#julius watkins

[jazzdailyblog]

"Jazz Lab:" A Quintessential Hard Bop Collaboration

Introduction: The late 1950s were a transformative period in jazz, as musicians explored new forms of expression within the evolving subgenre of hard bop. This era gave rise to some of the most innovative recordings in jazz history, many of which still resonate with listeners today. One such recording is “Jazz Lab”, a remarkable collaboration between alto saxophonist and arranger Gigi Gryce and…

[projazznet]

Milt Jackson – Roll ‘Em Bags

Roll ‘Em Bags is an album by American jazz vibraphonist Milt Jackson featuring performances recorded in 1949 and 1956 and released on the Savoy label. Milt Jackson – vibes, piano Kenny Dorham – trumpet Julius Watkins – French horn Billy Mitchell , Lucky Thompson – tenor saxophone Wade Legge – piano Wendell Marshall, Curly Russell – bass Kenny Clarke – drums Joe Harris – timbales

[slackville-records]

(62 YEARS AGO)

September 1, 1961 - John Coltrane: Africa/Brass is released.

# ALL THINGS MUSIC PLUS+ 4/5

# Allmusic 4.5/5

# Down Beat 2/5

Africa/Brass is the eighth studio album by John Coltrane, released on September 1, 1961.

Recorded:

May 23, 1961 and June 7, 1961, at RVG's Englewood Cliffs studio

Personnel:

John Coltrane – soprano and tenor saxophone

Booker Little – trumpet

Julius Watkins, Bob Northern, Donald Corrado, Robert Swisshelm – french horn

Bill Barber – tuba

Pat Patrick – baritone saxophone

McCoy Tyner – piano

Reggie Workman – bass

Elvin Jones – drums

__________

ORIGINAL LINER NOTES

John Coltrane is a quiet, powerfully-built young man who plays tenor saxophone quite unlike anyone in all of jazz. His style has been described as "sheets of sound" or as "flurries of melody." But, despite the accuracy, or lack of accuracy, of such descriptions, it is a fact that Coltrane's style is wholly original and of growing influence among new tenor players.

Perhaps he himself best described his dazzling style in a recent Down Beat article with writer Don DeMichael. "I started experimenting because I was trying for more individual development. I even tried the long, rapid lines that Ira Gitler termed 'sheets of sound' at the time. But actually, I was beginning to apply the three-to-one chord approach and at this time the tendency was to play the entire scale of each chord. Therefore, they were usually played fast and sometimes sounded like glisses."

Although Coltrane has absorbed this experiment into his present style and moved on, its effect was shocking, and intriguing, in the jazz world.

Most recently, as this album will attest, Coltrane has become absorbed by the rhythms of Africa. During the editing sessions for this album he noted, "There has been an influence of African rhythms in American jazz. It seems there are some things jazz can borrow harmonically, but I've been knocking myself out seeking something rhythmic. But nothing swings like 4/4. These implied rhythms give variety."

For this record, Coltrane composed two of the three selections, then discussed the orchestration thoroughly with Eric Dolphy, a reed player of enormous talent. Pianist McCoy Tyner of Coltrane's group was the third member of the discussion group.

"Actually," Dolphy recalled, "All I did was orchestrate. Basically John and McCoy worked out the whole thing. And it all came from John; he knew exactly what he wanted. And that was, essentially, the feeling of his group."

AFRICA has an unusual form. Its melody had to be stated in the background because Coltrane is not tied down by chords. "I had a sound that I wanted to hear," Coltrane remarked of this composition. "And what resulted was about it. I wanted the band to have a drone. We used two basses. The main line carries all the way through the tune. One bass plays almost all the way through. The other has rhythmic lines around it. Reggie and Art have worked together, and they know how to give and take." This work began with Coltrane's quartet. He listened to many African records for rhythmic inspiration. One had a bass line like a chant, and the group used it, working it into different tunes. In Los Angeles, John hit on using African rhythms instead of 4/4, and the work began to take shape. Tyner began to work chords into the structure, and, in John's own words, "it's been growing ever since."

