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| groovin high transcription: Groovin' High Alyn Shipton, 2001-07-19 Dizzy Gillespie was one of the most important and best-loved musicians in jazz history. With his horn-rimmed glasses, goatee, jive talk, and upraised trumpet bell, he was the hipster who most personified bebop. The musical heir to Louis Armstrong, he created the modern jazz trumpet-playing style and dazzled aficionados and popular audiences alike for over 50 years. In this first full biography, Alyn Shipton covers all aspects of Dizzy's remarkable life and career, taking us through his days as a flashy trumpet player in the swing bands of the 1930s, his innovative bebop work in the 1940s, the worldwide fame and adoration he earned through his big band tours in the 1950s, and the many recordings and performances which defined a career that extended into the early 1990s. Along the way, Shipton convincingly argues that Gillespie--rather than Charlie Parker as is widely believed--had the greatest role in creating bebop, playing in key jazz groups, teaching the music to others, and helping to develop the first original bebop repertory. Shipton also explores the dark side of Dizzy's mostly sunny personal life, his womanizing, the illegitimate daughter he fathered and supported--now a respected jazz singer in her own right--and his sometimes needless cruelty to others. For anyone interested in jazz and one of its most innovative and appealing figures, Groovin' High is essential reading. |
| groovin high transcription: Easy Improvisation Hal Leonard Corp., 2017-07-01 (Instrumental). Easy Improvisation is a great way to learn the basics of improvising, on your own, with friends, or with the whole band! Musicians are given guidance to play along in parts, to play along with written-out solos, or to improvise on their own. The audio tracks include demonstration of the music on the page, or just the background rhythms and chords. 30 different styles are included: rock 'n' roll, hip-hop, jazz, EDM, country, Bossa Nova, calypso, cha-cha, reggae, and more. Use sample solos and other tips to start improvising today! |
| groovin high transcription: Open the Door William R. Bauer, 2003-03-07 Presents the lifelong influence of Betty Carter's career and her music on the music world |
| groovin high transcription: Chasin' the Sound Brian Levy, Keith Waters, 2025-06-23 In Chasin' the Sound: Learning Jazz Improvisation through Historical Models, authors Brian Levy and Keith Waters use solos by famous jazz musicians to outline a melodic and rhythmic vocabulary of jazz improvisation. In contrast to mainstream approaches based on rote memorization and generic chord/scale pedagogies, Chasin' the Sound encourages hands-on learning with activities that highlight the intangible yet key aesthetics of sound, groove, and feel. By studying jazz fundamentals alongside well-known examples of those fundamentals in practice, students and instructors will gain a broader and more meaningful understanding of the art of improvisation. In addition to exploring the mechanics of what to play, Levy and Waters offer ideas on how to play the essential roles of timekeeping, comping, and soloing, and how to develop routines within these roles. Supported by classroom-tested exercises and hundreds of original annotated music examples, students will learn the core rhythmic and melodic tenets of jazz while studying and playing along with the improvised solos and accompaniments of Charlie Parker, Louis Armstrong, Lester Young, Sarah Vaughan, Bud Powell, Clifford Brown, Wes Montgomery, Miles Davis, Red Garland, Max Roach, Philly Joe Jones, Paul Chambers, John Coltrane, and Sonny Rollins, among many others. Throughout, Levy and Waters show that great soloists and accompanists do not in fact have an unlimited vocabulary but rather use limited melodic and rhythmic resources as modules for infinite recombination. Written for all experience levels, Chasin' the Sound is a substantial workout for students and instructors to build chops and knowledge along the way. |
| groovin high transcription: Sound Recording Technology and American Literature Jessica Teague, 2021-05-20 This book investigates the sustained engagement between American literature and sound recording technologies during the twentieth century. |
