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Aaron Neville

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October 19, 2012

The Grand Tour

Step right up come on in If you’d like to take the grand tour Of the lonely house that once was Home sweet home

I have nothing here to sell you Just some things that I will tell you Some things I know will chill you To the bone

Over there sits the chair Where she’d bring the paper to me Sit down on my knee and whisper Oh, I love you

But now she’s gone forever And this old house it will never Be the same without the love That we once knew

Straight ahead that’s the bed Where we’d lie in love together And Lord knows we had A good thing going here

See her picture on the table Don’t it look like she’d be able Just to touch me and say Good mornin’ dear

There’s her rings all her things And her clothes are in the closet Where she left them when She tore my world apart

As you leave you’ll see the nursery Oh, she left me without mercy Takin’ nothin’ but our baby And my heart

Step right up come on in Come on in

©2024 Aaron Neville | Log in

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Deep Purple and Yes Will Team Up For North American 2024 Tour

via WTEN / YouTube

In an announcement that has set the rock scene buzzing, the legendary bands Deep Purple and Yes have revealed their plans for a joint tour in 2024. This exciting news means fans can expect to experience the electrifying performances these rock giants are known for, across various cities in North America.

A Rocking Summer

The tour is set to kick off in the vibrant city of Hollywood, Florida, at the renowned Hard Rock Live on August 14. Following this explosive start, the bands will make their way to Tampa, Florida, where they will perform at the Seminole Hard Rock Event Center the very next day. The tour promises an unforgettable summer for rock enthusiasts, with scheduled stops in cities including The Woodlands, Texas; Cincinnati, Ohio; Toronto, Ontario; and many more.

Notably, the Oklahoma show at the Choctaw Casino – Grand Theater on August 18 will be a unique occasion, featuring only Deep Purple. This gives die-hard fans of this iconic group an exclusive opportunity to connect with the band in a more focused setting.

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A Brief Look at the Legends

Deep Purple, a band that has become synonymous with heavy rock, has continually evolved its sound while staying true to its roots. With hits that have become anthems, such as “Smoke on the Water,” the band has cemented its place in the hearts of rock fans across generations.

Yes, on the other hand, is a band that has dominated the progressive rock scene with its complex compositions and innovative sound. Their music has not only stood the test of time but has also inspired countless artists and bands in the music industry.

Tour Details

After the opening in Florida, the bands will weave their way through the United States, with performances in Texas, Cincinnati, OH, Sterling Heights, MI, and many other locations. Canadian fans aren’t left out, with Toronto, ON, and Montreal, QC, also on the itinerary. The tour will eventually conclude with a spectacular show in Scranton, PA, at The Pavilion at Montage Mountain on September 8.

Aug. 14 – Hollywood, FL @ Hard Rock Live Aug. 15 – Tampa, FL @ Seminole Hard Rock Event Center Aug. 17 – The Woodlands, TX @ Cynthia Woods Mitchell Pavilion Aug. 18 – Durant, OK @ Choctaw Casino – Grand Theater ** Aug. 19 – Fort Worth, TX @ Dickies Arena Aug. 21 – Cincinnati, OH @ PNC Pavilion at Riverbend Music Center Aug. 22 – Sterling Heights, MI @ Michigan Lottery Amphitheatre at Freedom Hill Aug. 23 – Tinley Park, IL @ Credit Union 1 Amphitheatre Aug. 25 – Toronto, ON @ Budweiser Stage Aug. 27 – Montreal, QC @ Bell Centre Aug. 28 – Gilford, NH @ BankNH Pavilion Aug. 30 – Camden, NJ @ Freedom Mortgage Pavilion Aug. 31 – Holmdel, NJ @ PNC Bank Arts Center Sept. 1 – Wantagh, NY @ Northwell Health at Jones Beach Theater Sept. 3 – Bridgeport, CT @ Hartford Healthcare Amphitheater Sept. 4 – Saratoga Springs, NY @ Broadview Stage at SPAC Sept. 6 – Bethel, NY @ Bethel Woods Center for the Arts Sept. 7 – Bristow, VA @ Jiffy Lube Live Sept. 8 – Scranton, PA @ The Pavilion at Montage Mountain ** Deep Purple only

An interesting twist in the schedule is the Deep Purple only performance in Durant, OK, at the Choctaw Casino – Grand Theater. It promises to be a special night for fans of Deep Purple, offering an intimate experience with the rock legends.

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Aaron Neville|The Grand Tour

The Grand Tour

Aaron Neville

• Released on 20/04/1993 by A&M
• Main artists: Aaron Neville

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Although Steve Lindsey tries a little too hard to make The Grand Tour appeal to everyone, Aaron Neville manages to make the album another solid addition to his latter-day catalog. Lindsey keeps the sound of the album strictly in the mainstream, piling on layers of keyboards, vocalists, and drum machines which neuter any rootsy elements in the music. This is particularly unfortunate, since the selection of songs is interesting, ranging from George Jones and Chuck Berry to Bob Dylan and Leonard Cohen. Nevertheless, Neville rises to the material, not the production, giving the music an emotional core. Not every teaming works, but enough songs hit the target to make The Grand Tour worthwhile for dedicated fans. © Stephen Thomas Erlewine /TiVo

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Steve Lindsey, Producer - Diane Warren, ComposerLyricist - Aaron Neville, MainArtist - David Anderle, Producer, Executive Producer

℗ 1993 A&M Records

Steve Lindsey, Producer - Phil Galdston, ComposerLyricist - Aaron Neville, MainArtist - David Anderle, Producer - Wendy Waldman, ComposerLyricist - Jonathan G. Lind, ComposerLyricist

℗ 1993 UMG Recordings, Inc.

