Sundance is an album recorded by Chick Corea and released on the Groove Merchant label in 1972. In 2002, Blue Note Records re-released all tracks from this album, together with all tracks from 1969's Is and alternate takes from both albums as The Complete "Is" Sessions. "The Brain" – 10:09 "Song of Wind" – 8:05 "Converge" – 7:59 "Sundance" – 10:02 Chick Corea – piano Hubert Laws – flute, piccolo flute Bennie Maupin – tenor saxophone Woody Shaw – trumpet Dave Holland – bass Jack De Johnette – drums Horace Arnold – drums Chick Corea - Sundance album review by Scott Yanow, credits & releases at AllMusic Chick Corea - Sundance album releases & credits at Discogs Chick Corea - Sundance album to be listened as stream on Spotify Chick Corea - The Complete "Is" Sessions album releases & credits at Discogs Chick Corea - The Complete "Is" Sessions album to be listened as stream on Spotify
Barry Altschul is a free jazz and hard bop drummer who first came to notice in the late 1960s for performing with pianists Paul Bley and Chick Corea. Altschul, having taught himself to play drums, studied with Charlie Persip during the 1960s. In the latter part of the decade, he performed with Paul Bley. In 1969 he joined with Dave Holland and Anthony Braxton to form the group Circle. At the time, he made use of a high-pitched Gretsch kit with add-on drums and percussion instruments. In the 1970s, Altschul worked extensively with Anthony Braxton's quartet featuring Kenny Wheeler, Dave Holland, George Lewis. Braxton, signed to Arista Records, was able to secure a large enough budget to tour with a collection of dozens of percussion instruments and winds. In addition to his participation in ensembles featuring avant-garde musicians, Altschul performed with Lee Konitz, Art Pepper and other "straight ahead" jazz performers. Altschul made albums as a leader, but after the mid-1980s he was seen in concert or on record, spending much of his time in Europe.
Since the 2000s, he has become more visible, with two sideman appearances on the CIMP label with the FAB trio, the Jon Irabagon Trio recording "Foxy", the bassist Adam Lane. Altschul has played or recorded with many musicians, including Roswell Rudd, Dave Liebman, Barre Phillips, Denis Levaillant, Andrew Hill, Sonny Criss, Hampton Hawes, Lee Konitz. 1967: Virtuosi with Paul Bley and Gary Peacock 1977: You Can't Name Your Own Tune 1978: Another Time/Another Place 1979: For Stu 1979: Somewhere Else 1979: Be-Bop? with Pepper Adams 1980: Brahma 1983: Irina 1986: That's Nice 2003: Transforming the Space 2012: Reunion: Live in New York 2013: The 3Dom Factor 2015: Tales of the Unforeseen With Paul Bley 1965 Touching 1966 Closer 1966 Blood 1967 Ballads 1967 Paul Bley in Harlem 1967 Ramblin' 1968 Canada 1971 The Paul Bley Synthesizer Show 1973 Paul Bley & Scorpio 1975 Copenhagen and Haarlem 1977 Japan Suite 1985 Hot 1988 Live at Sweet Basil 1994 Indian Summer 1994 RejoicingWith Anthony Braxton The Complete Braxton Town Hall 1972 Quartet: Live at Moers Festival Five Pieces 1975 Creative Orchestra Music 1976 Dortmund 1976 The Montreux/Berlin Concerts With Chick Corea The Song of Singing Circling In ARC Circulus Paris Concert The Beginning With Annette Peacock 1972 I'm the One 2014 I Belong to a World That's Destroying Itself With Sam Rivers 1973 Hues 1975 Sizzle 1976 The Quest 1977 ParagonWith others 1972 Hold That Plane, Buddy Guy 1972 Play the Blues, Buddy Guy/Junior Wells 1973 Conference of the Birds, Dave Holland 1973 Icarus, Paul Winter 1974 Drum Ode, Dave Liebman 1974 Flexible Flyer, Roswell Rudd 1975 Coon Bid'ness, Julius Hemphill 1975 Spiral, Andrew Hill 1982 Give and Take, John Lindberg 1983 And Far Away Kenny Drew 1983 Lido, Claudio Fasoli 1983 My One and Only Love, Franco D'Andrea 1983 No Idea of Time, Franco D'Andrea 1983 Sounds of Love, Tiziana Ghiglioni 1986 Passages, Denis Levaillant 1990 Brundl's Basslab, Manfred Brundl 1991 For All the Marbles Suite, Simon Nabatov 1992 Giacobazzi: Autour de la Rade, André Jaume 1995 Live, Brundl's Basslab 1995 Reflections, Julius Hemphill 1997 Kinshasa-Washington D.