| groovin high transcription: Jazz Eddie S. Meadows, 2013-10-23 Jazz: Research and Pedagogy is the third edition of an annotated bibliography to books, recordings, videos, and websites in the field of jazz. Since the publication of the 2nd edition in 1995, the quantity and quality of books on jazz research, performance, and teaching materials have increased. Although the 1995 book was the most comprehensive annotated jazz bibliography published to that date, several books on research, performance, and teaching materials were omitted. In addition, given the proliferation of new books in all jazz areas since 1995, the need for a new, comprehensive, and annotated reference book on jazz is apparent. Multiply indexed, this book will serve as an excellent tool for librarians, researchers, and scholars in sorting through the massive amount of new material that has appeared in the field over the last decade. |
| groovin high transcription: Charlie Parker for Guitar (Songbook) Mark Voelpel, Charlie Parker, 2001-06-01 (Guitar Educational). This fascinating new book will let you explore the music of one of the 20th century's most influential musicians. For the first time ever, saxophonist Charlie Parker's legendary heads and improvised solos have been meticulously adapted for the guitar in standard notation and tablature. Includes these Parker classics complete with detailed performance notes: Anthropology * Au Privave * Billie's Bounce (Bill's Bounce) * Bloomdido * Blues (Fast) * Blues for Alice * Cheryl * Confirmation * Donna Lee * K.C. Blues * Kim * Ko Ko * Moose the Mooche * Now's the Time * Ornithology * Parker's Mood * Scrapple from the Apple * Yardbird Suite. |
| groovin high transcription: Yardbird Suite Lawrence O. Koch, 1988 A comprehensive study of jazz great Charlie Parker, including details of record dates, more than 200 musical illustrations, and biographical material arranged chronologically and linked with Parker's recordings. The Bird Stories are all here, from Parker's Kansas City roots to his untimely death, as well as the seminal journal article on Parker's music, Ornithology that appeared in the Journal of Jazz Studies. |
| groovin high transcription: The AFRS "Jubilee" Transcription Programs Rainer E. Lotz, Ulrich Neuert, 1985 |
| groovin high transcription: Puerto Rican Pioneers in Jazz, 1900–1939 Basilio Serrano, 2015-09-18 Musicians from Puerto Rico played a substantial role in the development of jazz during the early years of the twentieth century, before and during the years surrounding the Harlem Renaissance. These jazz pioneers, including instrumentalists, composers, and vocalists, were products of the Puerto Rican diaspora in the United States and contributed to the early history of this uniquely American genre. In this study, author Basilio Serrano provides a detailed look at the lives of these men and women and their contributions to the development of jazz and Latin jazz. Serrano explores how the music of Puerto Rico helped to shape them and offers a comprehensive review of the bands in which they played, studying specialists in a variety of instruments as well as band leaders and composers. This group included notable figures such as Fernando Arbello, the Bayron sisters, the Rivera family, Louis King Garcia, Joe Loco, Juan and Paco Tizol, Augusto and Willie Rodriguez, Augusto Coen, and Cesar Concepcion. Covering a period from 1900 to 1939, Puerto Rican Pioneers in Jazz, 19001939 presents the stories of early Puerto Rican jazz musicians whose contributions to the genre have previously been overlooked. |
| groovin high transcription: Weather Bird Gary Giddins, 2004-11-15 Gary Giddins's Weather Bird is a brilliant companion volume to his landmark in music criticism, Visions of Jazz, winner of the National Book Critics Circle Award in Criticism. More then 140 pieces, written over a 14-year period, are brought together for the first time in this superb collection of essays, reviews, and articles. Weather Bird is a celebration of jazz, with illuminating commentaryon contemporary jazz events, today's top muscicians, the best records of the year, and on leading figures from jazz's past. Readers will find extended pieces on Louis Armstrong, Erroll Garner, Benny Carter, Sonny Rollins, Dave Brubeck, Ornette Coleman, Billie Holiday, Cassandra Wilson, Tony Bennett, and many others. Giddins includes a series of articles on the annual JVC Jazz Festival, which offers a splendid overview of jazz in the 1990s. Other highlights include an astute look at avant-garde music (Parajazz) and his challenging essay, How Come Jazz Isn't Dead? which advances a theory about the way art is born, exploited, celebrated, and sidelined to the museum. A radiant compendium by America's leading music critic, Weather Bird offers an unforgettable look at the modern jazz scene. |
| groovin high transcription: Charlie Parker Thomas Owens, 1983 |
| groovin high transcription: ITG Journal International Trumpet Guild, 1997 |
