Richter 858 is a 2005 studio album by American jazz guitarist Bill Frisell consisting of improvised music inspired by the paintings of German artist Gerhard Richter. The album features Eyvind Kang, Jenny Scheinman and Hank Roberts. Richter 858 was released as part of a limited-edition volume of Gerhard Richter's paintings which contained poetry and essays by Dave Hickey and Klaus Kertess inspired by the artist's work; the album was rereleased in 2005 on the Songlines label with a CD-ROM with MP3 music to accompany a slide show of the paintings, which are reproduced in an accompanying booklet. The Allmusic review by Sean Westergaard awarded the album 4 stars, stating, "This is a interesting new sound for Bill Frisell, this band is developing more music together outside the scope of the original project. Recommended.". All compositions by Bill Frisell. "858-1" – 7:58 "858-2" – 3:15 "858-3" – 4:13 "858-4" – 9:00 "858-5" – 4:34 "858-6" – 6:40 "858-7" – 6:34 "858-8" – 4:56 Bill Frisell – guitar, effects Eyvind Kang – viola Jenny Scheinman – violin Hank Roberts – cello
Okeh Records is an American record label founded by the Otto Heinemann Phonograph Corporation, a phonograph supplier established in 1916, which branched out into phonograph records in 1918. The name was spelled "OkeH", formed from the initials of Otto K. E. Heinemann, but changed to "OKeh". Since 1926, Okeh has been a subsidiary of Columbia Records, now itself a subsidiary of Sony Music. Today, Okeh is an imprint of a specialty label of Columbia. Okeh was founded by Otto K. E. Heinemann, a German-American manager for the U. S. branch of Odeon Records, owned by Carl Lindstrom. In 1916, Heinemann incorporated the Otto Heinemann Phonograph Corporation, set up a recording studio and pressing plant in New York City, started the label in 1918; the first discs were vertical cut, but the more common lateral-cut method was used. The label's parent company was renamed the General Phonograph Corporation, the name on its record labels was changed to OKeh; the common 10-inch discs retailed for 75 cents each, the 12-inch discs for $1.25.
The company's musical director was Fred Hager, credited under the pseudonym Milo Rega. Okeh issued popular songs, dance numbers, vaudeville skits similar to other labels, but Heinemann wanted to provide music for audiences neglected by the larger record companies. Okeh produced lines of recordings in German, Polish and Yiddish for immigrant communities in the United States; some were pressed from masters leased from European labels, while others were recorded by Okeh in New York. Okeh's early releases included music by the New Orleans Jazz Band. In 1920, Perry Bradford encouraged Fred Hager, the director of artists and repertoire, to record blues singer Mamie Smith; the records were popular, the label issued a series of race records directed by Clarence Williams in New York City and Richard M. Jones in Chicago. From 1921–1932, this series included music by Williams, Lonnie Johnson, King Oliver, Louis Armstrong. Recording for the label were Bix Beiderbecke, Bennie Moten, Frankie Trumbauer, Eddie Lang.
As part of the Carl Lindström Company, Okeh's recordings were distributed by other labels owned by Lindstrom, including Parlophone in the UK. In 1926, Okeh was sold to Columbia Records. Ownership changed to the American Record Corporation in 1934, the race records series from the 1920s ended. CBS bought the company in 1938. OkeH was a label for rhythm and blues during the 1950s, but jazz albums continued to be released, as in the work of Wild Bill Davis and Red Saunders. General Phonograph Corporation used Mamie Smith's popular song "Crazy Blues" to cultivate a new market. Portraits of Smith and lists of her records were printed in advertisements in newspapers such as the Chicago Defender, the Atlanta Independent, New York Colored News, others popular with African-Americans. Okeh had further prominence in the demographic, as African-American musicians Sara Martin, Eva Taylor, Shelton Brooks, Esther Bigeou, Handy's Orchestra recorded for the label. Okeh issued the 8000 series for race records; the success of this series led Okeh to start recording music where it was being performed, known as remote recording or location recording.
Starting in 1923, Okeh sent mobile recording equipment to tour the country and record performers not heard in New York or Chicago. Regular trips were made once or twice a year to New Orleans, San Antonio, St. Louis, Kansas City, Detroit. Okeh releases grew infrequent after 1932, although the label continued into 1935. In 1940, after Columbia lost the rights to the Vocalion name by dropping the Brunswick label, the Okeh name was revived to replace it; the script logo design still in use today was introduced on a demonstration record announcing that event. The label was again discontinued in 1946 and revived yet again in 1951. In 1953, Okeh became an exclusive R&B label when its parent Columbia Records transferred Okeh's pop music artists to the newly formed Epic Records. In 1963, Carl Davis boosted Okeh's fortunes for a couple of years. Epic Records took over management of Okeh in 1965. Among the artists during Okeh's pop phase of the 50s and 60s were Johnnie Ray and Little Joe & the Thrillers. With soul music becoming popular in the 1960s, Okeh signed Major Lance, who gave the label two big successes with "The Monkey Time" and "Um, Um, Um, Um, Um, Um".
