Chicago The Musical – All That Jazz
|
|
Jazz Spirituals Musical $10.33 Jazz Spirituals Musical |
|
|
Octet and Sextette Play Jamaican Jazz/Musical Offering $19.67 Octet and Sextette Play Jamaican Jazz/Musical Offering |
|
|
Jazz $74.77 The eleventh edition of this trusted text takes students on an extraordinary musical journey through the changing styles and the fascinating history of jazz. With a strong emphasis on listening and an outstanding photo program, Jazz offers an insider’s vi |
|
|
A Life In Jazz: A Musical Biography $4.99 For everything you do, there’s a song that hits the spot. MOG brings them all to you: a world of music on demand, unlimited mobile downloads and ways to discover music free from the limitations of Pandora. The music you love, with you everywhere you go. |
|
|
And All That Jazz $3.99 By Kander & Ebb and Chicago (Musical). Jazz; Musical/Show; Standards. Piano. 6 pages. Published by Hal Leonard – Digital Sheet Music |
|
|
Jazz The Basics $16.39 Jazz: The Basics gives a brief introduction to a century of jazz, ideal for students and interested listeners who want to learn more about this important musical style. The book is organized chronologically, focusing on the major eras in jazz’s growth and |
|
|
Musical Echoes $19.37 Musical Echoes tells the life story of the South African jazz vocalist Sathima Bea Benjamin. Born in Cape Town in the 1930s, Benjamin came to know American jazz and popular music through the radio, movies, records, and live stage and dance band performanc |
|
|
Musical Time: A Source Book for Jazz Drumming $13.64 Master drummer Ed Soph – a veteran of ensembles including the Stan Kenton and Woody Herman big bands and smaller groups including such notables as Marvin Stamm and Clark Terry – hosts this musical instruction program on how to master time keeping in a jazz-driven percussion section. Additional subtopics covered by Soph include setting up a drum set, playing accents, creating comping patterns and much more, supplemented by trio performances and on-camera demonstrations that bring the principles to life. ~ Nathan Southern, Rovi |
|
|
Musical Note Silhouettes Pkg/12 $4.99 Jazz up your wall with our Musical Note Silhouettes. These two-sided paper musical notes range in sizes from 12 inches to 21 inches tall and come in a package of 12. The Musical Note Silhouettes make the perfect accent for any 50’s, jazz or musical theme party! |
|
|
Jazz and Bossa $12.52 2008 release from the Jazz bass legend, a musical exploration of the wonderful sounds of Jazz and Bossa Nova. Nine tracks including ‘Saudade’, ‘Salt Song (Cancao Do Sal)’ and ‘Whisper Not’. Blue Note. |
|
|
Europafest: Jazz Highlights $11.69 Europafest: Jazz Highlights travels not to a musical event christened ‘Europafest’ (as might be expected from the title), but to the Days of Jazz festival in Stuttgart, Germany, where jazz musicians who hail from a host of backgrounds and musical subgenre |
|
|
Musical $26.91 Musical |
|
|
Retro Jazz: Retro Jazz $15.29 As the quiet solace of the night envelopes a bustling city, sway to the genial, sensual tempo of jazz classics with Retro Jazz?Jazz FM in the City. Led by Grammy nominated vocalist Jane Monheit, the album gathers the top jazz voices from around the world. Elegant and timeless, their alluring tunes shall draw you into a golden age of jazz, revisit If You Love Me, an adaption of ?dith Piaf’s classic Hymne ? l’amour; Body and Soul, which was covered by musical greats like Ella Fitzgerald and Billie Holiday; soul master Ray Charles’ 1961 Billboard chart topper, Unchain My Heart; the widely adored Summertime from American composer Gershwin’s masterpiece Porgy and Bess, Charles Trenet’s evergreen Beyond the Sea (English version of La Mer); the theme song of Andrew Lloyd Webber’s Evita, Don’t Cry For Me Argentina; soul guru Marvin Gaye B’s Billboard Top 7 classic Trouble Man, and Till There Was You from Meredith Willson’s 1957 musical play The Music Man, which was covered by The Beatles and Peggy Lee. Let these 29 heartstring-tugging melodies paint our urban solitude in the most delightful shade of auditory pleasure |
|
|
Cuban Jazz $8.05 Cuban expatriate {$Alfredo Rodriguez} performs on {\Cuban Jazz} with {$Los Acerek�}, a group of close musical friends who play with a number of Cuban groups. It’s a pretty basic session of {\Cuban jazz}, with some fine players pitching in to provide work |
|
|