| groovin high transcription: Music in the United States Hugh Wiley Hitchcock, 1969 This book provides a chronological look at American music from colonial times to the end of the 20th century revised and updated to reflect the latest scholarship and critical views. It uses extensive citation of phonorecordings, especially CD's from New World Records, Composers Recordings, Inc., and the Smithsonian Institution (all of which maintain catalogs in print). Readers will find a comprehensive treatment of both serious and popular music in the United States with a final chapter on contemporary American music from composer/critic, Kyle Gann. Part of the highly acclaimed Prentice Hall History of Music Series. the colonial and federal eras to 1820, the romantic century (1820-1920), between the wars (1920-1945) and World War II through the present. Musicians especially those interested in American music. |
| groovin high transcription: The Music and Life of Theodore "Fats" Navarro Leif Bo Petersen, Theo Rehak, 2009-08-24 This is the first comprehensive study of the music and life of Theodore 'Fats' Navarro. It provides biographical, discographical, and analytical information on the trumpeter and his recorded legacy, offering new perspectives on Navarro's role in the history and emergence of Bebop. |
| groovin high transcription: West Coast Jazz Ted Gioia, 1998-10 From the Preface by Ted Gioia: All of these musicians fought their way back over the next decade, and their success in re-establishing themselves as important artists was perhaps the first signal, initially unrecognized as such, that a re-evaluation of the earlier West Coast scene was under way. Less fortunate than these few were West Coasters such as Sonny Criss, Harold Land, Curtis Counce, Carl Perkins, Lennie Niehaus, Roy Porter, Teddy Edwards, Gerald Wilson, and those others whose careers languished without achieving either a later revival or even an early brief taste of fame. Certainly some West Coast jazz players have been awarded a central place in jazz history, but invariably they have been those who, like Charles Mingus or Eric Dolphy, left California for Manhattan. Those who stayed behind were, for the most part, left behind. The time has come for a critical re-evaluation of this body of work. With more than forty years of perspective--since modern jazz came to California-we can perhaps now begin to make sense of the rich array of music presented there during those glory years. But to do so, we need to start almost from scratch. We need to throw away the stereotypes of West Coast jazz, reject the simplifications, catchphrases, and pigeonholings that have only confused the issue. So many discussions of the music have begun by asking, What was West Coast jazz?--as if some simple definition would answer all our questions. And when no simple answer emerged--how could it when the same critics asking the question could hardly agree on a definition of jazz itself?--this failure was brandished as grounds for dismissing the whole subject. My approach is different. I start with the music itself, the musicians themselves, the geography and social situation, the clubs and the culture. I tried to learn what they have to tell us, rather than regurgitate the dubious critical consensus of the last generation. Was West Coast jazz the last regional style or merely a marketing fad? Was there really ever any such thing as West Coast jazz? If so, was it better or worse than East Coast jazz? Such questions are not without merit, but they provide a poor start for a serious historical inquiry. I ask readers hoping for quick and easy answers to approach this work with an open mind and a modicum of patience. Generalizations will emer≥ broader considerations will become increasingly clear; but only as we approach the close of this complex story, after we have let the music emerge in all its richness and diversity. By starting with some theory of West Coast jazz, we run the risk of seeing only what fits into our theory. Too many accounts of the music have fallen into just this trap. Instead, we need to see things with fresh eyes, hear the music again with fresh ears. |
| groovin high transcription: Catalog of Copyright Entries Library of Congress. Copyright Office, 1962 |