C.-Paris, Ray Lema 1999 Clarinet Sessions, André Jaume 2000 Another Side, Ken Simon 2001 Skillfullness, Alan Silva 2002 Four Beings, Adam Lane 2003 Transforming the Space, FAB Trio 2004 Desert Songs & Other Landscapes, Gebhard Ullmann 2005 Flat Fleet, Enrico Rava 2009 Live in Amsterdam, FAB Trio 2009 Trombone Tribe, Roswell Rudd 2010 News? No News!, Gebhard Ullmann-Steve Swell Quartet Allmusic.com biography
My Spanish Heart
My Spanish Heart is an album recorded by Chick Corea and released in 1976. The album combines more traditional Latin music pieces; the album includes use of full string sections on some tracks. "El Bozo" suite relies on the use of synthesizers while "Spanish Fantasy" suite is acoustic. The first four tracks form a suite as well. My Spanish Heart is among the most received of Corea's albums among music critics, it received a five star review from Down Beat magazine. All tracks composed by Chick Corea "Love Castle" – 4:45 "The Gardens" – 3:12 "Day Danse" – 4:27 "My Spanish Heart" – 1:37 "Night Streets" – 6:08 "The Hilltop" – 6:16 "The Sky" – 4:57 "Wind Danse" – 5:00 "Armando's Rhumba" – 5:19El Bozo – 12:02"Prelude to El Bozo" – 1:34 "El Bozo, Part 1 – 2:52 "El Bozo, Part 2" – 2:03 "El Bozo, Part 3" – 5:03 Spanish Fantasy – 20:42"Spanish Fantasy, Part 1" – 6:06 "Spanish Fantasy, Part 2" – 5:14 "Spanish Fantasy, Part 3" – 3:06 "Spanish Fantasy, Part 4" – 5:16 "The Clouds" – 4:33Note: "The Sky" was omitted in CD editions released during the 1980s and 1990s due to efforts to make the whole double-LP to fit to one CD.
This track is included in recent CD editions along with the unreleased track "The Clouds". Due to consolidation in the record industry over the part of the 20th century, recent issues of the album are now on Verve Records, a label that specializes in jazz. Chick Corea – acoustic piano, Fender Rhodes electric piano, Yamaha electric organ, percussion, production, composer Stanley Clarke – double bass, bass guitar Steve Gadd – drums Narada Michael Walden – drums, handclaps Don Alias – percussion Jean-Luc Ponty – violin Gayle Moran – vocals String quartet: Connie Kupka – violin Barry Socher – violin Carole Mukogawa – viola David Speltz – cello Brass section: Stuart Blumberg – trumpet John Rosenburg – trumpet John Thomas – trumpet Ron Moss – trombone Chick Corea - My Spanish Heart album review by Thom Jurek, credits & releases at AllMusic Chick Corea - My Spanish Heart album releases & credits at Discogs Chick Corea - My Spanish Heart album to be listened as stream on Spotify
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Donald Robert Hunstein was an American photographer. He studied at Washington University in St. Louis, graduating in 1950, he served in the United States Air Force in England. He returned to the United States in 1954 and settled in New York City. In 1955, Hunstein started working for Columbia Records, he remained there until 1986. Some of his photographs were published in 2013 book Keeping Time: The Photographs of Don Hunstein. One of his best-known images is of Bob Dylan walking with Suze Rotolo: it was used for the cover of Dylan's album The Freewheelin' Bob Dylan, he died on 18 March 2017 at the age from Alzheimer's disease. Official website Thorsten Overgaard Story Behind That Picture on Don Hunstein and his Freewheelin' cover for Bob Dylan
The Rolling Stone Album Guide
The Rolling Stone Album Guide 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 become The Rolling Stone Album Guide, it was edited by Dave Marsh and John Swenson, included contributions from 34 other music critics. It is divided into sections by musical genre and lists artists alphabetically within their respective genres. Albums are 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 Maltin's book TV Movies and Robert Christgau's review column in the Village Voice, he gives 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. These titles are listed together in the Five-Star Records section, coincidentally five pages in length; the edition included reviews for many comedy artists including Lenny Bruce, Lord Buckley, Bill Cosby, The Firesign Theatre, Spike Jones, Richard Pryor. Comedy artists were listed in the catch-all section "Rock, Soul and Pop", which included the genres of folk, bluegrass and reggae, as well as comedy. Traditional pop performers were not included, with the notable exceptions of Frank Sinatra and Nat King Cole. Included too were some difficult-to-classify artists. Big band jazz was handled selectively, with certain band leaders omitted, while others were included. Many other styles of jazz did appear in the Jazz section; the book was notable for the time in the provocative, "in your face" style of many of its reviews. For example, writing about Neil Young's song, "Down by the River", John Swenson described it both as an "FM radio classic", as a "wimp anthem".
His colleague, Dave Marsh, in reviewing the three albums of the jazz fusion group Chase, gave a one-word review: "Flee.". Introduction Rock, Soul and Pop Blues Jazz Gospel Anthologies and Original Casts Five-Star Records Glossary Selected Bibliography The guide employs a five star rating scale with the following descriptions of those ratings: Indispensable: a record that must be included in any comprehensive collection Excellent: a record of substantial merit, though flawed in some essential way. Good: a record of average worth, but one that might possess considerable appeal for fans of a particular style. Mediocre: a record, artistically insubstantial, though not wretched. Poor: a record where 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; the New Rolling Stone Record Guide was an update of 1979's The Rolling Stone Record Guide. Like the first edition, it was edited by Swenson.
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, one-sentence verdicts upon an artist's work. Instead of having separate sections such as Blues and Gospel, this edition compressed all of the genres it reviewed into one section except for Jazz titles which were removed for this edition and were expanded and published in 1985 Rolling Stone Jazz Record Guide. Besides adding reviews for many emerging punk and New Wave bands, this edition added or expanded a significant number of reviews of long-established reggae and ska artists. Since the goal of this guide was to review records that were in print at the time of publication, this edition featured a list of artists who were included in the first edition but were not included in the second edition because all of their material was out of print; this edition dispensed with the album cover photos found in the first edition.
Introduction to the Second Edition Introduction to the First Edition Ratings Reviewers Record Label Abbreviations Rock, Blues, Country and Pop Anthologies and Original Cast Index to Artists in the First Edition The second edition uses the same rating system as the first edition. The only difference is that in addition to a rating, the second edition employs the pilcrow mark to indicate a title, out of print at the time the guide was published; some artists had the ratings for their albums lowered as the book now offered a revisionist slant to rock's history. The Rolling Stone Jazz Record Guide was published in 1985 and incorporated the jazz listings omitted from The New Rolling S
A percussion instrument is a musical instrument, sounded by being struck or scraped by a beater. The percussion family is believed to include the oldest musical instruments, following the human voice; the percussion section of an orchestra most contains instruments such as timpani, snare drum, bass drum, cymbals and tambourine. However, the section can contain non-percussive instruments, such as whistles and sirens, or a blown conch shell. Percussive techniques can be applied to the human body, as in body percussion. On the other hand, keyboard instruments, such as the celesta, are not part of the percussion section, but keyboard percussion instruments such as the glockenspiel and xylophone are included. Percussion instruments are most divided into two classes: Pitched percussion instruments, which produce notes with an identifiable pitch, unpitched percussion instruments, which produce notes or sounds without an identifiable pitch. Percussion instruments may play not only rhythm, but melody and harmony.