Fifties rocker Larry Williams found a musical home for a period of time in the 60s, recording and producing funky soul with a band that included Johnny "Guitar" Watson. He was paired with Little Richard, persuaded to return to secular music, he produced two Little Richard albums for Okeh Records in 1966 and 1967, which returned Little Richard to the Billboard album chart for the first time in ten years and produced the hit single "Poor Dog". He acted as the music director for Little Richard's live performances at the Okeh Club in Los Angeles. Bookings for Little Richard during this period skyrocketed. Williams recorded and released material of his own and with Watson, with some moderate chart success; this period produced some of Williams's best and most original work. Much of the success of Okeh in the 1960s was dependent on producer Carl Davis and songwriter Curtis Mayfield. After they left the label, Okeh slipped in sales and was retired by Columbia in 1970. In 1993, Sony Music reactivated the Okeh label as a new-age blues label.
Okeh's first new signings included G. Love & Special Sauce, Keb' Mo, Popa Chubby, Little Axe. Throughout the first year, in celeb
Telford Taylor was an American lawyer best known for his role as Counsel for the Prosecution at the Nuremberg Trials after World War II, his opposition to Senator Joseph McCarthy in the 1950s, his outspoken criticism of U. S. actions during the Vietnam War in the 1960s and 1970s. Taylor was born on February 1908, in Schenectady, New York, his parents were Marcia Estabrook Jones. He attended Williams College and Harvard Law School, where he received his law degree in 1932. During the 1930s, Telford worked for several government agencies. By 1935, he provided legal counsel to a subcommittee of the Senate Interstate Commerce Committee chaired by Burton K. Wheeler and whose members included the newly elected Harry S. Truman. In 1940, he became general counsel for the Federal Communications Commission. Following the outbreak of World War II, Taylor joined Army Intelligence as a Major on October 5, 1942, leading the American group at Bletchley Park, responsible for analyzing information obtained from intercepted German communications using ULTRA encryption.
He was promoted to Lieutenant Colonel in 1943 and visited England, where he helped negotiate the 1943 BRUSA Agreement. He was promoted to full Colonel in 1944, was assigned to the team of Robert H. Jackson, which helped work out the London Charter of the International Military Tribunal, the legal basis for the Nuremberg Trials. At the Nuremberg Trials, he served as an assistant to Chief Counsel Robert H. Jackson and in this function was the U. S. prosecutor in the High Command case. The indictment in this case called for the General Staff of the Army and the High Command of the German Armed Forces to be considered criminal organizations. Both organizations were acquitted; when Jackson resigned his position as prosecutor after the first trial before the IMT and returned to the U. S. Taylor was promoted to Brigadier General and succeeded him on October 17, 1946, as Chief Counsel for the remaining twelve trials before the U. S. Nuremberg Military Tribunals. In these trials at Nuremberg, 163 of the 200 defendants who were tried were found guilty in some or all of the charges of the indictments.
While Taylor was not wholly satisfied with the outcomes of the Nuremberg Trials, he considered them a success because they set a precedent and defined a legal base for crimes against peace and humanity. In 1950, the United Nations codified the most important statements from these trials in the seven Nuremberg Principles. After the Nuremberg Trials, Taylor returned to civilian life in the United States, opening a private law practice in New York City, he became concerned with Senator McCarthy's activities, which he criticized strongly. In a speech at West Point in 1953, he called McCarthy "a dangerous adventurer", branding his tactics "a vicious weapon of the extreme right against their political opponents" and criticizing president Dwight D. Eisenhower for not stopping McCarthy's "shameful abuse of Congressional investigatory power." He defended several victims of McCarthyism — alleged communists or perjurers — including labor leader Harry Bridges and Junius Scales. Although he lost these two cases, he remained unfazed by McCarthy's attacks on him, responded by writing the book, Grand Inquest: The Story of Congressional Investigations, published in 1955.
In 1961 Taylor attended the Eichmann trial in Israel as a semi-official observer, expressed concerns about the trial being held on a defective statute. Taylor became a full professor at Columbia University in 1962, where he would be named Nash Professor of Law in 1974. In 1966, he was elected a Fellow of the American Academy of Sciences, he was one of few professors there who refused to sign a statement issued by the Columbia Law School that termed the militant student protests at Columbia in 1968 as being beyond the "allowable limits" of civil disobedience. Taylor was critical of the conduct of U. S. troops in the Vietnam War, in 1971 urged President Richard Nixon to set up a national commission to investigate the conflict. He criticized the court-martial of Lt. William Calley, the commanding officer of the U. S. troops involved in the My Lai massacre. Taylor regarded the 1972 bombing campaign targeting the North Vietnamese capital, Hanoi, as "senseless and immoral". Taylor published his views in a book entitled Nuremberg and Vietnam: An American Tragedy in 1970.
He argued that by the standards employed at the Nuremberg Trials, U. S. conduct in Vietnam and Cambodia was criminal as that of the Nazis during World War II. For this reason, he favored prosecuting U. S. aviators. In 1976, a visiting professor at Harvard and Yale, accepted a new post at the Benjamin N. Cardozo School of Law at Yeshiva University, becoming a founding member of the faculty while continuing to teach at Columbia, his 1979 book, Munich: The Price of Peace, won the National Book Critics Circle Award for the "best work of general nonfiction". In the 1980s, he extended his legal activities into sports and became a "special master" for dispute resolution in the NBA, his 700-page 1992 memoir of the Nuremberg trials revealed how Nazi leader Hermann Göring had "cheated the hangman" by taking smuggled pois
Folk music includes traditional folk music and the genre that evolved from it during the 20th-century folk revival. Some types of folk music may be called world music. Traditional folk music has been defined in several ways: as music transmitted orally, music with unknown composers, or music performed by custom over a long period of time, it has been contrasted with classical styles. The term originated in the 19th century. Starting in the mid-20th century, a new form of popular folk music evolved from traditional folk music; this process and period is reached a zenith in the 1960s. This form of music is sometimes called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller, similar revivals have occurred elsewhere in the world at other times, but the term folk music has not been applied to the new music created during those revivals; this type of folk music includes fusion genres such as folk rock, folk metal, others. While contemporary folk music is a genre distinct from traditional folk music, in U.
S. English it shares the same name, it shares the same performers and venues as traditional folk music; the terms folk music, folk song, folk dance are comparatively recent expressions. They are extensions of the term folklore, coined in 1846 by the English antiquarian William Thoms to describe "the traditions and superstitions of the uncultured classes"; the term further derives from the German expression volk, in the sense of "the people as a whole" as applied to popular and national music by Johann Gottfried Herder and the German Romantics over half a century earlier. Though it is understood that folk music is music of the people, observers find a more precise definition to be elusive; some do not agree that the term folk music should be used. Folk music may tend to have certain characteristics but it cannot be differentiated in purely musical terms. One meaning given is that of "old songs, with no known composers", another is that of music, submitted to an evolutionary "process of oral transmission....
The fashioning and re-fashioning of the music by the community that give it its folk character". Such definitions depend upon " processes rather than abstract musical types...", upon "continuity and oral transmission...seen as characterizing one side of a cultural dichotomy, the other side of, found not only in the lower layers of feudal and some oriental societies but in'primitive' societies and in parts of'popular cultures'". One used definition is "Folk music is what the people sing". For Scholes, as well as for Cecil Sharp and Béla Bartók, there was a sense of the music of the country as distinct from that of the town. Folk music was "...seen as the authentic expression of a way of life now past or about to disappear" in "a community uninfluenced by art music" and by commercial and printed song. Lloyd rejected this in favour of a simple distinction of economic class yet for him true folk music was, in Charles Seeger's words, "associated with a lower class" in culturally and stratified societies.
In these terms folk music may be seen as part of a "schema comprising four musical types:'primitive' or'tribal'. Music in this genre is often called traditional music. Although the term is only descriptive, in some cases people use it as the name of a genre. For example, the Grammy Award used the terms "traditional music" and "traditional folk" for folk music, not contemporary folk music. Folk music may include most indigenous music. From a historical perspective, traditional folk music had these characteristics: It was transmitted through an oral tradition. Before the 20th century, ordinary people were illiterate; this was not mediated by books or recorded or transmitted media. Singers may extend their repertoire using broadsheets or song books, but these secondary enhancements are of the same character as the primary songs experienced in the flesh; the music was related to national culture. It was culturally particular. In the context of an immigrant group, folk music acquires an extra dimension for social cohesion.
It is conspicuous in immigrant societies, where Greek Australians, Somali Americans, Punjabi Canadians, others strive to emphasize their differences from the mainstream. They learn songs and dances that originate in the countries their grandparents came from, they commemorate personal events. On certain days of the year, such as Easter, May Day, Christmas, particular songs celebrate the yearly cycle. Weddings and funerals may be noted with songs and special costumes. Religious festivals have a folk music component. Choral music at these events brings children and non-professional singers to participate in a public arena, giving an emotional bonding, unrelated to the aesthetic qualities of the music; the songs have been performed, by custom, over a long period of time several generations. As a side-effect, the following characteristics are sometimes present: There is no copyright on the songs. Hundreds of folk songs from the 19th century have known authors but have continued in oral tradition to the point where they are considered traditional for purposes of music publishing.
This has become much less frequent since the 1940s. Today every folk song, recorded is credited with an arranger. Fusion of cultures: Because cultures interact and change over time
Savoy Records is an American record company and label established by Herman Lubinsky in 1942 in Newark, New Jersey. Savoy specialized in jazz and blues, gospel music. In September 2017, Savoy was acquired by Concord Bicycle Music. In the 1940s Savoy recorded some of the biggest names in jazz: Miles Davis, Erroll Garner, Dexter Gordon, J. J. Johnson, Fats Navarro, Charlie Parker. In 1948, it began buying other labels: Bop, Discovery and Regent, it reissued music from Jewel Records. In the early 1960s, Savoy recorded a number of avant-garde jazz artists, giving them important early exposure, they included Paul Bley, Ed Curran, Bill Dixon, Mark Levin, Charles Moffett, Perry Robinson, Joseph Scianni, Archie Shepp, Sun Ra, Marzette Watts, Valdo Williams. After Lubinsky's death in 1974, Clive Davis manager of Arista Records, acquired Savoy's catalogue. After that, Joe Fields of Muse Records purchased the catelogue from Arista. In 1986 Malaco Records acquired Savoy's black gospel contracts. In 2003, Savoy Jazz acquired the rights to the Landmark catalogues from 32 Jazz.
As of 2012, the Savoy library is controlled by Nippon Columbia, a public company based in Tokyo, which purchased Savoy in 1991. Nippon Columbia's wholly owned subsidiary, Savoy Jazz, handled Savoy Records distribution in the United States until 2009, when it entered a distribution arrangement with Warner Music Group. Many of the label's African-American artists begrudged the label's founder, Herman Lubinsky, feeling underpaid for their work. Tiny Price, a journalist for the African-American newspaper The Newark Herald News, said of Savoy and Lubinsky: There's no doubt everybody hated Herman Lubinsky. If he messed with you, you were messed. At the same time, some of those people, many of them Newark's top singers and musicians, would never have been exposed on records if he didn't do what he did. Except for Lubinsky, all the hot little numbers, like Buddy Johnson's "Cherry", would have been lost; the man may have been hated. Savoy's artistic directors included Buck Ram, Teddy Reig, Ralph Bass, Fred Mendelsohn, Ozzie Cadena.
The following are 12" LPs and have the prefix MG. Acorn Records Gospel Records Regent Records Sharp Records List of record labels Michel; the Savoy label: a discography. Discographies, no. 2. Greenwood Press. ISBN 0-31321199-X. LCCN 79007727. OCLC 5353729. Retrieved 24 August 2014. Official website SavoyJazz.com Savoy Records Discography Project Savoy Records on the Internet Archive's Great 78 Project
Allison Miller (drummer)
Allison Miller is an American, New York City-based drummer and teacher. She has recorded five albums as a bandleader: 5 AM Stroll, Boom Tic Boom, No Morphine-No Lilies, Live at Willisau, Otis Was a Polar Bear, as well as working as a session musician, her work with bands has included forming the band Honey Ear Trio with Rene Hart and Erik Lawrence and Bam with Toshi Reagon, her own band, Allison Miller's Boom Tic Boom. Miller has performed with songwriting vocalists Ani DiFranco, Natalie Merchant, Erin McKeown, toured with avant-garde saxophonist Marty Ehrlich and organist Doctor Lonnie Smith and folk-rock singer Brandi Carlile. 5am Stroll At The End of The Day, Agrazing Maze 2006 Boom Tic Boom Boom Tic Boom: Live at Wilisau No Morphine No Lilies featuring Boom Tic Boom Otis Was a Polar Bear featuring Boom Tic Boom Science Fair with Carmen Staaf Boom Tic Boom: Glitter Wolf Steampunk Serenade - Honey Ear Trio Swivel - Honey Ear Trio Lean - Lean No Walls - Virginia Mayhew Phantoms - Virginia Mayhew At The End of The Day - Agrazing Maze Tiny Resistors - Todd Sickafoose Red Letter Year - Ani Difranco Bear Creek - Brandi Carlile ¿Which Side Are You On?
- Ani Difranco The Stars Look Very Different Tonight - Ben Allison Last Things Last - Greg Cordez All About Jazz: Allison Miller Biography All About Jazz: Meet drummer Allison Miller 2012 Audio Interview with Allison Miller from Podcast "I'd Hit That"
Tzadik Records is a record label in New York City that specializes in avant-garde and experimental music. The label was established by composer and saxophonist John Zorn in 1995, he is the executive producer of all Tzadik releases. Tzadik is a cooperative record label. Tzadik has released over 400 albums by a variety of artists with diverse musical backgrounds, including free improvisation, noise, klezmer and experimental composition. On the label's catalogue are releases by Zorn himself and his multifaceted "songbook" group Masada. Official site