miles subiu ao palco juntamente com Keith Jarrett (piano eléctrico), Gary Bartz (saxofone), Michael Henderson (baixo eléctrico), Don Alias e James Foreman (percussão) e Leon Chandler(bateria). A suportar a sua música predominantemente eléctrica e funky, com o trompete de Miles ligado a um pedal de efeitos (wah-wah e volume), estava um sistema de som de duas toneladas.
Um dos músicos mais notados deste septeto foi o pianista Keith Jarrett, conforme noticiava o Diário de Lisboa na crítica ao festival: «(..) Um solo deste último marcou profundamente todaa assistência, absolutamente conquistada». Porém nem todos se renderam à nova sonoridade de Miles. Duarte Mendonça era um deles, como recorda actualmente: «Deixou-me um pouco perplexo porque era uma música que eu nunca tinha ouvido. Eu vinha do melhor do Miles dos anos 50/60».Também a peculiar atitude de Miles em palco não surpreendeu menos os jornalistas presentes.
Na revista O Século Ilustrado, Maria Antónia Palla reportava: «Quando Miles pára e deixa tocar o seu conjunto, fica a um canto do palco, o corpo inclinado para a frente, as mãos fixadas nos joelhos, balançando-se como um felino selvagem pronto a saltar sobre a presa. O rosto cerrado, sem deixar transparecer a menor emoção, fixa o olhar num ponto indeterminado.
Numa hora passada de exibição, nem um sorriso. Como se o público não contasse, como se a multidão fosse um inimigo potencial». Já Fernando Cascais, então jornalista da revista Flama e que teve a rara sorte de ficar num canto do palco durante este concerto, escrevia: « Miles foi uma figura que impressionou a assistência.
Dobrado sobre a trompete, as notas e os magníficos sons que delesaíam tinham o mistério e o timbre que tornam o seu possuidor inconfundível entre os trompetistas de jazz». João Braga era também um espectador atento ao que se passava em palco e um facto em especial chamou a sua atenção para Miles Davis: «A água que escorria das costas dele durante o concerto era algo inumano, certamente por causa das profaminas. Quando ele no final do concerto chegou aos camarins nem conseguia articular uma frase». MILES DAVIS Em noite de sons funky e eléctricos, o gigante do jazz impressionou a diva do fado.
Amália Rodrigues encantou-se com Miles e Gary Bartz mas teve alguma dificuldade em compreender a suamúsica: "Não, totalmente não entendi. Eu sei que há qualquer coisa de vez em quando queacontece e que me toca, mas de resto não sei nada, não entendo nada de jazz. É para ver se entendo alguma coisa que eu vim ver".
Ornette e o caso Haden resignado a tocar depois de Miles Davis, Ornette Coleman não aceitou porém actuar no final da primeira noite do festival, como era intenção da organização, que entretanto já preparara o palco para os músicos portugueses, e exigiu ser o segundo, sob ameaça de abandonar o recinto passados cinco minutos... Resultado: uma hora de espera para o público, com várias pessoas a abandonarem a sala.
Finalmente o pai do free-jazz subiu ao palco, acompanhado por Dewey Redman (saxofone tenor), Charlie Haden (contrabaixo) e Ed Blackwell (bateria), e foi, na opinião de Leonel Santos,« caótico, demolidor, free! », embora os seus sons «ruidosos» tivessem provocado nova debandadaentre o público.
Tito Lívio caracterizaria no jornal República a música de Coleman, considerando-a um «jazz sem regras, severo, anti-superficial, o destruir das linhas harmónicas, a arritmia». Mas além da música, este concerto faria história quando a dado momento Charlie Haden se curva para o microfone usado para amplificar o seu contrabaixo e dedica o tema « Song for Che » aos movimentos de libertação dos negros em Angola e Moçambique.
«Quando o Charlie Haden leu a mensagem, as pessoas nas bancadas levantaram-se como uma mola e ergueram os punhos em saudação comunista», recorda João Braga. Entretanto, à frente de uma dessas bancadas, pendiam já dois panos com as inscrições «Guiné Livre» e «Abaixo Guerra Colonial», que uma fotografia inédita de Augusto Mayer permite agora revisitar pela primeira vez.
