bluuebunny/crossref_metadata_2025_split huggingface dataset:
Monte Cassino
Authors: Davis Paul K 
Published: November 2023

Abstract
January they were running out of food and wounded were lying untended in the streets. On 10 January the final Soviet push began and by the end of the month the German forces in Stalingrad had been divided in two. The Germans did better on the defensive than they had on the offensive, but too many tanks and men were coming at them to hold out for long. The southern half of the force was eliminated piece by piece while the northern group, around Paulus’s headquarters, held out a bit longer. When contacted by Soviet commanders and asked to surrender, Paulus radioed Hitler for permission. Hitler responded by promoting him to field marshal and reminding him that no German field marshal in history had ever been taken prisoner. Friedrich von Paulus was the first. On 2 February he gave up the defense.
Dien Bien Phu
Authors: Davis Paul K 
Published: November 2023

Abstract
The timing of the victory was all-important. Viet Minh and French representatives met in Geneva in mid-May to discuss Indochina’s future, and the French entered the talks on the defensive. The war had become increasingly unpopular in France and few wanted to continue it. The French agreed to grant independence to Vietnam, Cambodia, and Laos. Within two years her personnel would be removed and elections held. In the meantime, the French-sponsored administration based in Saigon was to oversee the area of Vietnam below latitude 17 degrees, while Ho Chi Minh’s administration would control the area above that line. Each was to remove their troops from the other’s territory, and free elections in 1956 would determine the new government. France’s empire, such as it was, began its collapse in Southeast Asia. France had lost most of her overseas possessions after the Napoleonic wars; the colonies that she had acquired in the latter nineteenth century now began to break away. Algeria was next to try for independence, staging its own guerrilla war, but the French applied military lessons learned fighting the Viet Minh. Unfortunately for both France and Algeria, political lessons were not learned. The final result was a bloodbath in North Africa and political turmoil in the French government and army before Algeria gained her independence anyway.
Khesanh
Authors: Davis Paul K 
Published: November 2023

Abstract
By the fall of 1967 the United States had had combat troops in Vietnam for two and a half years. Troop strength was around a half million, plus the Army of the Republic of Vietnam (ARYN), which was gaining trainin namese Army, to a diversionary attack seems unlikely. Some historians think that the whole operation, Tet and Khe Sanh, was designed to break American popular will, but no documents from the time mention any such hope for that outcome. The fact that such was the outcome, was for the Communists an unexpected but happy result to a disastrous military operation. “Walter Cronkite in his lugubrious analysis on 27 February 1968-the one President Johnson said cost him middle America-forecast that ‘Khe Sanh could well fall, with terrible loss in American lives, prestige, and morale.’ ... The truth was that Khe Sanh was never in danger of falling, nor did any officer in authority from Marine Col. David E. Lownds, the Khe Sanh commander, to West-moreland ever hold any such thoughts” (Davidson, Vietnam at U’.7tir, p. 552).
Sarajevo
Authors: Davis Paul K 
Published: November 2023

Abstract
Since the fall of the Roman Empire Bosnia-Herzegovina has been an area fraught with strife. Through the centuries peoples of dissimilar ethnic and religious backgrounds settled in the area. Immediately preceding the nineteenth century, those of all three diverse backgrounds (mostly Muslim Bosnians, Orthodox Christian Serbs, and Catholic Croats) described themselves as Bosnian. However, by the end of the 1800s, a severe polarization of ethnic and religious groups commenced. The strong leadership of Josep Tito (who came to power in the wake of World War II) kept ethnic and religious diversity from becoming a problem. Upon his death, political, ethnic, and religious tensions emerged.
Grozny
Authors: Davis Paul K 
Published: November 2023

Abstract
Hostility and discord between Russia and the tiny yet important Caucasian republic of Chechnya dates back approximately 300 years to the early 1700s. Czar Peter the Great used the territory as a base for his campaign against Persia. Russia’s forced annexation of Chechen land gave rise to multitudinous revolts by the Chechen people. In the course of the 1800s, Chechnya was one of the strongholds of Islamic strength; the Chechens were one of many peoples engaged in combat for independence through jihads (holy wars) in the Caucasus region. Just preceding the creation of the Soviet Union, during 1917-1924, the Chechen people allied with others in the vicinity to battle the Russian occupation, of both the Bolshevik Red Army and the Menshevik White Army.
The Naked Voice
Authors: Smith W Stephen , Chipman Michael 
Published: November 2023

Abstract
In The Naked Voice, W. Stephen Smith invites all singers to improve their vocal technique through his renowned and time-tested wholistic method. Focusing not only on the most important technical, but also on the often overlooked psychological and spiritual elements of learning to sing, his book allows readers to develop their own full and individual identities as singers. With philosophies and techniques drawn from a lifetime of teaching voice, Smith demonstrates how one can reveal the true unique sound of one's own voice by singing with the whole self. The master's method, presented in concrete and comprehensible terms with helpful illustrations, is enhanced by a CD containing exercises performed by singers from Smith's own studio-singers whose talent and training bring them across the USA and around the world. The clear and easy style of The Naked Voice welcomes the reader into Smith's teaching studio, and into conversation with Smith himself as he presents the six simple and elegant exercises that form the core of his method. These exercises provide a foundation for free singing, and lead singers through the step-by-step process of mastering the technique. Throughout, Smith speaks sympathetically and encouragingly to the singer in search of an unencumbered and effective approach to the art. The Naked Voice is a must-read for all singers, giving teachers and students, amateurs and professionals, access to the methods and concepts that have earned Smith his reputation as one of the most highly-sought-after vocal instructors in the international arena today.
Introduction
Authors: Smith W Stephen , Chipman Michael 
Published: November 2023

Abstract
I have spent my professional career teaching singers how to undress (vocally, emotionally, and psychologically). My goal is to help them clear away the entanglements, hang-ups, insecurities, habits, and fears that keep their voices from singing true and free. The process is sometimes long and difficult, but often rewarding and crucial to personal and professional success.
Playing the Game
Authors: Smith W Stephen , Chipman Michael 
Published: November 2023

Abstract
The skills and techniques we gained in the Inventions are crucial to conditioning and training the voice, but conditioning is very different from singing repertoire (any piece of music). Many additional factors come into play once we begin applying technique to repertoire. The Inventions are designed to be an exercise routine that conditions us to “play the game,” but it is not the same as actually performing. Singing a piece of music is “playing the game.”
Lifestyles of the Healthy Singer
Authors: Smith W Stephen , Chipman Michael 
Published: November 2023

Abstract
The human voice is integral to all aspects of life—emotional, spiritual, psychological, intellectual, and physical. So when we uncover the naked voice, we uncover the naked self. A healthy singer is a healthy human being. Part of the Wholistic Approach to Singing is caring for the physical body, which not only encases the vocal folds but is a part of the singing instrument itself. Singers therefore have to pay even more attention to their health than most people because their identity and sometimes their livelihood depend on it.
Tender Moments (JVC 1990)
Authors: Giddins Gary 
Published: November 2023

Abstract
I didn’t attend many events at the JVC Jazz Festival this year, in part because of other commitments and in part because there wasn’t much I wanted to hear. From what I saw, the staid schedule was given a lackluster presentation. My sense of foreboding was triggered opening night when I noticed that the usual program was replaced by a JVC brochure in which pride of place was given not to greetings from the “organizer,” George Wein, but to the sponsor, JVC president Hiroshi Sano. The general absence of Wein at the concerts was also notable: His enthusiasm can usually be counted on to impart a touch of festiveness. Too many of the disc jockey announcers, on the other hand, recalled Zippy: Hey, kids, are we having fun yet? One of them obliviously advised the audience to attend an Oscar Peterson concert that had been canceled weeks earlier. The venues were troublesome as usual, excepting the marvelous Weill Recital Hall. Most nettlesome was the rudeness of latecomers who, per usual, were encouraged to flounce in whenever they liked. Still, there were tender moments even amid the chaos, and lessons to be gleaned.
Front Porch Blues (Colorado 1990)
Authors: Giddins Gary 
Published: November 2023

Abstract
Early in the first afternoon of music at Dick and Maddie Gibson’s 28th annual Colorado Jazz Party, I found myself especially looking forward to the sets with Herb Ellis, hoping to hear some blues. Even before the party was off to an official start, at the Friday night musicians’ jam, he got off a few lucid 12-bar strophes that made me realize how hungry I was for that southwestern minor-third twang, the gospel according to Charlie Christian. Ellis’s phrases have an easy, loping quality that whisks you along; they are buoyed by familiar dissonances yet surprisingly unfogged by cliché. The opening sets on Saturday afternoon usually smack of warm-up time, and so it was when Snooky Young and Urbie Green played a duet on “When Your Lover Has Gone” and Flip Phillips and Kenny Davern followed with “Hindustan.” It was when those same players, plus a rhythm section including Ellis, went into “Blues Walk,” however, that the stakes went up a notch. Ellis let loose one chorus after another, grunting in unison with his solo, his eyes shut and mouth distorted by the divine afflatus. Years ago people talked about his technical agility—this was the guy who nightly traded body blows with Oscar Peterson and earned a niche in the studios. But the most winning quality of his playing all Labor Day weekend was simplicity of technique and a corresponding inflation of feeling.
Benny’s Brood (Rickey Woodard / Jesse Davis)
Authors: Giddins Gary 
Published: November 2023

Abstract
The 29th annual Gibson Jazz Party, held in Denver over the Labor Day weekend, got jump-started at Friday’s preliminary musicians’ jam. The rhythm section, as good as any of those heard during the 56 sets programmed over 60 hours during the following three days, consisted of Roland Hanna, Ray Brown, Herb Ellis, and Frank Capp, and the ancient tune was “How Come You Do Me Like You Do?” The first soloists to take a shot at it were Harry Edison, the seductive master of the cup mute; Al Grey, the swashbuckling trombonist; Spike Robinson, a Lestorian tenor saxophonist known in Denver and London but not in New York; and Glenn Zottola, a big band trumpeter with an increasingly Armstrongian bite. Then Benny Carter stepped in, pacing himself at first with curvy elliptical phrases, and soon connecting them in pungent exclamations that slashed at the rhythm, poked open the all too familiar chords, and brought the room to a sudden respectful silence. Carter, at 84, defies expectations about the vigor of jazz elders, not because he can still do it jazz musician because he’s always full of surprises. You’d never think a man who walks so slowly to the stage could get up there and kick ass on the horn like that. But his playing is so beautiful, it really inspires you.” As we walked out of the musicians’ room, Jimmy Knepper walked in shaking his head: “Those old cats are playing their asses off—John Frigo and, of course, Benny!”
Yin, Yang, and Noir (Oliver Lake / Charlie Haden)
Authors: Giddins Gary 
Published: November 2023

Abstract
Oliver Lake was nearly 30 when his first recordings made their way— via his own label, Passin’ Thru—from St. Louis to New York. That was 20 years ago, and his subsequent career offers a kind of Baedeker of the era’s jazz itinerary. First we encountered him, along with many promising musicians of the early ‘70s, in a collective (St. Louis’s Black Artists Group), performing with a malleable ensemble that favored “little instruments” and modal subjects, or standing alone, an unaccompanied altoist with a distinctively stark, urgent style. He made the obligatory trip to Paris before settling in Brooklyn, part of an unusually mature generation of newcomers who were bred in all the new musics of the ‘60s, rock and soul as well as jazz, and could hear beyond them to previously established forms and functions. Although he mentioned Paul Desmond and Jackie McLean as early inspirations, Lake had a sound as individual as his hair, a tonsure circled by dreads. His timbre was cured in acid, but his intonation remained centered and sure. By the end of the ‘70s, he had recorded two sets of duets (notably Buster Bee, with Julius Hemphill), and embarked on a long alliance with drummer Pheeroan ak Laff.
Giant Step (Jackie McLean)
Authors: Giddins Gary 
Published: November 2023

Abstract
Jazz sets that are strings of solos are tedious, except when they aren’t. Jazz originals lack distinction, except when they don’t. Hard bop is glaring and rigid, except when it isn’t. In other words, all the axioms apply to the second rate, merely. When the giants come to town, all the conjectures about what makes so much jazz club action a deadening thing disappear. For those who remember all the years when you couldn’t hear Jackie McLean at the Village Vanguard, years when he focused his attention on teaching, his appearances there now are simply too precious to miss. Last visit, he presented the final appearance of the quintet that included pianist Hotep Idris Galeta, and was made especially memorable by McLean’s searing version of a Burt Bacharach tune, “A House Is Not a Home.” A year and a half later, his music is someplace else entirely. But not really. Mastery is its own home and God bless the child that’s got one.
They Never Went Away (Big Bands)
Authors: Giddins Gary 
Published: November 2023

Abstract
The big band is the most imperial and recondite of 20th-century musical ensembles. Even jazz critics, who for reasons of close kinship have devoted far more serious attention to the big band than critics in pop or classical, are frequently ignorant of its workings. Orchestration, the least examined of the jazz arts, is widely regarded as a species of behind-thescenes arcana, like film editing; only writers with distinctive styles and onstage roles—Ellington, Gil Evans—excite acclaim. Other arrangers of enormous talent are overlooked or, if they go Hollywood (and earn a living), patronized. Of the jazz whiz kids who jammed the musical landscape of the 1920s, Don Redman and Bill Challis are the least known, though one could argue that their influence was as decisive as that of the instrumentalists and singers now appearing on stamps. Similarly, section men and lead players are treated as faceless technicians by those who wish there were soloists in every chair, even though it is often the “studio” musicians who make the orchestra roar. The role that section leaders play within a section and the role the section plays within the band are apparently as forbidding as higher mathematics. The soloists are the stars, understandably. But the others are inexplicably overlooked—a situation analogous to football fans knowing the quarterbacks and not the defensive linemen. Seventy-five years have passed since Paul Whiteman made dance bands glamorous and jazzy, 70 since Fletcher Henderson and Duke Ellington made them streamlined and jazzier, 60 since Benny Goodman made them fashionable and rich—yet their methods and devices remain less understood than they were in the Swing Era. The music itself is buried in a haze of nostalgia, invariably scored to that old, old refrain, “Will big bands ever come back?”
Monk with Frets (Marc Ribot)
Authors: Giddins Gary 
Published: November 2023

Abstract
Over no aspect of jazz is there so lusterless a uniformity as modern guitar. Before the war, you could count on the fingers of one hand the number of jazz musicians who could play it at all. But by 1960, Barney Kessel’s manual was everywhere, and an army of eighth-note plectrists swarmed onto the scene. The few who really stood out, by virtue of doubling the lead or editing out notes or phrasing in octaves or adding or deleting strings or frets, were the blessed minority. Too many guitar players sounded like too many others. Mark Ribot’s new CD, Don’t Blame Me (DIW), sounds different—at least, from other guitarists. If you need a reference point, consider Thelonious Monk. Ribot, a 41-year-old native of Newark, is a certifiable eclectic who has been circling the downtown irony school for more than a decade.
They’re Bo-o-o-o-xed! (The Best Reissues of 1997)
Authors: Giddins Gary 
Published: November 2023

Abstract
The most vivid memory of live jazz ‘97 that I take with me into the New Year was sown at the Vanguard a few weeks back, when Jackie McLean fronted the incomparable Cedar Walton Trio (David Williams, Billy Higgins). With nary a pause following a stoic “Never Let Me Go,” McLean stomped a breakneck “Lover,” and before he was 16-bars out of the starting gate, something unusual happened, a flashback to a wilder time: The audience got into the act. First, just an isolated shout and whoop, then a mass low-level rumbling, with more shouts and applause for a particularly nimble turnback or long-legged phrase or spiral conceit. It sounded like a Jazz at the Philharmonic album, the congregation midrashing the soloist, who at one point spun out the most befitting quotation in an evening of quotations: “He flies through the air with the greatest of ease.. .”—speaking for himself and Walton, who backed him with pulsing, vital chords and mixed in “Melancholy Baby” and “Comin’ Through the Rye.” When McLean initiated eights with Higgins, neither man could contain himself for long and the exchanges became a duet, until the drummer took over with customary savoir-faire.
Reviving the It Girls (The Boswell Sisters)
Authors: Giddins Gary 
Published: November 2023

Abstract
Later it would be called hip or cool. Before the war, the word was simply it, not as defined by flapper sexuality, but by a musical savvy that acknowledged America’s panracial music with that rhythmic grace it don’t mean a thing without. In a 1930 radio broadcast of “Does My Baby Love?” the Boswell Sisters interpolate the question: “Has he got it?” And 10 years later, when only Connie was hitting the boards, she and Bing Crosby introduced Sy Oliver’s “Yes Indeed!” with characteristic Southern-fried badinage: BING: Now has you got it, sister Constance, tell me, has you got it? connie: Whoayeah, I got it, brother Bingstons, now you knows I got it. Connie, Vet, and Martha Boswell, the subjects of a stirring new revue, had it from an early age, growing up in middle-class propriety in New Orleans in a musical family, hanging with neighborhood kids like Louis Prima and Leon Roppolo, while playing chamber trio classics—Martha on piano, Vet on violin, and Connie on cello. According to Chica Minnerly, Vet’s daughter, that changed when Connie got hold of a saxophone and Vet picked up a banjo. Soon they had a vaudeville act good enough to take them to Chicago and then Hollywood, where they scored on radio. Chica suggests that they thought more like instrumentalists than as singers. As they realized that their singing went over best with audiences, they dropped other aspects of the act, which involved dancing and about a dozen instruments (including spoons), retaining only Martha’s piano.
Turner Classic Moves (Mark Turner)
Authors: Giddins Gary 
Published: November 2023

Abstract
Mark Turner is now playing his first gig as a leader in a major New York club—a split-week at Sweet Basil—to celebrate his first album as a leader for Warner Bros. Yet the album, Mark Turner, was actually recorded in 1995 for the Criss Cross label, which had released his true debut earlier that year. The new CD is thus two years older than the very weird jam session album he made for Warners last year, Warner Jams Vol. 2: The Two Tenors, which was lost in the shuffle of 1997 releases. In retrospect, that’s hardly surprising: Turner, then virtually unknown, was billed equally with the legendary James Moody, prompting a confused cry of Mark Who?—as in, shouldn’t we know who he is and is it wise to admit we don’t? Worse, a note in the useless booklet identifies Moody as on the left channel and Turner on the right, when the reverse is true. In any case, the new disc demands reconsideration of the old one, which has the virtue of relative contemporaneity.
Fusions (Wayne Shorter / Odyssey)
Authors: Giddins Gary 
Published: November 2023

Abstract
Wayne is coming to Lincoln Center. What will Wayne do? What will Wayne, who like Miles needs no last name (no more than Herbie, Ron, or Tony), ever do? The only thing certain is that he won’t do whatever we expect. No, that isn’t quite right. He has trained us not to bring expectation to his performances, but rather anticipation—though he cannot quell our vain hope that he will parcel us into a time machine and do do that voodoo that he once did so well. Dream on, or better still, go back to the recordings, which have grown in stature as few from that era have. The Lincoln Center program promised a new work for chamber orchestra and jazz musicians, an adaptation from Sibelius, and a retrospective running the gamut from the Blue Note pinnacle, Juju and Speak No Evil, to the recent Verve enigmas, High Life and 1 + 1. It did not promise nor deliver the saxophone virtuoso of yore. Indeed, as the orchestra set progressed, with Wayne alternating constantly between tenor and soprano—phrasing with the strings, overlaying a few fragments, launching blood-rushing solos that quickly ran aground in the clogged arteries of the composition—one couldn’t help suspecting that the musician who never wanted to be a leader, or at least postponed the obligation until he had no choice, was no longer interested in playing the saxophone either. Fair enough: focus on the composition.