”I wanna take you higher”: The stylistic development and cultural dissemination of post-psychedelic funk music. $49.99 A traditional history of rock music divides up the genre into chronologically discrete eras, the fifties, the sixties and the seventies. Due to its convoluted influence streams, black popular music, especially funk must be looked at differently. Following on from the narrowly defined funk of James Brown, the second-wave of funk groups such as Sly and the Family Stone and Funkadelic allied themselves to the late-sixties psychedelic rock movement. Essentially funk was black music and rock was white, and the pivotal figure that connected these two movements was Jimi Hendrix.;Contemporaneous soul albums were referencing jazz, which had by the early seventies, become wholly appropriated by white musicians. Funk became a tool for the re-appropriation of African and African American musical idioms. In doing so it set itself up as a parallel and an alternative to mainstream rock, a sort of black rock analogous to punk rock music’s relationship to mainstream rock a generation later. Indeed the parallels between funk and punk run deep. Funkadelic, during their brief spell in Detroit were part of the same underground scene as some of the founding figures of punk namely, Iggy Pop and the MC5. Funk gave voice to the expression of urban alienation felt by many African-Americans in the seventies, but it also, at first through the use of funk in blaxploitation films, became a symbol of vice, funk being the soundtrack to both seventies cop-dramas and seventies pornography.;Ultimately, funk was subsumed by the disco movement, a genre that it had helped create. Yet funk was to reappear again in the eighties as the instrumental basis for hip-hop. The cross-section of this time period most closely addressed in this dissertation is the early seventies, and in particular 1971, looking at two seminal funk albums from this year, There’s a Riot Goin’ On by Sly and the Family Stone and Maggot Brain by Funkadelic. Both these albums demonstrate how the influence of the white musical |
|
|
”Just another one of God’s gifts”: Prince, African-American masculinity, and the sonic legacy of the eighties. $49.99 The popular recording artist Prince is known for his ability to fuse musical styles considered mutually exclusive on the basis of race—funk and new-wave, R&B and hard rock. Prince has also made a name for himself by moving between different identities—sexual savant, devout man of god, androgynous sprite—a strategy that fit the 1980s, an era of shifting identity politics. This dissertation expands on previous scholarly work, which has claimed Prince as a quintessentially “post-modern” figure, by showing how his music manifests a history of the struggle for African-American self-representation. As an artist well versed in American pop history and deeply engaged with the black church, Prince was bringing the liberatory strategies of African-American culture to bear even as he de-constructed gender and sexuality. This dissertation takes a fresh approach to the question of music and identity: by analyzing Prince’s music with an ear for particular genre references, I present a snapshot of racial politics, music, and American society during a time period that few scholars have yet addressed. Musical genre is the discursive arena in which popular musicians navigate identity and history, and in each of my chapters I have focused on how Prince manipulates genre references, taking instrumental idioms as the signifiers of genre and identity. My introduction considers Prince’s use of the guitar, a “white” rock instrument; chapter one deals with keyboard synthesizers, and how Prince blended R&B horn idioms with new-wave music; chapter two discusses the relationship between funk drumming and black identity, exploring Prince’s symphonic transformations of the funk and his ambivalence to hip-hop. Chapter three connects Prince’s vocal styles to gospel music and the cosmology of the black church; and chapter four details how Prince re-integrated horns into his music, engaging with jazz and R&B as a way to reclaim black musical history. In its blend of musicology, |
|
|
”Just another one of God’s gifts”: Prince, African-American masculinity, and the sonic legacy of the eighties. $49.99 The popular recording artist Prince is known for his ability to fuse musical styles considered mutually exclusive on the basis of race—funk and new-wave, R&B and hard rock. Prince has also made a name for himself by moving between different identities—sexual savant, devout man of god, androgynous sprite—a strategy that fit the 1980s, an era of shifting identity politics. This dissertation expands on previous scholarly work, which has claimed Prince as a quintessentially “post-modern” figure, by showing how his music manifests a history of the struggle for African-American self-representation. As an artist well versed in American pop history and deeply engaged with the black church, Prince was bringing the liberatory strategies of African-American culture to bear even as he de-constructed gender and sexuality. This dissertation takes a fresh approach to the question of music and identity: by analyzing Prince’s music with an ear for particular genre references, I present a snapshot of racial politics, music, and American society during a time period that few scholars have yet addressed. Musical genre is the discursive arena in which