Steve Lindsey, Producer - Aaron Neville, MainArtist - Bob Dylan, ComposerLyricist

Steve Lindsey, Producer - Aaron Neville, MainArtist - Bob Thiele, ComposerLyricist - PHIL ROY, ComposerLyricist - David Allen Faragher, ComposerLyricist

Dean Parks, Guitar, AssociatedPerformer - David Campbell, String Arranger, AssociatedPerformer - Steve Lindsey, Producer - Freddie Washington, Bass Guitar, AssociatedPerformer - BILL SCHNEE, Mix Engineer, StudioPersonnel - Aaron Neville, MainArtist - Lenny Castro, Percussion, AssociatedPerformer - THOM BELL, ComposerLyricist - LINDA CREED, ComposerLyricist - Ed Greene, Drums, AssociatedPerformer - David Anderle, Producer, Executive Producer - Jim Champagne, Asst. Recording Engineer, StudioPersonnel - Jim Cox, Organ, Piano, AssociatedPerformer - John Hendrickson, Asst. Recording Engineer, StudioPersonnel - Paul Jackson, Jr., Guitar, AssociatedPerformer - Gabe Veltri, Engineer, StudioPersonnel - Dorian Holley, Background Vocalist, AssociatedPerformer - Alan Estes, Unknown, Other - Dee Harvey, Background Vocalist, AssociatedPerformer - Billy Graham, Unknown, Other - Enrico de Paoli, Asst. Recording Engineer, StudioPersonnel - Dominique Schafer, Asst. Recording Engineer, StudioPersonnel - Tony (T.A.) Warren, Background Vocalist, AssociatedPerformer

Steve Lindsey, Producer - Aaron Neville, MainArtist - Leonard Cohen, ComposerLyricist - Bill Elliott, ComposerLyricist - Jennifer Warnes, ComposerLyricist

Steve Lindsey, Producer - Aaron Neville, MainArtist - Chuck Berry, ComposerLyricist

Anna Gordy Gaye, ComposerLyricist - Elgie Stover, ComposerLyricist - Iris Gordy, ComposerLyricist - Steve Lindsey, Producer - Anna Gaye, ComposerLyricist - Aaron Neville, MainArtist - Marvin Gaye, ComposerLyricist - David Anderle, Producer, Executive Producer

Steve Lindsey, Producer - Aaron Neville, MainArtist - Jack Strachey, ComposerLyricist - Holt Marvell, ComposerLyricist

Steve Lindsey, Producer - BILL SCHNEE, Mixer, StudioPersonnel - Aaron Neville, MainArtist, ComposerLyricist

Carolyn Franklin, ComposerLyricist - Steve Lindsey, Producer - Aaron Neville, MainArtist

George Richey, ComposerLyricist - Norris Wilson, ComposerLyricist - Carmol Taylor, ComposerLyricist - David Campbell, Recording Arranger, AssociatedPerformer - Steve Lindsey, Producer - Aaron Neville, MainArtist - Lee R. Thornburg, Recording Arranger, AssociatedPerformer

George Richey, ComposerLyricist - Norris Wilson, ComposerLyricist - Carmol Taylor, ComposerLyricist - Steve Lindsey, Producer - Aaron Neville, MainArtist

Album review

About the album.

• 1 disc(s) - 13 track(s)
• Total length: 00:53:07
• Composer: Various Composers
• Label: A&M
• Genre: Pop/Rock Pop

© 1993 UMG Recordings, Inc. ℗ 1993 UMG Recordings, Inc.

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• Keith Richards
• X-Pensive Winos

Remember When: Keith Richards Started The X-Pensive Winos

by Jay McDowell April 8, 2024, 10:25 am

Guitarist Keith Richards will forever be associated with The Rolling Stones. No matter what else he does, he will always be known as the guitar player from the greatest rock band in the world. In 1986, Dirty Work was the first Rolling Stones album released by CBS Records. The relationship between Richards and Mick Jagger was at an all-time low. Jagger decided not to tour with the band to promote the album and instead went on a solo tour. The Rolling Stones nearly broke up.

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During this time, Richards looked to make music of his own. He formed a band with co-songwriter and co-producer Steve Jordan, who played with Richards and others in two 1986 concerts celebrating Chuck Berry’s 60th birthday that were the basis for the movie documentary Hail! Hail! Rock ‘n’ Roll . Richards gathered guitarist Waddy Wachtel, saxophonist Bobby Keys, bassist Charley Drayton, and keyboardist Ivan Neville and went into the recording studio. The X-Pensive Winos were born.

World War III

In the late ’80s, their relationship had deteriorated to the point where Richards and Jagger were working on their own projects. Richards referred to this timeframe as “World War III.” In Richards’ 2010 memoir Life , Jordan remembered, “Keith and I were very close during those times when we were writing before we put together a band when there was just the two of us. We went into a studio called Studio 900, which was right around the corner from where I lived and up the street from where he lived in New York. And we would go in there and hunker down.