No exterior do Pavilhão do Dramático estavam posicionadas duas camionetas com polícia-de-choque e pouco tempo depois o Comandante da PSP de Cascais ameaçava João Braga, ordenando o fim do espectáculo. «Ele disse-me: Acabem já com isto ou faço entrar esta malta!, ao que eu respondi: Faça favor, o palco é todo seu, mas cuidadinho que as cadeiras não estão fixas ao chão ».
O espectáculo prosseguiu. A imprensa «oficial» ignorou por completo o incidente (a censura não perdoava), à excepção do Diário de Lisboa onde, nas entrelinhas de um artigo de José Jorge Letria (que entrevistara Haden já nas vésperas da sua actuação e o questionara sobre a possibilidade de o jazz poder ser uma forma de actuação política), se podia perceber que algo mais do que jazz se passara no Dramático: «Quem é que não sentiu um nó na garganta com a violência (negra) do quarteto deOrnette Coleman? Quem é que não estremeceu ao ver o punho cerrado de Dewey Redman bem erguido no ar, no final da sua actuação? E éramos todos os acusados.
Este evento não deixou porém de ser noticiado nos órgãos clandestinos, como a Rádio Portugal Livre (emitida em Onda Média a partir da Argélia) e o jornal Portugal Democrático, que informava que « no Festival deJazz de Cascais um dos músicos americanos dedicou um número aos Movimentos de Libertação de Angola e Moçambique. Apesar de falar em inglês, as suas palavras foram traduzidas pelas pessoas que entenderam e a sala quase veio abaixo com os aplausos.
No final do espectáculo, ao regressar ao seu camarim, era ali aguardado por agentes da PIDE que o intimaram a deixar imediatamente o País. Foi forçado a seguir de Cascais para o aeroporto e embarcar no mesmo dia». Na verdade, Charlie Haden foi levado, sim, mas para a sede da PIDE/DGS (Direcção-Geral de Segurança), na Rua António Maria Cardoso.
No auto de declarações, o músico é referido como membro do quarteto de Hornet Coleman (sic) e a argumentação do interrogatório não podia ser mais cínica, tendo o músico sido «convidado a declarar se foi bem recebido em Portugal e aqui achou ambiente favorável à sua visita», ao que Haden respondeu afirmativamente, e se «uma vez que foi bem recebido no nosso País, qual o motivo porque já durante a viagem no avião abordou assuntos referentes aos movimentos africanos desfavoráveis a Portugal e durante a sua actuação em Cascais dedicou uma canção escrita por ele próprio intitulada canção para o CHE, aos movimentos africanos de independência ».
De acordo com o auto de declarações, Haden mostrou-se « arrependido pelo acto que praticou por desconhecer que afectava o país onde o fazia ». Mas enquanto estava na sede da DGS, Haden tinha algo na algibeira como Paulo Gil recorda agora:«Disse-me o Charlie Haden que a gravação do tema Song For Che, realizada em Cascais naquela noite, se encontrava na algibeira da gabardina que vestiu quando foi detido pela PIDE.
Como na Rua António Maria Cardoso, a gabardina foi pendurada num cabide existente no gabinete em que foi interrogado, e só depois disso é que o revistaram, a PIDE nunca confiscou a gravação...». E foi assim que em 1976 Charlie Haden pôde incluir parte desta gravação no disco Closeness(no tema «For a Free Portugal»), que Paulo Gil e Rui Neves importaram para Portugal quando o primeiro era director-geral do Departamento de Discos da Valentim de Carvalho.