| groovin high transcription: Django Michael Dregni, 2004-11-01 Django Reinhardt was arguably the greatest guitarist who ever lived, an important influence on Les Paul, Charlie Christian, B.B. King, Jerry Garcia, Chet Atkins, and many others. Yet there is no major biography of Reinhardt. Now, in Django, Michael Dregni offers a definitive portrait of this great guitarist. Handsome, charismatic, childlike, and unpredictable, Reinhardt was a character out of a picaresque novel. Born in a gypsy caravan at a crossroads in Belgium, he was almost killed in a freak fire that burned half of his body and left his left hand twisted into a claw. But with this maimed left hand flying over the frets and his right hand plucking at dizzying speed, Django became Europe's most famous jazz musician, commanding exorbitant fees--and spending the money as fast as he made it. Dregni not only chronicles this remarkably colorful life--including a fascinating account of gypsy culture--but he also sheds much light on Django's musicianship. He examines his long musical partnership with violinist Stéphane Grappelli--the one suave and smooth, the other sharper and more dissonant--and he traces the evolution of their novel string jazz ensemble, Quintette du Hot Club de France. Indeed, the author spotlights Django's amazing musical diversity, describing his swing-styled Nouveau Quintette, his big band Django's Music, and his later bebop ensemble, as well as his many compositions, including symphonic pieces influenced by Ravel and Debussy and his unfinished organ mass inspired by Bach. And along the way, the author offers vivid snapshots of the jazz scene in Paris--colorful portraits of Josephine Baker, Bricktop, Louis Armstrong, Coleman Hawkins, and countless others--and of Django's vagabond wanderings around France, Europe, and the United States, where he toured with Duke Ellington. Capturing the extraordinary life and times of one of the great musicians of the twentieth century, Django is a must-read portrait of a true original. |
| groovin high transcription: Interaction, Improvisation, and Interplay in Jazz Robert Hodson, 2007-01-18 Interaction, Improvisation, and Interplay in Jazz Performance offers a new and exciting way to listen to and understand jazz. When describing a performance, most jazz writers focus on the improvised lines of the soloist and their underlying harmonic progressions. This approach overlooks the basic fact that when you listen to jazz, you almost never hear a single line, but rather a musical fabric woven by several musicians in real time. While it is often pragmatic to single out an individual solo line, it is important to remember that an improvised solo is but one thread in that fabric; and it is a thread supported by, responded to, and responsive of the parts being played by the other musicians in the group. Interaction, Improvisation, and Interplay in Jazz Performance explores the process of player interaction in jazz, and the role this interaction plays in creating improvised music, including: jazz improvisation through theory and analysis musical roles, behaviours and relationships harmony, interaction and performance Interaction, Improvisation, and Interplay in Jazz Performance will appeal to students of jazz history, composition, and performance, as well as to the general jazz audience. |
| groovin high transcription: Music Borrowing and Copyright Law Enrico Bonadio, Chen Wei Zhu, 2023-10-19 This ground-breaking book examines the multifaceted dynamics between copyright law and music borrowing within a rich diversity of music genres from across the world. It evaluates how copyright laws under different generic conventions may influence, or are influenced by, time-honoured creative borrowing practices. Leading experts from around the world scrutinise a carefully selected range of musical genres, including pop, hip-hop, jazz, blues, electronic and dance music, as well as a diversity of region-specific genres, such as Jamaican music, River Plate Tango, Irish folk music, Hungarian folk music, Flamenco, Indian traditional music, Australian indigenous music, Maori music and many others. This genre-conscious analysis builds on a theoretical section in which musicologists and lawyers offer their insights into fundamental issues concerning music genre categorisation, the typology of music borrowing and copyright law's ontological struggle with musical borrowing in theory and practice. The chapters are threaded together by a central theme, ie, that the cumulative nature of music creativity is the result of collective bargaining processes among many 'musicking' parties that have socially constructed creative music authorship under a rich mix of generic conventions. |
| groovin high transcription: How to Play Bebop, Volume 3 David Baker, 2005-05-03 A three-volume series that includes the scales, chords and modes necessary to play bebop music. A great introduction to a style that is most influential in today's music. The first volume includes scales, chords and modes most commonly used in bebop and other musical styles. The second volume covers the bebop language, patterns, formulas and other linking exercises necessary to play bebop music. A great introduction to a style that is most influential in today's music. |