The instrumentation--trumpet, four French horns, alto sax, baritone sax, two euphoniums, two basses, piano, drums, and tuba--is among the most unusual in jazz. But, Dolphy explained, "John thought of this sound. He wanted brass, he wanted baritone horns, he wanted that mellow sound and power."

Coltrane heard the playbacks and nodded. "It's the first time I've done any tune with that kind of rhythmic background. I've done things in 3/4 and 4/4. On the whole, I'm quite pleased with Africa."

GREEN SLEEVES is an updating of the old, revered folk song. It's included in this set because Coltrane, in recent months, has been studying folk music. "It's one of the most beautiful folk melodies I've heard," he said. "It's written in 6/8, and we do it just about as written. There's a section for improvisation with a vamp to blow on."

The quartet has been playing this theme recently, and the arrangement is based on Tyner's chords. Dolphy notated it. "For me," Coltrane said, "Greensleeves is the most enjoyable to play. Most of the time we get a nice pulse and groove. It was a challenge to add the band to it. I wanted to keep the feeling of the quartet. That's why we took the same voicings and the same rhythm McCoy comps in."

BLUES MINOR is a piece the quartet has been playing of late. It was assembled at the recording session. "It's a head," Dolphy said. "McCoy gave me the notes. I wrote out the parts, and the band did it on one take." It swings loosely with the ease and drive of a head arrangement.

All in all, this album is representative of the state of musical mind of John Coltrane, 34, on his way to something new and exciting, but pausing along the way to sum up the fresh and provocative work he has accomplished this far.

~ Dom Cerulli

TRACKS

Side one

1. Africa (Coltrane) – 16:28

Side two

1. Greensleeves (traditional, arranged by McCoy Tyner) – 10:00

2. Blues Minor (Coltrane) – 7:22

[rockhardtimes]

Julius Watkins - Linda Delia

[gustavo-marquerie]

PROTO-LANGUAGE¹

By Patrick C. Ryan

The Proto-Language is a hypothetically reconstructed language based on the

comparison of attested speech.

Press here to view essays on the Proto-Language.

https://www.mega.nu/protolanguage/ProtoLanguage-1.htm

The Proto-Religion is a hypothetically reconstructed religion based on the comparison of attested beliefs.

Press here to view essays on the Proto-Religion.

https://www.mega.nu/protolanguage/proto-religion/indexR.html

The Proto-Language was spoken by human beings at a time (100K BPE) before humanity dispersed from some central point over the earth (presumably Eastern Africa); and ethnic diversification began.

The underlying premise of these essays is that

ALL human languages derive from a single ancient source:

the Proto-Language.

Several files, which constitute short essays relating specific languages and language families to the Proto-Language and Indo-European are available for viewing or download as regular .HTM(L) files.

The Indo-European entries in some of the essays have been given without English glosses to encourage readers to fully explore the semantic ranges contained under entries for the roots in dictionaries like

Pokorny, Julius. 1959. Indogermanisches Etymologisches Wörterbuch

For casually interested readers, an excellent and inexpensive source of valuable information is:

Morris, William (ed.). 1992. The American Heritage Dictionary of the English Language. Indo-European and the Indo-Europeans by Calvert Watkins (pp. 1496-1502); Indo-European Roots (pp. 1505-1550). Boston: Houghton Mifflin Company, which can be easily purchased (for $31.50 + shipping) from Amazon.com by simply pressing on the icon to the left.

Indo-European cognates are cited to demonstrate that even though intermediate proto-languages may not yet have been reconstructed (and taxonomies elaborated), (proto-)languages that are currently considered to be unrelated can be shown to ultimately be related when both are viewed in the context of the Proto-Language.

Indo-European roots therefore are intended as a control to demonstrate that the reconstructed Proto-Language roots have not been "designed" to correlate only with the vocabulary of the language(-family) under investigation.

Indo-European citations are not intended to suggest a closer genetic relationship of the language(-family) under discussion with Indo-European than with any other language(-family)!

This is a controversial theory that is not accepted by most experts — at least, at the present time.

The major objection is:

that a "proto-language" cannot be reconstructed.

