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Автор: Grafiati
Опубліковано: 26 липня 2024
Оновлено: 28 липня 2024

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Статті в журналах з теми "Trio Concertante for guitar"

1

Ophee, Matanya. "Elsa Just’s Ständchen for Guitar Trio." Soundboard Scholar 8, no. 1 (2022): 1–7. http://dx.doi.org/10.56902/sbs.2022.8.17.

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This article reproduces a serenade from an early twentieth-century German guitar magazine. It is for guitar trio and of moderate difficulty. The introductory commentary attributes the piece to Elsa Just (1894–1919) and includes a translation of the entry on Just from Zuth's 1926 Handbuch der Laute und Gitarre. Notes This article is one of a series of seven celebrating the work of Matanya Ophee (1932–2017) on the ninetieth anniversary of his birth. Written between 1982 and 1991, these articles first appeared in early issues of the GFA’s magazine Soundboard. The writings in this series are really columns—short introductions to scores, which are also reproduced here as they appeared in the original magazines. Ophee’s long-form research appears in various places, but an important anthology is his Essays on Guitar History (Columbus, OH: Orphee, 2016). An introduction to the present series, surveying Ophee’s contribution to Soundboard, is provided by Stanley Yates. Below are links to each article in the series: Introduction Matanya Ophee’s Contributions to Soundboard Magazine: A Retrospective, by Stanley Yates Articles A Rondo Allegro by François Molino Carlos Pedrell’s Al atardecer en los jardines de Arlaja Rudolph Süss’s Lyrische Suite no. 1, op. 23 J.N. Bobrowicz’s Grand Polonaise, op. 24 Rudolph Süss’s Lyrische Suite no. 2, op. 24 Elsa Just’s Ständchen for Guitar Trio Athénaïs Paulian’s Airs and Variations, op. 1
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2

Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (July 2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.

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JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No. 2); Capriccio (Study No. 1); Aubade (Study No. 4); Tenebrae; Scrunch (Study No. 8); Evening Harmonies (Study No. 7). Tamami Honma (pno). Metier MSV CD92071.
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3

Hensley, Douglas. "Guitar Forum: The Flute, Viola, Guitar Trio: Its History, Literature and Performance." American String Teacher 36, no. 4 (November 1986): 73–76. http://dx.doi.org/10.1177/000313138603600433.

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Douglas Hensley has been an active chamber musician ever since he took up serious study of the classical guitar. He received bachelor and master's degrees under the direction of David Tanenbaum from the San Francisco Conservatory of Music and he has studied with many other musicians in private lessons and master classes. Over the past ten years he has premiered close to fifty new compositions, performed numerous U.S. premieres and the West Coast premiere of Elliott Carter's “Changes” for solo guitar. For Opus One Records in New York he has recorded Larry Polansky's “Hensley Variations” and David Loeb's “Trois Cansos” with flautist Kenneth Kramer and violist John Casten. He has also recorded a collection of duets with Japanese shakuhachi master Masayuka Koga, “Autumn Mist,” for Fortuna Records of Novato, California. His principal activities are as cofounder (with violist/violinist John Casten) and guitarist of the San Francisco-based contemporary performance ensemble ISKRA, which is made up of flute, clarinet, guitar, violin/viola, doublebass and soprano voice. Anyone with additional information about flute, viola, guitar trios (or other chamber music with guitar), or queries, is urged to contact him at 607-A Frederick St., San Francisco, CA 94117.
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4

Gurgul, Wojciech. "Adam Franciszek Epler (1902–1940): A Forgotten Musician of Interwar Lviv." Kwartalnik Młodych Muzykologów UJ, no. 45 (2) (2020): 23–58. http://dx.doi.org/10.4467/23537094kmmuj.20.029.13902.

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Анотація:
This article is an introduction to the artistic profile of a Polish conductor, composer and guitarist Adam Franciszek Epler. This forgotten creative persona left the artistic legacy of compositions and arrangements for mandolin orchestra ensemble. Moreover, he was the first Polish guitarist playing Polish lute music, a founder of the first Polish guitar trio named Lwowskie Trio Gitarowe and a musician in the most popular interwar radio broadcast Wesoła Lwowska Fala. As a composer and conductor of the Orchestra of Mandolin Society “Hejnał” from Lviv, he also took part in numerous radio broadcasts of Polish Radio Lviv. His musical activities, similarly to the entire mandolin heritage in Poland and guitar history in interwar Poland, requires further research, and this article is one of the first contributions to these research topics.
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5

Zwally, Randall. "The Super Guitar Trio and Friends in Concert (review)." Notes 63, no. 1 (2006): 182–83. http://dx.doi.org/10.1353/not.2006.0131.

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6

VERMAZEN, BRUCE. "“Those Entertaining Frisco Boys”: Hedges Brothers and Jacobson." Journal of the Society for American Music 7, no. 1 (February 2013): 29–63. http://dx.doi.org/10.1017/s1752196312000478.

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AbstractCharles Frederick (Freddie) Hedges (1886–1920), his brother Elven Everett Hedges (1889–1931), and Jesse Jacobson (1882–1959) converged as Hedges Brothers and Jacobson in 1910 in San Francisco. Elven played piano, saxophone, and guitar, and all three sang and danced. In 1910–11, critics in San Francisco, Chicago, New York, and smaller cities greeted the act as something new and exceptionally good. Instead of pursuing more general fame in North America, the trio accepted a music-hall contract in England, where they became leaders in creating a craze for American ragtime singing, a craze that prepared the English public for the momentous arrival of jazz after the First World War. The trio recorded eight released songs for Columbia in 1912–13. In 1913, they also performed in Paris and South Africa. In 1914, after eight months back in the United States, they returned to English success but soon dissolved the act and performed separately until 1919, when they reunited to accept an unprecedented contract (£30,000 for six years). Early in 1920, Freddie killed himself. Forest Tell (b. 1888) replaced him in the trio, and the new group recorded six released songs for Zonophone in 1920. The trio disbanded at the end of the contract. Elven retired shortly afterward, but Jesse stayed in show business at least through World War II.
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7

Ophee, Matanya. "Carlos Pedrell’s Al atardecer en los jardines de Arlaja." Soundboard Scholar 8, no. 1 (2022): 1–8. http://dx.doi.org/10.56902/sbs.2022.8.14.

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Анотація:
This article reproduces Al atardecer en los jardines de Arlaja by the Uruguayan composer Carlos Pedrell, preceded by a commentary. Together with Pedrell's other guitar works, this piece enriches our picture of Latin American guitar repertoire in the early twentieth century. In the case of Pedrell, we have a work written by a composer who studied in Paris and who wrote for three of the major guitarists of his time—Segovia, Pujol, and Llobet. Notes This article is one of a series of seven celebrating the work of Matanya Ophee (1932–2017) on the ninetieth anniversary of his birth. Written between 1982 and 1991, these articles first appeared in early issues of the GFA’s magazine Soundboard. The writings in this series are really columns—short introductions to scores, which are also reproduced here as they appeared in the original magazines. Ophee’s long-form research appears in various places, but an important anthology is his Essays on Guitar History (Columbus, OH: Orphee, 2016). An introduction to the present series, surveying Ophee’s contribution to Soundboard, is provided by Stanley Yates. Below are links to each article in the series: Introduction Matanya Ophee’s Contributions to Soundboard Magazine: A Retrospective, by Stanley Yates Articles A Rondo Allegro by François Molino Carlos Pedrell’s Al atardecer en los jardines de Arlaja Rudolph Süss’s Lyrische Suite no. 1, op. 23 J.N. Bobrowicz’s Grand Polonaise, op. 24 Rudolph Süss’s Lyrische Suite no. 2, op. 24 Elsa Just’s Ständchen for Guitar Trio Athénaïs Paulian’s Airs and Variations, op. 1
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8

Yates, Stanley. "Matanya Ophee’s Contributions to Soundboard Magazine: A Retrospective." Soundboard Scholar 8, no. 1 (2022): 1–5. http://dx.doi.org/10.56902/sbs.2022.8.12.