“The first time we went in there, we played 12 hours straight,” he continued. “Keith didn’t even go out and take a piss! It was unbelievable. It was just sheer love of music that bound us. But it was clearly liberating for him. He had so many ideas he wanted to get out. And certainly, he was upset, or, at least when it came to writing, wearing his heart on his sleeve.”

The Band’s Name

Richards was invigorated by the new material. He wrote in Life , “I noticed a bottle of Château Lafite introduced as light refreshment in the studio. Well, nothing was too good for this amazing band of brothers. Steve asked me who I wanted to play with, and first up, on guitar I said Waddy Wachtel. And Steve said, ‘You took the words, brother.’ I had known Waddy since the ’70s, and I’d always wanted to play with him, one of the most tasteful, simpatico players I know. And he’s completely musical. Understanding of it, empathetic, nothing ever needing to be explained. He’s also got the most uncanny ultrasonic ear, still tuned high after years of bandstands. He was playing with Linda Ronstadt, and he was playing with Stevie Nicks—chick bands—but I knew my man wanted to rock. So I called him and said simply, ‘I’m putting a band together, and you’re in it.’ Steve agreed that Charley Drayton should be the bass player, and I think it was just a general consensus that Ivan Neville, from Aaron Neville’s family from New Orleans, should be the piano player. There was no audition process whatsoever.”

“It Brought Me Back to Life”

“The Winos were put together very slyly. Almost everybody in that band can play anything,” Richards recalled. “They can switch instruments; they can virtually all sing. Steve can sing. Ivan’s a fantastic singer. This core band, from the first few bars we ever played, took off like a rocket. I’ve always been incredibly lucky with the guys I’ve played with. And there’s no way you can stand in front of the Winos without getting off. It’s a surefire high. It was so hot you could hardly believe it. It brought me back to life. I felt as if I’d just gotten out of jail. As engineer we had Don Smith, who Steve had picked out. He had cut his teeth at Stax in Memphis and worked with Don Nix, who wrote ‘Going Down.’ He also worked with Johnnie Taylor, one of my earliest heroes. He’d hung out in the juke joints of Memphis with Furry Lewis. He loved his music.”

Talk Is Cheap

In 1978, Richards released a solo single of “Run Rudolph Run,” backed with “The Harder They Come.” It failed to chart. The album The X-Pensive Winos recorded was referred to in the press as a Keith Richards solo album, but Talk Is Cheap was very much a band effort. Richards wrote, “I’d never really written with anybody on a long-term basis except Mick, and I wasn’t really writing much with Mick anymore. We were writing our own songs. And I didn’t realize until I worked with Steve Jordan how much I’d missed that. And how important it was to collaborate. When the band was assembled in the studio, I often composed the songs there, just standing up and voweling, hollering, whatever it took, a process that was unfamiliar to Waddy at first.”

Said Wachtel, “It was very funny. Keith’s concept of writing was this. ‘Set up some mikes. Huh? OK.’ He goes, ‘OK, let’s go sing it.’ ‘Go sing what?’ And he goes, ‘Go sing it!’ ‘What are you talking about? Go sing what?’ ‘We don’t have anything.’ And he goes, ‘Yeah, right, let’s go make something up.’ And this is it. This is the routine. So Steve and I are standing up there with him, and every so often, he’d go, ‘What the f–k … that feels good,’ trying to come up with lines. Throw everything at the wall, see if it sticks. And that was basically the routine. It was amazing. And we got some lines out of it, too.”

The Sopranos

The band performed at the Hollywood Palladium, and a version of “Make No Mistake” was recorded and later featured in the TV series The Sopranos and included on the 2001 soundtrack album The Sopranos: Peppers & Eggs: Music from the HBO Original Series. Richards sums it up like this, “We had the time of our lives touring with the Winos. We had standing ovations at almost every show, we did small theaters, sellouts, we broke even. The caliber of musicianship across the stage was astonishing. Fabulous playing every night, the music flowing like crazy. We were flying. It was really magic. In the end, neither Mick nor I sold a lot of records from our solo albums because they want the Rolling bleeding Stones, right?

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Everything to Know About Morgan Wallen’s Nashville Arrest

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Daryl Hall and Elvis Costello & The Imposters announce co-headlining summer tour

General on-sale begins Friday, March 15, on DarylHall.com & ElvisCostello.com

Press Release

Today, Daryl Hall and Elvis Costello & The Imposters with Charlie Sexton have announced a co-headlining summer run across North America.

The 22-city tour kicks off June 2 at McMenamins Edgefield in Troutdale, Oregon, making stops at Los Angeles’ The Greek Theatre, Las Vegas’ Fontainebleau Las Vegas, Toronto’s Budweiser Stage, Boston’s MGM Music Hall at Fenway and New York’s Radio City Music Hall before wrapping up in Vienna, Virginia, at Wolf Trap Filene Center on July 25. 

Regarding the tour with Elvis, Hall said, “It’s fantastic to be able to rekindle a musical relationship. Get ready for lots of great music.”

Costello said, “We are looking forward to kicking off the show in style in the certainty that Daryl will deliver a slam-bang finish.”

Rock & Roll Hall of Famer Hall had an exciting 2023 on a solo tour with longtime friend and fellow Hall of Fame inductee support act Todd Rundgren. He also recently performed in front of 65,000 people at the historic American Express BST Hyde Park. And, a new season of his award-winning " Live from Daryl’s House " returned Nov. 1 on Hall’s dedicated YouTube channel.

