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
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