1952-1953
ASIN: B0001LJBBW
Track Listings
| 1. Summertime - Dizzy Gillespie & His Orchestra |
| 2. Blue Moon - Dizzy Gillespie & His Orchestra |
| 3. Blues Chante (Mama's Blues) - Dizzy Gillespie & His Orchestra |
| 4. Cripple Crapple Crutch |
| 5. Dizzy Song (Lady Bird) |
| 6. Somebody Loves Me - Dizzy Gillespie All Stars |
| 7. She's Funny That Way - Dizzy Gillespie All Stars |
| 8. Wrap Your Troubles in Dreams (And Dream Your Troubles Away) |
| 9. Sweet Lorraine |
| 10. Everything Happens to Me |
| 11. I Don't Know Why |
| 12. Blue Skies - Joe Carroll, Dizzy Gillespie Quintet |
| 13. Umbrella Man - Joe Carroll, Dizzy Gillespie Quintet |
| 14. Pop's Confessin' - Joe Carroll, Dizzy Gillespie Quintet |
| 15. Oh-Sho-Be-Do-Be - Joe Carroll, Dizzy Gillespie Quintet |
| 16. They Can't Take That Away from Me - Dizzy Gillespie Quintet |
| 17. Muskrat Ramble |
| 18. Battle of the Blues |
| 19. How High the Moon |
| 20. Always |
1952-1953,Dizzy Gillespie,Melodie Jazz Classic,Bop,Jazz,Pop,United States of America
Average customer rating: 
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1952-1953
Little Esther Manufacturer: Classics R&B ProductGroup: Music Binding: Audio CD  General
| Blues
| Styles
| Music
Jump Blues
| Blues
| Styles
| Music
General
| Jazz
| Styles
| Music
Similar Items:
ASIN: B0009R2VXS Release Date: 2005-09-20 |
Tracks:
Average customer rating:
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1952-1953
Dizzy Gillespie Manufacturer: Melodie Jazz Classic ProductGroup: Music Binding: Audio CD Bebop General
| Bebop
| Jazz
| Styles
| Music
General
| Jazz
| Styles
| Music
ASIN: B0001LJBBW Release Date: 2004-05-18 |
Tracks:
Average customer rating:
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1952-1953
Teddy Wilson Manufacturer: Classics France ProductGroup: Music Binding: Audio CD General
| Jazz
| Styles
| Music
Swing General
| Swing Jazz
| Jazz
| Styles
| Music
ASIN: B000266XM6 Release Date: 2004-08-31 |
Tracks:
Average customer rating:
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The Complete, Vol. 5 - Detroit 1952-1953
John Lee Hooker Manufacturer: Body & Soul ProductGroup: Music Binding: Audio CD Contemporary Blues
| Blues
| Styles
| Music
General
| Blues
| Styles
| Music
Traditional Blues
| Blues
| Styles
| Music
Electric Blues Guitar
| Blues
| Styles
| Music
Detroit Blues
| Regional Blues
| Blues
| Styles
| Music
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ASIN: B0001ADBEQ Release Date: 2004-03-09 |
Tracks:
Tracks:
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Average customer rating: 
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Move! Live 1952-1953
Stan Getz Manufacturer: Hall of Sermon ProductGroup: Music Binding: Audio CD Bebop General
| Bebop
| Jazz
| Styles
| Music
Cool Jazz
| Jazz
| Styles
| Music
General
| Jazz
| Styles
| Music
Modern Postbebop
| Jazz
| Styles
| Music
General
| Jazz
| Indie Music
| Stores
| Music
ASIN: B000008AZP Release Date: 1993-12-01 |
Customer Reviews:
Swinging live concert!.......2005-12-04
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Average customer rating:
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1952-1953
Howlin' Wolf Manufacturer: Classics R&B ProductGroup: Music Binding: Audio CD Chicago Blues
| Blues
| Styles
| Music
General
| Blues
| Styles
| Music
Traditional Blues
| Blues
| Styles
| Music
Electric Blues Guitar
| Blues
| Styles
| Music
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ASIN: B000266XMG Release Date: 2004-08-17 |
Tracks:
Average customer rating:
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Earl Bostic 1952-1953
Earl Bostic Manufacturer: Jazz Classics ProductGroup: Music Binding: Audio CD General
| Blues
| Styles
| Music
Jump Blues
| Blues
| Styles
| Music
General
| Jazz
| Styles
| Music
General
| R&B
| Styles
| Music
General
| Oldies
| Pop
| Styles
| Music
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ASIN: B0001ZA3ME Release Date: 2004-06-15 |
Tracks:
Average customer rating:
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1952-1953
Gene Krupa Manufacturer: Classics France ProductGroup: Music Binding: Audio CD General
| Jazz
| Styles
| Music
Swing General
| Swing Jazz
| Jazz
| Styles
| Music
Classic Big Band
| Swing Jazz
| Jazz
| Styles
| Music
Contemporary Big Band
| Swing Jazz
| Jazz
| Styles
| Music
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ASIN: B000BBOTPU Release Date: 2005-11-15 |
Tracks:
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Morton Feldman: Works for Piano 2 - Intermission V (1952) / Piano Piece (1952) / Two Intermissions (1950) / Last Pieces (1959) / Intermission VI (1953) / Five Pianos (1972) - Steffen Schleiermacher