Elvis Costello & The Imposters with Charlie Sexton toured recently to rave reviews. The Nashville Scene wrote that "Costello is proving he’s an indefatigable force of nature, and one of the greatest showmen in the history of rock ’n’ roll”; while in St. Louis, the Riverfront Times concluded "Elvis Costello showed St. Louis Friday that he’s earned his legend status.”

The Imposters are Steve Nieve, Pete Thomas and Davey Faragher. They will once again be joined on the road by guitarist Charlie Sexton.

Tickets will be available starting with an artist presale beginning Monday, March 11. Additional presales will run throughout the week ahead of the general on-sale beginning at 10 a.m. Friday, March 15, at DarylHall.com and ElvisCostello.com .

More About Daryl Hall

Daryl Hall is a modern-day renaissance man, an inductee into the Rock & Roll Hall of Fame, the star of his very own award-winning web series, “Live from Daryl’s House,” as well as a successful venue owner with Daryl’s House, a restored venue and live music space in Pawling, New York.

The Philadelphia soul man is still achieving career milestones more than four decades later, continuing to perform with his band to sold-out venues everywhere.

It’s been quite a decade for Hall, including the opening of Daryl’s House, a combination world-class restaurant and performance venue, which he kicked off on Oct. 31, 2014. The popular venue also serves as home base for his multi award-winning “Live from Daryl’s House.”

The show, which began as a “light bulb” moment for Hall when he launched it in 2007 as a free webcast, has set the standard for artist-initiated projects. The groundbreaking series provides a mix of legends and the next generation of superstars. “Live From Daryl’s House” streams on Hall’s YouTube channel.

Previous episodes of “Live From Daryl’s House” have featured a diverse mix of veteran and new performers from rock, soul, country and R&B, including rock legends Sammy Hagar, Joe Walsh, Cheap Trick, Tommy Shaw, Kenny Loggins, Todd Rundgren, Nick Lowe, Dave Stewart and Billy Gibbons of ZZ Top; soul and R&B artists The O’Jays, Aaron Neville, Aloe Blacc, Kandace Springs, Elle King, Wyclef Jean, Smokey Robinson, Cee Lo Green, Booker T & The MGs, and Sharon Jones; big-league singer/songwriters such as Ben Folds, Rob Thomas, Jason Mraz, Gavin DeGraw, Goo Goo Dolls’ John Rzeznik and Fall Out Boy’s Patrick Stump; country artists such as Shelby Lynne; and has helped break new acts Fitz & The Tantrums, Grace Potter & The Nocturnals, Neon Trees, Johnnyswim, Parachute and Anderson East. The latest episodes of the show feature Squeeze’s Glenn Tilbrook, Blackberry Smoke’s Charlie Starr, Andy Grammer, Lisa Loeb, Robert Fripp and Howard Jones.

Hall has come a long way, and he’s still got plenty of mileage left in a career that’s taken him from the streets of Philadelphia to the halls of the Rock & Roll Hall of Fame in Cleveland. The best is yet to come.

More About Elvis Costello

Elvis Costello is a writer and part-time musician who made a number of records in the 20th century, some of which are still remembered today.

He was born in London and raised there and in Liverpool.

Costello is the composer or lyricist of over 600 published titles, including 15 songs co-written with Paul McCartney and renowned collaborations with Allen Toussaint, the Brodsky Quartet and T Bone Burnett.

Costello’s songwriting alliance with Burt Bacharach began in 1995 with the song, “God Give Me Strength,” which led to the 1998 album, “Painted From Memory,” before their work was collected in 2023 on the four-album set, “The Songs Of Bacharach & Costello.”

Costello songs have been recorded by Roy Orbison, Johnny Cash, Chet Baker, Dusty Springfield, Solomon Burke, George Jones, Linda Ronstadt and Bjork, while the artists with whom he has written songs are Loretta Lynn, Carole King, Rosanne Cash, Kris Kristofferson, and his wife, Diana Krall.

Working purely as a lyricist, Costello has provided words for the music of Billy Strayhorn, Oscar Peterson and for 12 Charles Mingus compositions and, as a composer, set 12 unpublished lyrics by Bob Dylan.

2024 will see the opening of “A Face In The Crowd,” Sarah Ruhl’s stage adaptation of the Budd Schulberg story for which Costello composed the songs. “A Face In The Crowd” will open at the Young Vic in London, directed by Kwame Kwei-Armah and produced by Adam Kenwright.

Costello is the author of “Unfaithful Music & Disappearing Ink,” a more than 600-page memoir that has been translated into six languages. He has received a range of awards over his 45-year-career, of which the induction into the Songwriters Hall of Fame is probably the most significant.

Although he holds two honorary doctorates in music – one from the University of Liverpool and another from the New England Conservatory – Costello is known for playing the guitar with almost no regard for common sense.

Costello currently performs with The Imposters; his long-time companions: drummer Pete Thomas and pianist Steve Nieve, bassist of 23 years Davey Faragher, and their special guest, Texas guitarist Charlie Sexton.

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SA Rugby statement: Bulls’ R4.1m travel arrangements

South African rugby officials have clarified the situation regarding this week’s travel plans to get the Bulls to England for Saturday’s Investec Champions Cup quarter-final versus Northampton.

The Pretoria franchise defeated Lyon last Saturday in their round-of-16 tie at home at Loftus, but they didn’t know until the following day whether they would have to travel to the northern hemisphere for their next match or else host Irish side Munster this weekend.