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Анотація:
The guitar historian Matanya Ophee's writings in Soundboard span almost his entire career as a researcher. In this restrospective, Stanley Yates surveys Ophee's work in general before offering a bibliography and commentary on his contributions to Soundboard: articles, reviews, and columns. This article is one of a series of seven celebrating the work of Matanya Ophee (1932–2017) on the ninetieth anniversary of his birth. Written between 1982 and 1991, these articles first appeared in early issues of the GFA’s magazine Soundboard. The writings in this series are really columns—short introductions to scores, which are also reproduced here as they appeared in the original magazines. Ophee’s long-form research appears in various places, but an important anthology is his Essays on Guitar History (Columbus, OH: Orphee, 2016). An introduction to the present series, surveying Ophee’s contribution to Soundboard, is provided by Stanley Yates. Below are links to each article in the series: Introduction Matanya Ophee’s Contributions to Soundboard Magazine: A Retrospective, by Stanley Yates Articles A Rondo Allegro by François Molino Carlos Pedrell’s Al atardecer en los jardines de Arlaja Rudolph Süss’s Lyrische Suite no. 1, op. 23 J.N. Bobrowicz’s Grand Polonaise, op. 24 Rudolph Süss’s Lyrische Suite no. 2, op. 24 Elsa Just’s Ständchen for Guitar Trio Athénaïs Paulian’s Airs and Variations, op. 1
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9

Rickards, Guy. "Icarus Soaring: the music of John Pickard." Tempo, no. 201 (July 1997): 2–5. http://dx.doi.org/10.1017/s0040298200005763.

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Although John Pickard's music has received a good many performances and radio broadcasts over the past decade, it was the relay of his dazzling orchestral tone poem The Flight of Icarus (1990) during the 1996 Proms1 which brought him to the notice of the wider concert–going and –listening public. There is some justice in that piece attracting such attention, as it is one of his most immediate in impact, while completely representative of his output at large. That output to date encompasses three symphonies (1983–4, 1985–7, 1995–6) and five other orchestral works, three string quartets (1991, 1993, 1994; a fourth in progress), a piano trio (1990), sonatas for piano (1987) and cello and piano (1994–5), vocal and choral works, pieces for orchestral brass (Vortex, 1984–5) and brass band – the exhilarating Wildfire (1991), which crackles, hisses and spits in ferocious near–onomatopoeia, and suite Men of Stone (1995), celebrating four of the most impressive megalithic sites in Britain, one to each season of the year. There are other works for a variety of solo instruments and chamber ensembles, such as the intriguing grouping of flute, clarinet, harpsichord and piano trio in Nocturne in Black and Gold (1983) and the large–scale Serenata Concertante for flute and six instruments of a year later. Still in his mid-thirties – he was born in Burnley in 1963 – Pickard has already made almost all the principal musical forms of the Western Classical tradition his own, with only opera, ballet and the concerto as yet untackled.
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Ophee, Matanya. "Rudolph Süss’s Lyrische Suite no. 2, op. 24." Soundboard Scholar 8, no. 1 (2022): 1–10. http://dx.doi.org/10.56902/sbs.2022.8.16.

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This article reproduces the Lyrische Suite no. 2, op. 24, by the Austrian composer Rudolph Süss, with a short introductory commentary. First published in Vienna around 1921, this suite is a fine example of the enthusiasm for the guitar in early twentieth-century Austria and Germany, which resulted in much music that has been overlooked, overshadowed as it was by the emerging Spanish repertoire. Notes This article is one of a series of seven celebrating the work of Matanya Ophee (1932–2017) on the ninetieth anniversary of his birth. Written between 1982 and 1991, these articles first appeared in early issues of the GFA’s magazine Soundboard. The writings in this series are really columns—short introductions to scores, which are also reproduced here as they appeared in the original magazines. Ophee’s long-form research appears in various places, but an important anthology is his Essays on Guitar History (Columbus, OH: Orphee, 2016). An introduction to the present series, surveying Ophee’s contribution to Soundboard, is provided by Stanley Yates. Below are links to each article in the series: Introduction Matanya Ophee’s Contributions to Soundboard Magazine: A Retrospective, by Stanley Yates Articles A Rondo Allegro by François Molino Carlos Pedrell’s Al atardecer en los jardines de Arlaja Rudolph Süss’s Lyrische Suite no. 1, op. 23 J.N. Bobrowicz’s Grand Polonaise, op. 24 Rudolph Süss’s Lyrische Suite no. 2, op. 24 Elsa Just’s Ständchen for Guitar Trio Athénaïs Paulian’s Airs and Variations, op. 1
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Дисертації з теми "Trio Concertante for guitar"

1

Pulido, Cordoba Pablo Arturo. "O bambuco Florecita del camino para violão solo de Jaime Romero : uma análise para a interpretação a partir da versão original para trio típico colombiano." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/141344.