Morton Feldman (Composer) , Steffen Schleiermacher (Piano) , Isabel Mundry & Mats Persson (Pianos) , and Kristine Scholz & Nils Vigeland (Pianos) Manufacturer: Hat Hut ProductGroup: Music Binding: Audio CD General Modern
| Modern, 20th, & 21st Century
| Historical Periods
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
Avant Garde & Free Jazz
| Jazz
| Styles
| Music
General
| Jazz
| Styles
| Music
Minimal Techno
| Techno
| Dance & DJ
| Styles
| Music
ASIN: B000001YTN Release Date: 1995-10-27 |
Tracks:
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Earle Brown: Music For Pianos 1951- 1995
Earle Brown Manufacturer: New Albion Records ProductGroup: Music Binding: Audio CD General
| Keyboard
| Instruments
| Classical
| Styles
| Music
Piano
| Keyboard
| Instruments
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
ASIN: B000000R46 Release Date: 1996-02-09 |
Tracks:
Customer Reviews:
Open Forms,Systems/Mobility, Graphics,Timbres.......2002-11-27
It's possible to divide Brown's creativity into three periods, the early, the Fifties, where this disk concentrates,the Sixties which sees the coagulations, concretizations of Brown's theories of open form,mobile form and musical graphics. The impressive String Quartet from this period is a high point, and here we get on this disk Corroboree (1964), for three pianos. David Arden pre-records the other pianos. This is a work which does suggest its marginal programmatic image of the noisy Australian aboriginal festival,with obviouslike rhythms emerging but within the context of the opaque musical moments,musical space is redivided here into beautiful like moments of an entire array of sounds and indeed plumbs the depths of piano timbre, with fascinating muting of strings, finger plucking,hand and forearm clusters,key muting, and harmonics. The work for its antiphonal interest should be heard live, so hear you need to imagine these piano separations emanating from differnent places.
All of the Folio is here largely a work constructed around musical graphics. Within the Cage School, Brown creatively was in the center, not revealing excessive indulgences in musical graphics as Cage himself as in his 'Concert for Piano',which is/was a virtual encyclopedia of what is possible in music performing and graphics,vertical, horizontal, procedures, processes, following circles around, nor was Brown not so much aesthetic bound to his musical objects as Feldman,or Christian Wolff where timbral placements,register, and instrumentation was indeed important than process. Brown's affinity coming from his early studies in engineering and the theories of Jospeh Schillinger informed him very differently than Cage and his interface with Zen thinking,or Feldman's engagements in the painterly world of tone, shape, density,layerings,concept.Brown I think limits himself to the mobiles of Alexander Calder for instance. Improvisation was not an objective here for any memeber of the Cage School.
Most of the creativity here as well resides in the skills of the performer,which does require one to have travelled the oceanic performative seas of improvisation to impart this lifeworld into the cold;y abstract musical graphics and David Arden is an extraordinary interpreter. He is not quite as adventuresome,pushing conceptual envelopes as David Tudor, Arden runs a middle course in his approach to the open-ness of timbre, of placement of gesture, all which resides in the performer in the freedom that musical graphics allows. Here you have as in 4 Systems simply black horizontal bars placed like in perpsective on the page(one page), a page that can be read left to right right to left, or turned upsidedown for a reading also no dynamics or articulations are indicated,registral placement is somewhat suggested,so the performer must decide these elements.
Perspectives from 1952 is completly written,and we see another side to Brown,like giving away creative clues, on the aesthetic interests of the creator, for this work has a violent pointillism that was in the post-war air in the Fifties,it may remind you of a timid Boulez Second Sonata. I beleive through these opaque, indeterminate/determinate musical grpahics we can discern where Earle Brown philosphic aesthetic resides, and I think his music does have an understated quality to it, a gentleness,sparce,thinly threadbare,poetic as can be and evocative at times, even though his aim was not to create a discernable discreet aesthetic object.
The latter Summer Suite from 1995 certainly proclaims this we see a Brown perhaps with the accessibility bug had bit him as everyone,the force fields of postmodernity in place. This is a work far more lyrical within the Brown context, of what represents lyrical moments. In the notes Brown says himself that this work is "jazzy" but I didn't see that, and if it was it would not be interesting jazz.
Jazz Music: