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Brian Stokes Mitchell Outside at the Colonial
Press Contacts: Katie B. Watts Press Manager (413) 448-8084 x15 [email protected] Becky Brighenti Director of Marketing & Public Relations (413) 448-8084 x11 [email protected] For immediate release, please: Monday, July 20 at 10am Berkshire Theatre Group Announces An Intimate Performance with Two-time Tony Award-winner Brian Stokes Mitchell to Benefit Berkshire Theatre Group and a Portion of Sales to go to The Actors Fund and Black Theatre United Pittsfield, MA – Berkshire Theatre Group (BTG) and Kate Maguire (Artistic Director, CEO) are excited to announce two-time Tony Award-winner Brian Stokes Mitchell in an intimate performance and fundraiser to benefit Berkshire Theatre Group. In this very special one-night-only concert, Brian Stokes Mitchell will deliver an unforgettable performance to an audience of less than 100 people, outside under a tent at The Colonial Theatre on Labor Day Weekend, September 5 at 8pm. Dubbed “the last leading man” by The New York Times, Tony Award-winner Brian Stokes Mitchell has enjoyed a career that spans Broadway, television, film, and concert appearances with the country’s finest conductors and orchestras. He received Tony, Drama Desk, and Outer Critics Circle awards for his star turn in Kiss Me, Kate. He also gave Tony-nominated performances in Man of La Mancha, August Wilson’s King Hedley II, and Ragtime. Other notable Broadway shows include: Kiss of the Spider Woman, Jelly’s Last Jam, Women on the Verge of a Nervous Breakdown and Shuffle Along. In 2016 he was awarded his second Tony Award, the prestigious Isabelle Stevenson Tony for his Charitable work with The Actors Fund. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. MARIAN McPARTLAND NEA Jazz Master (2000) Interviewee: Marian McPartland (March 20, 1918 – August 20, 2013) Interviewer: James Williams (March 8, 1951- July 20, 2004) Date: January 3–4, 1997, and May 26, 1998 Repository: Archives Center, National Museum of American History Description: Transcript, 178 pp. WILLIAMS: Today is January 3rd, nineteen hundred and ninety-seven, and we’re in the home of Marian McPartland in Port Washington, New York. This is an interview for the Smithsonian Institute Jazz Oral History Program. My name is James Williams, and Matt Watson is our sound engineer. All right, Marian, thank you very much for participating in this project, and for the record . McPARTLAND: Delighted. WILLIAMS: Great. And, for the record, would you please state your given name, date of birth, and your place of birth. McPARTLAND: Oh, God!, you have to have that. That’s terrible. WILLIAMS: [laughs] McPARTLAND: Margaret Marian McPartland. March 20th, 1918. There. Just don’t spread it around. Oh, and place of birth. Slough, Buckinghamshire, England. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 WILLIAMS: OK, so I’d like to, as we get some of your information for early childhood and family history, I’d like to have for the record as well the name of your parents and siblings and name, the number of siblings for that matter, and your location within the family chronologically. Let’s start with the names of your parents. -
Duke Ellington (April 29, 1899 – May 24, 1974)
Duke Ellington (April 29, 1899 – May 24, 1974) The Duke, was a title Duke Ellington never tried to shed, nor wanted to. If his accomplishments were a criminal record, with over a thousand compositions, they would have locked him up and threw away the key. There was no doubt Duke was a leader. Leading his band through his long career until his death. Duke brought to my attention of the big band sound of Jazz. Even though he preferred not to call it Jazz, just American Music. He showed how important it was to read music and even better, how important it was to compose your own. Edward, (Yes his original name was Edward) stayed true to his course and like I’ve said, played to whatever crowds that would listen. Of course it had that swing and boy did people swing to it. Ellington made eight records in 1924, receiving composing credit on three including Choo Choo.