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O presente trabalho investiga a interpretação do bambuco Florecita del camino do colombiano Jaime Romero (1966) para violão solo, uma vez que foi concebido pelo próprio compositor originalmente para trio típico colombiano, ou seja, para três instrumentos de cordas. O gênero bambuco é o maior representante da música andina colombiana. Para esta pesquisa apresento dados sobre a forma e a estrutura do bambuco e, analisei e comparei a versão original com a de violão solo. Dois artigos escritos pelo próprio compositor, assim como uma entrevista serviram de base para o trabalho. Para auxiliar na interpretação deste bambuco, criei exercícios e micro estudos para confrontar as dificuldades técnicas que encontrei, incluindo digitações, e dificuldades expressivas desta obra. Este material pretende não só ajudar o intérprete ao se deparar com bambucos, como divulgar o gênero da música andina colombiana.
The purpose of this study is to investigate the interpretation of the bambuco Florecita del camino by the Columbian composer Jaime Romero (b. 1966) for solo guitar. It was originally composed for the Columbian trío típico, by the same composer, for three stringed instruments. The bambuco is the most representative of Columbian music of the Andes. Information about the form and structure of the bambuco were presented, as well as an analysis and comparison of the original version with the guitar solo version. Two articles by the composer and an interview served as the basis of this work. As for the interpretation of the bambuco, I created exercises and microstudies to overcome the technical difficulties I encountered, including fingering, as well as expressive difficulties in the piece. This material may be used to help those learning to perform the bambuco, making this genre of Columbian music of the Andes more accessible to listeners, as well.
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2

Bittencourt, Alexis da Silveira. "A guitarra Trio inspirada em Johnny Alf e João Donato : uma abordagem do estilo de interpretação de Johnny Alf e João Donato ao piano, direcionada a performance da guitarra em contexto instrumental trio (guitarra, contra-baixo e bateria/percussão)." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284740.

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Orientador: Marcos Siqueira Cavalcante
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-07T17:47:31Z (GMT). No. of bitstreams: 1 Bittencourt_AlexisdaSilveira_M.pdf: 1695226 bytes, checksum: 92231c6957e04d697fa545b4571049d8 (MD5) Previous issue date: 2006
Resumo: Este trabalho parte da tese de que o estilo interpretativo ao piano, em contexto instrumental Trio (piano, contra-baixo e seção rítmica), de Johnny Alf e João Donato, constitui uma espécie de elo norteador à interpretação da música popular brasileira a partir da segunda metade do século passado, com raízes no samba e forte influência jazzista. Tem, portanto, o objetivo de definir esse elo e demonstrar como esse pode ser uma valiosa referência ao guitarrista, servindo de fonte para este reavaliar sua prática interpretativa da música popular brasileira
Abstract: This research is based on the thesis, that the piano playing style, of Johnny Alf and João Donato, in the piano instrumental trio performance (with double-bass and drums and/or percussion), can be defined as a link, that could be perceived as a guide of how to play the Brazilian Popular Music from the second half of the last century to our days. This kind of music finds its roots in samba, however is strongly affected by the jazz influences. Our goal is to define the link among Alf and Donato, and demonstrate how it can provide valuable references to the guitarist, within the guitar trio situation, as a source for a reevaluation of his directions on playing the Brazilian Popular Music
Mestrado
Mestre em Música
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3

Pennington, Anna Ohlsson Eric Paul Pasculli Antonino. "Days of bliss are in store Antonino Pasculli's "Gran trio concertante per violino, oboe, e pianoforte su motivi del Guglielmo Tell di Rossini" /." Diss., 2007. http://etd.lib.fsu.edu/theses/available/etd-06292007-235916/.

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Treatise (D.M.A.) Florida State University, 2007.
Advisor: Eric Ohlsson, Florida State University, College of Music. Title and description from dissertation home page (viewed 10-8-2007). Document formatted into pages; contains 67 pages. Includes biographical sketch. Includes bibliographical references.
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Книги з теми "Trio Concertante for guitar"

1

Paganini, Nicolò. Terzetto concertante for viola, guitar, and violoncello. Miami Lakes, Fla: Masters Music Publications, 1989.

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2

Devienne, François. A favourite trio concertante (1787) for the pianoforte, flute, & bassoon or violoncello. Lemars, Ia: Medici Music Press, 1989.