Because of observed rates of vocabulary loss in historical languages (lexico-statistics), present-day languages 'should have been unable to retain' earlier vocabulary items because of the involved long periods of time (during which, presumably, vocabulary loss occurred at a rate similar to that observed historically), an inference from glottochronology. R. L. Trask has addressed related misuses of glotto-chronology and lexico-statistics.

A concept which is useful here is punctuated equilibrium, which suggests that long periods of "no change", punctuated by short periods of "radical change".

Some linguists have made invalid inferences from "modern" circumstances that exclude a priori the possibility of ancient language reconstruction. A. Vovin has discussed related issues. In my opinion, ethnic and linguistic stability in pre-agricultural societies did not permit the dramatic rate of vocabulary replacement observed more recently.

The proof is in the Comparison Studies presented below. If these studies are able to show cognates among languages now considered to be unrelated --- displaying regular sound and semantic correspondences, theoretical objections must retreat before plainly demonstrated facts.

The reader will be the judge of whether the Comparison Studies have, indeed, accomplished those objectives.

Any critique, positive or negative, will be welcomed.

To validate this theory will take the collaboration of experts from many linguistic backgrounds to reconstruct the taxonomy and intermediate proto-languages, which will ratify the conclusions reached from language-to-language comparison.

Files on Afrasian (Egyptian and Arabic), Altaic, Basque, Beng (Southern Mandé), Japanese, Mon/Hmong, (Sino-)Tibetan, Sumerian, and Uralic are accessible below, I have completed similar essays on Hurrian, and Nama (Khoisan); they will be added as they are converted to .HTM(L) format. Studies that have been begun preliminarily include Blackfoot (Algonquian), Mayan and Hunzib (Tsezic-Daghestan-East Caucasian).

I am hoping that others will want to collaborate in this effort with essays on (proto-)languages in their individual fields of study.

Patrick C. Ryan

PROTO-LANGUAGE@WorldNet.att.net

view (or download)

AFRASIAN COMPARISON Table(.HTM)

https://www.mega.nu/protolanguage/comparison.AFRASIAN.3_table.htm

ALTAIC COMPARISON(.HTM)

https://www.mega.nu/protolanguage/comparison.ALTAIC.8.htm

BASQUE COMPARISON(.HTM)

https://www.mega.nu/protolanguage/comparison.BASQUE.4.htm

BENG (Southern Mandé) COMPARISON(.HTM)

https://www.mega.nu/protolanguage/comparison.BENG.1.htm

BLACKFOOT (Algonquian) COMPARISON(.HTM)

https://www.mega.nu/protolanguage/comparison.BLACKFOOT.11.htm

JAPANESE COMPARISON(.HTM)

https://www.mega.nu/protolanguage/comparison.JAPANESE.2.htm

draft MON/HMONG COMPARISON(.HTM)

https://www.mega.nu/protolanguage/comparison.MON-HMONG.6_table.htm

PAMA-NYUNGAN COMPARISON(.HTM) (based on available materials)

https://www.mega.nu/protolanguage/comparison.PAMA-NYUNGAN.12.htm

(SINO-)TIBETAN COMPARISON(.HTM)

https://www.mega.nu/protolanguage/comparison.SINO-TIBETAN.10.htm

SUMERIAN COMPARISON Table(.HTM)

https://www.mega.nu/protolanguage/comparison.SUMERIAN.5_table.htm

URALIC COMPARISON(.HTM)

https://www.mega.nu/protolanguage/comparison.URALIC.7.htm

THE PROTO-LANGUAGE(.HTM) [5 essays]

https://www.mega.nu/protolanguage/ProtoLanguage-1.htm

PROTO-LANGUAGE MONOSYLLABLES(.HTM)

https://www.mega.nu/protolanguage/ProtoLanguage-Monosyllables.htm

PROTO-LANGUAGE PRIMER(.HTM)

https://www.mega.nu/protolanguage/ProtoLanguage-Primer.htm

TIMETABLE OF PROTO-LANGUAGE EVOLUTION(.HTM)

https://www.mega.nu/protolanguage/ProtoLanguage-Timetable.htm

IE CORRESPONDENCE TABLE {with the principal IE-derived language families}(.HTM)

https://www.mega.nu/protolanguage/IECorrespondenceTable.htm

For examples of these comparative principles applied to

current linguistic problems, you might like to . . .