[19] In 1925, Ellington contributed four songs to Chocolate Kiddies starring Lottie Gee and Adelaide Hall,[20] an all-African-American revue which introduced European audiences to African-American styles and performers. "Duke Ellington and his Kentucky Club Orchestra" grew to a ten-piece organization; they developed their own sound by displaying the non-traditional expression of Ellington’s arrangements, the street rhythms of Harlem, and the exotic- sounding trombone growls and wah-wahs, high-squealing trumpets, and sultry saxophone blues licks of the band members. For a short time soprano saxophonist Sidney Bechet played with the group, imparting his propulsive swing and superior musicianship to the young band members. -
The Harlem Renaissance African-Americans After the Civil War • up Until the Civil War, African Americans Lived in the United States As Slaves
Unit #4: The Changing Face of America (1890 – 1920s) Part 3: The Harlem Renaissance African-Americans after the Civil War • Up until the Civil War, African Americans lived in the United States as slaves. • After the war and the Emancipation Proclamation, African Americans had to shatter the stereotypes projected upon them by their slave ancestry. • They were seen as individuals who were incompetent and docile, and they were viewed as an inferior race, especially intellectually. • The nation gave African Americans this unpopular image, and unfortunately, many African Americans believed it. Rise of the “Black Movement” • Due to the systematic oppression that African Americans as a whole suffered from after the Civil War, many also suffered from self-hatred and low self- esteem. • They were so devalued that they began to internalize the stigma placed upon them by the broader European society. • It wasn't until the rise of the Black Movement, otherwise known as the Harlem Renaissance, did the African American begin to fully liberate himself from society's standards. • It was during this period of time in the 1920s that the "New Negro" emerged and racial identity became the popular topic of many African-American authors. Background of the Harlem Renaissance • African American artists, writers, musicians, and performers were all part of this great cultural movement called the Harlem Renaissance. • After World War I many African Americans migrated from the rural South to the urban North. This movement is called “The Great Migration.” • African Americans of all ages and walks of life moved to the thriving New York City neighborhood called Harlem. -
Garnett Clarke
1 The PIANO of GARNETT CLARKE Solographer: Jan Evensmo Last update: Nov. 25, 2019 2 Born: Garfield Memorial Hospital, 11th & Florida Avenues N.W., Washington, D. C., Feb. 7, 1916 Died: Hopital Psychiatrique, Saint Remy, Haute-Saone, France, Nov. 30, 1938 Introduction: Garnett Clarke is a real piano legend and passed away much, much too early. However, his few recordings show an enormous talent, and he shall not be forgotten. History: Played piano for drummer Tommy Myles’ Band in Washington from ca. 1930. Moved to New York (ca. 1934), played at Pod’s and Jerry’s, recorded with Alex Hill and together with Benny Carter worked for Charlie Barnet. Went to Europe with Benny Carter in 1935 and together they joined Willie Lewis’ Band in Paris for a short while. Did solo work in 1936, also toured Switzerland as accompanist for Adelaide Hall. In autumn 1937 he suffered a mental breakdown and spent the rest of his life in a hospital (conflicting information on which one). Died from pulmonary tuberculosis. Message: Clark’s first name is often spelled with two t’s. However, whether Garnet or Garnett is correct cannot be decide from public information (ref. Howard Rye). If somebody has got his signature, let us know!! Postscript of Nov. 20, 2019: Extensive research by Melissa Jones and also Charles Iselin and Phil Schaap, confirms the birth and death dates above, gives more hospital information and also gives his name as Garnett Clarke. This name is now used in the solography. 3 GARNETT CLARKE SOLOGRAPHY ALEX HILL & HIS HOLLYWOOD SEPIANS NYC. -
