1.
Album
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Album, is a collection of audio recordings issued as a single item on CD, record, audio tape, or another medium. Albums of recorded music were developed in the early 20th century, first as books of individual 78rpm records, vinyl LPs are still issued, though in the 21st century album sales have mostly focused on compact disc and MP3 formats. The audio cassette was a format used from the late 1970s through to the 1990s alongside vinyl, an album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places. Recording may take a few hours to years to complete, usually in several takes with different parts recorded separately. Recordings that are done in one take without overdubbing are termed live, the majority of studio recordings contain an abundance of editing, sound effects, voice adjustments, etc. With modern recording technology, musicians can be recorded in separate rooms or at times while listening to the other parts using headphones. Album covers and liner notes are used, and sometimes additional information is provided, such as analysis of the recording, historically, the term album was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of pieces of printed music from the early nineteenth century. Later, collections of related 78rpm records were bundled in book-like albums, the LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. It was adopted by the industry as a standard format for the album. Apart from relatively minor refinements and the important later addition of stereophonic sound capability, the term album had been carried forward from the early nineteenth century when it had been used for collections of short pieces of music. Later, collections of related 78rpm records were bundled in book-like albums, as part of a trend of shifting sales in the music industry, some commenters have declared that the early 21st century experienced the death of the album. Sometimes shorter albums are referred to as mini-albums or EPs, Albums such as Tubular Bells, Amarok, Hergest Ridge by Mike Oldfield, and Yess Close to the Edge, include fewer than four tracks. There are no rules against artists such as Pinhead Gunpowder referring to their own releases under thirty minutes as albums. These are known as box sets, material is stored on an album in sections termed tracks, normally 11 or 12 tracks. A music track is a song or instrumental recording. The term is associated with popular music where separate tracks are known as album tracks. When vinyl records were the medium for audio recordings a track could be identified visually from the grooves
2.
Jackie McLean
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McLean was born in New York City. His father, John Sr. played guitar in Tiny Bradshaws orchestra, after his fathers death in 1939, Jackies musical education was continued by his godfather, his record-store-owning stepfather, and several noted teachers. He also received tutoring from neighbors Thelonious Monk, Bud Powell. During high school he played in a band with Kenny Drew, Sonny Rollins, along with Rollins, he played on Miles Davis Dig album, when he was 20 years old. As a young man McLean also recorded with Gene Ammons, Charles Mingus on the seminal Pithecanthropus Erectus, George Wallington, McLean joined Blakey after reportedly being punched by Mingus. Fearing for his life, McLean pulled out a knife and contemplated using it against Mingus in self-defense and he later stated that he was grateful that he had not stabbed the bassist. His early recordings as leader were in the hard bop school and he later became an exponent of modal jazz without abandoning his foundation in hard bop. Consequently, he produced a body of recorded work in the 1950s and 1960s. He was under contract with Blue Note Records from 1959 to 1967, in 1962, he recorded Let Freedom Ring for Blue Note. Let Freedom Ring began a period in which he performed with jazz musicians rather than the veteran hard bop performers he had been playing with previously. His adaptation of jazz and free jazz innovations to his vision of hard bop made his recordings from 1962 on distinctive. McLean recorded with dozens of musicians and had a gift for spotting talent. Saxophonist Tina Brooks, trumpeter Charles Tolliver, pianist Larry Willis, trumpeter Bill Hardman, drummers such as Tony Williams, Jack DeJohnette, Lenny White, Michael Carvin, and Carl Allen gained important early experience with McLean. In 1967, his contract, like those of many other progressive musicians, was terminated by Blue Notes new management. His opportunities to record promised so little pay that he abandoned recording as a way to earn a living, concentrating instead on touring, in 1968, he began teaching at The Hartt School of the University of Hartford. He later set up the universitys African American Music Department and its Bachelor of Music degree in Jazz Studies program and his Steeplechase recording New York Calling, made with his stepson René McLean, showed that by 1980 the assimilation of all influences was complete. It provides educational programs and instruction in dance, theatre, music, the membership of McLeans later bands were drawn from his students in Hartford, including Steve Davis and his son René, who is a jazz saxophonist and flautist as well as a jazz educator. Also in McLeans Hartford group was Mark Berman, the jazz pianist and broadway conductor of Smokey Joes Cafe, in 1979 he reached No.53 in the UK Singles Chart with Doctor Jackyll and Mister Funk
3.