popular musicians navigate identity and history, and in each of my chapters I have focused on how Prince manipulates genre references, taking instrumental idioms as the signifiers of genre and identity. My introduction considers Prince’s use of the guitar, a “white” rock instrument; chapter one deals with keyboard synthesizers, and how Prince blended R&B horn idioms with new-wave music; chapter two discusses the relationship between funk drumming and black identity, exploring Prince’s symphonic transformations of the funk and his ambivalence to hip-hop. Chapter three connects Prince’s vocal styles to gospel music and the cosmology of the black church; and chapter four details how Prince re-integrated horns into his music, engaging with jazz and R&B as a way to reclaim black musical history. In its blend of musicology, |
|
|
”Lily Park” for symphony orchestra. $49.99 Composers have long been interested in authentic materials from their own national heritage. Many composers favored folk-based melodies and rhythms. Bela Bartok, for example, collected volumes of Hungarian folk and gypsy melodies throughout his life. Igor Stravinsky’s three ballets (Firebird, Petrushka, and The Rite of Spring) are also famous for their employment of folk melodies and primitive rhythms. American composers such as Charles Ives and Aaron Copland represented ‘Americana’ through the use of American pop music, jazz, and folk songs in their compositions. Much of the music of composers who emigrated to foreign countries represents strong implications of nationalism. These composers’ efforts to remember their origins, as well as nostalgia for their native culture, were expressed in their music. These qualities appear most interestingly in Asian composers such as Toru Takemitsu and Isang Yun. Despite the drastic difference between Asian and Western music, the two contrasting idioms are handled similarly by these two composers. They not only use non-Western musical materials such as folk melodies and rhythms, but also employ Asian titles, concepts, and traditional instruments to represent Asian inspiration in their music.;The composition Lily Park consists of three movements, entitled Wind Bell, Goblin Lights, and Rock of Ages . The three movements are based on my personal impressions of the cemetery Lily Park, located near Deagu, Korea, where all my grandparents are buried. In this composition, Western musical idioms are integrated with the composer’s Asian musical heritage. The concept of Lily Park , which is purely non-Western in origination, is realized by utilizing compositional techniques and concepts that have been developed by Western composers, such as tone color, tonality, pitch-class set theory, and serialism, with an ensemble that consists of Western instruments. These ideas are combined with Asian materials such as exotic scales, extended |
|
|
”Soundtrack for the imagination”: The career and compositions of Wayne Shorter. $49.99 Wayne Shorter’s compositional style has helped to define many of the techniques in jazz writing since his career began in the late 1950s. In this thesis, I will explore a number of Shorter’s most innovative and historically important compositions and arrangements over the course of his career spanning from his time with Art Blakey’s Jazz Messengers, Miles Davis, Weather Report, and his own groups. These pieces will be analyzed melodically and harmonically as well as their structurally and texturally. Throughout each musical era of jazz over which Shorter’s career extended, each piece will illustrate several significant qualities in his writing including unorthodox harmonic changes, melodies that incorporate scales more common in improvisation, and structural variation. The later pieces discuss the aural effects of his critically panned music as the introduction of electronic instruments into jazz music and its subsequent blending of elements from popular styles greatly impact the sound and form, but not necessarily the complexity of the music. Most importantly, by including discussions of Shorter’s life, philosophy of music, and his inspirations for a number of the works presented, we can begin to understand the compositional process of a musician who even in his own circles exudes an air of an eccentric genius. While the music studied presents only a microcosm of his total output, the analysis of the selected pieces combined with the musical interpretation of the composer will establish Shorter’s place in the pantheon of jazz composers. |
|
|