Entretanto, chegavam também à sede da DGS Luís Villas-Boas e João Braga, que a PIDE fora buscar de madrugada, tentando este último servir de moderador entre os agentes e Haden: «O Inspector Glória dizia-me o gajo tem de levar uns tabefes e eu disse que eles é que sabiam, mas que sabia como eram os tabefes da PIDE e que quando ele chegasse a Londres teria as marcas para mostrar à imprensa... Ele perguntou-me se eu achava então que ele devia ser condecorado e eu disse que não, que achava que eles deviam ir entregá-lo a casa do Adido Cultural dos EUA em Portugal sob pretexto de ele não ser digno dos calabouços da PIDE ». No dia 21, domingo, Hadenfoi assim levado sob escolta a casa do Adido Cultural da Embaixada do EUA e daí seguiu para o Aeroporto de Lisboa, de onde partiu para Londres.
Quanto a Villas-Boas e João Braga, viam-se agora confrontados com a decisão da DGS cancelar o segundo dia do festival, intimando-os a devolver o dinheiro dos bilhetes já vendidos, solução logo rejeitada por ambos. Ao fim de várias horas de argumentação, os agentes da DGS exigiram finalmente 500 livre-trânsitos para autorizar a prossecução do festival e às 13h00 desse dia Villas-Boas e Braga abandonavam as instalações para ir assistir ao jogo de futebol Portugal-Bélgica, acompanhando Dizzy Gillespie, que exigiraver Eusébio jogar.
Mas regressemos ainda ao Pavilhão do Dramático, já que depois de Ornette Coleman ainda actuaramo quarteto The Bridge e Dexter Gordon. O primeiro pouco mais foi do que uma ponte para aactuação de Dexter Gordon, prejudicado por uma aparelhagem sonora que mal deixava ouvir o saxofone de João Ramos Jorge (Rão Kyao) que improvisava sobre a harmonia e o ritmo de Kevin Hoidale (piano), Jean Sarbib (contrabaixo) e Adrien Ransy (bateria).
Com a acumulação de atrasos, Dexter Gordon acabou por subir ao palco eram já três horas damadrugada actuando perante um sala bem menos cheia. Acompanhado por Marcos Resende (piano), Jean Sarbib (contrabaixo) e Manuel Jorge Veloso (bateria), fez soar a sua música até por volta das cinco horas . Desta experiência recorda-se bem Manuel Jorge Veloso, que já em 1967 havia tocado com Dexter Gordon numa jam-session em Coimbra: «É impossível dar uma pálida ideia do que significou para mim ter pisado o palco com um músico da grandeza do Dexter Gordon, até por se tratar de um primeiro grande festival português que (já então se percebia) iria fazerhistória.A CATEDRALDe 1971 a 1980 o Pavilhão do Dramático foi uma verdadeira casa para os maiores jazzmen e bluesmen.
Integrados no Cascais Jazz, por ali passaram, entre muitos outros, Jimmy Smith, Cannonball Adderley, Dave Brubeck, B.B. King, Duke Ellington, Sarah Vaughan, McCoy Tyner, Charles Mingus, Sonny Rollins, Gil Evans, Muddy Waters, Art Blakey & The Jazz Messengers, Betty Carter, Freddie Hubbard e Buddy Guy.
Jazz Photo Serie - 4
Birth Name: William Emanuel Huddleston
Lateef, who does not care much for the name "jazz," has consistently created music that has stretched (and even broke through) boundaries.
Abrazzzzzos
Special Books Serie - 2
The first installment in the Victor Black Label series offers full discographic details for every version of every 16000- and 17000-series issue, compiled from the original Victor Talking Machine Co. and Gramophone Co. files, correlated with the original records, catalogs, and supplements.
Abrazzzzzzzos
Jazz Ilustrations Serie - 2
Columbia Records, the Columbia "Walking Eye" logo and design are registered trademarks of Sony Music Entertainment Inc.
Abrazzzzzzzzzzos
Jazz Caricature Serie - 4
Count Basie
William "Count" Basie (August 21, 1904 – April 26, 1984) was an American jazz pianist, organist, bandleader, and composer. Widely regarded as one of the most important jazz bandleaders of his time, Basie led his popular Count Basie Orchestra for almost 50 years. Many notable musicians came to prominence under his direction, including tenor saxophonists Lester Young and Herschel Evans, trumpeters Buck Clayton and Harry "Sweets" Edison and singers Jimmy Rushing and Joe Williams. Basie's theme songs were "One O'Clock Jump" and "April In Paris".