Englewood Cliffs
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Englewood Cliffs is a borough in Bergen County, New Jersey, United States. The boroughs formation dates back to an election for Road Commissioner in Road District 1 between William Outis Allison and Clinton Blake, a mayor of Englewood. Blake won the vote, but Allison challenged the result, arguing that women had been allowed to vote. The borough was formed during the Boroughitis phenomenon then sweeping through Bergen County, according to the United States Census Bureau, the borough had a total area of 3.329 square miles, including 2.089 square miles of land and 1.24 square miles of water. The borough borders Englewood, Fort Lee and Tenafly in Bergen County, in 2006, the borough was ranked sixth in New Jersey and 78th in the nation in the magazines rankings, with a median house price of $1,112,500. As of the census of 2010, there were 5,281 people,1,824 households, the population density was 2,528.1 per square mile. There were 1,924 housing units at a density of 921.0 per square mile. [[Hispanic |Hispanic or Latino of any race were 5. 98% of the population,14. 3% of all households were made up of individuals, and 10. 0% had someone living alone who was 65 years of age or older. The average household size was 2.87 and the family size was 3.17. In the borough, the population was out with 21. 5% under the age of 18,4. 6% from 18 to 24,20. 0% from 25 to 44,29. 7% from 45 to 64. The median age was 47.2 years, for every 100 females there were 93.7 males. For every 100 females ages 18 and old there were 86.7 males, Korean Americans accounted for 20. 3% of the boroughs population. Same-sex couples headed 10 households in 2010, an increase from the three counted in 2000, the Census Bureaus 2006–2010 American Community Survey showed that median household income was $101,964 and the median family income was $126,985. Males had an income of $88,438 versus $52,950 for females. The per capita income for the borough was $53,260, about 8. 0% of families and 16. 1% of the population were below the poverty line, including 10. 9% of those under age 18 and 32. 7% of those age 65 or over. As of the 2000 United States Census there were 5,322 people,1,818 households, the population density was 2,544.3 people per square mile. There were 1,889 housing units at a density of 903.1 per square mile. The racial makeup of the borough was 66. 84% White,1. 37% African American,0. 04% Native American,29. 69% Asian,0. 71% from other races, hispanic or Latino of any race were 4. 89% of the population
4.
Free jazz
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For the Ornette Coleman album see Free Jazz, A Collective Improvisation. Though the music of jazz composers varied widely, a common feature was dissatisfaction with the limitations of bebop, hard bop. Often described as avant-garde, free jazz has also described as an attempt to return jazz to its primitive, often religious, roots. As its name implies, free jazz cannot be defined more than loosely, as many musicians draw on free jazz concepts and idioms, and it was never completely distinct as a genre. Many free jazz musicians, notably Pharoah Sanders and John Coltrane, used harsh overblowing or other techniques to elicit unconventional sounds from their instruments, Free jazz musicians created a progressive musical language which drew on earlier styles of jazz such as Dixieland jazz and African music. Typically this kind of music is played by groups of musicians. The music often swings but without regular meter, and there are frequent accelerandi and ritardandi, Free jazz is strongly associated with the 1950s innovations of Ornette Coleman and Cecil Taylor and the later works of saxophonist John Coltrane. Other important pioneers include Charles Mingus, Eric Dolphy, Albert Ayler, Archie Shepp, Joe Maneri, some of bassist Charles Minguss work was also important in establishing free jazz. Although today free jazz is the generally used term, many terms were used to describe the loosely defined movement, including avant-garde, energy music. During its early and mid-1960s heyday, much free jazz was released by established labels such as Prestige, Blue Note, keith Johnson of AllMusic describes a Modern Creative genre, in which musicians may incorporate free playing into structured modes -- or play just about anything. Defining the essence of jazz is complicated, many musicians draw on free jazz concepts and idioms. Many individual musicians reject efforts at classification, regarding them as useless or unduly limiting, earlier jazz styles typically were built on a framework of song forms with a set framework of chord changes. In free jazz, the dependence on a fixed and pre-established form is eliminated, Free jazz, especially during its inception, contains theme of both progressive musical language and gathering inspiration from the past. The rejection of the bop aesthetic was combined with a fascination with earlier styles of jazz such as Dixieland jazz with its collective improvisation. This includes Ed Blackwells use of the West African talking drum, typically this kind of music is played by small groups of musicians, although some examples use larger numbers. For example, John Coltranes 1965 album Ascension, uses eleven musicians, other forms of jazz use clear regular meters and strongly pulsed rhythms, usually in 4/4 or 3/4. Free jazz normally retains a general pulsation and often swings but without regular meter, despite all of this, it is still very often possible to tap ones foot to a free jazz performance, meter is more freely variable but has not disappeared entirely. Previous jazz forms used harmonic structures, and even when improvisation occurred it was founded on the notes in the chords, Free jazz almost by definition is free of such structures, but also by definition it retains much of the language of earlier jazz playing
5.