Brian Stokes Mitchell Feb 10 & 11 / 7:30 Pm
BRIAN STOKES MITCHELL FEB 10 & 11 / 7:30 PM Brian Stokes Mitchell, vocals Tedd Firth, piano Theatre at The Broad Stage made possible in part by generous gifts from Laurie & Bill Benenson and Susan Stockel. Brian Stokes Mitchell at The Broad Stage made possible in part by a generous gift from Linda & Michael Keston. Tonight’s program will be announced from the stage. There will be no intermission. 4 FEB 2018 BIOS 6. His musical curiosity lead him to an interest in orchestration, arranging and Dubbed “the last leading man” by film scoring which he first started studying The New York Times, Tony® Award-winner on his own in his late teens. He later BRIAN STOKES MITCHELL has enjoyed a studied film scoring, orchestration and career that spans Broadway, television, conducting through UCLA and privately, film and concert appearances with and scored and conducted a number of the country’s finest conductors and Trapper John, MD episodes, a series on orchestras. He received Tony®, Drama which he was also a regular cast member. Desk and Outer Critics Circle awards His musical talent has extended to the for his star turn in Kiss Me, Kate. He also present day as producer, arranger and gave Tony®-nominated performances orchestrator on his own albums, including in Man of La Mancha, August Wilson’s his latest recording, Simply Broadway. King Hedley II and Ragtime. Other notable Simply Broadway is an album of classic Broadway shows include Kiss of the Spider Broadway tunes that have been musically Woman, Jelly’s Last Jam and Women on reimagined but still retain the spirit of the Verge of a Nervous Breakdown. -
Sonia Boyce: Sound and Collaboration Scat — Sonia Boyce: Sound and Collaboration
Scat — Sonia Boyce: Sound and Collaboration Scat — Sonia Boyce: Sound and Collaboration Curated by Tessa Jackson, Teresa Cisneros and Sonia Hope, Iniva (Institute of International Visual Arts) Exhibition Guide generously supported by University of the Arts London and TrAIN Contents Cover: Still taken from Oh Adelaide, 2010 04 Introduction by the curators Courtesy the artist 07 Sonia Boyce: sound, tension and the sacred by Sophie Orlando Right: For you, only you, 2007 15 Sonia Boyce and Mikhail Karikis with Tessa Jackson discussing Photograph by Stuart Bunce For you, only you Courtesy the artist 23 Acknowledgements Scat — Sonia Boyce: Sound and Collaboration 04 05 For you, only you, 2007 Photograph by Stuart Bunce Introduction Courtesy the artist Scat is a collaboration between Sonia Boyce and Iniva, Oh Adelaide (2010), a collaborative work by Sonia Boyce Sonia Boyce has had a long standing relationship with creating a major solo show of her work to occupy the and sound artist Ain Bailey, incorporates found film Iniva. She was one of the many voices that spoke up in the public spaces in Rivington Place. It focuses upon her long footage, downloaded from the internet, of the jazz singer 1980s and early 1990s against the lack of representation in established interest in sound and brings together two and entertainer Adelaide Hall (1901–1993). Hall’s voice museums and galleries across the UK, of culturally diverse immersive video works that are presented together for the is mixed with digitised and condensed recordings taken artists and curators, and the marginalisation of ‘other’ art first time. Scat explores how we experience sound — both from music and songs in Boyce’s devotional archive. -
On Site Opera & Harlem Opera Theater Invite You to Take Cast
