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Show BACK ISSUES. MISSED ONE? E 1975: J2.00 K-59: Premier Issue-Chick Corea, Bob Moog, Bela Bartok, Max Morath, Clifton Chenier. H 1976: $1.50 K-61: ViadWnir Horowitz, Marian McPartland, Roger Powell, Nicky Hopkins, Horace Silver. K-63: Ridi Wakeman, Teddy Wilson, Charles Rosen, Mose Allison, Income Tax Tips. K-&5: Keih Jarrett, Big Band Pianists, Kerry Minnear, Ronnie Milsap, Phineas Newborn. K-€7: Gregg Adman, George Shearing, Jan Hammer, Alexis Weissenberg, Steinway. K-69: McCoy Tyner, Tony Banks, Jack McDuff, Chuck Leavell, Pipe Organ Hisiory, Art Tatum. K-611: Edgar Winter, Virgil Fox, Billy Taylor, New Keyboard Designs, Patrice Rushen, Jefferson Starship Keyboardists. II 1977: $1.50 K-71: Ramsey Lewis, Peter Nero, Gregg Rolie, Misha Dichter On Basic Principles. K-72: B»y Preston, Groove Holmes, Music Of Scnabin, Cedar Walton, Toshiko Akiyoshi. K-73: BB Evans, Floyd Cramer, Misha Dichter, Larry Fast, Transcription of "Ain't Misbehavin'." K-74: Brian Auger, John Lewis, Anthony Newman, Tom Waits, Avant-Garde Piano. K-7S: Daryl Dragon, Paul Biey, Aldo Ciccolini, Tom Oberheim, Hand & Arm Movement. K-76: VUcfinw Ashkenazy, Ahmad lamal, Al Kooper, ----- Piano Care^Build A.Keyboard Mixer. ._ . _ K-77: George Duke, Count Basie, Prepared Piano - ¦ Part 1, "Pig" Robbins, Hand independence, " Beach Boys Keyboardist*, ----- - ¦¦-_-"-."7^~._" jl_ K-7B: fcao Tomrta, Prepared Piano If, Eubie Blake, Natalie Hinderas, Livgren & Walsh Of Kansas. K-79: Josei Zawinut, Ray Manzarek, Clementi/Cramer/ Czerny, Del Wood, James P. Johnson. K-710: KEITH EMERSON SPECIAL (Interview, Equipment, Music), Mary Lou Williams, Lazar Berman, Michel Legrand, Theatre Organ History. K-711: Herbie Hancock, Earl Hines, Garrick Ohlsson, Manfred Mann, Harold Rhodes, Richard Tee. K-712: Dave Brubecfc, Andre Watts, John Paul Jones, Tom Coster, Eddie Palmieri, Pop Organ Blues. H 1978: $1.50 K-81: liberace, Jaki Byard, Igor Kipnis, David Palmer of Jethro Tull. K-82: Chick Corea, Star Wars sounds. Finger Exercises, Corea Piano Piece, Steve Allen, Cory Lerios. K-83: Oscar Peterson, Piano Competitions. Robin Lum- ley, Brian Jackson, Sunnyland SJim. K-84: Van CEburn, Polyphonic Synthesizers Part I, Lonnie Liston Smith, jean-Michel J3rre, Roger Kellaway. K-85: Gary Wright, Rosalyn Tureck, Roland Hanna, Muhal Richard Abrams, Fundamentals of Fingering. K-86: Randy Newman, Lonnie Jordan, Ruth Laredo, Sam Rivers, Electronic Music Schools. K-87: Tony Banks, Claudio Arrau, Effects Devices, Joachim Kuhn, Gary Brooker, Jimmy Rowles. K-88: Jmmy Smith, Henry Mancini, Tedd Joselson, Advisory Board's "Greensleeves" Variations, Tubes Keyboardists. K-89: Les McCann, Philippe Entrernont, Digital Synthesis, Bernie Worrell, Art Van Damme, Supertramp Keyboardists. K-810: Jan Hammer, Ursula Oppens, Ran Blake. Bobby Short, Playing Inside The Piano. K-811: DUKE ELLINGTON SPECIAL (Bio, Musk, Photos), Polyphonic Synthesizers II, Jean-Phillippe Collard, Alan Price, Barry Miles. K-812: Richard Tandy, Sun Ra. Gary Graffman, Paul Smith's Jazz Exercises, Walter Bishop Jr. H 1979: $1.50 K-91: Cecil Taylor, Bill Payne, Ragtime. Dick Hyman Piano Piece, Michael Hoenig. K-92: Rkk Wakeman, Effects Devices Part I, Carla Bley, Leonard Pennario. Red Garland. Bill Irwin Arrangement, ielly Roll Morton. K-93: Virgil Fox, Eddie Jobson. Steve Kuhn. Art Hodes, Early Pianos, Rhodes Modification. K-94: Dave Grusin, Victor Borge, Randy Weston, Al Greenwood, Alicia de Larrocha, Effects Devices II. K-95: Dr. John, Dick Hyman, George Cables, Toto Keyboardist, Basics Of Musical Analysis. K-%: Suzanne Ciani, Stanley Cowell. Bosendorfer, Effects Devices III, Sieve Reich. Do-lt-Yourself Maintenance. K-97: Robert Lamm, Denny Zeitlin, Lorin Hollander, Making Your Ovvr^LP,Synthesizer Glossary, --'" - • Hampton Havves.- . ¦ _• • •, - - ¦-'- K-98: Mike McDonaJd, Joe Sample, Barbara CarroiL,, Andrae Crouch, Music Of Messiaen. .