view (or download)

A Slightly Different View of sDm.f(essay-sDm.f.HTM)

https://www.mega.nu/protolanguage/essay-sDm.f.htm

Coptic Vocalism([One/Two/Three].HTM)

https://www.mega.nu/protolanguage/Coptic_Vocalism_One.htm

Earlier Essays

Pre-Nostratic Pronouns - Early Noun Substitutions (Mother Tongue 11, September 1990)(PERSPRO1.HTM)

https://www.mega.nu/protolanguage/PERSPRO1.htm

Proto-Language "He" and "It" - IE -l/-n Nouns (Dhumbadji! Vol. 1, No. 4; Winter 1994)(PERSPRO3A/B.HTM)

https://www.mega.nu/protolanguage/PERSPRO1.htm

Review of Alexis Manaster-Ramer's Some Borrowed Numerals in Proto-Kartvelian (Dhumbadji! Vol. 2, No. 3, December 1995) Review: Dhumbadji! Vol. 3, No. 1, Summer 1996 (critique-PKNumerals.HTM)

https://www.mega.nu/protolanguage/critique-PKNumerals.htm

Sign My Guestbook ?

Guestbook by Lpage

please let me know if these essays on the Proto-Language and the derived languages are of interest

May I have your comments?

the latest revision of this document can be found at

HTTP://WWW.GEOCITIES.COM/Athens/Forum/2803/index.html

Patrick C. Ryan * 9115 West 34th Street - Little Rock, AR 72204-4441* (501)227-9947

PROTO-LANGUAGE@email.msn.com

1. "The hypothesis of the monogenesis of language is one that most linguists believe to be plausible. Indeed, the appearance of language may define modern Homo sapiens." Philip E. Ross (Staff writer) in "Hard Words", pp. 138-147, SCIENTIFIC AMERICAN, April 1991.

[nofatclips]

Blues Minor by John Coltrane from the album Africa/Brass

[mostlymonk]

Gerald Clayton on Monk

Friday the 13th

Thelonious Monk

Sonny Rollins – sax Julius Watkins – french horn Thelonious Monk – piano Percy Heath – bass Willie Jones – drums

[diyeipetea]

JazzX5#386. John Coltrane: "Greensleeves" [Africa/Brass (Impulse!, 1961)] [Minipodcast de jazz aka Malditos Jazztardos] Por Pachi Tapiz

JazzX5#386. John Coltrane: “Greensleeves” [Africa/Brass (Impulse!, 1961)] [Minipodcast de jazz aka Malditos Jazztardos] Por Pachi Tapiz

“Greensleeves” John Coltrane: Africa/Brass (Impulse!, 1961) John Coltrane, Booker Little, Julius Watkins, Bob Northern, Donald Corrado, Robert Swisshelm, Bill Barber, Pat Patrick, McCoy Tyner, Reggie Workman, Elvin Jones, Freddie Hubbard, Julian Priester, Charles Greenlee, Jim Buffington, Garvin Bushell. La orquestación fue obra de McCoy Tyner y Eric Dolphy. Tomajazz: © Pachi Tapiz, 2022 ¿Sabías…

[mychameleondays]

Quincy Jones: Big Band Bossa Nova

WaxTime 771836, 2013

Originally released: 1962

[peachtipple]

I feel like a lot of people just have a problem with this show,” Andrew Rannells says, who stars as Larry, a bratty and rebellious man who’s a constant headache for his boyfriend, Hank. However, he thinks that might have more to do with the viewer than the work. “I think it can be looked at as a rather bleak depiction of what your life as a homosexual would be like. I think it got a bad reputation for a while. But I hope that this revival is at least in some way showing that it's actually funnier than people give it credit for, there’s more love between those characters than people remember.” We also have the benefit of new context, 50 years later. “It's not a representation of every gay person. It's a representation of nine people on this one night. At the time, it was a symbol for all gay people. It doesn't have to be.”

Andrew Rannells for GQ.