! ON SITE OPERA & HARLEM OPERA THEATER PRESENT GERSHWIN’S Blue Monday! ! PROGRAM MENU: Cast, Production Team and Orchestra | Program Notes | Artist Bi0s About On Site Opera | About Harlem Opera Theater About The Harlem Chamber Players | Special Thanks On Site Opera &more Harlem information: Opera osopera.orgTheater invite you to take On Site Opera & Harlem Opera Theater invite you to take a trip back to the roaring twenties as they present George Gershwin’s Blue Monday at the Cotton Club. Blue Monday A JAZZ OPERA BY GEORGE GERSHWIN LIBRETTO BY BUDDY DESYLVA JUNE 18-20, 2013 | THE COTTON CLUB 7PM: DANCING & COCKTAILS | 8PM: BLUE MONDAY CAST: IN ORDER OF VOCAL APPEARANCE MIKE, THE CLUB OWNER CLAYTON MATHEWS SAM, A CLUB EMPLOYEE ALVIN CRAWFORD TOM, THE CLUB HEADLINER LAWRENCE CRAIG VI, JOE’S GIRLFRIEND ALYSON CAMBRIDGE JOE, A GAMBLER CHASE TAYLOR DANCERS: SARITA ALLEN ELIJAH ISHMAEL AVRAHAM NICCO ANNAN AZAMA BASHIR MAHALIA LEOLA MAYS RAPHAEL THOMAS PRODUCTION TEAM: CONDUCTOR GREGORY HOPKINS STAGE DIRECTOR ERIC EINHORN CHOREOGRAPHER GEORGE FAISON COSTUME DESIGNER CANDIDA K. NICHOLS LIGHTING DESIGNER SHAWN KAUFMAN HAIR & MAKE-UP DESIGNER SHANNON HARRINGTON PRODUCER JESSICA KIGER FIGHT COORDINATOR SHAD RAMSEY ASSISTANT DIRECTOR AUDREY CHAIT PRE-SHOW DANCE COORDINATOR NATALIE DAVIDZON Orchestra: THE COTTON CLUB ALL STARS FLUTE/TENOR SAX: JAMES STEWART OBOE/ALTO SAX: ED PAZANT CLARINET/ALTO SAX: CRIS HEMMINGWAY TENOR SAX: JOHN SIMON BASSOON/BARITONE SAX: RAY JOHNSTON TRUMPET I: AL PAZANT TRUMPET II: MAC GOLLEHON TROMBONE I: TIM WILLIAMS TROMBONE II: ROBERT STRINGER PIANO: NORIKO KAMO BASS: STAN THOMPSON GUITAR: SOLOMON HICKS DRUMS: ELI FONTAINE THE HARLEM CHAMBER PLAYERS: VIOLIN I: MONICA DAVIS VIOLIN II: CHARLENE BISHOP VIOLA: ADAM HILL CELLO: LAWRENCE ZOERNIG Please be aware that live gunshots are used in this production. -
Zhetfostza/Aedjsoutsong 5//?Ce"MISS0URI WALTZ" MISSISSIPPI CRADLE
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org 48 THE MUSIC TRADE REVIEW DECEMBER 31, 1921 "SHUFFLE ALONG" A SUCCESS recorded in talking machine record and music roll form. These include: "Love Will Find a She's ^4 Sensation? Colored Entertainers Playing to Packed Way," "Gypsy Blues," "Bandanna Days," "Bal- Audiences—Witmark Publishing the Score timore Buzz," "I'm Wild About Harry" and "Honeysuckle Time." OLD IASHICNED One of the remarkable features of the present theatrical season in New York is the success of BETTER TRADE IN NEW LOCATION GIRL the musical comedy, "Shuffle Along." This show, which has played for eight months to packed J. P. Broder Now With Hauschildt Music Co., San Francisco, Handling a Large Volume of OFFICIAL ROSE FESTIVAL SONQ Popular Sheet Music Business "Beautiful Oregon Rose" Selected for Oregon SAN FRANCISCO, CAL., December 23.—J. P. Bro- Celebration—Popular Songs That Are Selling der, sheet music dealer, who moved in with the PORTLAND, ORE., December 23.—The "Beautiful Hauschildt Music Co. when Byron Mauzy sold Oregon Rose," by H. Edward Mills, has been out a few months ago, reports that he is doing adopted by the Rose Festival Committee as the a very much better business in his new location, official song for the 1922 Rose Festival, and the which is in the center of the theatre district. song will be sung in all the schools of the State He says "Tennessee Moon," "Song of India" in connection with the Arbor Day celebration and "Wabash Blues" are among his best sellers in February. -
The Harlem Renaissance Chapter 21 Sect. #4
Harlem Renaissance Chapter 21.4 African-Americans in the 1920's The Move North 1910-1920, Great Migration of thousands of African Americans ◦ By 1920, over 40% of African Americans live in cities Racial tensions escalate in North; about 25 urban race riots in 1919 ◦ African-Americans continue to migrate in large numbers in 1920’s African Americans in the 1920's African-American Goals National Association for the Advancement of Colored People ◦ protests racial violence NAACP leader James Weldon Johnson fights for civil rights legislation NAACP anti-lynching campaign leads to a drop in number of lynchings Harlem Renaissance African-American Writers Harlem Renaissance – African-American literary, artistic movement ◦ express pride in African-American experience Claude McKay’s