--- =_^ K-99: Keith Jan-eft, (arrett Solo Transcription, Duncan Mackay, Richard Morris, Mike Nock, Synthesizer Technician John Vieira. K-910: George Duke, Seth Justman. Abbey Simon, Adam Makowicz. Musical Intimidation Game. K-911: Joe & Gino VanneHi, Joanne Brackeen, Paul Jacobs, Mike Lang, Stan Kenton, Prophet Designer Dave Smith. K-912: Wendy Carlos Hank Jones, Bob Andrews, "King Wenceslas" Variations. H 1980: $1.75 K-01: Booker T, Dave Stewart, Apocalypse Now Soundtrack, Paul Badura-Skoda. Cocktail Piano In N.Y. K-02: Peter Nero, Blue Oyster Cult, Ronnie Foster, Amplification Basics, Emanuel Ax. Dance Class Piano. K-(B: Jimmy Destri, Passport Keyboardists, Philip Glass, Patch Cords, Artie Kane, Jazz Exercise. K-04: Keyboards In The Movies, Greg Hawkes, Fernando Valenti, Michael Boddicker, Jeff Lorber. K-05: Larry Fast, Dollar Brand, Marilyn Mason, David Carr Glover, Accordion History. K-06: Bit Evans, "Peace Piece," Frank Zappa & His Keyboardists, Promote Your Career, Joseph Kalichstein. K-07: Roger PoweB, Roadie Roundtable, luilliard & Eastman, Ralph Gnerson, Bill Irwin, Art Tatum's Style. _ I definitely don't want to miss any! I've enclosed $. money order) plus $1.00 for postage and handling. Please send to: .(check or Name__ Address City___„ State, {Please indicate selection according to code*.) Options: Zip- Options in cave your first choices ire sold out. Ma3 to: Contemporary Keyboard Back Issues, 20605 Uzaneo, Cupertino, CA 95014. Pleas* aftow up to 8 weeks for defivery. LETTERS Concerto," from Suicide Squadron (1941) (also known as Dangerous Moonlight), and Hubert Bath's "Cornish Rhapsody," from Love Story (1944). Edward Sharratt London, Ontario Thank you for your article on the history of the accordion [see Of,May '80]. This instrument has never received the recognition it has deserved, and yet, as a performing accordionist for many years, I know that people seem to enjoy listening to it The one I own can sound like a piano, organ, string section, or synthesizer, but more importantly, it also sounds like an accordion, a truly unique sound that cannot be imitated by any other instrument. I hope you will run more articles about my favorite axe in the future. Roger W. Fox Kansas City, MO I have been following the Paul Ellingson/ Oscar Peterson controversy foTlrTe~pa^riew months [see CK Letters, Feb. '80, March '80, and June '80], and I want to say that I eagerly anticipate the arrival of his two-record set with its 6000-word essay on vertical/horizontal evolution. But I wil! enjoy even more watching his record get dustier and dustier as I pass in and out of the record store over the next fifty years. You see, Mr. Ellingson, 6000-word essays on 21st-century modes of musical/societal alienation by self-appointed pseudo-intellectual demigods don't make for fantastic sales, since most people out here in the real world buy albums because of the artist's ability to bring moods or emotions from us. Maybe we should all be ashamed of our primitive gut-level link to music, but like it or not, that's the way it is. But-please, Mr. Ellingsdn, donYlet tHeslFrealities get to you. The next time you find yourself listening to a jazz album with a horizontal approach, try propping up your turntable until it's playing vertically. I can guarantee you'll hear a difference. Steve Worley Wichita, KS I read Paul Ellingson's latest letter, and I believe th!s~gTjyTsTioTTjazz musician or fan. A jazz player uses his interpretations and feelings when he's playing. Who gives a damn about whether the sound is polytonal, horizontal, vertical, circular, diagonal, or zig-zag? Paul's use of some of these adjectives to describe music convinces me that he knows nothing about jazz and has no feeling for it. My hunch is that the album he's doing won't be worth anything. He says it will help us understand what's going on in American music 1 can hardly wait. On second thought, I can. About 83 years. Art Hiliery Lynwood, CA As a member of AMICA (Automatic Musical Instruments Collector's Association), I was delighted with your fine article on reproducing pianos [see CK, March '80L However, I can't help concluding that the author must not be very well acquainted with a good-quality, well-tuned, eiectrically-run, 88-note pneumatic player piano. "Tinny"? It ain't necessarily so! Granted, the 88-note player piano is not a suitable vehicle for reproducing music that requires changes in tempo and dynamics to Continued on page 66 6 CONTEMPORARY KEYBOARD/AUGUST 1980 |