Percussion is referred to as "the backbone" or "the heartbeat" of a musical ensemble working in close collaboration with bass instruments, when present. In jazz and other popular music ensembles, the pianist, bassist and sometimes the guitarist are referred to as the rhythm section. Most classical pieces written for full orchestra since the time of Haydn and Mozart are orchestrated to place emphasis on the strings and brass; however at least one pair of timpani is included, though they play continuously. Rather, they serve to provide additional accents. In the 18th and 19th centuries, other percussion instruments have been used, again sparingly; the use of percussion instruments became more frequent in the 20th century classical music. In every style of music, percussion plays a pivotal role. In military marching bands and pipes and drums, it is the beat of the bass drum that keeps the soldiers in step and at a regular speed, it is the snare that provides that crisp, decisive air to the tune of a regiment.
In classic jazz, one immediately thinks of the distinctive rhythm of the hi-hats or the ride cymbal when the word "swing" is spoken. In more recent popular music culture, it is impossible to name three or four rock, hip-hop, funk or soul charts or songs that do not have some sort of percussive beat keeping the tune in time; because of the diversity of percussive instruments, it is not uncommon to find large musical ensembles composed of percussion. Rhythm and harmony are all represented in these ensembles. Music for pitched percussion instruments can be notated on a staff with the same treble and bass clefs used by many non-percussive instruments. Music for percussive instruments without a definite pitch can be notated with a specialist rhythm or percussion-clef. Percussion instruments are classified by various criteria sometimes depending on their construction, ethnic origin, function within musical theory and orchestration, or their relative prevalence in common knowledge; the word "percussion" derives from Latin the terms: "percussio", "percussus".
As a noun in contemporary English, Wiktionary describes it as "the collision of two bodies to produce a sound." The term has application in medicine and weaponry, as in percussion cap. However, all known uses of percussion appear to share a similar lineage beginning with the original Latin: "percussus". In a musical context the percussion instruments may have been coined to describe a family of musical instruments including drums, metal plates, or blocks that musicians beat or struck to produce sound. Hornbostel–Sachs has no high-level section for percussion. Most percussion instruments are classified as membranophones; however the term percussion is instead used at lower-levels of the Hornbostel–Sachs hierarchy, including to identify instruments struck with either a non-sonorous object or against a non-sonorous object. This is opposed to concussion, which refers to instruments with two or more complementary sonorous parts that strike against each other and other meanings. For example: 111.1 Concussion idiophones or clappers, played in pairs and beaten against each other, such as zills and clapsticks.
111.2 Percussion idiophones, includes many percussion instruments played with the hand or by a percussion mallet, such as the hang and the xylophone, but not drums and only some cymbals. 21 Struck drums, includes most types of drum, such as the timpani, snare drum, tom-tom. (Included in most drum sets or 412.12 Percussion reeds, a class of wind instrument unrelated to percussion in the more common sense There are many instruments that have some claim to being percussion, but are classified otherwise: Keyboard instruments such as the celesta and piano. Stringed instruments played with beaters such as the hammered dulcimer. Unpitched whistles and similar instruments, such as the pea whistle and Acme siren. Percussion instruments are sometimes classified as "pitched" or "unpitched". While valid, this classification is seen as inadequate. Rather, it may be more informative to describe percussion instruments in regards to one or more of the following four paradigms: Many texts, including Teaching Percussion by Gary Cook of the University of Arizona, begin by studying the physica