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3

1954-, Di Meola Al, Lagrène Biréli 1966-, Super Guitar Trio (Musical group), Montreux Sounds, and Eagle Eye Media (Firm), eds. Super Guitar Trio: Live at Montreux 1989. [s.l.]: Eagle Eye Media, 2007.

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4

Vivaldi, Antonio. Trio in G minor for lute (guitar), violin, and basso continuo, RV 85. Bryn Mawr, Pa: T. Presser, 1991.

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5

Bach, Johann Sebastian. Bach for relaxation. New York, NY: RCA Victor, 1998.

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6

Granados, Enrique. Cinco Piezas Populares for Guitar Trio. Clear Note Publications, 2021.

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7

Metheny, Pat. Pat Metheny - Trio 99-00 (Tab). Hal Leonard Corporation, 2005.

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8

Call, Leonard Von. Easy Trio in C Major for Three Guitars, Op. 26. Alfred Publishing Company, Incorporated, 1985.

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9

Albéniz, Isaac. Suite from the Magic Opal Arranged for Guitar Trio. Clear Note Publications, 2021.

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10

Lopez, Victor. Flex-ability Pops: Solo-duet-trio-quartet With Optional Accompaniment (Flex-Ability Series). Alfred Publishing Company, 2001.

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Частини книг з теми "Trio Concertante for guitar"

1

van Delden, Ate. "Postwar Trio Years." In Adrian Rollini, 365–86. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825155.003.0020.

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After the Trio and the Shop, Rollini starts a third venture, the Driftwood, a fishing lodge on Key Largo, Florida. He has a relaxed life, spending his time on all three ventures as well as on his hobby, fishing. Al Perlis joins the Trio on guitar and records are made for another small label, Bullet, andissued on the new Mercury label. Rollini develops another serious disease, tuberculosis and recovers. He stays in a hospital in New York, but two years later he has a mysterious accident near his lodge and he dies from complications in a hospital in Homestead, Florida. He was survived by Dixie.
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2

Bolick, Harry, Tony Russell, T. DeWayne Moore, Joyce A. Cauthen, and David Evans. "The Collier Trio." In Fiddle Tunes from Mississippi, 98–110. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835796.003.0013.

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As their name indicates, the Collier Trio were a family band. Otto Collier (1895-1944) and his older brother William Alsey Collier (1890-1940), the founding members, began playing together in their boyhood, before World War I. In wartime they were stationed at Camp Beauregard, Louisiana, as fulltime army musicians, and they never got to go abroad. Otto played mandolin, banjo, and violin; Alsey, guitar and later drums. The brothers were born in Meridian but had moved to Leake County by 1920 and spent most of their lives round Carthage. They were never fulltime musicians (after their army days) but made their living as paperhangers or house painters.
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3

Russell, Tony. "“Home Again Medley”." In Rural Rhythm, 101–3. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190091187.003.0027.

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4

van Delden, Ate. "A Shop and a Trio." In Adrian Rollini, 317–31. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825155.003.0018.

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Rollini had been an orchestra member for most of his professional career, but his wish had been to be his own boss, a wish that had been partially realized during record dates under his own name during the last few years. In 1936, he decides to make it permanent. He opens a shop for musical instruments, the White Way Musical Products, and starts a Trio centred on his vibraphone. Frank Victor plays guitar and Henry Clark plays bass.Both ventures are sufficiently successful to support Dixie and Adrian for years to come.
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5

van Delden, Ate. "Trio Years: Before and during the War." In Adrian Rollini, 332–64. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825155.003.0019.

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In 1938 Rollini made his final recording on bass saxophone. He definitely chose for the vibraphone and his Trio. Some of his compositions for vibraphone were published by Robbins. The Trio had plenty of work and the next year Rollini got a broadcast contract for Chiclets chewing gum. There were engagements in Hollywood as well as many short gigs in New York in such places as the Belmont Plaza and the Piccadilly. The Trio's personnel changed rapidly and leader Rollini had to find replacements. He settled for Allen Hanlon, guitar, (later Fred Sharp) and George Hnida, bass.They record for a small label, WOR Feature.
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Friedwald, Will. "Entr’acte." In Straighten Up and Fly Right, 210–60. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190882044.003.0006.