Blue Note Records
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Blue Note Records is an American jazz record label, established in 1939 by Alfred Lion and Max Margulis. Francis Wolff became involved shortly afterwards and it derives its name from the characteristic blue notes of jazz and the blues. Originally dedicated to recording traditional jazz and small group swing, from 1947 the label began to switch its attention to modern jazz, while the original company did not itself record many of the pioneers of bebop, significant exceptions are Thelonious Monk, Fats Navarro and Bud Powell. Historically, Blue Note has principally been associated with the hard bop style of jazz, but also recorded essential albums in the avant-garde and free styles of jazz. Horace Silver, Jimmy Smith, Freddie Hubbard, Lee Morgan, Art Blakey, Grant Green, Hank Mobley, Wayne Shorter, Bobby Hutcherson, the label is currently owned by the Universal Music Group. Lion first heard jazz as a boy in Berlin. The Blue Note label initially consisted of Lion and Max Margulis, musicians were supplied with alcoholic refreshments, and recorded in the early hours of the morning after their evenings work in clubs and bars had finished. Francis Wolff, a photographer, emigrated to the USA at the end of 1939 and soon joined forces with Lion. In 1941, Lion was drafted into the army for two years, Milt Gabler at the Commodore Music Store offered storage facilities and helped keep the catalog in print, with Wolff working for him. By late 1943, the label was back in recording musicians. Johnson, who was returning to a degree of musical activity after having largely recovered from a stroke suffered in 1940. Towards the end of the war, saxophonist Ike Quebec was among those who recorded for the label, Quebec would act as a talent scout for the label until his death in 1963. Although stylistically belonging to a generation, he could appreciate the new bebop style of jazz. Lion recorded several Monk sessions before he began to release the resulting sides, monks recordings for Blue Note between 1947 and 1952 did not sell well for some years, but have since come to be regarded as the most important of his career. The sessions by Powell are commonly ranked among his best, J. J. Johnson and trumpeter Miles Davis both recorded several sessions for Blue Note between 1952 and 1954, but by then the musicians who had created bebop were starting to explore other styles. The recording of musicians performing in a jazz idiom, such as Sidney Bechet and clarinettist George Lewis. In 1951, Blue Note issued their first vinyl 10 releases, the label was soon recording emerging talent such as Horace Silver and Clifford Brown. Meanwhile, Milt Jackson and the Jazz Messengers recorded for Blue Note, the Milt Jackson Quartet session was a one-off, but Blakeys various groups recorded for the label extensively, if intermittently, for the next decade
6.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
7.
AllMusic
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AllMusic is an online music guide service website. It was launched in 1991 by All Media Guide which later became All Media Network, AllMusic was launched in 1991 by Michael Erlewine of All Media Guide. The aim was to discographic information on every artist whos made a record since Enrico Caruso gave the industry its first big boost and its first reference book was published the following year. When first released onto the Internet, AMG predated the World Wide Web and was first available as a Gopher site, the AMG consumer web properties AllMusic. com, AllMovie. com and AllGame. com were sold by Rovi in July 2013 to All Media Network, LLC. All Media Network, LLC. was formed by the founders of SideReel. com. The following are contributors to AllMusic, as of this date, All Media Network also produced the AllMusic guide series that includes the AllMusic Guide to Rock, the All Music Guide to Jazz and the All Music Guide to the Blues. Vladimir Bogdanov is the president of the series, in August 2007, PC Magazine included AllMusic in its Top 100 Classic Websites list. All Media Network AllGame AllMovie SideReel All Music Guide to the Blues All Music Guide to Jazz Stephen Thomas Erlewine Official website
8.
The Rolling Stone Album Guide
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The Rolling Stone Album Guide, previously known as The Rolling Stone Record Guide, is a book that contains professional music reviews written and edited by staff members from Rolling Stone magazine. Its first edition was published in 1979 and its last in 2004, the guide can be seen at Rate Your Music, while a list of albums given a five star rating by the guide can be seen at Rocklist. net. The Rolling Stone Record Guide was the first edition of what would later become The Rolling Stone Album Guide and it was edited by Dave Marsh and John Swenson, and included contributions from 34 other music critics. It is divided into sections by musical genre and then lists artists alphabetically within their respective genres, Albums are also listed alphabetically by artist although some of the artists have their careers divided into chronological periods. Dave Marsh, in his Introduction, cites as precedents Leonard Maltins book TV Movies and he gives Phonolog and Schwanns Records & Tape Guide as raw sources of information. The first edition included black and white photographs of many of the covers of albums which received five star reviews and these titles are listed together in the Five-Star Records section, which is coincidentally five pages in length. The edition also included reviews for many artists including Lenny Bruce, Lord Buckley, Bill Cosby, The Firesign Theatre, Spike Jones. Comedy artists were listed in the catch-all section Rock, Soul, Country and Pop, which included the genres of folk, bluegrass, funk, traditional pop performers were not included, with the notable exceptions of Frank Sinatra and Nat King Cole. Included too were some artists who might now be considered as world music. Big band jazz was handled selectively, with certain band leaders omitted, many other styles of jazz did appear in the Jazz section. The book was notable for the time in the provocative, in your style of many of its reviews. For example, writing about Neil Youngs song, Down by the River and his colleague, Dave Marsh, in reviewing the three albums of the jazz fusion group Chase, gave a one-word review, Flee. Good, a record of average worth, but one that might possess considerable appeal for fans of a particular style, mediocre, a record that is artistically insubstantial, though not truly wretched. Poor, a record where even technical competence is at question or it was remarkably ill-conceived, worthless, a record that need never have been created. Reserved for the most bathetic bathwater, Dave Marsh John Swenson Billy Altman Bob Blumenthal Georgia Christgau Jean-Charles Costa Chet Flippo Russell Gersten Mikal Gilmore Alan E. Like the first edition, it was edited by Dave Marsh and it included contributions from 52 music critics and featured chronological album listings under the name of each artist. In many cases, updates from the first edition consist of short, the only difference is that in addition to a rating, the second edition employs the pilcrow mark to indicate a title that was out of print at the time the guide was published. Many records had their ratings lowered as the book now offered a revisionist slant to rocks history and it included contributions from 16 music critics and featured alphabetical album listings under the name of each artist
9.
