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Robert GADEN: Slim GAILLARD
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN -
The Strutter VOLUME 22 NUMBER 4 Traditional Jazz in the Philadelphia Tri-State Area December 2011
“Best of South Jersey” 2008 - 2011! The Strutter VOLUME 22 NUMBER 4 Traditional Jazz in the Philadelphia Tri-State Area December 2011 OUR NEXT CONCERTS TRI-STATE JAZZ SOCIETY Roberts Duo... the musical intuition between the Presents two is truly miraculous!" and Renée Silberman reviews a London/Ontario concert as "a spine THE ORTNER-ROBERTS DUO tingling fusion of Klezmer and Creole magic." German-born clarinetist Susanne Ortner and American jazz pianist Tom Roberts met in Pittsburgh while performing in 2006 and formed the Ortner-Roberts Duo in 2007, melding the two supposedly unrelated musical and cultural influences of Harlem Stride Piano and Klezmer to form a whole new style they affectionately call "Yiddish/Creole Fusion." The Roberts have thoroughly immersed themselves in the music of the '20s, '30s, and '40s as well and painstakingly recreate the music of Benny Goodman, Jelly Roll Morton, Artie Shaw, and Sidney Bechet among others, evoking "the thicksweet air of New Orleans or the glamour of a shimmering dancehall... in Chicago or New York City." See them in concert at www.youtube.com/watch?v=ee23Y8k5- Susanne Ortner-Roberts, clarinet YY&feature=related. Tom Roberts, piano CONCERT ADMISSION Sunday, December 11, 2011 $20 ADMISSION $10 FIRST TIME ATTENDEES & MEMBERS 2:00 p.m. – 5:00 p.m. HIGH SCHOOL/COLLEGE STUDENTS WITH ID AND CHILDREN WITH PAYING ADULT Saint Matthew Lutheran Church ADMITTED FREE Pay At the Door - No Advance Sales 318 Chester Avenue Moorestown, NJ 08057 In This Issue… Directions on Page 7 Looking Ahead .............. Page 2 Pittsburgh-based Susanne Ortner-Roberts and Tom American Rag .............. -
Long and Successful Musical Career Credited to Seger Ellis
•XVut H am pshire VOL. 30. Issue 44. ' Z 413 UNIVERSITY OF NEW HAMPSHIRE, DURHAM, NEW HAMPSHIRE, APRJL 30, 1940. PRICE, THREE CENTS Prom Committee Chairmen Senior Canes The Senior canes are at The College State Symphony Makes Shop and may be purchased at the usual price. Let’s have every Senior carrying a cane and make this tradi tion a success. Fifth Appearance Here Richard Johnson, Chairman, Orchestra Organized as Cane Committee. University Doctor Government Project; Ends Service Here Earl V. Clay, Conductor ’Cats Barely Edge The Federal Symphony Orchestra Oberlander Accepts Post of the Works Projects Administration Maine Nine 2-0 in with Insurance Company; for New Hampshire will make'its fifth appearance at the university on Wed Opening Ball Game Former Dartmouth Star nesday, May 1 at 8 P.M., in Murkland Wild Pitch and Squeeze Dr. Andrew J. Oberlander, Univer auditorium. sity physician, will become an assist Organized in 1936, the Federal Bunt Account for Scores; ant medical director of the National Symphony Orchestra was one of the Hersey Glitters a I Bat Life Insurance company of Montpelier, first government - sponsored music Pitching a first class brand of ball Vermont, on July 1. The appointment, units to be developed in the state. It throughout, Buck Jordan shut out the of Dr. Oberlander will make three has participated in several hundred Maine nine, 2-0, here Saturday after doctors connected with home office of performances and is recognized as the noon in the opening game of the 1940 the company. finest group of its kind ever to be season. -
Unacclaimed Great
Haymer An 'Unacclaimed Great' By GEORGE HOEFER of a large orchestra playing a Another instrument, the tenor -axophone of Herb Haymer, sweet arrangement He was able 1» gone from the inner circle of unacclaimed greats in jazz to improvise n series of hot cho music- Unlike (roodman, Armstrong, Teagarden, and other ruses of dynamic intensity or ace instrumentalists who have led their own bands to fame. play beautifully intoned phrases. Kay Asks $50,000 His fine ear, chord sense, in ■he in«h ■■■ the inner circle, like* . — - musician a musician. herent beat, and originality per tazóla and Haymer, are famous to — . Haymer’s unique musical talent mitted him a rich style. A note musicians only. Herbie Haymer made him equally at home in a worthy economy of notes further possessed all the attributes of a jam session or in the reed section (Modulate to Page 13) From Bop City Ops By JOHN S. WILSON New York—Monte Kay, whose intrmluction of bop and accompanying gimmicks at the Royal Roost helped change Ö. that spot from a struggling chicken joint to an operation so 3M successful its policies were imitated across the country, is preparing to bring suit for $50,000 against the operator* of Bop City for allegedly easing him out of his interest in th* new local bop mecca. Fire Wrecks VOL. 16—NO. 10 CHICAGO. JUNE 3. 1949 Ralph Watkins, one of the oper (Copyright, 1949, Down Beat, Inc.) ators of Bop City, says Kay was let out because there wasn’t any- Monroe Bus thing for him to do at the spot. -