| groovin high transcription: The Studio Recordings of the Miles Davis Quintet, 1965-68 Keith Waters, 2011-03-11 The Second Quintet -- the Miles Davis Quintet of the mid-1960s -- was one of the most innovative and influential groups in the history of the genre. Each of the musicians who performed with Davis--saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams--went on to a successful career as a top player. The studio recordings released by this group made profound contributions to improvisational strategies, jazz composition, and mediation between mainstream and avant-garde jazz, yet most critical attention has focused instead on live performances or the socio-cultural context of the work. Keith Waters' The Studio Recordings of the Miles Davis Quintet, 1965-68 concentrates instead on the music itself, as written, performed, and recorded. Treating six different studio recordings in depth--ESP, Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro--Waters has tracked down a host of references to and explications of Davis' work. His analysis takes into account contemporary reviews of the recordings, interviews with the five musicians, and relevant larger-scale cultural studies of the era, as well as two previously unexplored sources: the studio outtakes and Wayne Shorter's Library of Congress composition deposits. Only recently made available, the outtakes throw the master takes into relief, revealing how the musicians and producer organized and edited the material to craft a unified artistic statement for each of these albums. The author's research into the Shorter archives proves to be of even broader significance and interest, as Waters is able now to demonstrate the composer's original conception of a given piece. Waters also points out errors in the notated versions of the canonical songs as they often appear in the main sources available to musicians and scholars. An indispensible resource, The Miles Davis Quintet Studio Recordings: 1965-1968 is suited for the jazz scholar as well as for jazz musicians and aficionados of all levels. |
| groovin high transcription: Annual Review of Jazz Studies 14 Edward Berger, Henry Martin, Dan Morgenstern, Evan Spring, George Bassett, 2009-06-01 The Annual Review of Jazz Studies (ARJS) is a journal providing a forum for the ever expanding range and depth of jazz scholarship, from technical analyses to oral history to cultural interpretation. Addressed to specialists and fans alike, all volumes include feature articles, book reviews, and unpublished photographs. This 14th issue contains four intriguing articles that to some degree contravene accepted precepts of jazz orthodoxy. John Howland traces the connection between Duke Ellington's extended works and the 'symphonic jazz' model of the 1920s as exemplified by Paul Whiteman and his chief arranger, Ferde GrofZ. Horace J. Maxile Jr. takes an unfashionably broad perspective of Charles Mingus's 'Ecclusiastics,' applying recent developments in cultural theory as well as the formal tools of traditional music theory. Brian Priestley's exploration of the ties between Charlie Parker and popular music challenges the canonical depiction of Parker as a lone revolutionary genius, instead underscoring the saxophonist's ties to the popular music of his time. Finally, John Wriggle presents an extensive examination of the life and work of arranger Chappie Willet, an unsung hero of the Swing Era. The book reviews cover a cross-section of the burgeoning jazz literature, and Vincent Pelote has again compiled a list of books received at the Institute of Jazz Studies. |
| groovin high transcription: Jazz Pedagogy David Baker, 1979 This volume was the first published jazz teaching method. One of America's greatest musician-teachers, David Baker, shows how to develop jazz courses and jazz ensembles, with lesson plans, rehearsal techniques, practice suggestions, improvisational ideas, and ideas for school and private teachers and students. |
| groovin high transcription: My Favorite Things Richard Rodgers, Oscar Hammerstein II, 2005-04-12 Rodgers and Hammerstein's beloved song from The Soundof Music has captured hearts for generations. Now acclaimed illustrator Renée Graef's heartwarming illustrations give it new meaning. Complete with its score, My Favorite Things is perfect for reading and sharing. |
| groovin high transcription: David Baker's how to play bebop David Baker, 1987 |
| groovin high transcription: The New real book , 1988 Each volume contains over 150 tunes. |
| groovin high transcription: Jazz Monthly , 1959 |
| groovin high transcription: Jazz on Record Albert J. McCarthy, 1968 |