Alto saxophone
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The alto saxophone, also referred to as alto sax, is a member of the saxophone family of woodwind instruments invented by Belgian instrument designer Adolphe Sax in the 1840s, and patented in 1846. It is pitched in E♭, and is smaller than the tenor, the alto sax is the most common saxophone and is commonly used in classical music, military bands, marching bands, and jazz. The alto saxophone was also commonplace in music from the 1980s. The saxophone fingerings are all universal, so a player can play any type of saxophone. The range of the saxophone is from concert A♭3 to concert A♭5. As with most types of saxophones, the standard range is B♭3 to F6. Above that, the altissimo register begins at F♯6 and extends upwards, the saxophones altissimo register is more difficult to control than that of other woodwinds and is usually only expected from advanced players. By covering or partially covering the bell of the saxophone when playing B♭3, also of note is Kadri Gopalnath, a pioneer of Carnatic music, plays a modified alto saxophone. Some companies that currently produce saxophones are Buffet Crampon, KHS/Jupiter, Conn-Selmer, Selmer Paris, Yamaha, Leblanc/Vito, Keilwerth, Cannonball, new alto saxophones range in price between €250 for lower quality student models to over €6000 for professional models. The alto saxophone has a classical solo repertoire that includes solos with orchestra, piano. Two of the most well-known solo compositions are Jacques Iberts Concertino da Camera, also, the alto saxophone is part of the standard instrumentation of concert bands and saxophone quartets. The alto saxophone is also used in orchestral compositions. Several orchestral examples are listed below, georges Bizet features it in the Minuet from the second suite of music from LArlésienne. He also includes it in his Suite No.1 and Suite No.2, maurice Ravel uses the saxophone prominently in his orchestration of Modest Moussorgskys Pictures at an Exhibition, most notably as the soloist in Il vecchio castello. Alban Berg uses the saxophone in his orchestral works, most notably Der Wein, Lulu. Sergei Rachmaninoff uses the saxophone in his Symphonic Dances as a soloist in the first movement, george Gershwin includes it in a few pieces, such as Rhapsody in Blue and An American in Paris. Pierre Boulez wrote for 2 alto saxes in his composition Pli selon pli, benjamin Britten calls for an alto in his Sinfonia da Requiem and The Prince of the Pagodas. Leonard Bernstein includes an alto sax in his Symphonic Dances from West Side Story, vincent dIndy enlists two altos in his opera Fervaal
10.
Woody Shaw
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Woody Herman Shaw, Jr. was an American trumpeter, flugelhornist, cornetist, composer and band leader, described by NPR Music as the last great trumpet innovator. Shaw is regarded as one of the jazz band leaders and innovators of his generation. Born with a memory and perfect pitch, he was considered to have been generations ahead of his time. Woody Shaw was born on December 24,1944 in Laurinburg and he was taken to Newark, New Jersey by his parents, Rosalie Pegues and Woody Shaw, Sr. when he was one year old. Shaws mother was from the town as Gillespie, Cheraw. Shaw began playing the bugle at age nine and performed in the Junior Elks, Junior Mason, though not his first choice of instrument, he began studying classical trumpet with Jerome Ziering at Cleveland Junior High School at the age of 11. In a 1978 interview, Shaw explained, The trumpet was not my first choice for an instrument, in fact, I ended up playing it by default. When we were asked what we wanted to play in the Eighteenth Avenue School Band, I chose the violin and my second choice was the saxophone or the trombone but they were also all spoken for. The only instrument that was left was the trumpet, and I felt why did I have to get stuck with this tinny sounding thing. When I complained to my music teacher that I didnt think it was fair that all the kids got to play the instruments they wanted. He said he had a feeling about me and the trumpet. Of course my teacher was right, and it didnt take long for me to fall in love with the trumpet, in retrospect, I believe there was some mystical force that brought us together. His first influences were Louis Armstrong and Harry James, after skipping two grades, he began attending Newark Arts High School, from which he graduated. As a teenager, Shaw worked professionally at weddings, dances and he eventually left school but continued his study of the trumpet under the influence of Gillespie, Fats Navarro, Clifford Brown, Booker Little, Lee Morgan, and Freddie Hubbard. He later discovered that he had picked up the trumpet during the month and year that Brown died. In 1963, after many local jobs, Shaw worked for Willie Bobo and performed and recorded as a sideman with Eric Dolphy, with whom he made his recorded debut. Dolphy, who had moved to Paris around this time, unexpectedly died in June 1964, Shaw was nonetheless invited to Paris to join Dolphys collaborator, Nathan Davis, and the two found steady work all over Europe. After some time, Shaw demanded that two of his contemporaries, organist Larry Young and drummer Billy Brooks, be brought to Paris
11.