[projazznet]

Les Spann – Gemini

Gemini is an album by American jazz guitarist and flutist Les Spann released in 1961. It is Spann’s only studio album as a leader, recorded when he was playing as a sideman with Dizzy Gillespie’s quintet and Quincy Jones’ big band. The title of the album corresponds to Spann’s zodiac sign, born on May 23, 1932. For this work Spann led a quintet formed by Julius Watkins (French horn), Tommy Flanagan (piano), Sam Jones (double bass) and two drummers sharing the two recording dates, Albert “Tootie” Heath and Louis Hayes.

[cgwatkins]

NILØS EMPTYSET / CAMPAIGN

[sh-kira]

Black Folklore Resource.

I’ve been thinking and researching a lot about the (Black) Southern Gothic style/aesthetic and African American folklore, so I put together a list of books for myself and thought it might be helpful to someone else. 

-;-;-

FOLKTALE COLLECTIONS

The People Could Fly: American Black Folktales by Virginia Hamilton | Thrift Books Amazon

Her Stories: African American Folktales, Fairy Tales, and True Tales by Virginia Hamilton | Amazon

Mules and Men by Zora Neale Hurston | Amazon Thrift Books

Every Tongue Got to Confess : Negro Folk-Tales from the Gulf States by Zora Neale Hurston | Thrift Books Amazon

Go Gator and Muddy the Water : Writings by Zora Neale Hurston from the Federal Writers Project by Zora Neale Hurston | Thrift Books Amazon

Lies and Other Tall Tales by Zora Neale Hurston and Joyce Carol Thomas | Thrift Books Amazon

FOLKLORE AND STORYTELLING

Black Culture and Black Consciousness: Afro-American Folk Thought from Slavery to Freedom by Lawrence W. Levine | Thrift Books

Shuckin’ and Jivin’: Folklore from Contemporary Black Americans | Thrift Books Amazon

A Treasury of Afro-American Folklore: The Oral Literature, Traditions, Recollections, Legends, Tales, Songs, Religious Beliefs, Customs, Sayings and Humor of Peoples of African American Descent in the Americas by Harold Courlander | Amazon

The Grey Album: On the Blackness of Blackness by Kevin Young | Amazon

Talk That Talk: An Anthology on African-American Storytelling by Linda Goss | Amazon

African American Folktales: Stories from Black Traditions in the New World by Roger Abrahams | Amazon

Deep Down in the Jungle: Black American Folklore from the Streets of Philadelphia by Roger Abrahams | Amazon

Singing the Master : The Emergence of African-American Culture in the Plantation South by Roger D. Abrahams | Thrift Books Amazon

From Trickster to Badman: The Black Folk Hero in Slavery and Freedom by John W. Roberts | Amazon

Black Folklore and the Politics of Racial Representation by Shirley Moody-Turner | Amazon

Black Folktales by Julius Lester | Amazon

Folk beliefs of the southern Negro (1926) by Newbell Niles Pucket | Amazon

Black Folklore and the Politics of Racial Representation by Shirley Moody-Turner | Amazon

HUMOR

African American Humor: The Best Black Comedy from Slavery to Today (The Library of Black America series) by Mel Watkins, Dick Gregory | Amazon

Honey, Hush!: An Anthology of African American Women's Humor by Daryl Cumber Dance, Nikki Giovanni | Amazon

STYLE

The Birth of Cool: Style Narratives of the African Diaspora by Carol Tulloch | Amazon

 Black Cool: One Thousand Streams of Blackness by Rebecca Walker, Henry Louis Gates Jr. | Amazon

MAGIC/MYSTICISM

African American Female Mysticism: Nineteenth-Century Religious Activism by Joy R. Bostic | Amazon

Working Conjure: A Guide to Hoodoo Folk Magic by Hoodoo Sen Moise | Amazon

Black Magic: Religion and the African American Conjuring Tradition by Ifalaye Books | Amazon

FOLK HEALING

Working the Roots: Over 400 Years of Traditional African American Healing by Michele Elizabeth Lee | Amazon

African American Slave Medicine: Herbal and nonHerbal Treatments by Herbert C. Cove | Amazon

African American Folk Healing by Stephanie Mitchem | Amazon

ADDITIONS: 7/27/2019 (NOTE: As I continue to add books, some of these may deviate from folklore and focus on Black history and/or Black experiences)

Fiction and Folklore: The Novels of Toni Morrison by Trudier Harris | Thriftbooks Amazon

The Skull Talks Back: And Other Haunting Tales by Joyce Carol Thomas & Zora Neale Hurston | Thriftbooks Amazon

Passed On: African-American Mourning Stories by Karla FC Holloway | Thriftbooks Amazon

Black Bodies and the Black Church: A Blues Slant by Kelly Brown Douglas | Amazon

This is absolutely not a definitive list and if you have more information or recommendations please feel free to add it! 

