1.
Chicago
–
Chicago, officially the City of Chicago, is the third-most populous city in the United States. With over 2.7 million residents, it is the most populous city in the state of Illinois, and it is the county seat of Cook County. In 2012, Chicago was listed as a global city by the Globalization and World Cities Research Network. Chicago has the third-largest gross metropolitan product in the United States—about $640 billion according to 2015 estimates, the city has one of the worlds largest and most diversified economies with no single industry employing more than 14% of the workforce. In 2016, Chicago hosted over 54 million domestic and international visitors, landmarks in the city include Millennium Park, Navy Pier, the Magnificent Mile, Art Institute of Chicago, Museum Campus, the Willis Tower, Museum of Science and Industry, and Lincoln Park Zoo. Chicagos culture includes the arts, novels, film, theater, especially improvisational comedy. Chicago also has sports teams in each of the major professional leagues. The city has many nicknames, the best-known being the Windy City, the name Chicago is derived from a French rendering of the Native American word shikaakwa, known to botanists as Allium tricoccum, from the Miami-Illinois language. The first known reference to the site of the current city of Chicago as Checagou was by Robert de LaSalle around 1679 in a memoir, henri Joutel, in his journal of 1688, noted that the wild garlic, called chicagoua, grew abundantly in the area. In the mid-18th century, the area was inhabited by a Native American tribe known as the Potawatomi, the first known non-indigenous permanent settler in Chicago was Jean Baptiste Point du Sable. Du Sable was of African and French descent and arrived in the 1780s and he is commonly known as the Founder of Chicago. In 1803, the United States Army built Fort Dearborn, which was destroyed in 1812 in the Battle of Fort Dearborn, the Ottawa, Ojibwe, and Potawatomi tribes had ceded additional land to the United States in the 1816 Treaty of St. Louis. The Potawatomi were forcibly removed from their land after the Treaty of Chicago in 1833, on August 12,1833, the Town of Chicago was organized with a population of about 200. Within seven years it grew to more than 4,000 people, on June 15,1835, the first public land sales began with Edmund Dick Taylor as U. S. The City of Chicago was incorporated on Saturday, March 4,1837, as the site of the Chicago Portage, the city became an important transportation hub between the eastern and western United States. Chicagos first railway, Galena and Chicago Union Railroad, and the Illinois, the canal allowed steamboats and sailing ships on the Great Lakes to connect to the Mississippi River. A flourishing economy brought residents from rural communities and immigrants from abroad, manufacturing and retail and finance sectors became dominant, influencing the American economy. The Chicago Board of Trade listed the first ever standardized exchange traded forward contracts and these issues also helped propel another Illinoisan, Abraham Lincoln, to the national stage
Chicago
–
Clockwise from top:
Downtown Chicago, the
Chicago Theatre, the
'L',
Navy Pier,
Millennium Park, the
Field Museum, and the
Willis Tower.
Chicago
–
Traditional
Potawatomi costume on display at the
Field Museum
Chicago
–
A 1903 painting of Chicago in 1833
Chicago
–
An artist's rendering of the
Great Chicago Fire of 1871
2.
Jazz
–
Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
Jazz
–
Louis Armstrong (1901–1971) is considered one of the pivotal musicians in jazz for his contributions as a trumpet player, composer and singer.
Jazz
–
Double bassist
Reggie Workman, saxophone player
Pharoah Sanders, and drummer
Idris Muhammad performing in 1978
Jazz
–
Albert Gleizes, 1915, Composition pour Jazz, gouache on cardboard, mounted on Masonite, 73 x 73 cm,
Solomon R. Guggenheim Museum, New York
Jazz
–
In the late 18th-century painting
The Old Plantation, African-Americans dance to banjo and percussion.
3.
Jazz fusion
–
Jazz fusion is a musical genre that developed in the late 1960s when musicians combined aspects of jazz harmony and improvisation with styles such as funk, rock, rhythm and blues, and Latin jazz. During this time many jazz musicians began experimenting with electric instruments and amplified sound for the first time, as well as electronic effects, many of the developments during the late 1960s and early 1970s have since become established elements of jazz fusion musical practice. Fusion arrangements vary in complexity—some employ groove-based vamps fixed to a key, or even a single chord. Others can feature odd or shifting time signatures with elaborate chord progressions, melodies, typically, these arrangements, whether simple or complex, will feature extended improvised sections that can vary in length. As with jazz, fusion often employs brass and woodwind instruments such as trumpet and saxophone as melody and soloing instruments, the rhythm section typically consists of electric bass, electric guitar, electric piano/synthesizer and drums. As with traditional jazz improvisation, fusion instrumentalists generally require a level of technical proficiency. The term jazz-rock is often used as a synonym for jazz fusion as well as for music performed by late 1960s, experimentation continued in the 1990s and 2000s. Fusion albums, even those that are made by the group or artist. Rather than being a musical style, fusion can be viewed as a musical tradition or approach. Afro-Cuban jazz, one the earliest form of Latin jazz, is a fusion of Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation. Afro-Cuban jazz first emerged in the early 1940s with the Cuban musicians Mario Bauza and Frank Grillo Machito in the band Machito and his Afro-Cubans, based in New York City. Early combinations of jazz with Cuban music, such as Dizzys and Pozos Manteca and Charlie Parkers and Machitos Mangó Mangüé, were referred to as Cubop. During its first decades, the Afro-Cuban jazz movement was stronger in the United States than in Cuba itself, allmusic Guide states that until around 1967, the worlds of jazz and rock were nearly completely separate. One of the earliest releases from Pink Floyd, London 66–67 incorporated jazz-influenced improvisation to their psychedelic compositions, nevertheless, these developments made little impact in the United States. Jazz vibraphonist Gary Burton was an innovator in the 1960s, in 1967, Burton worked with electric guitarist Larry Coryell and recorded Duster, which is considered one of the first fusion records. Texas-born guitarist Coryell was also a pioneer of jazz in the same era. Trumpeter and composer Miles Davis had a influence on the development of jazz fusion with his 1968 album Miles in the Sky. It is the first of Davis albums to incorporate electric instruments, with Herbie Hancock and Ron Carter playing electric piano and bass guitar, respectively
Jazz fusion
–
Trumpeter
Miles Davis in 1989: One of the first innovators of jazz fusion
Jazz fusion
–
Weather Report began as an experimental group, but eventually garnered a huge following.
Jazz fusion
–
Fusion band
Return to Forever in 1976
Jazz fusion
–
French jazz violinist
Jean-Luc Ponty performed on acoustic violin and on amplified, electronic effect-modified electric violins.
4.
Jazz-funk
–
Jazz-funk is a subgenre of jazz music characterized by a strong back beat, electrified sounds and an early prevalence of analog synthesizers. Jazz-funk is primarily an American genre, where it was throughout the 1970s and the early 1980s. Similar genres include soul jazz and jazz fusion, but neither entirely overlap with jazz-funk, notably jazz-funk is less vocal, more arranged and featured more improvisation than soul jazz, and retains a strong feel of groove and R&B versus some of the jazz fusion production. An extension of the field, jazz-funk exhibits several distinctive characteristics. A first is the departure from ternary rhythm, i. e. the swing, to the more danceable and unfamiliar binary rhythm, known as the groove. Hence this new jazz types association with funk, a genre that created this groove rhythm, the ARP Odyssey, ARP String Ensemble and Hohner D6 Clavinet also became popular at the time. A third feature is the shift of proportions between composition and improvisation, arrangements, melody, and overall writing were heavily emphasised. In a nutshell this is a departure from post bop and free or modal jazz back to a more structured music, at its conception, the jazz-funk genre was occasionally looked down upon by jazz hard-liners as a sell-out, or jazz for the dancehalls. It was unsubstantially presumed by these to be not intellectual or elite enough, which led to controversy about the crossing over. The jazz-funk community absorbed the sound of the funk rhythm. From a jazz perspective, the ambivalence towards the jazz-funk genre arose – despite commercial success – because it was too jazzy, disdained by a part of the jazz community and its inability to top the pop charts, jazz-funk had a long hard time to establish itself. Eddie Henderson, Donald Byrd and Herbie Hancock are seldom challenged as major influences on jazz, the Mizell Brothers have received official accolades from the industry and are being listened to widely. Their work has also sampled in more modern music. It is also worth noting that the famous acid jazz movement is often seen as a rediscovery of 1970s jazz-funk. One of the most blatant examples is the band US3, who were signed to Acid Jazz Records founded by Peterson and Eddie Piller. US3 covered Cantaloupe Island, originally recorded by Herbie Hancock, and reissue of rare grooves from the era, led by DJ Peterson, contemporary jazz artists have also contributed to the rediscovery, most notably Nathan Haines and Courtney Pine. Examples of artists that explored jazz-funk, soul jazz, or jazz rock are Miles Davis, Jimmy Smith, Herbie Mann, The Headhunters, Herbie Hancock, Funk Inc. Lalo Schifrin, Quincy Jones, Michael Henderson, Monk Higgins, David Axelrod, Sun Ra, Roy Ayers, Azymuth, Gary Bartz NTU Troop, George Benson, The Brecker Bros
Jazz-funk
–
The latter period of trumpeter
Miles Davis ' career was controversial for its incorporation of non-jazz idioms
5.