Wikipedia.
Abrazzzos
Historic Banners Serie - 8
Chick Webb representou o triunfo do espírito humano em jazz e da vida.
De pequena estatura, quase um anão, com um grande rosto e as grandes ombros, Webb lutou contra uma congênita tuberculose da coluna vertebral, para tornar-se um dos mais competitivos bandleaders e bateristas da Big Band era.
Sobre uma plataforma elevada, ele usou um pedal especial de 28 polegadas e uma grande variedade de outros instrumentos de percussão, para criar thundering solos de uma complexidade e de energia que preparou o caminho para Buddy Rich ( que estudou intensamente Webb) e Louie Bellson.
Abrazzzzzzzzos
Musical Instruments Serie - 7
O saxofone tenor é um instrumento musical membro da família dos saxofones. Possui um registro médio estendendo-se do Lá bemol 1 ao Mi 4. É um dos saxofones mais utilizados em jazz e música pop. Está afinado em Si bemol, isto é, seu Dó representa, no piano, um Si bemol. É um instrumento de sopro com palheta simples, sendo um instrumento utilizado em quase todos os tipos de música, desde a clássica até ao jazz ou ao rock. (Wikipedia)
Thursday, August 21, 2008
Special Books Serie - 1
http://www.mainspringpress.com/book_ED2629.html
This volume covers an especially interesting period in Edison history, with the conversion to electrical recording; introduction of long-playing and lateral-cut discs and attempts to enter the radio transcription market; and finally, the closure of the Phonograph Division in 1929. Features include:
Discographic details from the original company files at the Edison Nation Historic Site, supplemented by inspection of the original discs and catalogs — recording locations and dates, matrix numbers and takes, artist aliases, accompanists and conductors, composer credits, and more
Coverage of Diamond Discs, Needle-Type (lateral) discs, Sample Records, Long-Playing 24- and 40-Minute Records, and dubbed Blue Amberol cylinders
Details of Edison radio transcriptions, experimental recordings, special-use recordings, and cancelled releases
Day-by-day account of studio activities, including auditions and equipment tests
Illustrated historical introduction, including the first fully detailed account of the company's shut-down operations in 1929
Title, artist, accompanist, and vocal-chorus indexes, and Blue Amberol cross-reference
About the Author
Raymond R. Wile has been honored by the Association of Recorded Sound Collections with a Lifetime Achievement Award. His discographies and scholarly articles, examining the earliest days of the American recording industry, have appeared in Record Research, ARSC Journal, and other highly respected publications.
The Edison Discography Series
The Edison Discography Series draws on Raymond Wile's extensive experience as a collector, author, and researcher, utilizing the original files at the Edison National Historic Site. When completed, the series will cover all Edison disc recordings, from the experimental masters of 1910 through the end of commercial disc production in 1929. Additional volumes will be released at regular intervals during 2009–10.
Abrazzzzos
Banner Movies Serie - 1
Crédito > The Lord Price Collection
The book of the French Film
Keywords: Music; Jazz; Movie; Film; Illustration; Magazine; France; French; Clarinet; 1930; 1930s; 1920-1939; Art Deco; 20th Century; Picture; Old; Vintage
Jazz Ilustrations Serie - 1
Crédito > The Lord Price Collection
Illustration from an American magazine
Keywords: Music; Jazz; Illustration; Piano; Band; Quintet; USA; 1924; 1920s; 1920-1939; Art Deco; 20th Century; Picture; Old; Vintage
Artistic Photos Serie - 1
Crédito > Javier Marina
Foto Steve Lacy
Mais informações sobre o saxofonista acesse:
http://senators.free.fr/web_stuff/NavbarFrames/Framesets/FrSet_Welcome.html
Abrazzzos
Tuesday, August 19, 2008
Early Years Serie - 8
Crédito > The Library Congress (USA)
1908
Williams and Walker's produziram seu último musical juntos em 1908 em Bandana Land. Walker adoeceu em 1909 e moreu em 1911. Williams foi trabalhar isoladamente no Ziegfeld Follies por muitos anos e foi o único African-American performer durante anos e anos. O elenco incluia Aida Overton Walser, Alex Rogers, and J. Leubrie Hill.