[seakclauswinkler]

My painting process: switching from different you tube channels (like: @alpha_male_s , @rational_male, @rsdtyler, @klausthiele.io, @peterfrahmcoaching , @entrepreneurs_in_cars, @david_deangelo, @realrossjeffries, @mattcrossofficial, @coachgregadamstv, @madisonhimself, @fitxfearless , @red.pilled.rican , @toddvdating , @eckharttolle, @coachcoreywayne, @thefuturishere, @better_bachelor, @stephiscold, @kevinsamuels_ , @human_oninsta , @book_of_alpharonomy, @johnanthonylifestyle , @bodoschaefer, @RyanStone, @julienhimself @bosana.s, listening to while painting.

Sometimes just live for escaping with in to painting while listening to a certain audiobook series. ( examples: Jack Reacher (lee child/ Andrew child @leechildreacher ), Sharpe ( Bernard Cornwell) ), Jack Ryan ( Tom Clancy ),Julius Eichendorf/ In Vino Veritas (Sebastian Henn @carsten.henn / We both became honored with the same cultural Award (Kulturpreis)), Decius Caecilius Metellus / SPQR ( John Maddox Roberts ), Pekkala/ The Smaragd Eye ( Sam Eastland/ Paul Watkins ), @jamesleeburke, the oeuvre of @robertgreeneofficial , J.l. Bourne Zombie Apocalypse Diaries Series, Don Winslow’s audiobooks , Roberto Saviano’s „ Zero Zero Zero „, Harry Flashman ( Georg MacDonald Fraser ), Michael Crichton, Sven Hassel’s ww2 comical fiction, @heinzstrunk, John Grisham, Maxwell Maltz, Jonathan Littell, @daviddeida.live , @benjamin_von_stuckrad_barre , @verafbirkenbihl , @thebriantracy , @napoleonhillofflcial , etc.

I most of the time listen to audio while painting. Being it fiction/ being it useful/ selfdevelopment/ broading skill set content. I started listening to selfhelp/ pua stuff ( pre the game book/ via@bit torrent) around 2000. Since my childhood I like listening while painting ( Playing )

#SEAK #ClausWinkler #workprocess #Kunst #paintings #stylewriting #fatcap #throwies #newcontemporary #artcollect #Stylewriting #postcontemporary #artinvest #artiststudiolife #artprocess #Contemporarypaintings #paintingnow #germanart #arte #collectart #cwinkler #artmarket #Modernartists #abstractart #contemporaryartgallery #abstractpainters #kunstaustellung #artinvestments #Kunst #SEAKClausWinkler

[mamusiq]

Soul Bossa Nova ♫  Quincy Jones And His Orchestra  ♫

Released on: 1962-01-01 Producer, Conductor, Associated  Performer, Recording  Arranger: Quincy Jones

Associated  Performer, Alto  Saxophone: Phil Woods Associated  Performer, Tenor  Saxophone: Paul Gonsalves Associated  Performer, Flute, Alto  Flute: Roland Kirk Associated  Performer, Flute, Alto  Flute, Woodwinds: Jerome Richardson Associated  Performer, Trumpet, Flugelhorn: Clark Terry Associated  Performer, French  Horn: Julius Watkins Associated  Performer, Bass  Trombone: Alan Raph Associated  Performer, Piano: Lalo Schifrin Associated  Performer, Guitar: Jim Hall Associated  Performer, Bass  Guitar: Chris White Associated  Performer, Drums: Rudy Collins Associated  Performer, Percussion: Jack Del Rio Associated  Performer, Percussion: Carlos Gomez Associated  Performer, Percussion: Jose Paula Composer  Lyricist: Quincy Jones