Electro (music)
–
Electro is a genre of electronic music and early hip hop directly influenced by the use of the Roland TR-808 drum machines, and funk. This is the distinction between electro and previously prominent genres such as disco, in which the electronic sound was only part of the instrumentation. It also palpably deviates from its predecessor boogie for being less vocal-oriented, following the decline of disco music in the United States, electro emerged as a fusion of funk and New York boogie. Early hip hop and rap combined with German and Japanese electropop influences such as Kraftwerk, Planet Rock was followed later that year by another breakthrough electro record, Nunk by Warp 9. In 1983, Hashim created an electro funk sound which influenced Herbie Hancock, the early 1980s were electros mainstream peak. By the mid 1980s, the genre moved away from its electronic and funk influences, using harder edged beats and rock samples, Electro became popular again in the late 1990s with artists such as Anthony Rother and DJs such as Dave Clarke. A third wave of popularity occurred in 2007, Electro has branched out into subgenres, including Electrocore and Skweee, which developed in Sweden and Finland. From its inception, one of the characteristics of the electro sound was the use of drum machines, particularly the Roland TR-808. As the genre evolved, computers and sampling replaced drum machines in electronic music and it is important to note, that although the electro of the 1980s and contemporary electro both grew out of the dissolution of disco, they are now different genres. Classic electro drum patterns tend to be electronic emulations of breakbeats, with a kick drum. The difference between electro drumbeats and breakbeats is that electro tends to be mechanical, while breakbeats tend to have more of a human-like feel. The definition however is somewhat ambiguous in nature due to the uses of the term. The Roland TR-808 drum machine hit the market in 1980, defining early electro with its immediately recognizable sound, staccato, percussive drumbeats tended to dominate electro, almost exclusively provided by the TR-808. As an inexpensive way of producing a sound, the TR-808 caught on quickly with the producers of early electro because of the ability of its bass drum to generate extreme low-frequencies. This aspect of the Roland TR-808 was especially appealing to producers who would test drive their tracks in nightclubs and its unique percussion sounds like handclaps, open and closed high-hat, clave and cowbell became integral to the electro sound. A number of songs in the early 1980s employed the TR-808, including Marvin Gaye’s “Sexual Healing, ” Cybotron’s “Clear, ” and Afrika Bambaataa’s “Planet Rock. ”The Roland TR-808 has attained iconic status. Through the use of samples, the Roland TR-808 remains popular in electro, most electro is instrumental, but a common element is vocals processed through a vocoder. Additionally, speech synthesis may be used to create robotic or mechanical lyrical content, as in the iconic Planet Rock, although primarily instrumental, early electro utilized rap
Electro (music)
–
Warp 9 in
Sci-Fi Spacesuits (1983)
Electro (music)
–
Afrika Bambaataa (left) in 2004
Electro (music)
–
Juan Atkins performing as
Model 500 in 2007
6.
Classical music
–
Classical music is art music produced or rooted in the traditions of Western music, including both liturgical and secular music. The central norms of this tradition became codified between 1550 and 1900, which is known as the common-practice period, Western staff notation is used by composers to indicate to the performer the pitches, tempo, meter and rhythms for a piece of music. This can leave less room for such as improvisation and ad libitum ornamentation. The term classical music did not appear until the early 19th century, the earliest reference to classical music recorded by the Oxford English Dictionary is from about 1836. This score typically determines details of rhythm, pitch, and, the written quality of the music has enabled a high level of complexity within them, J. S. The use of written notation also preserves a record of the works, Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with many of the features of the music being reproduced. That said, the score does not provide complete and exact instructions on how to perform a historical work, even if the tempo is written with an Italian instruction, we do not know exactly how fast the piece should be played. Bach was particularly noted for his complex improvisations, during the Classical era, the composer-performer Mozart was noted for his ability to improvise melodies in different styles. During the Classical era, some virtuoso soloists would improvise the cadenza sections of a concerto, during the Romantic era, Beethoven would improvise at the piano. The instruments currently used in most classical music were largely invented before the mid-19th century and they consist of the instruments found in an orchestra or in a concert band, together with several other solo instruments. The symphony orchestra is the most widely known medium for music and includes members of the string, woodwind, brass. The concert band consists of members of the woodwind, brass and it generally has a larger variety and number of woodwind and brass instruments than the orchestra but does not have a string section. However, many bands use a double bass. Many of the used to perform medieval music still exist. Medieval instruments included the flute, the recorder and plucked string instruments like the lute. As well, early versions of the organ, fiddle, Medieval instruments in Europe had most commonly been used singly, often self accompanied with a drone note, or occasionally in parts. From at least as early as the 13th century through the 15th century there was a division of instruments into haut, during the earlier medieval period, the vocal music from the liturgical genre, predominantly Gregorian chant, was monophonic, using a single, unaccompanied vocal melody line. Polyphonic vocal genres, which used multiple independent vocal melodies, began to develop during the medieval era, becoming prevalent by the later 13th
Classical music
Classical music
–
Nineteenth-century composer and pianist
Clara Schumann is one of only a few female composers mentioned in the Concise Oxford History of Music.
Classical music
–
The Dublin Philharmonic Orchestra performs
Tchaikovsky 's
Fourth Symphony.
Classical music
–
A youth
concert band in performance.
7.
Digital audio workstation
–
Regardless of configuration, modern DAWs have a central interface that allows the user to alter and mix multiple recordings and tracks into a final produced piece. DAWs are used for the production and recording of music, radio, television, podcasts, multimedia, early attempts at digital audio workstations in the 1970s and 1980s faced limitations such as the high price of storage, and the vastly slower processing and disk speeds of the time. In 1978, Soundstream built what could be considered the first digital audio workstation using some of the most current computer hardware of the time. Interface cards that plugged into the PDP-11s Unibus slots provided analog and digital input and output for interfacing to Soundstreams digital recorders. The DAP software could perform edits to the recorded on the systems hard disks. By the late 1980s, a number of consumer level computers such as the Apple Macintosh, Atari ST, soon, people began to use them for simple two-track audio editing and CD mastering. This combination of software and hardware was one of the earliest examples of a DAW. Many major recording studios finally went digital after Digidesign introduced its Pro Tools software, modeled after the traditional method, at this time, most DAWs were Apple Mac based. Around 1992, the first Windows based DAWs started to emerge from such as IQS Innovative Quality Software, Soundscape Digital Technology, SADiE, Echo Digital Audio. All the systems at this point used dedicated hardware for their audio processing, in 1993, German company Steinberg released Cubase Audio on Atari Falcon 030. This version brought DSP built-in effects with 8-track audio recording & playback using only native hardware, the first Windows based software-only product, introduced in 1993, was Samplitude Studio. In 1996, Steinberg introduced Cubase VST, which could record, Cubase not only modelled a tape-like interface for recording and editing, but also modelled the entire mixing desk and effects rack common in analog studios. This revolutionised the DAW world, both in features and price tag, and was imitated by most other contemporary DAW systems. An integrated DAW consists of a console, control surface, audio converter. Integrated DAWs were more popular before commonly available personal computers became powerful enough to run DAW software, as computer power and speed increased and price decreased, the popularity of costly integrated systems with console automation dropped. Systems such as the Orban Audicy became standard equipment at radio. This could be as simple as a mouse or as sophisticated as a piano-style MIDI controller keyboard or automated fader board for mixing track volumes, the computer acts as a host for the sound card/audio interface, while the software provides the interface and functionality for audio editing. The software controls all related components and provides a user interface to allow for recording, editing
Digital audio workstation
–
Music production using a digital audio workstation (DAW) with
multi-monitor set-up
8.
