Record company and label. The company was established in 1957 by Doug Dobell (b London, 1918; d Nice, France, 10 July 1987), the owner of a record store in London. The first discs to be released were 10-inch EPs, which were put out in limited quantities. Later the catalogue was expanded to include 12-inch LPs; by the mid-1970s the company had issued more than 50 albums, mostly of traditional and mainstream jazz. The catalogue included recordings made by such English musicians as Tubby Hayes, Bruce Turner, Dick Morrissey, Keith Smith, Kenny Baker, and Tony Coe and items by visiting Americans, among them Bud Freeman, Eddie Miller, Buck Clayton, Albert Nicholas, and George Lewis (i). In 1962 the company sponsored and issued the results of Jack McVea’s first session as a leader in 15 years. Much of the repertory was produced by Dobell, who, as a pianist himself, was responsible for recording albums by Dick Wellstood, Dill Jones, Brian Lemon, Don Ewell, Dick Katz, Joe Turner (i), and Ralph Sutton. In addition 77 issued some albums first put out by Delmark and other small American labels....
Howard Mayer Brown
revised by Clive Greated
A mathematical term meaning ‘contained in another a certain number of times without leaving any remainder’ (OED); for example, 2 is an aliquot part of 6. The wavelengths of the harmonic partials of a tone are thus aliquot parts of the fundamental wavelength. Aliquot strings are Sympathetic strings...
revised by David Fallows
[all'8va] (It.: ‘at the octave’).
An instruction to play an octave above the written pitch if the sign is placed above the notes (sometimes specified as ottava alta, or sopra); if an octave lower is intended, this is indicated by placing the sign below the notes or by specifying with ottava bassa or sotta...
revised by Robert Donington
(It.: ‘at the unison’).
An instruction that any parts thus shown are to be taken as one part, either at the same pitch or (where the range of the voice or instrument implies it) at the octave (or double octave) above or below. It is frequently abbreviated to ‘unis.’. In orchestral scores the term is used to show that two or more instruments whose parts are written on the same staff are to play in unison; in the later 19th century the words ...
In the system of Proportional notation of the late Middle Ages and Renaissance, another name for proportio dupla (time signature 2/1 or more commonly 𝇍), where note shapes diminish in relative value in the ratio 2:1. The tactus thus shifts from its normal place on the semibreve (alla semibreve...
(It.: ‘broadening’, ‘spreading’; gerund of allargare, ‘to spread’)
An instruction to slow down the tempo and often to develop a fuller and more majestic performing style. But this is not always intended. Verdi, for example, almost invariably accompanied allargando with a decrease in texture or volume; thus the very end of the prelude to La traviata has the successive markings ...
(It., diminutive of allegro)
A tempo (and mood) designation, normally indicating something a little less fast, and perhaps a little more lighthearted, than Allegro. But there is some evidence that in Paris around 1800 it was understood to be faster than allegro, most specifically in J.B. Cartier's L'art du violon (Paris, 1798) and in Renaudin's Plexichronomètre readings (see B. Brook La symphonie française, Paris, 1962, i, 318). It is found occasionally in Vivaldi and Domenico Scarlatti, but hardly at all in their precursors, even though Brossard mentioned the word in his Dictionaire of 1703. During the second half of the 18th century it came into special popularity, for the idea of a fastish tempo that should on no account show any sign of hurry was peculiarly appropriate to the galant style. Leopold Mozart (1756) said it should be performed ‘prettily, frivolously and jokily’ (‘artig, tändelend und scherzhaft’). When included in graduated lists of tempo marks it was normally placed between ...
Terence J. O’Grady
revised by Bryan Proksch
(b Los Angeles, CA, March 31, 1935). American trumpeter, composer, bandleader, and record company executive. He studied trumpet as a child and left college to play in the army for a two-year period. After three years of producing records on his own, he launched A&M Records with Jerry Moss in 1962. A&M’s first issue was also Alpert’s first recording as a trumpeter and bandleader, The Lonely Bull (A&M, 1962). The title track included sounds from the bullring in Tijuana, Mexico, so Alpert dubbed his band the Tijuana Brass. His music exploited a distinctive combination of Mexican mariachi-style brass with jazz rhythms, which was dubbed Ameriachi. A string of hits including “Mexican Shuffle” (A&M, 1964) and “Tijuana Taxi” (A&M, 1965) followed. In 1966 Alpert had five recordings simultaneously listed on the Billboard Top 20. His cover of “This guy’s in love with you” reached no.1 in ...
Disc jockey Dick Clark, at podium at upper left, is surrounded by teen-age fans on his nationally televised dance show "American Bandstand" in Philadelphia, Pa. on June 30, 1958. Clark, the show's 28-year-old host, plays rock and roll records during the show that features dancing.
Repositories for the permanent retention, preservation, and access of sound recordings (e.g., CDs, LPs, audio cassettes, cylinders, digital audio files) and moving image media (e.g., motion-picture film, kinescope, videotape, digital video files); often included along side of these collections are the mechanical playback devices for such media. The history of archives of this kind in the United States reveals trends towards the amalgamation of sound and moving image materials into single units based either on format (e.g., Library of Congress’ Motion Picture Broadcasting and Recorded Sound Division) or academic discipline (UCLA Ethnomusicology Archive). Traditionally the distinction between a library and an archive is essentially one of purpose and a material’s publication status: whereas libraries collect published materials for use by general patrons within and outside the library, archives generally accession and preserve unpublished materials, allowing restricted access for research purposes. However, with the development of the Internet, digitization technologies, and online modes of distribution, the distinction between library and archive hosted sound recording and moving image collections has become more fluid with both kinds of institutions posting published and unpublished audio and video files online with varying degrees of accessibility. Parallel advances in preservation technologies have also enabled archivists to digitize analog sound recordings and moving image recordings that is thought to ensure long-term, if not permanent, access to the content housed on the original analog carriers....