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In spring 1948, Capitol Records finally releases “Nature Boy” (at the time of Cole’s marriage to his second wife, Maria Hawkins Ellington). The song is a blockbuster, remaining #1 on the pop charts for almost two months and pushing Nat into a more popular direction. This is also when he introduces a whole new Trio—with guitar (Irving Ashby), bass (Joe Comfort), and percussion (conga and bongo player Jack Costanzo)—now called “Nat King Cole and His Trio.” The new group’s entirely different sound lets Cole explore modern jazz and Afro-Latin music. Cole is also experimenting with the transition from jazz pianist to popular vocalist. From 1949 to 1952, Cole makes about forty titles with his first full-time musical director, arranger, and conductor, Pete Rugolo. The chapter ends with Nat’s first venture outside of America, a brief tour of the UK and Scandinavia that also opened up the floodgates for things to come.
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Bolick, Harry, Tony Russell, T. DeWayne Moore, Joyce A. Cauthen, and David Evans. "Mumford Bean and his Itawambians." In Fiddle Tunes from Mississippi, 62–65. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835796.003.0008.

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Charles Mumford Bean (1913–92) was born in Fulton, the largest town of Itawamba County in northeastern Mississippi. He learned banjo and fiddle from his father George, and in about 1924 formed a string band with his distant cousins Clarence Relder Priddy (1917–97) on mandolin and Morine Little (1910–2000) on guitar. Bean won the tri-county (Itawamba–Monroe–Lee) fiddlers’ contest in 1925. The trio played over WELO, Tupelo on Saturday-night jamborees, and at dances, political rallies, and other functions. In February 1928 they made their only recordings, for Okeh at a location session in Memphis.
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Krakauer, Ben. "Distinctive Qualities of Southwestern Ohio Bluegrass." In Industrial Strength Bluegrass, 175–88. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043642.003.0011.

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Regional bluegrass mixed earlier rural influences with those of urban dislocation and factory life, yielding significant innovations that inspired later bluegrass worldwide. Scruggs-style banjo techniques were adapted by mandolinist Jesse McReynolds and guitarists Bill Napier and George Shuffler. Tavern acoustics required piercing tones, and percussive plucked-stringed instruments were prized over the fiddle. The Osborne Brothers and Red Allen, Jim and Jesse, and Jimmy Martin brought trio vocal harmony to the forefront. “Melodic” five-string banjo, later developed elsewhere, drew upon Noah Crase’s innovations. Sonny Osborne’s unconventional musical vocabulary inspired newgrass. Bobby Osborne, Frank Wakefield, and Dorsey Harvey influenced generations of mandolinists. King Records owner Syd Nathan encouraged bluegrass’s earliest guitar flatpicking solos. Lillimae Whitaker and Katie Laur were pioneer woman bandleaders.
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Crow, Bill. "Garner & Monk." In From Bird land to Broadway, 144–48. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195069884.003.0031.

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Abstract I enjoyed several weeks of good companionship and a lot of good music when Gerry Mulligan’ s Quartet joined a tour that included the Erroll Garner Trio, the Miles Davis Quintet, Count Basie’ s Band, Kai Winding’ s new four-trombone septet, and Dinah Washington. One cold day in Detroit, we played in an arena where most of the dressing rooms were unheated. When I heard that Basie’ s large dressing room was warm, I carried my bass over to wait there for our turn on stage. Several others had the same idea. Basie had an old upright piano in his room, and was sitting at the keyboard, tinkling a little, so I began playing along with him. Freddie Green broke out his guitar, and couple of horn players joined in.
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Friedwald, Will. "Interlude." In Straighten Up and Fly Right, 145–78. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190882044.003.0004.

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This chapter examines how Nat Cole, in the early to mid-1940s, actually enjoyed two careers at the same time; one as leader of a “commercial” trio; the other as a “gigging” jazz pianist. With Norman Granz as producer, he recorded a series of sessions with Lester Young, Dexter Gordon, and Illinois Jacquet. Then, in July 1944, Granz launched the iconic Jazz at the Philharmonic series with an all-time classic concert, thankfully recorded, in which Nat created musical history in a brilliant duet with rising guitar star Les Paul. We also look at other instrumental sessions that Cole made in these years and the people he played with: the Capitol International Jazzmen with Benny Carter and Coleman Hawkins; the Sunset All Stars with Charlie Shavers, Herbie Haymer, and Buddy Rich; and the Keynoters with Willie Smith.
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