Trombone
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The trombone is a musical instrument in the brass family. Like all brass instruments, sound is produced when the players vibrating lips cause the air column inside the instrument to vibrate, nearly all trombones have a telescoping slide mechanism that varies the length of the instrument to change the pitch. Many modern trombone models also utilize a rotary valve as a means to lower pitch of the instrument, variants such as the valve trombone and superbone have three valves like those on the trumpet. The word trombone derives from Italian tromba and -one, so the name means large trumpet, the trombone has a predominantly cylindrical bore like its valved counterpart the baritone and in contrast to its conical valved counterparts, the euphonium and the horn. The most frequently encountered trombones are the trombone and bass trombone. The most common variant, the tenor, is an instrument pitched in B♭, an octave below the B♭ trumpet. A person who plays the trombone is called a trombonist or trombone player, the trombone is a predominantly cylindrical tube bent into an elongated S shape. Rather than being completely cylindrical from end to end, the tube is a series of tapers with the smallest at the mouthpiece receiver. The design of these affects the intonation of the instrument. As with other instruments, sound is produced by blowing air through pursed lips producing a vibration that creates a standing wave in the instrument. The detachable cup-shaped mouthpiece is similar to that of the baritone horn and it has the venturi, a small constriction of the air column that adds resistance greatly affecting the tone of the instrument, and is inserted into the mouthpiece receiver in the slide section. The slide section consists of a leadpipe, the inner and outer tubes. Modern stays are soldered, while sackbuts were made with loose, the slide, the most distinctive feature of the trombone, allows the player to extend the length of the air column, lowering the pitch. To prevent friction from slowing the action of the slide, additional sleeves were developed during the Renaissance, and this part of the slide must be lubricated frequently. Additional tubing connects the slide to the bell of the instrument through a neckpipe, for example, second position A is not in exactly the same place on the slide as second position E. Many types of trombone also include one or more rotary valves used to increase the length of the instrument by directing the air flow through additional tubing. This allows the instrument to reach notes that are not possible without the valve as well as play other notes in alternate positions. Like the trumpet, the trombone is considered a cylindrical bore instrument since it has sections of tubing, principally in the slide section
12.
Double bass
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The double bass, or simply the bass, is the largest and lowest-pitched bowed string instrument in the modern symphony orchestra. It is an instrument and is typically notated one octave higher than sounding to avoid excessive ledger lines below the staff. The double bass is the modern bowed string instrument that is tuned in fourths, rather than fifths, with strings usually tuned to E1, A1, D2. The instruments exact lineage is still a matter of some debate, the double bass is a standard member of the orchestras string section, as well as the concert band, and is featured in concertos, solo and chamber music in Western classical music. The bass is used in a range of genres, such as jazz, 1950s-style blues and rock and roll, rockabilly, psychobilly, traditional country music, bluegrass, tango. The double bass is played either with a bow or by plucking the strings, in orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz, blues, and rockabilly, pizzicato is the norm, Classical music uses just the natural sound produced acoustically by the instrument, so does traditional bluegrass. In jazz, blues, and related genres, the bass is typically amplified with an amplifier and speaker, the double bass stands around 180 cm from scroll to endpin. However, other sizes are available, such as a 1⁄2 or 3⁄4 and these sizes do not reflect the size relative to a full size, or 4⁄4 bass, a 1⁄2 bass is not half the size of a bass but is only slightly smaller. It is typically constructed from several types of wood, including maple for the back, spruce for the top and it is uncertain whether the instrument is a descendant of the viola da gamba or of the violin, but it is traditionally aligned with the violin family. While the double bass is nearly identical in construction to other violin family instruments, like other violin and viol-family string instruments, the double bass is played either with a bow or by plucking the strings. In orchestral repertoire and tango music, both arco and pizzicato are employed, in jazz, blues, and rockabilly, pizzicato is the norm, except for some solos and also occasional written parts in modern jazz that call for bowing. In classical pedagogy, almost all of the focus is on performing with the bow and producing a good bowed tone, some of these articulations can be combined, for example, the combination of sul ponticello and tremolo can produce eerie, ghostly sounds. Classical bass players do play pizzicato parts in orchestra, but these parts generally require simple notes, vibrato is used to add expression to string playing. In general, very loud, low-register passages are played with little or no vibrato, mid- and higher-register melodies are typically played with more vibrato. The speed and intensity of the vibrato is varied by the performer for an emotional and musical effect, in jazz, rockabilly and other related genres, much or all of the focus is on playing pizzicato. In jazz and jump blues, bassists are required to play extremely rapid pizzicato walking basslines for extended periods, as well, jazz and rockabilly bassists develop virtuoso pizzicato techniques that enable them to play rapid solos that incorporate fast-moving triplet and sixteenth note figures. In jazz and related styles, bassists often add semi-percussive ghost notes into basslines, to add to the rhythmic feel and to add fills to a bassline
13.
Rashied Ali
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Rashied Ali, born Robert Patterson was an American free jazz and avant-garde jazz drummer best known for playing with John Coltrane in the last years of Coltranes life. Patterson was born and grew up in Philadelphia, Pennsylvania, his family was musical and his brother, Muhammad Ali, is also a drummer, who played with Albert Ayler, among others. Ali, along with his father and brother, converted to Islam, starting off as a pianist he eventually took up the drums, via trumpet and trombone. He joined the United States Army, and played with military bands during the Korean War, after his military service he returned home and studied with Philly Joe Jones. Ali moved to New York in 1963 and worked in groups with Bill Dixon and Paul Bley. In addition, Ali was scheduled to be the drummer, alongside Elvin Jones, on John Coltranes landmark free jazz album Ascension. Coltrane did not replace him, and settled for one drummer, Ali began to record with Coltrane from Meditations in November 1965 onwards. Among his credits are the last recorded work of John Coltranes life and Interstellar Space, Ali became important in stimulating the most avant-garde kinds of jazz activities. Following Coltranes death Ali played with his widow, Alice, and during the early 1970s, he ran Alis Alley and he spent some time as a visiting artist at Wesleyan University, sponsored by Clifford Thornton. Ali also briefly formed a project called Purple Trap with Japanese experimental guitarist Keiji Haino. Their double-CD album, Decided. Already the Motionless Heart of Tranquility, in the 1980s, he was member of Phalanx, a group with guitarist James Blood Ulmer, tenor saxophonist George Adams, and bassist Sirone. From 1997 –2003 he played extensively with Tisziji Munoz, in a group usually also included Pharoah Sanders. In the last years of his life, Rashied Ali led his own eponymous quintet, a double CD entitled Judgment Day was recorded in February 2005 and features Jumaane Smith on trumpet, Lawrence Clark on tenor sax, Greg Murphy on piano and Joris Teepe on bass. This album was recorded at Alis own Survival Studio, which has been in existence since the 1970s, in addition to his performance activities Ali served as mentor to numerous young drummers including Matt Smith. In 2007, Ali recorded Going to the Ritual in duo with bassist/violinist Henry Grimes, Ali and Grimes also played five duo concerts together between 2007 and 2009, and a sixth concert in June 2007 with pianist Marilyn Crispell. Ali is the drummer on Azar Lawrences album Mystic Journey, recorded in April 2009. Rashied Ali died at age 76 in a Manhattan hospital after suffering a heart attack and he is survived by wife Patricia and three children. Y. 2009 – Eddie Jefferson at Alis Alley with Eddie Jefferson 2009 – Configurations,2010 – Spirits Aloft with bassist Henry Grimes With Gary Bartz Home
14.
Drum kit
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A drum kit consists of a mix of drums and idiophones most significantly cymbals but also including the woodblock and cowbell. In the 2000s, some also include electronic instruments and both hybrid and entirely electronic kits are used. If some or all of them are replaced by electronic drums, the drum kit is usually played while seated on a drum stool or throne. The drum kit differs from instruments that can be used to produce pitched melodies or chords, even though drums are often placed musically alongside others that do, such as the piano or guitar. The drum kit is part of the rhythm section used in many types of popular and traditional music styles ranging from rock and pop to blues. Other standard instruments used in the section include the electric bass, electric guitar. Many drummers extend their kits from this pattern, adding more drums, more cymbals. Some performers, such as some rockabilly drummers, use small kits that omit elements from the basic setup, some drum kit players may have other roles in the band, such as providing backup vocals, or less commonly, lead vocals. Thus, in an early 1800s orchestra piece, if the called for bass drum, triangle and cymbals. In the 1840s, percussionists began to experiment with foot pedals as a way to them to play more than one instrument. In the 1860s, percussionists started combining multiple drums into a set, the bass drum, snare drum, cymbals, and other percussion instruments were all played using hand-held drum sticks. Double-drumming was developed to one person to play the bass and snare with sticks. With this approach, the drum was usually played on beats one. This resulted in a swing and dance feel. The drum set was referred to as a trap set. By the 1870s, drummers were using an overhang pedal, most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05, liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist. The bass drum became the central piece around which every other percussion instrument would later revolve and it was the golden age of drum building for many famous drum companies, with Ludwig introducing
15.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
16.