In the end, Northampton won 24-14, giving the Bulls an away last-eight match that has resulted in Jake White criticising the travel logistics involved in the tournament.

Jannes Kirsten on his injury since arriving back in South Africa

Jannes Kirsten on his injury speak to Liam Heagney about the injury that’s kept him out of action since arriving at the Bulls.

Their issues with getting to England in time to prepare for their match are reminiscent of what happened last year when the Stormers defeated Harlequins in Cape Town in the round of 16 and then had to try and get to Exeter the following weekend for a quarter-final.

An SA Rugby statement on the travel concerns raised this week by Bulls boss White read: “Media are advised that SA Rugby provided 38 flights for the Vodacom Bulls Investec Champions Cup quarter-final squad – 33 in business class and five in economy class.

Investec Champions Cup

Northampton

“The playing squad will arrive in London before 08h00 local time on Wednesday having travelled overnight in business class on two airlines: British Airways (24 players and management) and Lufthansa (four players and management).

“The coach and CEO also flew directly to London overnight on Virgin in business class. The balance of eight of the tour squad (four management and four players) travelled via Zurich, Doha, and Dubai.

“Media will appreciate that the high demand for business class seats in and out of South Africa, allied to the reduced number of flights into the country and the late confirmation of the required seats (Sunday evening) made it well-known to all parties that securing business class seats on a single flight would be impossible.

“Pre-booking seats was discounted as an option in view of the potential risk of loss of 100 per cent of the flight cost for a group booking, should it not be required as it was unknown until 48 hours before departure whether the Vodacom Bulls would qualify, or be playing home or away (in the event of qualification).

“SA Rugby believes that the flights sourced by SA Rugby for the Vodacom Bulls (at a cost to SA Rugby of R4 108 449.00) represent the very best outcome it was possible to achieve in the circumstances.”

• The R4million forked out by SA Rugby equates to circa £175k sterling.

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What Is at Stake in Jazz Education? Creative Black Music and the Twenty-First-Century Learning Environment

This dissertation aims to explore and describe, in ethnographic terms, some of the principal formal and non-formal environments in which jazz music is learned today. By elucidating the broad aesthetic, stylistic, and social landscapes of present-day jazz pedagogy, it seeks to encourage the revitalization and reorientation of jazz education, and of the cultural spaces in which it takes place. Although formal learning environments have increasingly supported the activities of the jazz community, I argue that this development has also entailed a number of problems, notably a renewal of racial tensions spurred on by 1) the under-representation of non-white students and faculty, especially black Americans; 2) the widespread adoption of 'color-blind' methodologies in formal music-learning environments, which serve to perpetuate ambivalence or apathy in the addressing of racial problems; 3) a failure adequately to address cultural studies related to the black heritage of jazz music; and 4) the perpetuation of a narrow vision of jazz music that privileges certain jazz styles, neglects others, and fails to acknowledge the representative intersections between jazz and related forms of black music. The study seeks to answer two main questions: What is the nature of the twenty-first-century learning environment? Moreover, how do cultural and racial dynamics affect the ways in which jazz is taught and understood in formal and non-formal settings? My proposition is that teaching jazz as a part of a broad spectrum of black musical styles and cultural traditions, which I shall call the black musical continuum, provides solutions for the dearth of cultural competency and narrow vision of jazz found in many learning environments. Through a continuum theory, I seek to provide a framework for viewing, teaching, learning, and performing jazz that situates it within the larger socio-cultural context of black American music. I argue that such a reorientation toward African-American cultural studies will help jazz musicians, jazz educators, and school administrators better understand how to solve problems of racial disparity and cultural awkwardness or ineptitude in both formal and non-formal environments. Chapter 1 elucidates significant problems that arise from the lack of attention to appropriately targeted cultural competency within jazz education, with particular attention to the racial tensions within jazz programs and the praxis of color-blindness. Chapter 2 draws upon ethnographic methods, notably as promoted by Guthrie P. Ramsey Jr. and Bruno Nettl, to construct a critical autoethnography of jazz learning environments at the turn of the twenty-first century. Chapter 3 provides the ethnographic study of a Jamey Aebersold Summer Jazz Workshop, to explain the workings of a unique milieu that influences not only how jazz is taught in schools around the world, but also how the music is culturally perceived and understood within and outside of academia. Chapter 4 delves deeper into the Aebersold Workshop community to examine dynamics of race and gender in that environment. Chapter 5 provides a second ethnographic study, conducted in New Orleans, Louisiana, in which I explore the intersection between non-formal and formal jazz learning environments by shadowing jazz trumpeter Mario Abney. The final chapter synthesizes data from these three ethnographies and explores the administrative and curricular implications of the study.

