Bob Berg | |
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Birth name | Robert Berg |
Born | April 7, 1951 |
Origin | New York, USA |
Died | December 5, 2002 | (aged 51)
Genres | Hard bop Post bop |
Occupations | Musician |
Instruments | Saxophone |
Labels | Stretch Records, Denon, GRP |
Associated acts | Miles Davis, Horace Silver, Cedar Walton, Mike Stern, Chick Corea |
Bob Berg (April 7, 1951 – December 5, 2002) was a jazz saxophonist originally from Brooklyn, New York City. He started his musical education at the age of six when he began studying classical piano. He began playing the saxophone at the age of thirteen. Bob Berg was a Juilliard graduate influenced heavily by the late 1964–67 period of John Coltrane's music. He was known for his extremely expressive playing and tone.
A student from the hard bop school, he played from 1973 to 1976 with Horace Silver and from 1977 to 1983 with Cedar Walton. Berg became more widely known through his short period in the Miles Davis band. He left Davis's band in 1987 after recording only one album with them.
After leaving Davis's band, Berg released a series of solo albums and also performed and recorded frequently in a group co-led with guitarist Mike Stern. On these albums he played a more accessible style of music, mixing funk, jazz and even country music with many other diverse compositional elements to produce albums that were always musical. He often played at the 7th Ave South NYC club. He worked with Chick Corea, Steve Gadd and Eddie Gomez in a great quartet. His tenor saxophone sound was a synthesis of rhythm and blues players like Junior Walker and Arnett Cobb with the lyricism, intellectual freedom and soul of Wayne Shorter, Joe Henderson and John Coltrane.
He was killed in a road traffic accident in East Hampton, NY while driving to buy groceries with his wife Arja. The person who crashed into his car was driving a cement truck that accidentally skidded on ice.
Contents |
With Miles Davis
With Horace Silver
With Dizzy Gillespie
With Cedar Walton
With Chick Corea
With Mike Stern
With Wolfgang Muthspiel
With Tom Coster
A short story is a piece of prose fiction, which can be read in a single sitting. Emerging from earlier oral storytelling traditions in the 17th century, the short story has grown to encompass a body of work so diverse as to defy easy characterization. At its most prototypical the short story features a small cast of named characters, and focuses on a self-contained incident with the intent of evoking a "single effect" or mood. In doing so, short stories make use of plot, resonance, and other dynamic components to a far greater degree than is typical of an anecdote, yet to a far lesser degree than a novel. While the short story is largely distinct from the novel, authors of both generally draw from a common pool of literary techniques.
Short stories have no set length. In terms of word count there is no official demarcation between an anecdote, a short story, and a novel. Rather, the form's parameters are given by the rhetorical and practical context in which a given story is produced and considered, so that what constitutes a short story may differ between genres, countries, eras, and commentators. Like the novel, the short story's predominant shape reflects the demands of the available markets for publication, and the evolution of the form seems closely tied to the evolution of the publishing industry and the submission guidelines of its constituent houses.
Short Stories may refer to:
Short Stories was an American fiction magazine that existed between 1890 and 1959.
Short Stories began its existence as a literary periodical, carrying work by Rudyard Kipling, Émile Zola, Bret Harte, Ivan Turgenev and Anna Katharine Green. The magazine advertised itself with the slogan "Twenty-Five Stories for Twenty-Five Cents". After a few years, Short Stories became dominated by reprinted fiction. The magazine was sold in 1904 and eventually purchased by Doubleday, Page and Company, which in 1910 transformed Short Stories into a "quality pulp". The magazine's new editor, Harry E. Maule (1886-1971) placed an emphasis on Short Stories carrying well-written fiction; pulp magazine historian Robert Sampson states "For Short Stories, like Adventure and Blue Book to follow, rose above the expedient prose of rival magazines like ivory towers thrusting up from swampland".
Short Stories was initially known for publishing crime fiction by authors including Max Pemberton and Thomas W. Hanshew.
Oh Eveline
I'm so tired of saying the wrong thing
While amped up on caffeine
Sweaty hand-soaked paper notes
Freeform acts and deleted scenes
"I think you're beautiful," I said
Then the next week you were gone
You moved out to another town
You're the main character
In my short stories
There are no happy ends
Oh Eveline
I'm so tired of saying the wrong thing
While amped up on caffeine
A furiously scribbled out manuscript
New revisions of fucked up dreams
"You said, 'You think I'm cool'," she said
How do I interpret that?
What the hell does that mean?
Oh Eveline
I'm so tired of saying the wrong thing
While amped up on caffeine