Abrazzzzzzos
Early Years Serie - 7
Crédito > The Library Congress (USA)
1906
O próximo esforço de Williams and Walker's foi o Abyssinia, in 1906. Eles apresentaram a música composta por Will Marion Cook and Bert Williams.
Abrazzzzzzos
Early Years Serie - 6
Crédito > The Library congress (USA)
1900
Neste ano, The Belle of Bridgeport, descrita como a "white-oriented musical farce" by Peterson, iniciou em Nova York cantando músicas de Bob Cole, James Weldon Johnson, and J. Rosamond Johnson, e a estreante May Irwin.
Abrazzzzos
Early Years Serie - 5
Crédito > The Library Congress (USA)
1898
Em 1898, Bob Cole and Billy Johnson apresentaram A Trip to Coontown, o show que foi chamado "a landmark musical in the history of black theatre." (Peterson: A Century of Musicals in Black and White). Este show, que ficou em cartaz por vários anos, definitivamente deixou para trás o minstrel format, e destacou-se de forma significativa sob vários aspectos como concepção, redação, produção e apresentação, pelos African Americans.
Abrazzzzos
Early Years Serie - 4
Crédito > The Library of Congress (USA)
1896 / 1899
Ao mesmo tempo, a cantora M. Sissieretta Jones, conhecida como "Black Patti", iniciou uma turnê com uma companhia denominada Black Patti Troubadours. Bob Cole, uma das figuras principais do desenvolvimento do African-American musical, associou-se a ela.
John Larkins escreveu e apareceu no musical A Royal Coon, apresentado como parte do Black Patti Troubadours show em 1909. Traballharam de 1896 a 1915.
Abrazzzzos
Early Years Serie - 3
Crédito > The Library of Congress (USA)
1890 / 1895
No início dos anos 1890's, o tradicional formato "minstrel" format iniciou mudanças. Mulheres apareciam como músicas, dando elegância e atratividade ao conjunto. The Creole Show foi o primeiro do gênero a se apresentar de 1890 a 1897, Sam Lucas estava envolvido nois primeiros anos, sendo que nos últimos anos surgiram dancers Charles Johnson and Dora Dean. Ernest Hogan apareceu também por muitos anos nstes shows.
Abrazzzos
Early Years Serie - 2
1880 / 1890
Iniciando ao final dos anos 1870's, compositor e músico James A. Bland, apareceu com muitas "troupes", e compôs muitas canções bastante conhecidas hoje, como "Carry Me Back to Old Virginny" que hoje é a canção principal do estado da Virgínia e outras como "Oh, Dem Golden Slippers" and "In the Evening by the Moonlight."
Abrazzzzos
Early Years Serie - 1
Crédito > The Library of Congress (USA)
1865 /1880
Nos tempos da "Guerra Fria", músicos African-American começaram a aparecer na vida popular americana, em grande número. In the 1870s, músicos e compositores como Sam Lucas and Dan Lewis. Lucas tocou particularmente no Uncle Tom's Cabin e com the Hyers Sisters no Out of Bondage.
Abrazzzzos
Sunday, August 17, 2008
Album Cover Serie - 3
Este é o terceiro dos três álbuns que Abbey Lincoln gravou para a Riverside. Foi um de seus mais bem feitos, contando com a participação do baterista, e depois seu marido, Max Roach.
Também participaram o trompetista Kenny Dorham, o pianista Wynton Kelly, Les Spann na guitarra e flauta, Sam Jones baixista e o baterista Philly Joe Jones, em sete dos dez números e por Roach com seu regular da quinteto.