| groovin high transcription: Jazz Pedagogy, for Teachers and Students David Baker, 2005-05-03 This volume was the first published jazz teaching method. One of America's greatest musician-teachers, David Baker, shows how to develop jazz courses and jazz ensembles, with lesson plans, rehearsal techniques, practice suggestions, improvisational ideas, and ideas for school and private teachers and students. |
| groovin high transcription: The New Real Book Chuck Sher, Sky Evergreen, 1991 |
| groovin high transcription: Jazz Journal International , 2009 |
| groovin high transcription: Interaction and Improvisation Robert Dean Hodson, 2000 |
| groovin high transcription: Cadence Bob Rusch, 1990 |
| groovin high transcription: Saxophone Journal , 2000 |
| groovin high transcription: R.E.D. MusicMaster ... Deletions , 2001 |
| groovin high transcription: Steely Dan FAQ Anthony Robustelli, 2017 Despite Steely Dan's popularity, its ability to cultivate an ever-growing base of avid and loyal fans, and its chart positions, relatively little has been written about the group. Steely Dan FAQ clears up some of the many misconceptions about the band and sheds new light on the genius behind the songwriting of Donald Fagan and Walter Becker, the perfection of their productions, and the myriad musicians who have played a role in creating the distinctive Steely Dan sound. Steely Dan FAQ takes us through five decades of cryptic lyrics, sophisticated music, elusive interviews, dramatic interludes, and misconstrued sentiments. The band has sold more than 40 million albums worldwide, was inducted into the Rock and Roll Hall of Fame, and has had the majority of its albums certified platinum or double platinum in the U.S., yet the story has not been fully told. Within these pages readers will gain insight into the influences, musicians, situations, and complications that created one of the most distinctive bands in the history of rock and roll. |
| groovin high transcription: Jazz Violin Matt Glaser, Stephane Grappelli, 1981-03-01 Over 25 transcribed solos. Original interviews and tips on improvising from the masters. Plus complete analysis of each solo. Rare historical photos, and an informative discography. |
| groovin high transcription: Juan Tizol-His Caravan Through American Life and Culture Basilio Serrano, 2012-05-03 |
| groovin high transcription: 20th Century Music , 1998 |
Groovin' - Wikipedia
"Groovin '" is a song written by the American singer songwriters Felix Cavaliere and Eddie Brigati, initially recorded by their group the Young Rascals in 1967. Cavaliere was inspired to compose the song by his girlfriend Adrienne …
The Young Rascals - Groovin' (1967) - YouTube
Really couldn't get away too soon
The Young Rascals – Groovin' Lyrics - Genius
Groovin' Lyrics: Groovin' on a Sunday afternoon / Really couldn't get away too soon / I can't imagine anything that's better / The world is ours whenever we're together / There ain't a place I'd...
The Young Rascals - Groovin' Lyrics | AZLyrics.com
The Young Rascals "Groovin'": Groovin' on a Sunday afternoon Really couldn't get away too soon I can't imagine anything that's bet...
The Meaning Behind “Groovin’” by The Young Rascals and How It ...
Feb 11, 2024 · “Groovin’” became The Young Rascals’ second No. 1 hit, and at 53 million Spotify streams has doubled the take of “Good Lovin’.” Over a year later they would land their third and final...
Groovin' - Wikipedia
"Groovin '" is a song written by the American singer songwriters Felix Cavaliere and Eddie Brigati, initially recorded by their group the Young Rascals in 1967. Cavaliere was inspired to compose …
The Young Rascals - Groovin' (1967) - YouTube
Really couldn't get away too soon
The Young Rascals – Groovin' Lyrics - Genius
Groovin' Lyrics: Groovin' on a Sunday afternoon / Really couldn't get away too soon / I can't imagine anything that's better / The world is ours whenever we're together / There ain't a place …
The Young Rascals - Groovin' Lyrics | AZLyrics.com
The Young Rascals "Groovin'": Groovin' on a Sunday afternoon Really couldn't get away too soon I can't imagine anything that's bet...
The Meaning Behind “Groovin’” by The Young Rascals and How …
Feb 11, 2024 · “Groovin’” became The Young Rascals’ second No. 1 hit, and at 53 million Spotify streams has doubled the take of “Good Lovin’.” Over a year later they would land their third …
Groovin' - The Young Rascals | Top 40 Chart Performance ...
Curious about the story behind The Young Rascals' hit song, "Groovin'?" Uncover the meaning behind the lyrics and the significance of this classic tune in music history.
The Rascals - Groovin Lyrics | Lyrics.com
Groovin Lyrics by The Rascals from the Casey Kasem: America's Top 10 Through Years - The 60's album- including song video, artist biography, translations and more: Groovin' on a …