Related Papers

N. Michael Goecke, MM, MA, PhD

This thesis examines the complex sociocultural dynamics that surround the concept of jazz theory from two broad perspectives: formalized or academic jazz theory, which emerged as a result of the formal institutionalization of jazz in the academy, and organic or intrinsic jazz theory, which first arose from African American music-making practices. This dichotomy does not suggest that the majority of jazz community members exist at the extremes of either of these two poles. Contrarily, most musicians tend to occupy the grey area somewhere in between. The aim of this study was to shed light on the complex and elusive intersection between formalized and organic approaches to jazz theory. Through an analysis of informal, formal, and virtual (internet-based) jazz music-learning environments, the results offer a thick description of the way in which notions of "jazz theory" affected the social lives of musicians, fostered racialized jazz identities, defined community boundaries, and influenced music-making practices. The paper includes a variety of case studies, such as Miles Davis' experience studying music at Julliard, an analysis of the first methodological theory books published for jazz students and educators, online forums where jazz students discuss music theory, and ethnographic data related to modern day jazz theory that I collected from nonacademic and academic jazz learning environments. Two theory-related books examined included George Russell's Lydian Chromatic Concept and David Baker's Jazz Pedagogy: A Comprehensive Method of Jazz Education for Teacher and Student. In both, the cultural contexts in which the works were created and how many students and educators misinterpreted or omitted elements that reflect the tabooed subject of race were considered. The study also relied on original ethnographic content collected during a field study at a Jamey Aebersold Summer Jazz Workshop, a racially charged debate between two Aebersold camp attendees, a meeting with saxophonist Ornette Coleman, an interview with a 51-year-old African American jazz drummer and organic jazz theorist named Willie Smart, and a reflection on my experiences with an autodidactic African American saxophonist from Cincinnati, Ohio named Chuck Young. Overall, the paper elucidates the racialized and transcultural nature of the jazz community's music-learning environments, and examines the role in which jazz theory plays within them. Academic jazz educators may use insights from this essay to create curricula that include an increased cultural and racial competency as well as a greater awareness of approaches to jazz that are traditionally excluded. Jazz musicians, music historians, and jazz fans may benefit from the analysis of jazz theory as a social process.

Jazz Perspectives

Asher T Chodos

Today, the blues scale is familiar to most people who have studied music formally. Although there has been since 1967 a broad consensus as to what that scale is, for the first half of the twentieth century there was actually a good deal of disagreement on that point. A close look at the history of the blues scale reveals that disagreements over its content are bound up with widespread ambiguity concerning its epistemological status. This paper seeks to illuminate that epistemological confusion, proceeding in two ways: first, it historicizes today’s blues scale by laying out the main blues scales proposed between 1938 and 1967, attending to the role these scales played in the institutionalization of jazz education; second, it demonstrates that these scales differ not just in content and attitude but also in epistemological orientation. Because of its social overtones and political implications, disagreements over the nature (and even existence) of the blues scale have frequently been heated. This paper argues that these disagreements derive in part from a persistent epistemological confusion that has characterized much of the discourse surrounding this musical idea.

University of Chicago Press

Jazz was born on the streets, grew up in the clubs, and will die—so some fear—at the university. Facing dwindling commercial demand and the gradual disappearance of venues, many aspiring jazz musicians today learn their craft, and find their careers, in one of the many academic programs that now offer jazz degrees. School for Cool is their story. Going inside the halls of two of the most prestigious jazz schools around—at Berklee College of Music in Boston and the New School for Jazz and Contemporary Music in New York—Eitan Y. Wilf tackles a formidable question at the heart of jazz today: can creativity survive institutionalization? Few art forms epitomize the anti-institutional image more than jazz, but it’s precisely at the academy where jazz is now flourishing. This shift has introduced numerous challenges and contradictions to the music’s practitioners. Solos are transcribed, technique is standardized, and the whole endeavor is plastered with the label “high art”—a far cry from its freewheeling days. Wilf shows how students, educators, and administrators have attempted to meet these challenges with an inventive spirit and a robust drive to preserve—and foster—what they consider to be jazz’s central attributes: its charisma and unexpectedness. He also highlights the unintended consequences of their efforts to do so. Ultimately, he argues, the gap between creative practice and institutionalized schooling, although real, is often the product of our efforts to close it.

Popular Music and Society

Sara Le Menestrel

This paper explores the relationship between place and music in New Orleans. Based on ethnographic fieldwork conducted in the immediate aftermath of Hurricane Katrina, it proposes that New Orleans musical practices are shaped by the combination of three pivotal factors: economic contingencies, a rich interactive network, and a deep-seated attachment to New Orleans. By focusing on musicians' agency, we examine how music is grounded in place, how displacement is incorporated in the place-making process, and the contestations at stake in the production of locality.

Dr. Brian J . de Lima

One of the challenges faced in post-secondary jazz education across the GTA is finding qualified instructors who are familiar with dialogical methods for teaching African American jazz histories. More specifically, finding and hiring African American instructors whose musical genealogy can be delineated from “black” oral/aural histories and can draw from these historicities. Unless the narratives of this music are unpacked, analyzed and taught from its internal elements, which embodies the symbiosis and synthesis of African American dance, theatrics, poetics and American black English that encapsulates the “African American-ness” in jazz, then there remains a risk that this folk music will become more and more diluted. Consequently, it is my belief that current music educators across the Greater Toronto Area (GTA) should consider alternative methods of pedagogy if students are to understand the historicity— the historical authenticity of this African American folk music. The idea for this study originated from my observation of a lack of “African American-ness”—African American narratives not being used as a pedagogical tool in post-secondary jazz curricula across the GTA. Therefore, this multi-case study will lead to the creation of an alternative curriculum that incorporates new teaching methods based on African American narratives. Dr. Barry Harris is one such educator who incorporates new teaching methods based on African American narratives. Therefore, I seek to unpack and analyze the musical and social upbringing that contributed to African American jazz pianist and educator Dr. Barry Harris’ primary contribution to jazz education, which is his concept of movement, while also expanding upon it. When these antecedents of Harris’ concept of movement have been analyzed, they will use them as a compliance for the cultivation and filling in of gaps in post-secondary jazz curricula across the GTA.