4, 5 and 6
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4,5 and 6 is a studio album by saxophonist Jackie McLean, his second effort for Prestige Records. It was recorded in 1956 and originally released the year as PRLP7048. In 1962, it was reissued on the Prestige sub-label New Jazz Records as NJ8279 with a different cover, the album was reissued on CD in 1991. Recorded on July 13 and 20,1956, Jackie McLean – alto sax Hank Mobley – tenor sax Donald Byrd – trumpet Mal Waldron – piano Doug Watkins – bass Art Taylor – drums
17.
Tina Brooks
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Harold Floyd Tina Brooks was an American hard bop, blues, and funk tenor saxophonist and composer. Harold Floyd Brooks was born in Fayetteville, North Carolina, and was the brother of David Bubba Brooks, the nickname Tina, pronounced Teena, was a variation of Teeny, a childhood moniker. His favourite tune was My Devotion and he studied harmony and theory with Herbert Bourne. Initially, he studied the C-melody saxophone, which he began playing shortly after he moved to New York with his family in 1944, Brooks first professional work came in 1951 with rhythm and blues pianist Sonny Thompson, and, in 1955, Brooks played with vibraphonist Lionel Hampton. Brooks also received less formal guidance from trumpeter and composer Little Benny Harris, Harris, in fact, was the one who recommended him to Blue Note Records producer Alfred Lion in 1958. Brooks is best known for his work for Blue Note Records between 1958 and 1961, recording primarily as a sideman with Kenny Burrell, Freddie Hubbard, Jackie McLean, Freddie Redd, and Jimmy Smith. Around the same period, Brooks was McLeans understudy in The Connection, a play by Jack Gelber with music by Redd, Brooks recorded five sessions of his own for Blue Note. Despite the calibre of the players and the quality of the output and this started an unfortunate trend, as three of his four other sessions did not appear during his lifetime. The exception was True Blue, a session recorded on June 25,1960 with Freddie Hubbard, Duke Jordan, Sam Jones, the release of True Blue coincided with the release of Hubbards Blue Note debut album, Open Sesame, and was not actively promoted. Brooks did not record after 1961, plagued by heroin dependency, and gradually deteriorating health, he died of liver failure aged just 42. Michael Cuscuna in 1985, through Mosaic Records, released a boxset of Brooks recordings as leader, the interest in Brooks music has also led to releases of the unissued sessions through Blue Note Japan and on CD in Blue Notes Connoisseur series. His lyricism, unity of ideas and inner logic were astounding, David Rosenthal in his book Hard Bop, Jazz and Black Music 1955-1965 dedicated a number of pages to Brooks. Of his composition Street Singer, Rosenthal wrote that it is an authentic hard-bop classic where pathos, irony and rage come together in a performance at once anguished, all on Blue Note Records unless otherwise indicated. As leader, Minor Move True Blue Back to the Tracks The Waiting Game As co-leader, Street Singer - with Jackie McLean As a sideman, Sonny Thompson by Sonny Thompson and his Orchestra The Sermon
18.
Let Freedom Ring
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Let Freedom Ring is an album by jazz saxophonist Jackie McLean, recorded in 1962 and released on the Blue Note label. McLean wrote three of the four compositions, melody for Melonae is dedicated to his daughter, and appeared as Melanie on Matador, a later recording that he made with Kenny Dorham. The slower-tempo performance on Let Freedom Ring is notable as being the first time that McLean used provocative upper-register screams, Rene and Omega are both blues-related pieces, the former with a standard twelve-bar structure and harmonies, the latter more abstract and modal. The one non-McLean track is Bud Powells ballad, Ill Keep Loving You, the Penguin Guide to Jazz gives Let Freedom Ring four out of four stars, and includes the album in a selected Core Collection. Melody for Melonae -13,24 Ill Keep Loving You -6,18 Rene -10,03 Omega -8,31 Jackie McLean — alto saxophone Walter Davis, Jr. — piano Herbie Lewis — bass Billy Higgins — drums
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