Abbey Lincoln é bastante emocional esta sua participação. Os destaques são: "Afro-Blue", Come Sunday", Oscar Brown Jr.'s "Brother, Where Are You", "Softly, As in a Morning Sunrise", "Long as You're Living".
Um trabalho memorável.
Abrazzzzzzos
Jazz Caricate Serie - 3
Art Blakey.
Sua Biografia já foi divulgada no JAZZofilo.
Se alguém tiver interesse posso remetê-la via e-mail.
Abrazzzzzos
Musical Instrument Serie - 6
Nosso instrumento agora é o Sax Soprano.
Na postagem anterior comentamos acerca dos Saxophones.
O saxofone soprano é um dos tamanhos do saxofone. É um instrumento transpositor, com afinação em Si Bemol (B♭). Na família dos saxofones, é o segundo na lista que vai dos mais agudos aos mais graves (existe o ainda mais agudo saxofone sopranino). Sua extensão vai do La♭2 ao Mi5 (nos mais antigos chega apenas ao Mi𦛕, podendo chegar ao Fa5 em modelos mais recentes). Pode ser encontrado nas versões reta (mais tradicional) e curva, sendo que a extensão para ambos é a mesma, variando apenas o timbre levemente. (Wikipedia)
Abrazzzzzos
Princípios de um alto-falante
Dynamic Loudspeaker Principle A current-carrying wire in a magnetic field experiences a magnetic force perpendicular to the wire.
Loudspeaker Details
An enormous amount of engineering work has gone into the design of today's dynamic loudspeaker. A light voice coil is mounted so that it can move freely inside the magnetic field of a strong permanent magnet. The speaker cone is attached to the voice coil and attached with a flexible mounting to the outer ring of the speaker support. Because there is a definite "home" or equilibrium position for the speaker cone and there is elasticity of the mounting structure, there is inevitably a free cone resonant frequency like that of a mass on a spring. The frequency can be determined by adjusting the mass and stiffness of the cone and voice coil, and it can be damped and broadened by the nature of the construction, but that natural mechanical frequency of vibration is always there and enhances the frequencies in the frequency range near resonance. Part of the role of a good enclosure is to minimize the impact of this resonant frequency.
Types of Enclosures
The production of a good high-fidelity loudspeaker requires that the speakers be enclosed because of a number of basic properties of loudspeakers. Just putting a single dynamic loudspeaker in a closed box will improve its sound quality dramatically. Modern loudspeaker enclosures typically involve multiple loudspeakers with a crossover network to provide a more nearly uniform frequency response across the audio frequency range. Other techniques such as those used in bass reflex enclosures may be used to extend the useful bass range of the loudspeakers.
Use of Multiple Drivers in Loudspeakers
Even with a good enclosure, a single loudspeaker cannot be expected to deliver optimally balanced sound over the full audible sound spectrum. For the production of high frequencies, the driving element should be small and light to be able to respond rapidly to the applied signal. Such high frequency speakers are called "tweeters". On the other hand, a bass speaker should be large to efficiently impedance match to the air. Such speakers, called "woofers", must also be supplied with more power since the signal must drive a larger mass. Another factor is that the ear's response curves discriminate against bass, so that more acoustic power must be supplied in the bass range. It is usually desirable to have a third, mid-range, speaker to achieve a smooth frequency response. The appropriate frequency signals are routed to the speakers by a crossover network.
http://hyperphysics.phy-astr.gsu.edu/Hbase/Audio/spk.html#c3
Tuesday, August 12, 2008
Abbey Lincoln & Hank Jones
Abbey Lincoln & Hank Jones >
Imperdível.
Maravilhosa a parceria com Hank.
Destaque para "When There is love" e C'est Si Bon"
Abrazzzzzos
Jazz Photo Serie - 2
Art Blakey, se refrescando provavelmente em um intervalo de sua apresentação como baterista. Sua biografia já foi postada neste Blog. Quem tiver interesse nos procure que enviaremos uma cópia.Abrazzzzzzos
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