”Soundtrack for the imagination”: The career and compositions of Wayne Shorter. $49.99 Wayne Shorter’s compositional style has helped to define many of the techniques in jazz writing since his career began in the late 1950s. In this thesis, I will explore a number of Shorter’s most innovative and historically important compositions and arrangements over the course of his career spanning from his time with Art Blakey’s Jazz Messengers, Miles Davis, Weather Report, and his own groups. These pieces will be analyzed melodically and harmonically as well as their structurally and texturally. Throughout each musical era of jazz over which Shorter’s career extended, each piece will illustrate several significant qualities in his writing including unorthodox harmonic changes, melodies that incorporate scales more common in improvisation, and structural variation. The later pieces discuss the aural effects of his critically panned music as the introduction of electronic instruments into jazz music and its subsequent blending of elements from popular styles greatly impact the sound and form, but not necessarily the complexity of the music. Most importantly, by including discussions of Shorter’s life, philosophy of music, and his inspirations for a number of the works presented, we can begin to understand the compositional process of a musician who even in his own circles exudes an air of an eccentric genius. While the music studied presents only a microcosm of his total output, the analysis of the selected pieces combined with the musical interpretation of the composer will establish Shorter’s place in the pantheon of jazz composers. |
|
|
‘Round Midnight $6.99 A French music lover befriends a once-great American jazz artist and attempts to save him from self-destruction in this moody drama. Saxophonist Dexter Gordon portrays Dale Turner, a fictional musician inspired by a number of famed jazz figures, including Bud Powell and Lester Young. Largely forgotten in his home country, Turner has moved to Paris in search of a more appreciative audience. He finds it in the form of Francis Borler (Francois Cluzet), a bebop aficionado who befriends the expatriate player. Borler soon becomes familiar with Turner’s darker side, including his struggles with alcoholism, drug addiction, and depression. Fearing for the musician’s life, the fan becomes his caretaker, an arrangement that leads to a brief improvement in Turner’s health and fortunes but places great emotional strain upon them both. Director Bertrand Tavernier pays great attention to the visual and aural details of the jazz world, with outstanding musical supervision provided by Herbie Hancock. ‘Round Midnight’s greatest asset, however, is Gordon’s Academy Award-nominated performance, informed by his own life experiences. His naturally fascinating presence combines with the film’s obvious love of the music and its milieu to provide what many have hailed as one of the more authentic and affectionate presentations of the jazz world on the silver screen. ~ Judd Blaise, Rovi |
|
|
(Re)Conception $19.98 Helen Sung has made great strides since winning the 2007 Mary Lou Williams Piano Competition. Recruiting two of the most in-demand rhythm players for this trio date, bassist Peter Washington and drummer Lewis Nash, the pianist mixes things up with fresh arrangements of standards, time-tested jazz compositions, and a few less frequently played works. Her swinging take of Duke Ellington’s “C Jam Blues” begins with a playful exchange with Washington before launching into the familiar theme, with the walking bass and light percussion propelling her inventive improvising as she avoids the clich? d route through this jazz standard. She also offers a snappy midtempo setting of the maestro’s “Everything But You,” playfully incorporating “Things Ain’t What They Used to Be” before she turns on the afterburners in her superb solo. Her punchy take of George Shearing’s “(Re)Conception” reveals the potential of this neglected bop gem. Thelonious Monk’s “Teo” is another overlooked piece, though Sung transforms it into a rapid-fire Bud Powell-flavored romp. Jerry Bock’s “Far from the Home I Love” (from the musical Fiddler on the Roof) is not typically heard much on jazz record dates, but Sung delivers a sentimental yet shimmering interpretation. Her bright rendition of Burt Bacharach’s “Wives and Lovers” puts the spotlight on the talented Washington for an extensive solo. Sung also contributed one original, the lively, constantly shifting “Duplicity.” Helen Sung is clearly one artist to watch among the musicians of her generation. ~ Ken Dryden, Rovi |
|
|