Clavinet
–
The Clavinet is an electrically amplified clavichord that was manufactured by the Hohner company of Trossingen, West Germany from 1964 to the early 1980s. Hohner produced seven models over the years, designated I, II, L, C, D6, E7 and its distinctive bright staccato sound has featured most prominently in funk, jazz-funk, rock, and soul songs. The clavinet is an instrument that requires a keyboard amplifier to produce a usable sound level. Most models have 60 keys and a range of F1 to E6. This five octave span covers the range of an electric guitar, the sound is produced by a harp of 60 tensioned steel strings oriented diagonally below the key surface. Each key of the keyboard action is a single lever element that pivots on a fulcrum point at the rear. A spring returns the key to the rest position, beneath each key, a metal holder grips a small rubber pad. Depressing a key makes the pad perform what is known in guitar technique as a hammer on, an electro-magnetic pickup turns the string vibration into an electric current. The unique playing feel of a comes from this abrupt impact of the pad striking its anvil point against the string. The end of each string farthest from the passes through a weave of yarn. When the key is released, the yarn damps the vibration of the string, each string is tuned by a machine-head positioned along the front of the harp. Most clavinets have two sets of pickups, positioned above and below the strings, the Clavinet has pickup selector switches, and a guitar-level output that connects to an amplifier. Early clavinet models featured single-coil pickups, the D6 introduced a six-core pickup design. Originally, Hohner intended the instrument for use and early European classical. The Clavinet L, introduced in 1968 was a model with a wood-veneered triangular body. It had reverse-colour keys and a glass music stand. The Clavinet Duo model combined a clavinet with the Hohner Pianet T in one compact instrument, after Hohner stopped producing the Clavinet E7 and Clavinet Duo, they used the brand name for electronic and digital keyboards with no electro-mechanical sound production features. In the late 1980s, they applied the Clavinet DP name to a range of Japanese-made digital pianos and these instruments were designed for the home market, and made no attempt to emulate the electro-mechanical Clavinet
Clavinet
–
Clavinet
Clavinet
–
The Clavinet C
Clavinet
–
The Clavinet D6, the most popular model, introduced in 1971.
9.
Keytar
–
A keytar is a relatively lightweight electronic keyboard that is supported by a strap around the neck and shoulders, similar to the way a guitar is supported by a strap. Keytars allow players a range of movement onstage, compared to conventional keyboards. The instrument has a keyboard for triggering musical notes and sounds. Various controls are placed on the neck, including those for pitch bends, vibrato, portamento. The term keytar is a portmanteau of the keyboard and guitar. This style of keyboard was referred to by manufacturers as a MIDI Controller, Remote Keyboard, Strap-on Keyboard. The Roland AX-Synth, which incorporates its own engine, is referred to by the manufacturer as a Shoulder Synthesizer. Keytars may either contain their own engines, or be MIDI controllers. In either case, a keytar needs to be connected to an amplifier or PA system to produce a sound that the performer. MIDI controller keytars trigger notes and other MIDI data on an external MIDI-capable synthesizer, the oldest forerunner of the keytar probably is the orphica, a small portable piano invented at Vienna in 1795, which was played in a similar position as the modern keytar. The piano accordion first appeared in 1852, in 1963, the East German manufacturer Weltmeister introduced the Basset, an electric bass piano in keytar shape. In 1966, Swedish organ manufacturer Joh Mustad AB introduced the Tubon and this instrument was worn with a strap around the shoulder and could be played standing or sitting. The Tubon had a half-keyboard on one end accessible to the hand, controls to be used at the neck on the opposite end for the left hand. It was sold in the UK as the Livingstone and it saw use by Kraftwerk and Paul McCartney in the 1960s and early 1970s. Jan is seen for instance using his PROBE in the video for the Miami Vice Theme. Also in the 1980s, Wayne Famous of the band the Producers strapped on a regular Oberheim synthesizer, among them, the most widely known earlier keytar may be the Moog Liberation released in 1980. Early users included Spyro Gyra keyboardist Tom Schuman, and Devo. W, the keytar was made popular in the 1980s by glam metal bands, as well as synthpop and new wave musicians. Another instance is in early 2008 with Snoop Doggs music video for his single Sensual Seduction, notable manufacturers of keytar models have included Moog, Roland, Yamaha, Korg and Casio
Keytar
–
Korg RK-100 (1984) MIDI remote controller
Keytar
–
Lady Gaga playing a custom made keytar during
The Monster Ball Tour in 2010
Keytar
–
Matthew Bellamy of
Muse during
The Resistance Tour in 2010
Keytar
–
Bridgit Mendler during
Summer Tour in 2013.
10.
Vocoder
–
A vocoder is a category of voice codec that analyzes and synthesizes the human voice signal for audio data compression, multiplexing, voice encryption, voice transformation, etc. The decoder applies these control signals to corresponding filters for re-synthesis, since these control signals change only slowly compared to the original speech waveform, the bandwidth required to transmit speech can be reduced. This allows more speech channels to share a single communication channel, by encrypting the control signals, voice transmission can be secured against interception. Its primary use in fashion is for secure radio communication. The advantage of this method of encryption is that none of the signal is sent. The receiving unit needs to be set up in the same filter configuration to re-synthesize a version of the signal spectrum. The vocoder has also used extensively as an electronic musical instrument. The decoder portion of the vocoder, called a voder, can be used independently for speech synthesis, the human voice consists of sounds generated by the opening and closing of the glottis by the vocal cords, which produces a periodic waveform with many harmonics. This basic sound is filtered by the nose and throat to produce differences in harmonic content in a controlled way. There is another set of sounds, known as the unvoiced and plosive sounds, the vocoder examines speech by measuring how its spectral characteristics change over time. This results in a series of signals representing these modified frequencies at any time as the user speaks. In simple terms, the signal is split into a number of frequency bands, thus, the vocoder dramatically reduces the amount of information needed to store speech, from a complete recording to a series of numbers. Information about the frequency of the original voice signal is discarded. It is this aspect of the vocoding process that has made it useful in creating special voice effects in popular music. Analog vocoders typically analyze an incoming signal by splitting the signal into a number of tuned frequency bands or ranges, a modulator and carrier signal are sent through a series of these tuned bandpass filters. In the example of a robot voice, the modulator is a microphone. There are usually between eight and 20 bands, the amplitude of the modulator for each of the individual analysis bands generates a voltage that is used to control amplifiers for each of the corresponding carrier bands. The result is that components of the modulating signal are mapped onto the carrier signal as discrete amplitude changes in each of the frequency bands
Vocoder
–
Early 1970s vocoder, custom built for electronic music band
Kraftwerk
Vocoder
–
SIGSALY (1943–1946) speech encipherment system
Vocoder
–
HY-2 Vocoder (designed in 1961), was the last generation of channel vocoder in the
US.
Vocoder
–
Siemens Synthesizer (c.1959) at
Siemens Studio for Electronic Music was one of the first attempts to divert a vocoder to create music
11.
Fairlight CMI
–
It was one of the earliest music workstations with an embedded digital sampling synthesizer. It rose to prominence in the early 1980s and competed in the market with the Synclavier from New England Digital, after his classmate, Peter Vogel, graduated from high school in 1975, Ryrie showed him Wendy Carlos album Switched-on Bach, which was produced with a Moog synthesizer. Ryrie had always wanted to make a better than the Moog. In December of that year, he and Vogel formed a company intended to manufacture digital synthesizers. It was called Fairlight, which the name came from the hydrofoil ferry passing before Ryries grandmothers home in Sydney harbour and they had initially thought of making an analogue synth that was digitally controlled, given that the Moog was much more difficult to control. After the six months that followed involving the two in the companys basement failing to come up with ideas, they met Motorola consultant Tony Furse, despite this, the machine was unable to create harmonic partials, therefore the sounds that came from the synth were sterile and unimaginative. As a last-minute attempt of producing a digital synthesizer that could make complex patches, Vogel recalled in a 2005 interview about how he came up with this concept, I had this random idea late one night, probably in 1978. I thought that if we took a sample of an instrument and had a look at the harmonics we could get an idea of how to synthesise it. We were already making interesting sounds but we were still a way from getting it to sound like a real instrument. So I hooked an analogue-to-digital converter up to the radio and sampled maybe a second of some piano piece, then I wondered how it would sound if I played it back without doing anything. So I played it back at different pitches and it sounded remarkably like a piano and this had never been done before. By todays standards it was a pretty awful piano sound, so I rapidly realised that we didnt have to bother with all the synthesis stuff. Just take the sounds, whack them in the memory and away you go, however, Vogel has said that the low quality of the sounds was what gave them their own character. Its Music Composition Language feature was frequently criticized, with reviewers calling it too difficult for empirical users. Other primitive aspects included its limited amount of RAM and its green, still, Vogel was unsure if there would be enough interest in the product. In the summer of 1979, Peter Vogel went to the home of English singer-songwriter Peter Gabriel, until that time everything that captured sound had been tape-based. The Fairlight CMI was like a more reliable and versatile digital Mellotron. Peter was completely thrilled, and instantly put the machine to use during the week that Peter Vogel stayed at his house
Fairlight CMI
–
Fairlight CMI series II exhibited at
NAMM Show 2011
Fairlight CMI
–
Point Piper, New South Wales
Fairlight CMI
–
Fairlight CMI
Fairlight CMI
–
Fairlight Series III (1985)
12.
Columbia Records
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Columbia Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, Inc. the United States division of Sony Corporation. It was founded in 1887, evolving from an enterprise named the American Graphophone Company. Columbia is the oldest surviving brand name in the sound business. Columbia Records went on to release records by an array of singers, instrumentalists. It is one of Sony Musics three flagship record labels alongside RCA Records and Epic Records, rather, as above, it was connected to CBS, a broadcasting media company which had purchased the company in 1938, and had been co-founded in 1927 by Columbia Records itself. Though Arista Records was sold to Bertelsmann Music Group, it would become a sister label of Columbia Records through its mutual connection to Sony Music. The Columbia Phonograph Company was founded in 1887 by stenographer, lawyer and New Jersey native Edward Easton and it derived its name from the District of Columbia, where it was headquartered. At first it had a monopoly on sales and service of Edison phonographs and phonograph cylinders in Washington. As was the custom of some of the regional companies, Columbia produced many commercial cylinder recordings of its own. Columbias ties to Edison and the North American Phonograph Company were severed in 1894 with the North American Phonograph Companys breakup, thereafter it sold only records and phonographs of its own manufacture. In 1902, Columbia introduced the XP record, a brown wax record. According to Gracyk, the molded brown waxes may have sold to Sears for distribution. Columbia began selling records and phonographs in addition to the cylinder system in 1901, preceded only by their Toy Graphophone of 1899. For a decade, Columbia competed with both the Edison Phonograph Company cylinders and the Victor Talking Machine Company disc records as one of the top three names in American recorded sound. In order to add prestige to its catalog of artists. The firm also introduced the internal-horn Grafonola to compete with the extremely popular Victrola sold by the rival Victor Talking Machine Company, during this era, Columbia used the famous Magic Notes logo—a pair of sixteenth notes in a circle—both in the United States and overseas. Columbia was split into two companies, one to make records and one to make players, Columbia Phonograph was moved to Connecticut, and Ed Easton went with it. Eventually it was renamed the Dictaphone Corporation, in late 1923, Columbia went into receivership
Columbia Records
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Original home of Columbia in Washington, D.C., in 1889
Columbia Records
Columbia Records
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A Columbia type AT cylinder
graphophone, first released in 1898
Columbia Records
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This article is about the American record label active worldwide except in Japan. For the Columbia label which was a unit of EMI, see
Columbia Graphophone Company. For the Columbia label in Japan, see
Nippon Columbia.
13.
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
Blue Note Records
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Blue Note Records
14.
Warner Bros. Records
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Warner Bros. Records was established on March 19,1958, as the recorded-music division of the American film studio Warner Bros. For most of its existence it was one of a group of labels owned and operated by larger parent corporations. The sequence of companies that controlled Warner Bros. and its allied labels evolved through a series of corporate mergers. Over this period, Warner Bros. Records grew from a minor player in the music industry to become one of the top recording labels in the world. In 2003, these assets were divested by their then owner Time Warner. This independent company traded as the Warner Music Group before being bought by Access Industries in 2011, WMG is the smallest of the three major international music conglomerates and the worlds last publicly traded major music company. Cameron Strang serves as CEO of the company, artists currently signed to Warner Bros. At the end of the silent movie period, Warner Bros, pictures decided to expand into publishing and recording so that it could access low-cost music content for its films. This new group controlled valuable copyrights on standards by George and Ira Gershwin and Jerome Kern, the label signed rising radio and recording stars Bing Crosby, Mills Brothers, and Boswell Sisters. In December 1931, Warner Bros. offloaded Brunswick to the American Record Corporation for a fraction of its former value, in a lease arrangement which did not include Brunswicks pressing plants. Warner Bros. sold Brunswick a second time, this time along with the old Brunswick pressing plants Warner owned, to Decca Records in exchange for a financial interest in Decca. The studio stayed out of the business for more than 25 years. Warner Bros. reëntered the record business in 1958 with the establishment of its own recording division, by this time, the established Hollywood studios were reeling from multiple challenges to their former dominance - the most notable being the introduction of television in the late 1940s. Legal changes also had a impact on their business—lawsuits brought by major stars had effectively overthrown the old studio contract system by the late 1940s. Pictures sold off much of its library in 1948 and, beginning in 1949. Semenenko in particular had a professional interest in the entertainment business. With the record business booming - sales had topped US$500 million by 1958 - Semnenko argued that it was foolish for Warner Bros, another impetus for the labels creation was the brief music career of Warner Bros. actor Tab Hunter. In 1958, the studio signed Hunter as its first artist to its newly formed record division, to establish the label, the company hired former Columbia Records president James B
Warner Bros. Records
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The gold, black and red label design used for Warner Bros. stereo albums from 1958 to 1968 and mono albums from 1964 to 1968.
Warner Bros. Records
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The grey, black, white and yellow label design used for Warner Bros. mono albums from 1958 to 1964 when it switched to the same gold label as the stereo version.
Warner Bros. Records
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"Cream Puff War" (1967), the first Warner Bros. single by
The Grateful Dead, showing the orange label with chevron border used on WBR's American 45s for much of the 1960s.
Warner Bros. Records
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Beginning in 1968, Warner LP and single label designs became identical. From 1968 to 1970, the label was called Warner Bros.-Seven Arts Records. The basic design and colour scheme of the W7 label were retained after the company name reverted to Warner Bros. Records and the "WB" shield in 1970 and remained in use until 1973.
15.
Verve Records
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Verve Records is an American record company operating under the newly-founded Verve Label Group distributed by Interscope Geffen A&M Records. It was founded in 1956 by Norman Granz and it absorbed the catalogues of his earlier labels, Clef Records and Norgran Records, and material previously licensed to Mercury Records. It has been under ownership of Universal Music Group and has expanded to scope newer artists. Norman Granz created Verve to produce new recordings by Ella Fitzgerald, whom he managed, the catalog grew throughout the 1950s and 1960s to include Charlie Parker, Bill Evans, Stan Getz, Billie Holiday, Oscar Peterson, Ben Webster, and Lester Young. Milton Rudin, his attorney, represented Frank Sinatra and knew that Sinatra wanted his own label, Sinatra and Granz made a handshake deal, but negotiations broke down over price and Sinatras desire that Granz remain head of the label. Granz sold Verve to MGM in 1961, Sinatra established Reprise Records and hired Mo Ostin, an executive at Verve, to run it. At Verve, Creed Taylor was made head producer, Taylor adopted a more commercial approach, canceling several contracts. He brought bossa nova to America with the release of Jazz Samba by Stan Getz and Charlie Byrd, Getz/Gilberto, Verves notable arrangers included Claus Ogerman and Oliver Nelson. According to Ogerman in Jazzletter, he arranged 60–70 albums for Verve from 1963–1947, in 1964, Taylor supervised the creation of a folk music subsidiary named Verve Folkways, later renamed Verve Forecast. Taylor left Verve in 1967 to form CTI Records, aside from jazz, Verves catalogue included the Righteous Brothers, the Velvet Underground, Frank Zappa & the Mothers of Invention, and the Blues Project. In the 1970s, Verve became part of the PolyGram, incorporating the Mercury/EmArcy jazz catalog, Verve Records became the Verve Music Group after PolyGram was merged with Seagrams Universal Music Group in 1998. The jazz holdings from the companies were folded into this sub-group. When Universal and Polygram merged in 1998, Verves holdings were merged with Universals GRP Recording Company to become Verve Music Group, after forays into Americana and adult contemporary music, Verve was corporately aligned with Universal Music Enterprises, and was no longer a stand-alone label within UMG. The Verve imprint itself manages much of the catalog that once belonged to PolyGram. Meanwhile, GRP manages the rest of MCA/Universals jazz catalog, including releases once issued on the Decca, the Verve Music Group has expanded its output beyond jazz to include crossover classical music, progressive pop and show tunes. Official site Article about Creed Taylor
Verve Records
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Verve Records
16.
Clark Terry
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Clark Virgil Terry Jr. was an American swing and bebop trumpeter, a pioneer of the flugelhorn in jazz, composer, educator, and NEA Jazz Masters inductee. He played with Charlie Barnet, Count Basie, Duke Ellington, Quincy Jones and he was also with The Tonight Show Band from 1962 to 1972. Terrys career in jazz spanned more than 70 years, during which he one of the most recorded jazz musicians ever. Terry also mentored many musicians including Quincy Jones, Miles Davis, Herbie Hancock, Wynton Marsalis, Pat Metheny, Dianne Reeves, Terry was born to Clark Virgil Terry Sr. and Mary Terry in St. Louis, Missouri, on December 14,1920. He attended Vashon High School and began his career in the early 1940s. He served as a bandsman in the United States Navy during World War II and his first instrument was valve trombone. Blending the St. Louis tone with contemporary styles, Terrys years with Basie, during his period with Ellington, he took part in many of the composers suites and acquired a reputation for his wide range of styles, technical proficiency, and good humor. Terry influenced musicians including Miles Davis and Quincy Jones, both of whom acknowledged Terrys influence during the stages of their careers. Terry had informally taught Davis while they were still in St Louis, after leaving Ellington in 1959, Clarks international recognition soared when he accepted an offer from the National Broadcasting Company to become a staff musician. Terry was the first African American to become a regular in a band on a major US television network and he said later, We had to be models, because I knew we were in a test. We couldnt have a speck on our trousers and we couldnt have a wrinkle in the clothes. We couldnt have a dirty shirt, Terry continued to play with musicians such as trombonist J. J. Johnson and pianist Oscar Peterson, and led a group with valve-trombonist Bob Brookmeyer that achieved some success in the early 1960s. In February 1965, Brookmeyer and Terry appeared on BBC2s Jazz 625, in the 1970s, Terry concentrated increasingly on the flugelhorn, which he played with a full, ringing tone. In addition to his work and teaching at jazz workshops, Terry toured regularly in the 1980s with small groups. After financial difficulties forced him to break up the Big B-A-D Band and his humor and command of jazz trumpet styles are apparent in his dialogues with himself, on different instruments or on the same instrument, muted and unmuted. He occasionally performed solos on a trumpet or flugelhorn mouthpiece, in 2001, he again recorded for the Red Hot Organization with artist Amel Larrieux for the compilation album Red Hot + Indigo, a tribute to Ellington. In the 1980s he was a featured soloist performing in front of the band and he was introduced to great acclaim by Chicago jazz disc-jockey Dick Buckley. Prompted early in his career by Billy Taylor, Clark and Milt Hinton bought instruments for and gave instruction to young hopefuls and this venture tugged at Terrys greatest love, involving youth in the perpetuation of jazz
Clark Terry
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Terry at the 1981
Monterey Jazz Festival (Photo: Brian McMillen)
Clark Terry
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Terry at the 1981 Monterey Jazz Festival (Photo: Brian McMillen)
Clark Terry
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Terry in
New York City, 1976
Clark Terry
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Terry performing at
the White House with singer
Nnenna Freelon in 2006
17.
Wayne Shorter
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Wayne Shorter is an American jazz saxophonist and composer. Many of Shorters compositions have become standards, and his output has earned worldwide recognition, critical praise. Shorter first came to prominence in the late 1950s as a member of. In the 1960s, he went on to join Miles Daviss Second Great Quintet and he has recorded over 20 albums as a bandleader. Shorter has won 10 Grammy Awards, the New York Times has described Shorter as probably jazzs greatest living small-group composer and a contender for greatest living improviser. In 2017, he was awarded the Polar Music Prize, Wayne Shorter was born in Newark, New Jersey, and attended Newark Arts High School, from which he graduated in 1952. He loved music, being encouraged by his father to take up the clarinet as a teenager, after graduating from New York University in 1956, Shorter spent two years in the U. S. Army, during which time he played briefly with Horace Silver. After his discharge, he played with Maynard Ferguson, in his youth Shorter had acquired the nickname Mr. Gone, which later became an album title for Weather Report. In 1959, Shorter joined Art Blakey and he stayed with Blakey for five years, and eventually became the bands musical director. When John Coltrane left Miles Davis band in 1960 to pursue his own group, Coltrane proposed Shorter as a replacement, Davis went with Sonny Stitt on tenor, followed by a revolving door of Hank Mobley, George Coleman, and Sam Rivers. In 1964 Davis persuaded Shorter to leave Blakey and join his quintet alongside Herbie Hancock, Ron Carter and he composed extensively for Davis, on some albums, he provided half of the compositions. Hancock said of Shorters tenure in the group, The master writer to me, Wayne was one of the few people who brought music to Miles that didnt get changed. Davis said, Wayne is a real composer and he writes scores, write the parts for everybody just as he wants them to sound. Wayne also brought in a kind of curiosity about working with musical rules. If they didnt work, then he broke them, but with musical sense, he understood that freedom in music was the ability to know the rules in order to them to your own satisfaction. Shorter remained in Daviss band after the breakup of the quintet in 1968, playing on early jazz recordings including In a Silent Way. His last live dates and studio recordings with Davis were in 1970, until 1968, he played tenor saxophone exclusively. The final album on which he played tenor in the sequence of Davis albums was Filles de Kilimanjaro
Wayne Shorter
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Convocation Hall, Toronto, November 27, 1977. Photo courtesy of Jean-Luc Ourlin
Wayne Shorter
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Shorter with
Weather Report in Amsterdam, in 1980
Wayne Shorter
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Shorter performing in 2006
Wayne Shorter
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The Wayne Shorter Quartet at the Teatro degli Arcimboldi, Milan, 2010
18.
Chick Corea
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Armando Anthony Chick Corea is an American jazz and fusion pianist, keyboardist, and composer. Many of his compositions are considered jazz standards, as a member of Miles Daviss band in the late 1960s, he participated in the birth of the electric jazz fusion movement. In the 1970s he formed Return to Forever, along with Herbie Hancock, McCoy Tyner, and Keith Jarrett, he has been described as one of the major jazz piano voices to emerge in the post-John Coltrane era. Corea continued to other collaborations and to explore various musical styles throughout the 1980s and 1990s. He is also known for promoting and fundraising for a number of social issues, armando Corea was born in Chesterfield, Massachusetts. He is of southern Italian and Spanish descent and his father, a jazz trumpet player who had led a Dixieland band in Boston in the 1930s and 1940s, introduced him to the piano at the age of four. Growing up surrounded by music, he was influenced at an early age by bebop and stars such as Dizzy Gillespie, Charlie Parker, Bud Powell, Horace Silver. At eight Corea also took up drums, which would influence his use of the piano as a percussion instrument. Corea developed his skills by exploring music on his own. He also spent several years as a performer and soloist for the St. Rose Scarlet Lancers, given a black tuxedo by his father, he started playing gigs when in high school. He enjoyed listening to Herb Pomeroys band at the time, and had a trio that played Horace Silvers music at a jazz club. He eventually decided to move to New York City, where he studied education for one month at Columbia University. He quit after finding both disappointing, but liked the atmosphere of New York, and the scene became the starting point for his professional career. Coreas first major gig was with Cab Calloway. Corea started his career in the 1960s playing with trumpeter Blue Mitchell and Latin musicians such as Herbie Mann, Willie Bobo. One of the earliest recordings of his playing is with Mitchells quintet on The Thing To Do. His first album as a leader was Tones for Joans Bones in 1966, two years before the release of his album Now He Sings, Now He Sobs, with Roy Haynes on drums and he made another sideman appearance with Stan Getz on 1967s Sweet Rain. From 1968 to 1971 Corea had associations with avant garde players, in September 1968 Corea replaced Herbie Hancock in the piano chair in Daviss band and appeared on landmark albums such as Filles de Kilimanjaro, In a Silent Way, and Bitches Brew
Chick Corea
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Chick Corea
Chick Corea
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Chick Corea, 2007
Chick Corea
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Bobby McFerrin and Chick Corea,
New Orleans Jazz and Heritage Festival in 2008
Chick Corea
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Corea performs with
Béla Fleck, March 1, 2008
19.
The Headhunters
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The Headhunters was an American jazz-fusion band formed by Herbie Hancock in 1973. The group fused jazz, funk, and rock music, in 1973, the band comprised Hancock, Bennie Maupin, Harvey Mason, Paul Jackson, and Bill Summers. Their first album, Head Hunters, sold more than one million copies, for the next album, Thrust, Mike Clark took over as drummer. Both Mason and Clark contributed drums to Hancocks 1975s album Man-Child, in 1975, The Headhunters recorded Survival of the Fittest, their first album without Hancock. The album contained a hit, God Make Me Funky which was sampled by the Fugees, on some re-issues of the album, the bands music is called space funk. As the 1970s turned to the 1980s, Hancock drifted away from the band as he moved into his electro-oriented phase, the band reunited with Hancock for the 1998 album Return of the Headhunters. They released an album, Evolution Revolution, for Basin Street Records in 2003, and backed up the saxophonist Rebecca Barry on her 2005 album Rebecca Barry and they toured again in 2008, with Jerry Z on keyboards and bassist T. M. Stevens, and in 2009 played gigs featuring Geri Allen on keyboards and Harrison on alto, in 2010 the Headhunters signed with Indianapolis jazz label Owl Studios. They released Platinum, which featured many of the members of the band with guest spots by Snoop Dogg, George Clinton. The Headhunters music is a blend of many styles and genres, including jazz, funk. The group is notable for its pioneering use of electronic instruments and effects. In the sleeve notes to Head Hunters, Hancock wrote that track 3, Sly, was named in tribute to Sly Stone, leader of Sly and this band, along with James Brown, is one of the key influences on funk music. While straightforward funk depends on a snappy, danceable backbeat from the drummer, Clark and Jacksons interplay danced in and around the groove motif and this is arguably best exemplified by the music on Thrust, particularly on the song Actual Proof. Early editions of the Headhunters were notable for the absence of a guitarist, Pond in his book Head Hunters. Electric guitars were first introduced when DeWayne Blackbyrd McKnight appeared on Survival of the Fittest and their music featured extensive solo and group improvisation over chord progressions, just as in the jazz mainstream. Most of the overtly jazz-influenced material comes in the form of solos from Hancock, a strong connection to African music is evident, with the role of percussion enhanced compared to mainstream jazz, and more extensive exploration of complex polyrhythms compared to most funk. The Headhunters are also notable for the range of instruments they use. Hancock used a myriad of keyboards, from the staple Fender Rhodes electric piano to the Hohner clavinet, as well as being an early adopter of synthesizers, particularly instruments from ARP
The Headhunters
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The Headhunters
20.
Jaco Pastorius
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John Francis Anthony Jaco Pastorius III was an American jazz musician, composer, big band leader and electric bass player. He is best known for his work with Weather Report from 1976 to 1981, as well as work with artists including Joni Mitchell, Pat Metheny, as a musician, he developed an influential approach to bass playing that combined the use of complex harmony with virtuosic technique. His signature approach employed Latin-influenced funk, lyrical solos on fretless bass, bass chords and he was inducted into the Down Beat Jazz Hall of Fame in 1988, one of only seven bassists so honored. His grandmother was a Finn named Kaisa Eriika Isojärvi and he was of Finnish, Sami, German, Swedish, and Irish ancestry. In 1960, his family moved to Oakland Park, Florida, Pastorius went to St. Clements Catholic School in Wilton Manors, and he was an altar boy at the adjoining church. He went to Northeast High School in Oakland Park and he was talented in football, basketball, and baseball, and he picked up music at an early age. He often watched baseball with his father and his nickname was influenced by his love of sports and by umpire Jocko Conlan. He changed the spelling from Jocko to Jaco after French pianist Alex Darqui misspelled it on a note and his seemingly endless energy led his younger brother, Gregory, to call him Mowgli after the wild boy in The Jungle Book. Pastorius played drums until he injured his wrist playing football at age 13, the damage to his wrist was severe enough to warrant corrective surgery and inhibited his ability to play drums. He had been playing with a band, Las Olas Brass. By 1968–1969, at the age of 17, Pastorius had begun to appreciate jazz and had saved money to buy an upright bass. Its deep, mellow tone appealed to him, though it strained his finances and he had difficulty maintaining the instrument, which he attributed to the humidity in Florida. When he woke one day to find it had cracked, he traded it for a 1962 Fender Jazz Bass and his first break came when he became the bassist for Wayne Cochran and the C. C. He also played on various local R&B and jazz records during time, such as with Little Beaver. In 1973 at the age of 22, Pastorius was teaching bass at the University of Miami, in 1974, Pastorius began playing with Metheny. In 1975, Pastorius was introduced to Blood, Sweat & Tears drummer Bobby Colomby, Pastoriuss first album, produced by Colomby, was Jaco Pastorius, a breakthrough album for the electric bass. Many consider this the finest bass album ever recorded, it was praised by critics. The album also boasted a lineup of heavyweights in the community at the time – including Herbie Hancock, Wayne Shorter, David Sanborn, Lenny White, Hubert Laws, Don Alias
Jaco Pastorius
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Pastorius in concert in 1986
Jaco Pastorius
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Pastorius in November 27, 1977
21.
Joni Mitchell
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Roberta Joan Joni Mitchell, CC is a Canadian singer-songwriter and painter. Drawing from folk, pop, rock and jazz, Mitchells songs often reflect social and environmental ideals as well as her feelings about romance, confusion, disillusionment, Mitchell began singing in small nightclubs in Saskatchewan and western Canada before busking in the streets and shoddy nightclubs of Toronto. In 1965, she moved to the United States and began touring, some of her original songs were covered by folk singers, allowing her to sign with Reprise Records and record her debut album in 1968. Settling in Southern California, Mitchell, with songs like Big Yellow Taxi and Woodstock, helped define an era. Her 1971 recording Blue was rated the 30th best album made in Rolling Stones list of the 500 Greatest Albums of All Time. Mitchell switched labels and began moving toward jazz rhythms by way of lush pop textures on 1974s Court and Spark, her best-selling LP, featuring the radio hits Help Me, around 1975 her vocal range began to shift from mezzo-soprano to more of a wide-ranging contralto. She turned again toward pop, embraced electronic music, and engaged in political protest and she is the sole producer credited on most of her albums, including all her work in the 1970s. A blunt critic of the industry, she quit touring and released her 17th. With roots in art, Mitchell designed her own album covers. She describes herself as a painter derailed by circumstance, Mitchell was born Roberta Joan Anderson on November 7,1943, in Fort Macleod, Alberta, Canada, the daughter of Myrtle Marguerite and William Andrew Anderson. Her mothers ancestors were Scottish and Irish, her father was from a Norwegian family and her father was a Royal Canadian Air Force flight lieutenant who instructed new pilots at RCAF Station Fort Macleod, where the Allied forces were gathering to learn to fly during World War II. During those years, she moved with her parents to various bases in western Canada, after the war, her father began working as a grocer, and his work took the family to Saskatchewan, to the towns of Maidstone and North Battleford. She later sang about her upbringing in Song for Sharon. In Maidstone they lived beside the track, where Mitchell waved at the only train that passed through each day. Many of the residents were First Nations people. Mitchell seemed athletic rather than academic, but still responded to her mothers love of literature and her fathers love of music, at age nine, Mitchell contracted polio in an epidemic, and was hospitalised for weeks. No longer athletic, she turned her thoughts to her creative talent, by nine, she was a smoker, she denies claims that smoking has affected her voice. At 11, she moved with her family to the city of Saskatoon and she responded badly to formal education, preferring a freethinking outlook, and was drawn to art, a pursuit often regarded as peripheral at the time
Joni Mitchell
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Mitchell performing in 1983
Joni Mitchell
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Joni Mitchell's star on
Canada's Walk of Fame
22.
Howard Jones (musician)
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John Howard Jones is an English musician, singer, and songwriter. He had ten top 40 hit singles in the UK between 1983 and 1986, including six which reached the top ten, and his 1984 album Humans Lib went to number one, around the world, he had 15 top 40 hit singles between 1983 and 1992. He has been described by AllMusic editor Stephen Thomas Erlewine as one of the figures of mid-80s synth pop. He also performed at Live Aid in 1985, Jones is the eldest of four boys. His brothers, Roy, Martin, and Paul, are all musicians in their own right. Born in Southampton to Welsh parents, Howard Jones spent his years in Rhiwbina, Cardiff, South Wales. Later in Stokenchurch, near High Wycombe, Buckinghamshire, he attended the Royal Grammar School and he took piano lessons starting at age seven. The family moved to Canada when he was a teenager and his first band was Warrior, a progressive rock group. He returned to the UK and attended the Royal Northern College of Music in Manchester while playing in various bands and he met Buddhist practitioner Bill Bryant, who wrote lyrics for some of Joness songs and was a major influence in this period. In 1983, he hired the Marquee Club in London and invited record labels to come, after a BBC Radio 1 session, Jones obtained support slots with China Crisis and Orchestral Manoeuvres in the Dark before signing to Warner Music Group in mid-1983. He has cited influences such as OMD, Keith Emerson and Stevie Wonder and his first single, New Song, was released in September 1983. It reached the Top 30 in the US and the Top 5 in the UK and he subsequently had four more hits over the next twelve months and a UK Number 1 album, Humans Lib, which eventually went double platinum. Credited with jointly writing the lyrics for six songs on the album was the lyricist Bill Bryant, New Song, What Is Love, and Pearl in the Shell all did well in 1984. Humans Lib was certified gold and platinum in several countries, Jones had developed a loyal teen following. His parents ran his fan club, in the summer of 1984, he released Like to Get to Know You Well, which he said was dedicated to the original spirit of the Olympic Games. Although it was not an official Olympic anthem for the Games in Los Angeles that summer and it reached Number 4 in the UK Singles Chart. The sleeve featured the title in ten different languages while Jones sang the title line in French. The song also appeared in the film Better Off Dead and the video game Grand Theft Auto, Jones second LP was a remix album
Howard Jones (musician)
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Howard Jones, 2008
23.
Donald Byrd
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Donaldson Toussaint LOuverture Donald Byrd II was an American jazz and rhythm & blues trumpeter. As a bandleader, Byrd is also notable for his role in the early career of keyboard player and composer Herbie Hancock. Byrd attended Cass Technical High School and he performed with Lionel Hampton before finishing high school. While still at the Manhattan School, he joined Art Blakeys Jazz Messengers, in 1955, he recorded with Gigi Gryce Jackie McLean and Mal Waldron. After leaving the Jazz Messengers in 1956, he performed with leading jazz musicians of the day, including John Coltrane, Sonny Rollins, Thelonious Monk. He has always nurtured and encouraged young musicians, hes a born educator, it seems to be in his blood, and he really tried to encourage the development of creativity. Hancock also credits Byrd with giving him one of the most important pieces of advice of his career – not to give away his publishing. At this point, he stood up to leave and when it became clear that he was about to walk out, in June 1964, Byrd played with Eric Dolphy in Paris just two weeks before Dolphys death from insulin shock. By 1969s Fancy Free, Byrd was moving away from the hard bop jazz idiom and began to record jazz fusion and rhythm and he teamed up with the Mizell Brothers for Black Byrd which was, for many years, Blue Notes best-selling album. The title track climbed to No.19 on Billboard′s R&B chart and reached the Hot 100 pop chart, most of the material for the albums was written by Larry Mizell. They scored several hits including Happy Music, Walking in Rhythm. During his tenure at North Carolina Central University during the 1980s and they recorded the Love Byrd album, which featured Isaac Hayes on drums. Love Has Come Around became a hit in the UK. Byrd returned to somewhat straight-ahead jazz later in his career, releasing three albums for Orrin Keepnews Landmark Records, and his final album Touchstone, a quintet, Byrd died on February 42013 in Dover, Delaware. Donald Byrd And 125th Street, N. Y. C. – Davis Cup 1962 Duke Pearson – Hush. 11994 Various – Stolen Moments, Red Hot + Cool 1995 Guru – Gurus Jazzmatazz, Vol. org Donald Byrd at newyorkjazzworkshop. com Donald Byrd at Find a Grave
Donald Byrd
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Donald Byrd
24.
Rhythm section
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Many of the rhythm section instruments, such as keyboard instruments and guitars, are also used to play the chord progression upon which the song is based. The bass instrument plays the bassline that supports the chord progression. The term is common in small musical ensembles, such as bands that play jazz, country, blues. In modern rock music, a rhythm guitarist specializes in rhythmic and chordal playing, often repeating quaver, in the louder genres, such as hard rock, heavy metal and punk rock, rhythm guitarists often play power chords with distortion. Rhythm guitarists often strum open chords in pop, rock, country and folk music and play barre chords in many pop, a typical rhythm section comprises one or more guitars, and/or a keyboard instrument a double bass or electric bass, and drums. In some styles of music, there may be additional percussionists playing instruments such as the djembe or shakers, some styles of music often have two electric guitarists, such as rock genres like heavy metal music and punk rock. Some styles of music use multiple keyboard instrument performers simultaneously for a fuller sound, the instrumentalists used in a rhythm section vary according to the style of music and era. Modern pop, rock and jazz band rhythm sections typically consist of a drummer, a bass player, the term rhythm section may also refer to the instruments in this group. In music industry parlance, the amplifiers and some of the instruments are nicknamed the backline, backline instruments are commonly provided for bands at music festivals and other concerts where several bands will play during an event. By providing these backline instruments, this speeds up the process when new bands take the stage. Even when a venue or festival provides a backline, musicians must still supply some instruments themselves, such as guitars, a bass, and, in some cases. Although rhythm sections spend much of the time providing accompaniment for songs, in some cases, in some songs or styles of music, instruments from the rhythm section may play soloistic roles on occasion or play a melodic role. However, since rhythm sections provide the underpinning for a performance by the lead instruments and vocalists. Some of the most accomplished rhythm sections have become famous, such as The Band, The E Street Band and Sly Dunbar, as well, in some popular bands, all of the band members, including rhythm section members, have become famous as individuals. In each style of music, there are different musical approaches and styles that rhythm section members are expected to use, drummers and percussionists are expected to be able to improvise or prepare rhythm parts that suit the style of a given song. In some cases, an arranger, orchestrator or composer will provide a bass part or drum part written in music notation. Rhythm section members may be expected to sing backup vocals or harmony parts in some styles of music, in some types of heavy metal music, rhythm section members may be expected to be able to headbang while performing. Less commonly, some rhythm section members may sing lead vocals, in some groups, one rhythm section member may have other roles, such as bandleader, conductor, songwriter, composer or arranger
Rhythm section
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In the Rolling Stones, shown here in 1965, the rhythm section consisted of electric guitar, electric bass, and drums, who provided the beat and chords for lead singer Mick Jagger to sing over.
Rhythm section
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Two members of
Duke Ellington 's rhythm section at the Hurricane Ballroom: a jazz guitarist and an upright bass player.
Rhythm section
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This Polish group's rhythm section consists of a Hammond organist, an electric bassist, and a drummer.
Rhythm section
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Jazz is one of the styles that often features rhythm section members on solos.
25.
Maiden Voyage (composition)
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Maiden Voyage is a jazz composition by Herbie Hancock from his 1965 album Maiden Voyage. It features Hancocks quartet – trumpeter Freddie Hubbard, bassist Ron Carter and drummer Tony Williams – with additional saxophonist George Coleman and it is one of Hancocks best-known compositions and has become a jazz standard. The piece was used in a Fabergé commercial and was listed on the albums master tape as TV Jingle until Hancocks sister came up with the new name. In the liner notes for the Maiden Voyage album, Hancock states that the composition was an attempt to capture the splendor of a vessel on its maiden voyage. The Real Book also spells the fourth chord as A♭-7/D♭, while Owens spells it C♯mi13. The pitches of C♯mi9 are C♯ E G♯ B D♯ and the pitches of A♭-7/D♭ enharmonically, bop on his 1988 album Perfect Machine. American rock band Toto covered the piece on their 2002 album Through the Looking Glass, american jam band Phish has been known to cover the piece in their live shows, and a recording of it appears on their live album Colorado 88. Robert Glasper performed a cover of Maiden Voyage interspersed into the Radiohead song Everything In Its Right Place on the album In My Element, bobby Hutcherson performed a version with Hancock on his 1966 album Happenings. American rock/jazz band Blood, Sweat & Tears covered Maiden Voyage on their 1972 album New Blood, joey Alexander performed a cover on his 2016 album Countdown
Maiden Voyage (composition)
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Opening chord: minor
eleventh chord (Am9/D). Play (
help ·
info)
26.
