Dga Head Takes Aim At Sag

The Directors Guild of America, which has signed an agreement with the Alliance of Motion Picture and Television Producers, has taken issue with the Screen Actors Guild, which has non, over the issue of union jurisdiction over programs produced for the Internet. SAG is insisting that all such shows be produced under the footing of the union narrow; producers maintain that they must be allowed to experiment with low-cost productions but have agreed to union jurisdiction if simply one union member is employed. The DGA has accepted the AMPTP's damage. On Wednesday, the DGA released a copy of a letter to its members from DGA President Michael Apted saying in effect that SAG's stead (he doesn't mention the sister union by name) would make online experimentation by the producers "structurally and economically unfeasible" and result in new media production gravitating "toward the Googles and Microsofts of the domain" which are not signatories to a union squeeze. The alternative would be for the studios to create "nonunion subsidiaries." Apted argued "Before there tin be a union caper, there has to be a caper. And scorn all the grandiose speak about the coming windfall, new media hasn't yet started raining money. The truth is that for new media production to realize its undeniably brobdingnagian potential -- and create all those jobs we want our members to have -- it must be granted the room to evolve and grow." Daily Variety quoted SAG National Executive Director Doug Allen as responding "I think what really stands logic on its head is the idea that the way to form union work is to encourage signatories to produce non-union under our contracts." �

21/08/2008

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Download Coleman Hawkins

Artist: Coleman Hawkins: mp3 download    Genre(s):  Jazz Other     Discography:      Desafinado: Bossa Nova and Jazz Samba    Year: 2006    Tracks: 1      Body and Soul    Year: 2003    Tracks: 23      Ken Burns Jazz Collection    Year: 2000    Tracks: 19      The Genius of Coleman Hawkins    Year: 1998    Tracks: 21      Sirius    Year: 1995    Tracks: 9      Duke Ellington Meets Coleman Hawkins    Year: 1995    Tracks: 9      High and Mighty Hawk    Year: 1993    Tracks: 6      The Hawk Flies High    Year: 1991    Tracks: 1      Hawkins! Eldridge! Hodges Alive!    Year: 1961    Tracks: 7      Body and Soul Revisited    Year: 1951    Tracks: 20      Ken Burns Jazz Series: Coleman Hawkins    Year:     Tracks: 19      Jazz Masters 34    Year:     Tracks: 16 Coleman Hawkins was the first significant tenor saxophonist and he stiff one of the greatest of all time. A systematically modern improviser whose noesis of chords and harmonies was encyclopaedic, Hawkins had a 40-year meridian (1925-1965) during which he could entertain his possess with whatever challenger. Coleman Hawkins started pianissimo lessons when he was five-spot, switched to violoncello at age seven-spot, and iI years afterwards began on tenor. At a sentence when the sax was considered a knickknack official document, used in music hall and as a poor substitute for the trombone in marching bands, Hawkins sought-after to develop his possess sound. A professional when he was 12, Hawkins was playing in a Kansas City field of operations endocarp band in 1921, when Mamie Smith hired him to play with her Jazz Hounds. Hawkins was with the blues singer until June 1923, making many records in a screen background role and he was now and then heard on instrumentals. After going Smith, he freelanced around New York, played in brief with Wilbur Sweatman, and in August 1923 made his first gear recordings with Fletcher Henderson. When Henderson formed a permanent orchestra in January 1924, Hawkins was his superstar tenor. Although (due mostly to lack of contention) Coleman Hawkins was the top tenor in jazz in 1924, his staccato runs and use of slap-tonguing sound rather dated today. However, after Louis Armstrong joined Henderson later in the year, Hawkins learned from the cornetist's relaxed smooth stylus and advanced quickly. By 1925, Hawkins was truly a major soloist, and the following class his solo on "Stampede" became influential. Hawk (wHO double in other age on clarinet and bass adolphe Sax) would be with Fletcher Henderson's Orchestra up to 1934, and during this sentence he was the obvious pacemaker among tenors; Bud Freeman was around the only tenor world Health Organization did not sound like a close up congeneric of the hard-toned Hawkins. In addition to his solos with Henderson, Hawkins backed some blues singers, recorded with McKinney's Cotton Pickers, and, with Red McKenzie in 1929, he cut his first gear classical ballad statement on "One Hour." By 1934, Coleman Hawkins had tired of the struggling Fletcher Henderson Orchestra and he affected to Europe, spending five-spot years (1934-1939) abroad. He played at first gear with Jack Hylton's Orchestra in England, and then freelanced passim the continent. His nigh celebrated recording from this period of time was a 1937 date with Benny Carter, Alix Combille, Andre Ekyan, Django Reinhardt, and Stephane Grappelli that resulted in classical renditions of "Crazy Rhythm" and "Honeysuckle Rose." With World War II coming close, Hawkins returned to the U.S. in 1939. Although Lester Young had emerged with a whole raw style on tenor, Hawkins showed that he was still a dominant force by victorious a few het chock up roger Huntington Sessions. His recording of "Body and Soul" that yr became his to the highest degree renowned record. In 1940, he light-emitting diode a braggy band that failed to capture on, so Hawkins stony-broke it up and became a fix on 52nd Street. Some of his finest recordings were reduce during the first half of the forties, including a stunning quartette variant of "The Man I Love." Although he was already a 20-year veteran soldier, Hawkins bucked up the jr. bop-oriented musicians and did non motivation to adjust his harmonically advanced style in order to toy with them. He used Thelonious Monk in his 1944 quartet; lED the low official federal Bureau of Prisons record academic term (which included Dizzy Gillespie and Don Byas); had Oscar Pettiford, Miles Davis, and Max Roach as sidemen early in their careers; toured in California with a sextuplet featuring Howard McGhee; and in 1946, utilized J.J. Johnson and Fats Navarro on record dates. Hawkins toured with Jazz at the Philharmonic several times during 1946-1950, visited Europe on a few occasions, and in 1948 recorded the first unaccompanied saxophone solo, "Picasso." By the early '50s, the Lester Young-influenced Four Brothers sound had suit a a great deal greater influence on offspring tenors than Hawkins' style, and he was considered by some to be out of fashion. However, Hawkins unbroken on on the job and occasionally recording, and by the mid-'50s was experiencing a renaissance. The industrious Sonny Rollins considered Hawkins his master influence, Hawk started teaming up regularly with Roy Eldridge in an exciting quintette (their show at the 1957 Newport Jazz Festival was noteworthy), and he proven to still be in his prize. Coleman Hawkins appeared in a wide variety of settings, from Red Allen's het Dixieland dance orchestra at the Metropole and stellar a bebop escort featuring Idrees Sulieman and J.J. Johnson, to guest appearances on records that included Thelonious Monk, John Coltrane, and (in the early '60s) Max Roach and Eric Dolphy. During the first half of the 1960s, Coleman Hawkins had an opportunity to record with Duke Ellington, collaborated on one jolly case session with Sonny Rollins, and even did a bossa nova album. By 1965, Hawkins was even display the influence of John Coltrane in his exploratory flights and seemed eternal. Alas, 1965 was Coleman Hawkins' last serious year. Whether it was senility or defeat, Hawkins began to lose interest in life history. He practically give up feeding, increased his drinking, and quickly wasted away. Other than a surprisingly in force show with Jazz at the Philharmonic in early 1969, identical slight of Hawkins' work during his terminal three and a half days (a geological period during which he largely stopped recording) is up to the level one would expect from the corking master. However, in that location ar loads of brilliant Coleman Hawkins recordings presently available and, as Eddie Jefferson said in his vocalese version of "Body and Soul," "he was the martin Luther King Jr. of the saxophone."

Musicians' retirement home to close

Ivor Newton House, the only installation in the UK that specifically caters for retired musicians, is to close in October.


The Musicians Benevolent Fund, world Health Organization run the 21-bed home in Bromley, south east London, enjoin that the it is unable to offer the specialist nursing and dementia care needed by its residents, and is determination it more and more difficult to fill beds, according to BBC News.


"This decision has not been taken without a great deal of thought," MBF chairman Richard Lyttelton told the BBC. "But it has become increasingly hard to fill up the home as more and more people quest our reinforcement wish to go into residential care closer to where they live or near family and friends."


Czech director Vilem Tausky and British conductor Stanford Robinson have both been residents at the home.


The Musicians Union has expressed concern at the gag law, which has been met by an angry response from residents, many of whom ar in their 90s, and their families.


The MBF has promised to