poems urge blacks to resist prejudice, discrimination Langston Hughes’s poems describe difficult lives of working class ◦ many written in jazz, blues tempo Zora Neale Hurston shows folkways, values of poor, Southern blacks Harlem Renaissance in NY African-American Performers Influence, popularity of Harlem Renaissance go beyond black audience Musical, comedy Shuffle Along launches movement ◦ is popular with white audiences African-American performers win large followings Paul Robeson – major dramatic actor in London, New York https://youtu.be/A6dXrm1YjBE https://youtu.be/-_swtbIi2F0 Harlem Renaissance in NY African Americans and Jazz Jazz born in early 20th century New Orleans, spreads across U.S. Trumpeter Louis Armstrong makes personal expression key part of jazz ◦ -
Uptown Conversation : the New Jazz Studies / Edited by Robert G
uptown conversation uptown conver columbia university press new york the new jazz studies sation edited by robert g. o’meally, brent hayes edwards, and farah jasmine griffin Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 2004 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin All rights reserved Library of Congress Cataloging-in-Publication Data Uptown conversation : the new jazz studies / edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. p. cm. Includes index. ISBN 0-231-12350-7 — ISBN 0-231-12351-5 1. Jazz—History and criticism. I. O’Meally, Robert G., 1948– II. Edwards, Brent Hayes. III. Griffin, Farah Jasmine. ML3507.U68 2004 781.65′09—dc22 2003067480 Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1 contents Acknowledgments ix Introductory Notes 1 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin part 1 Songs of the Unsung: The Darby Hicks History of Jazz 9 George Lipsitz “All the Things You Could Be by Now”: Charles Mingus Presents Charles Mingus and the Limits of Avant-Garde Jazz 27 Salim Washington Experimental Music in Black and White: The AACM in New York, 1970–1985 50 George Lewis When Malindy Sings: A Meditation on Black Women’s Vocality 102 Farah Jasmine Griffin Hipsters, Bluebloods, Rebels, and Hooligans: The Cultural Politics of the Newport Jazz Festival, 1954–1960 126 John Gennari Mainstreaming Monk: The Ellington Album 150 Mark Tucker The Man 166 John Szwed part 2 The Real Ambassadors 189 Penny M. -
Cab Calloway
Cab Calloway Background information Birth name Cabell Calloway Born December 25, 1907 Rochester, New York, U.S. Died November 18, 1994 (aged 86) Hockessin, Delaware, U.S. Genres Jazz, blues, swing Occupation(s) Bandleader, singer-songwriter Instruments Vocals Years active 1930–94 Associated acts The Cab Calloway Orchestra Website www.cabcalloway.com Cabell "Cab" Calloway III (December 25, 1907 – November 18, 1994) was a jazz singer and bandleader. He was strongly associated with the Cotton Club in Harlem, New York City, where he was a regular performer. Calloway was a master of energetic scat singing and led one of the United States' most popular big bands from the start of the 1930s through to the late 1940s. Calloway's band featured performers including trumpeters Dizzy Gillespie and Adolphus "Doc" Cheatham, saxophonists Ben Webster and Leon "Chu" Berry, New Orleans guitar ace Danny Barker, and bassist Milt Hinton. Calloway continued to perform until his death in 1994 at the age of 86. Biography Early years Calloway was born in Rochester, New York, on Christmas Day in 1907. The family relocated to Baltimore, Maryland. His mother, Martha Eulalia Reed, was a Morgan State College graduate, teacher and church organist. His father, Cabell Calloway, Jr., was a graduate of Lincoln University of Pennsylvania in 1898 and worked as a lawyer and in real estate. Cab Calloway spent his adolescent years growing up in West Baltimore's Sugar Hill, considered the political, cultural, and business hub of black society. There he grew up comfortably in a middle-class household. Early on, his parents recognized their son's musical talent and he began private voice lessons in 1922.