…For the Ghosts Within $13.98 For the Ghosts Within, Robert Wyatt’s collaboration with Gilad Atzmon and Ros Stephen, is a set of seven standards from jazz, theater, pop, and film, balanced by four provocative originals. Stephen recorded strings, double bass, and a scratch vocal first; Wyatt added proper ones later; and this was handed off to Atzmon, who added reeds, winds, electronics, and accordion, and produced the finished product. The process sounds cold and disembodied; the recording, anything but. It opens with Johnny Mercer’s haunting “Laura,” with Wyatt providing one of the most vulnerable vocals of his career over Stephen’s Sigamos String Quartet, Richard Pryce’s upright bass, and Atzmon’s alto saxophone. It’s riveting for its nocturnal nakedness despite the warmth of the strings. “Lullaby for Irena,” by Stephen and Alfreda Benge, begins with murky electronics and Atzmon playing an Eastern modal theme on clarinet. The strings introduce Western classical harmony before Pryce and Wyatt enter, haltingly, allowing the musical spaces between his words their full measure. It is a love song so full of gratitude it is nearly heartbreaking. The title track, by Atzmon and Benge, features Tali Atzmon on lead vocals with various reeds winds, accordion, and even a Palestinian shepherd’s flute by Gilad Atzmon. The exotic, sampled percussive effects create a sense of haunted drama as Stephen and Wyatt underscore them with a backing chorus that transports the listener to an aural terrain between jazz and Middle Eastern folk styles. These three tracks provide a blueprint for most of what follows: Wyatt’s vocal interpretations of Thelonious Monk’s “‘Round Midnight,” Billy Strayhorn’s “Lush Life,” and Duke Ellington’s “In a Sentimental Mood” stand outside the jazz repertoire, but, because of Wyatt’s extraordinary, uncategorizable voice, offer a fresh, expansive, and elegant reading of standards that don’t lose their connecting threads. That said, the version of “What a Wonderful World” bea… |
|
|
1 Inch: ? Mile $15.98 The days when you could count on Ninja Tune to consistently deliver dark electronica, nu jazz, and weirded-out hip-hop seem to have come to an end, and good for them. Musical curve balls are always healthy, and the debut from this British duo curves all over the place. Andrew Phillips and Marcus O’Dair have been making off-kilter electro-pop together since 2008, and their sound is a wild and often claustrophobic mishmash of digital and analog sources: cheap-sounding keyboards, broken drum machines, samples taken from ancient shellac records, their own vocals, and other frankly unidentifiable sound sources all jostle each other for a place on the duo’s cramped soundstage. The results are frequently impressive and tend to grow on you with repeated listens, gradually giving up their multi-layered secrets. The aptly titled “Old Machines,” for example, puts piles of odd and creepy mechanical sounds at the top of the mix, nearly hiding its blissfully jaunty groove and straight-faced, laid-back vocals; “Meltwater,” for all its own sonic weirdness, turns out to be deeply hooky. “The Tin Man,” on the other hand, is operatically weird (are those Beijing opera samples?), while “Muppet” passes gradually from straight-up bouncy synth pop fun into frightening aural chaos. That kind of juxtaposition comes up over and over again on this complex and ultimately entrancing album. ~ Rick Anderson, Rovi |
|
|
1,000 Recordings to Hear Before You Die $21.37 The musical adventure of a lifetime. The most exciting book on music in years. A book of treasure, a book of discovery, a book to open your ears to new worlds of pleasure. Doing for music what Patricia Schultz author of the phenomenal 1,000 Places to See Before You Die does for travel, Tom Moon recommends 1,000 recordings guaranteed to give listeners the joy, the mystery, the revelation, the sheer fun of great music. This is a book both broad and deep, drawing from the diverse worlds of classical, jazz, rock, pop, blues, country, folk, musicals, hip-hop, world, opera, soundtracks, and more. It’s arranged alphabetically by artist to create the kind of unexpected juxtapositions that break down genre bias and broaden listeners horizons it makes every listener a seeker, actively pursuing new artists and new sounds, and reconfirming the greatness of the classics. Flanking J. S. Bach and his six entries, for example, are the little-known R&B singer Baby Huey and the ’80s Rastafarian hard-core punk band Bad Brains. Farther down the list: The Band, Samuel Barber, Cecelia Bartoli, Count Basie, and Afropop star Waldemer Bastos. Each entry is passionately written, with expert listening notes, fascinating anecdotes, and the occasional perfect quote Your collection could be filled with nothing but music from Ray Charles, said Tom Waits, and you’d have a completely balanced diet. Every entry identifies key tracks, additional works by the artist, and where to go next. And in the back, indexes and playlists for different moods and occasions. |
|
|
10 Inch Blues Guitar Speaker; 100W; 8 Ohms – DELTADEMON $72.99 delta demon a wicked 10 American guitar speaker with deep Delta Blues tone Extremely balanced, dark, creamy smooth tone * Ideal For – Jazz, Delta Blues, and Classical* Impedance – 8 ohms* Power Rating – 100W* Maximum Power – * Frequency Response – 80Hz-3kHz* Voice Coil Diameter – 2, 50.8mm* Depth – 3.8, 97mm* Coil Contruction – Copper voice coil* Magnet Composition – Ferrite magnet* Cone composition – Paper Cone* Nominal Basket Diameter – 10, 254mm* Sensitivity – 96.9* Magnet Weight – 30 oz.* Core Details – Vented core* Coil Former – Polyimide former |