Kathryn Pewenofkit Briner

Thesis (M.A.)--Florida Atlantic University, 2006. Bibliography: leaves 80-84.

Known to his peers as the “keeper of the bebop flame,” jazz pianist Barry Harris has cultivated and imparted a unique approach to teaching the music of Charlie Parker, Earl “Bud” Powell, Dizzy Gillespie and Thelonious Monk. Harris, an internationally renowned jazz pianist, composer and educator, whose former students include the likes of John Coltrane, Donald Byrd, and Paul Chambers, began playing jazz as a young adult in Detroit in the 1930s, before making a pilgrimage to Harlem, New York (Bicket 2001, 3). He has since gone on to develop a teaching method based on his unrelenting inquiry into the nature of traditional jazz and bebop (Stein 2006). As a jazz educator, Harris has created a unique harmonic palette that features the oscillation of specific chord structures constructed from what he terms “diminished” scales.1 His theory of moving these chord structures along various scale degrees is almost a reflection of jazz saxophonist Coleman Hawkins’s declaration: “I don’t play chords, I play movements” (Rees 1998, 60). Perhaps inspired by this notion, Harris has developed a framework for moving his chord structures along scales in much the same way that one might think of developing single-note improvisations from scale practice. The diminished scales consist of a combination of two chord types that lend themselves to the facile movement of simple structures up and down the scale.2 The goal is to keep the chord structures moving, as opposed to static, thereby creating tension and resolution. This is what he refers to as “movement.”

Robert Hughes

During the Fifties, a musical style frequently called West Coast jazz became popular with both critics and serious jazz fans. It also appealed to many casual listeners, some as attracted to the provocative album cover art as they were to the music. However, by the mid-sixties when jazz was dominated of the Avant-garde or New Thing, this variation on modern jazz was discredited and frequently forgotten. This study examines the music produced by Howard Rumsey's Lighthouse All-Stars at The Lighthouse nightclub in Hermosa Beach, California between 1952 and 1959 and its relationship to music recorded by New York-based groups during the same period. The Lighthouse provided a stable working environment for jazz musicians with few, if any, commercial restraints. The band produced both live and studio recordings over a period of seven years. The recordings contain a variety of modern or post-swing approaches to jazz improvisation, composition, and arranging similar to those found on recordings produced in New York. The recordings do not support the view that the All-Stars were playing an identifiable West Coast or Cool style that was different from an East Coast or Hard Bop style favored by players based in New York. Recent interviews with members of the All-Stars and articles appearing in both jazz and general interest periodicals during the fifties also indicate that the All-Stars were not playing in a different style. They viewed their music as modern, just as their New York-based contemporaries did. Using the All-Stars as an example of modern jazz in the fifties, the frequently confusing jazz history narrative found in most textbooks can be reshaped, providing a more useful picture of the music during that decade.

Kyle DeCoste

The musical traditions of New Orleans are largely patriarchal. As the predominant sonic signifier of New Orleans, the brass band amplifies this gender bias more than any other musical tradition in the city. Brass band song lyrics can at times revolve around the subjugation and objectification of women, which renders the brass band canon tricky to access for female musicians. These symbolic issues become socially reified in the male control of instruments and the barriers to professionalization experienced by female musicians. Indeed, female brass band musicians are in the minority, constituting few more than ten musicians in a city with somewhere in the vicinity of fifty bands, all of which feature about ten musicians. The available literature on brass bands has thus far focused almost exclusively on black men and, mostly due to the relative absence of women in brass bands, neglects to view gender as a category of analysis, reflecting the gender bias of the scene at large. Using black feminist theory, this thesis seeks to introduce gender as a key element to brass band research by studying the only current exception to male dominance in New Orleans’ brass band community, an all-female brass band named the Original Pinettes Brass Band. Their example forces us to reconsider the domain of brass band music not only as one where brass band instruments articulate power, but where gender is a primary element in the construction and consolidation of this power.

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Eric Dier reveals Ange Postecoglou does NO tactical work in training... as he opens up on his experience playing under the Tottenham boss

• Eric Dier left Tottenham after 10 years to join Bayern Munich on loan in January
• The defender, 30, fell out of favour after Ange Postecoglou arrived at the club 
• Could Erik ten Hag find himself back at Ajax? Listen to the It's All Kicking Off podcast 

By Will Pickworth

Published: 17:49 EDT, 8 April 2024 | Updated: 20:05 EDT, 8 April 2024

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Eric Dier has opened up on his experience  working with Ange Postecoglou at Tottenham and revealed the Australian never focuses on tactical work in training.

Dier, 30, moved to Bayern Munich on loan in January, bringing to an end his 10-year spell at Spurs.

The defender - who has also won 49 caps for England - was a key man under Mauricio Pochettino , Jose Mourinho and Antonio Conte while in north London, racking up 365 appearances in total for the club. 

However, Postecoglou never took a fancy to Dier, with the 30-year-old playing just four times in the  Premier League  this season as he slipped down the pecking order.

And, when questioned on his time at Tottenham under Postecoglou, Dier opened up on his training style, while he also revealed what it was like to work with Antonio Conte.