Rockit (song)
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Rockit is a composition recorded by jazz pianist Herbie Hancock and produced by Bill Laswell. Hancock released it as a single from his 1983 album Future Shock, the selection was composed by Hancock, producer Laswell, and synthesizer/drum machine programmer Michael Beinhorn. Constructed and composed during the process at various studios, including RPM. Some years later, turntablists such as DJ Qbert and Mix Master Mike cited the composition as revelatory in the documentary film Scratch, the single was a major radio hit in the United Kingdom and a popular dance club record in the United States. Hancock himself appears, and plays keyboard, only as an image on a television receiver, rockit was sampled in the 2006 Janet Jackson song So Excited. Rockit was studied for the music and art portion of the 1990-1991 Academic Decathlon competition, the musical focus for that year was Music of the Post-World War II era. Rockit was performed at the 1985 Grammy Awards Ceremony in Los Angeles, California, in the famous synthesizer jam with other contemporaries Howard Jones, Thomas Dolby, rockit appears in the film Zoolander, where it is used to break Dereks hypnotism during the finale catwalk scene. Rockit was used for the radio program Showboat on Soccer AM, rockit was featured when Chris Skelton danced in Episode 5 of Series 3 on the BBC TV show Ashes to Ashes. Rockit was featured on Season 3, episode 4 of 30 Rock during a moment when NBC page Kenneth is shown street-dancing for side cash. Rockit was featured on The Simpsons episode Treehouse of Horror XVI and it shows a robot playing it on a synthesizer whilst a pair of robotic legs are dancing in time to the music, parodying the music video. A similar tune is heard in the sketch episode The Extras, a group of senior citizens dance to the tune
Rockit (song)
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"Rockit"
27.
River: The Joni Letters
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River, The Joni Letters is a 2007 album by jazz pianist Herbie Hancock. It is an album, featuring covers of songs originally written. It is Hancocks 47th studio album and it was released on September 25,2007 by Verve Records. Guest vocalists on River include Leonard Cohen, Tina Turner, Norah Jones, Corinne Bailey Rae, Luciana Souza, the album won the Grammy Award for Album of the Year in 2008. It peaked at #5 on the Billboard 200 after enjoying a huge post-Grammy sales boost, at #61 in Switzerland, #70 in France, on February 10,2008, the album won the Album of the Year and Best Contemporary Jazz Album at the 50th Annual Grammy Awards. The Album of the Year award surprised the world, Hancock had faced competition from major-selling artists Kanye West, Foo Fighters, Amy Winehouse. River was only the second album to win Album of the Year in the awards history. The track Both Sides Now was also nominated for Best Jazz Instrumental, all songs were written by Joni Mitchell, except where noted
River: The Joni Letters
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River: The Joni Letters
28.
Getz/Gilberto
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Getz/Gilberto is a 1964 jazz-bossa nova album by American saxophonist Stan Getz and Brazilian guitarist João Gilberto, featuring composer and pianist Antônio Carlos Jobim. Its release helped fuel the bossa nova craze in the United States and internationally, becoming the first Grammy Award-winning album from non-American artists. It brought together Stan Getz, who had performed the genre on his LP Jazz Samba, João Gilberto, and Jobim, a celebrated Brazilian composer. It became one of the jazz albums of all time, and turned Astrud Gilberto. The painting on the cover is by Olga Albizu and it won the 1965 Grammy Awards for Best Album of the Year, Best Jazz Instrumental Album – Individual or Group and Best Engineered Album, Non-Classical. The Girl from Ipanema also won the award for Record of the Year in 1965 and this was the first time a jazz album received Album of the Year. It was the jazz album to win the award until Herbie Hancocks River, The Joni Letters 43 years later. Vibe – Included in Vibes 100 Essential Albums of the 20th Century, in 2012, Rolling Stone ranked the album number 447 on its list of The 500 Greatest Albums of All Time. It was listed by Rolling Stone Brazil as one of the 100 best Brazilian albums in history, the album was inducted into the Latin Grammy Hall of Fame in 2001. The album was included in Robert Dimerys 1001 Albums You Must Hear Before You Die
Getz/Gilberto
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Getz/Gilberto
29.
Illinois
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Illinois is a state in the midwestern region of the United States, achieving statehood in 1818. It is the 6th most populous state and 25th largest state in terms of land area, the word Illinois comes from a French rendering of a native Algonquin word. For decades, OHare International Airport has been ranked as one of the worlds busiest airports, Illinois has long had a reputation as a bellwether both in social and cultural terms and politics. With the War of 1812 Illinois growth slowed as both Native Americans and Canadian forces often raided the American Frontier, mineral finds and timber stands also had spurred immigration—by the 1810s, the Eastern U. S. Railroads arose and matured in the 1840s, and soon carried immigrants to new homes in Illinois, as well as being a resource to ship their commodity crops out to markets. Railroads freed most of the land of Illinois and other states from the tyranny of water transport. By 1900, the growth of jobs in the northern cities and coal mining in the central and southern areas attracted a new group of immigrants. Illinois was an important manufacturing center during both world wars, the Great Migration from the South established a large community of African Americans in Chicago, who created the citys famous jazz and blues cultures. Three U. S. presidents have been elected while living in Illinois, Abraham Lincoln, Ulysses S. Grant, additionally, Ronald Reagan, whose political career was based in California, was the only U. S. president born and raised in Illinois. Today, Illinois honors Lincoln with its official slogan, Land of Lincoln. The Abraham Lincoln Presidential Library and Museum is located in the capital of Springfield. Illinois is the spelling for the early French Catholic missionaries and explorers name for the Illinois Native Americans. American scholars previously thought the name Illinois meant man or men in the Miami-Illinois language and this etymology is not supported by the Illinois language, as the word for man is ireniwa and plural men is ireniwaki. The name Illiniwek has also said to mean tribe of superior men. The name Illinois derives from the Miami-Illinois verb irenwe·wa he speaks the regular way and this was taken into the Ojibwe language, perhaps in the Ottawa dialect, and modified into ilinwe·. The French borrowed these forms, changing the ending to spell it as -ois. The current spelling form, Illinois, began to appear in the early 1670s, the Illinois name for themselves, as attested in all three of the French missionary-period dictionaries of Illinois, was Inoka, of unknown meaning and unrelated to the other terms. American Indians of successive cultures lived along the waterways of the Illinois area for thousands of years before the arrival of Europeans, the Koster Site has been excavated and demonstrates 7,000 years of continuous habitation
Illinois
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Mississippian copper plate found at the Saddle Site in
Union County, Illinois
Illinois
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Flag
Illinois
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Illinois in 1718, approximate modern state area highlighted, from Carte de la Louisiane et du cours du Mississipi by
Guillaume de L'Isle.
Illinois
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Native women and children fleeing the
Battle of Bad Axe during the
Black Hawk War
30.
Herb Jeffries
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Herb Jeffries was an American actor of film and television and popular music and jazz singer-songwriter, known of his baritone voice. He was of African descent and Hollywoods first singing black cowboy, in the 1940s and 1950s Jeffries recorded for a number of labels, including RCA Victor, Exclusive, Coral, Decca, Bethlehem, Columbia, Mercury and Trend. His album Jamaica, recorded by RKO, is an album of self-composed calypso songs. He starred in several low-budget race Western feature films aimed at audiences, Harlem on the Prairie, Two-Gun Man from Harlem, Rhythm Rodeo, The Bronze Buckaroo. He also acted in other films and television shows. During his acting career he was billed as Herbert Jeffrey. Jeffries was born Umberto Alexander Valentino in Detroit to a white Irish mother who ran a rooming house and his father, whom he never knew, was of mixed Sicilian, French, Italian and Moorish roots. He also claimed that his paternal great-grandmother was an Ethiopian with the surname of Carey, firm evidence of Jeffries’s race and age is hard to come by, but census documents from 1920 described him as mulatto and listed his father as a black man named Howard Jeffrey. Jeffries himself, late in life, said that Howard Jeffrey was his stepfather, and his father was Domenico Balentino. In marked contrast, Jeffries used make-up to darken his skin in order to pursue a career in jazz, much later in his career, Jeffries identified as white for economic or highly personal reasons. Jet reported that Jeffries identified as White and stated his name as Herbert Jeffrey Ball on an application in order to marry Tempest Storm in 1959. Jeffries told the reporter for Jet, im not passing, I never have, I never will. For all these years Ive been wavering about the question on the blanks. Suddenly I decided to fill in the blank the way I look, look at my blue eyes, look at my brown hair, look at my color. My mother was 100 per cent white, Jeffries said, his blue eyes glinting in the New York sun and my father is Portuguese, Spanish, American Indian, and Negro. How in the hell can I identify myself as one race or another, raised in Detroit, Jeffries grew up a ghetto baby in a mixed neighborhood without encountering severe racism as a child. In the aftermath of the Wall Street Crash of 1929, he dropped out of school to earn a living as a singer. He showed great interest in singing during his teenage years and was often found hanging out with the Howard Buntz Orchestra at various Detroit ballrooms
Herb Jeffries
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Herb Jeffries
