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Record label. It was owned by the East Wind Trade Associates company, founded in 1984 in Hartford, Connecticut, by Steve Boulay, Ted Everts, and David Barrick with the assistance of Gerald A. Friedman. Its catalogue was devoted to Russian jazz in styles ranging from bop to jazz-rock. (E. Schmitt: “3 in Hartford Importing Records of Russian Jazz,” ...

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Epic  

Christopher Doll

Record company. It was established by CBS in 1953 as a subsidiary of Columbia Records. Although from the start its issues included jazz and pop, Epic for many years was known primarily for its recordings of George Szell conducting the Cleveland Orchestra (including those made with a young Leon Fleisher as piano soloist). In the latter part of the 1950s, as rock and roll began to overtake the industry, the company struggled to find itself artistically and commercially, accumulating an odd assortment of American, Australian, and European performers representing a wide array of classical, jazz, and popular styles.

The label’s fortunes began to change in 1964 with its participation in the British Invasion. Epic distributed the American releases of the Dave Clark Five and the Yardbirds and later those of the Hollies and Donovan. The true turning point for the company was the signing in 1967 of Sly and the Family Stone, whose critical and financial success helped redefine the label as a youth-oriented powerhouse. The company expanded through the 1970s, achieving unimaginable heights in the 1980s with Michael Jackson’s mature solo work (...

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Ian Mikyska

Czech string quartet, founded 1999. Its line-up has remained constant since its foundation: David Pokorný and Vladimír Klánský on violins, Vladimír Kroupa on viola, and Vít Petrášek on cello. Although classical repertoire remains central to their professional lives, the Epoque Quartet is remarkable for the breadth and professionalism of its ‘crossover’ work. The quartet has performed with the leading artists of Czech popular music, arranged world music from various traditions (most recently with the clarinettist Irvin Venyš for their CD Irvin_Epoque), and given the premières of over 80 pieces, the style of which ranges from rock- and jazz-influenced music to contemporary art music, mostly by Czech composers including Jan Kučera, Petr Wajsar, Jan Dušek, Gabriela Vermelho, and others.

Their open-mindedness and long-standing interest in various musical fields allows them to perform stylistically in a way classically-trained ensembles often find problematic, particularly in terms of rhythm, feeling, and energy when performing jazz- and rock-influenced repertoire....

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Gary W. Kennedy

Record company and label formed around 1989 in Freiburg, Germany, by Frank Kleinschmidt and Jürgen Schwab; it appears to have started recording operations in 1987, but its first issues began to appear only in early 1990. Featured artists include Chico Freeman, both as the leader of his own group, Brainstorm, and as a member of the group Roots (with Arthur Blythe, Sam Rivers, Nathan Davis, and Don Pullen, among others), as well as James “Blood” Ulmer, Buster Williams, and Urszula Dudziak. In the mid-1990s In + Out issued a 15-disc historical anthology (three boxed volumes of five CDs each) entitled ...

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Barry Kernfeld

Record company and label. The company was founded in New York in 1976 by Irv (Irving) Kratka. A subsidiary of the MMO (Music Minus One) Music Group, Inc., it owned three labels, two of which were devoted to jazz. These were Classic Jazz (which should not be confused with the Swedish label Classic Jazz Masters) and Inner City. Although the company was concerned largely with reissuing material first made available by other companies in the USA, Japan (East Wind), and Europe (principally Enja), it also put out new recordings in early swing and bop styles on Classic Jazz and material ranging in style from bop to free jazz and jazz-rock. The company later became enmeshed in a legal dispute which ended its activities. Inner City should not be confused with a pop music label of the same name which was established in the late 1980s. (M. Segell: “Once More, Jazz is Big Business,” ...

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Charles Garrett

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Charles Garrett

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John Chilton

Jazz ensemble formed in Springfield, Ohio, from the Synco Jazz Band, a group organized by the drummer William McKinney (b Cynthiana, KY, 17 Sept 1895; d Cynthiana, KY, 14 Oct 1969) shortly after World War I. In 1923 McKinney decided to conduct the band himself and consequently engaged the drummer Cuba Austin as its percussionist. At the behest of their agent the band became known as McKinney’s Cotton Pickers. With their musical versatility and inspired showmanship they blended comedy routines and light music with jazz numbers arranged by their trumpeter, John Nesbitt. From 1927, when the multi-instrumentalist don Redman became its music director and principal arranger, the band developed its own distinctive style, which highlighted the precision of the saxophones and brass and emphasized the buoyancy of the rhythm section.

The band’s first recordings, in July 1928, helped establish the group nationally and brought widespread praise for the brilliance of Redman’s arrangements and the solo improvisations of Prince Robinson on reed instruments. The Cotton Pickers’ golden era took place during their long residence at the Graystone Ballroom in Detroit (beginning in ...

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Michael Baumgartner

[MMW]

Jazz fusion trio formed in New York in 1991 by the keyboard player (Anthony) John Medeski (b Louisville, KY, 28 June 1965), the drummer Billy Martin (b New York, NY, 30 Oct 1963), and the bass player Chris(topher Barry) Wood (b Pasadena, CA, 25 Nov 1969). Martin’s teacher, the drummer Bob Moses, who had previously performed with Medeski and Wood, brought the three musicians together. MMW began its career at the Village Gate as an acoustic jazz trio. While Wood continued to play acoustic bass primarily, Medeski began performing on several vintage electronic instruments—including a Hammond B-3 organ, Fender Rhodes, Mellotron, clavinet, and analog synthesizers—which gave the trio with its distinctive sound. MMW frequently crossed the boundary between jazz and rock music, appearing with Phish and on the alternative rock circuit. The trio also performed at conventional jazz festivals such as Newport, Monterey, Montreal, Montreux, and the North Sea Jazz Festival. Their prolific recording activity began with five albums for the independent labels Gramavision and Indirecto Records (...