Eric Dier has revealed Tottenham boss Ange Postecoglou does no tactical work in training

Dier left Tottenham in January after 10 years, with the defender falling out of favour at Spurs

Dier explained how every training session is focused on perfecting Postecoglou's style of play

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'Interestingly, he really doesn’t do any tactical work (in training),' he said, speaking to Gary Neville on The Overlap , brought to you by Sky Bet .  

'What he does is, every single training drill from Monday to Friday is drawn up to represent the way that he wants to play. 

'Conte, I could do it blind, but that was a lot of tactical work Monday to Friday, a lot of ten versus zero, walkthroughs.

'You were so well drilled, it would be engrained in you.'

During Dier's time at the club, Tottenham were twice runners-up in the EFL Cup, while they also lost the Champions League final to Liverpool in 2019. 

Meanwhile, under Pochettino in 2015-16 and 2016-17, Spurs were in the title race before falling away late in the season.

And the defender admitted that missing out on silverware is something that hurts, but also hit out at the teams he was a part of being labelled as 'Spursy' - which is a derogatory term effectively mocking Tottenham's failure to win trophies.

'I would call it lazy when English media used the term "Spursy" as the Tottenham mentality,' he added. 

'Because you could look at any club in the Premier League and they could lose a game, and they don’t have that tag from the past, so no one uses it. 

Dier - now at Bayern - was speaking to Gary Neville on The Overlap, brought to you by Sky Bet

Dier said Postecoglou's approach to tactical work contrasts with that of Antonio Conte

He also hit back at the teams he was a part of being labelled as 'Spursy' after Dier narrowly missed out on winning any silverware during his 10 years with Tottenham

'History plays a huge part in it. When Mauricio Pochettino was the manager of Tottenham, I don’t think for five or six years, anyone could possibly call us "Spursy". 

'I think we were aggressive, and we were constantly on the front foot. I think it would be difficult to call us "Spursy" under Antonio Conte as well, as I don't think anyone enjoyed playing against that team either.'

Dier continued: 'It’s going to be something that I live with for the rest of my life that we didn’t win anything at Tottenham, and there are times where we should have.

'The year Leicester City won the title, we could have won it, the same with the year after when Chelsea won it, so you’re always fighting against that.'

Eric Dier was speaking on The Overlap , brought to you by Sky Bet .

To watch the full video, please visit The Overlap YouTube channel .

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Lee Brice Gives A Toast to Friendship with Nate Smith and Hailey Whitters In Their Upcoming Single “Drinkin’ Buddies” Out on April 26th

Curb Records multi-Platinum selling and award-winning artist, Lee Brice , has partnered up with some good friends, Nate Smith  and Hailey Whitters , for the upcoming release of their anthemic singalong track, “ Drinkin’ Buddies ,” out on April 26th . The song, written by Zach Kale, Chris Destefano and Justin Wilson, and produced by Ben Glover and Jerrod Niemann, is a celebratory toast to the folks who help take the sting out of a bad day and make the good ones even better.

Fans can see Lee out on the road this year playing some of Country music’s biggest festivals, joining Dierks Bentley for select dates of his Gravel and Gold Tour, along with his solo shows including his upcoming engagement in Las Vegas at The Theater at Virgin Hotels.

For tour dates and tickets, please visit LeeBrice.com .

About Lee Brice :

When Curb Records recording artist, Lee Brice, isn’t selling out arenas, writing and recording songs, or building new brands like American Born whiskey, you’ll find the family man with his wife Sara, two young boys, and daughter. Meanwhile, with over 3.7 billion on-demand streams, and over 4 billion spins on Pandora, Brice continues to enjoy massive success at country radio, digital streaming services, and on the road. He has reached the #1 spot at Country Radio with Platinum-selling “Memory I Don’t Mess With,” which consecutively follows three prior #1s: ASCAP’s 2021 Country Song of the Year and 3x Platinum track “One of Them Girls,” “I Hope You’re Happy Now” with Carly Pearce, and the 4x Platinum hit “Rumor,” which was nominated in the category Single of The Year at the 55th Annual ACM Awards. One of the most-played country artists of all time on Pandora, he was the second country artist behind Keith Urban to receive the Pandora Billionaire plaque. Lee is also a GRAMMY nominee, a CMA and ACM award winner, and he’s taken nine radio singles to Number One: “A Woman Like You,” “Hard to Love,” “I Drive Your Truck,” “I Don’t Dance,” “Drinking Class,” “Rumor,” “I Hope You’re Happy Now,” “One of Them Girls,” and “Memory I Don’t Mess With.” Garth Brooks, Jason Aldean, Kenny Chesney and others have recorded his songs, and he’s performed on numerous TV shows, including NBC’s Today, ABC’s The Bachelor, NBC’s The Voice and FOX’s Miss USA 2018. Lee performed as part of the Library of Congress Gershwin Prize for Popular Song honoring Garth Brooks, aired on PBS March of 2020. At the 54th Annual CMA Awards, Lee took home the prize for Musical Event of the Year for his song with Carly Pearce, “I Hope You’re Happy Now.” At the 56th ACM Awards, “I Hope You’re Happy Now” won Single of the Year and Music Event of the Year, and Lee and Carly Pearce performed the song live. Lee’s album, Hey World, has been certified Platinum and features several multi-platinum selling hits. Lee kicked off 2024 with an intimate acoustic tour, the Me & My Guitar Tour , and is bringing fans brand new music this Spring with his latest single, “Drinking Buddies” with Nate Smith and Hailey Whitters.

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