Clean” Version of the Index, with Just the Titles, Composers, and Recordings Listed
Updated 14 March 2021 INDEX of 3,836 TUNE TITLES and COMPOSERS (Stomp Off 1001 - 1436) Four-digit numbers are Stomp Off record numbers. Recordings may be available on CD or as MP3 downloads at stompoffrecords.com. A prefix of CD before the album number in this index means that that tune is found on the CD version only; C indicates that the tune is found on the cassette version only. Subtitles are shown in ( ); alternative titles are in [ ]; *indicates pseudonym for composer—see list at end. [NOTE: This is the “clean” version of the index, with just the titles, composers, and recordings listed. If you want to see the research notes that were behind this information, you can find them at http://stompoff.dickbaker.org/Stomp%20Off%20Index.pdf.] A Huggin’ and A Chalkin’ Ace of Rhythm (Jabbo Smith) Africana (A New “Booster”) (see Huggin’ and Chalkin’) Black Eagle JB 1065 (M. L. Lake) State Street Aces 1106 Pierce College Symphonic Winds 1297 A Major Rag (Tom McDermott) Original Salty Dogs JB 1233 Tom McDermott 1024 After All I’ve Done for You Ace of Spades (Billy Mayerl) (Tiny Parham) Á Solas (Butch Thompson) Tony Caramia 1313 Scaniazz 1004 Butch Thompson 1037 Achin’ Hearted Blues (Clarence After Awhile (Bud Freeman– Abide with Me (Henry F. Lyte– Williams–Spencer Williams– Benny Goodman) William H. Monk) Clarence Johnson) Louisiana Washboard Five 1398 Grand Dominion JB 1291 Hot Antic JB 1099 After Hours (James P. Johnson) About a Quarter to Nine Dick Hyman 1141 Keith Nichols 1159 (Al Dubin–Harry Warren) Gauthé’s Creole Rice YBJB 1170 After the Ball (Charles K. -
Dissertation Introduction
Copyright by Kyle Stewart Barnett 2006 The Dissertation Committee for Kyle Stewart Barnett certifies that this is the approved version of the following dissertation: Cultural Production and Genre Formation in the U.S. Recording Industry, 1920-1935 Committee: Thomas Schatz, Supervisor James Buhler John D.H. Downing James Hay Mary Celeste Kearney S. Craig Watkins ii Cultural Production and Genre Formation in the U.S. Recording Industry, 1920-1935 by Kyle Stewart Barnett, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August, 2006 iii To Lisa Most of the recordings issued throughout the twentieth century were never simply marketed to or purchased by a huge undifferentiated ‘mass’ audience. Instead, the industry has, since its formation, sold music to the fans of particular styles, through a variety of changing labels…. In addition the recording industry has employed various legal and illegal, small-scale and team-based, marketing and promotional activities as a way of approaching consumers – practices which might well be labeled as ‘flexible.’ – Keith Negus, “Music Divisions: The Recording Industry and the Social Mediation of Cultural Production,” When the music business gets involved in promoting a style of music, it typically adopts colloquial terms that are verbs or adjectives and turns them into nouns – that is, into things, marketable objects that can be promoted, sold, and bought by a mass audience. – Larry Starr and Christopher Waterman, American Popular Music from Minstrelsy to MTV iv Acknowledgements I have relied on the help of many friends and colleagues in completing this project. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
Johnny Green's Body and Soul. from New York to London and Back
Johnny Green’s Body and Soul. From New York to London and Back. Albert Haim John Simpson’s Blog, August 13, 2011 It starts in silence. By the end, the singer has thrown him- or herself melodramatically, almost operatically on the mercy of a lost love. It’s drenched in self-pity, but was written for and first performed by a woman once dubbed “Hollywood’s first maneater.” One of its most famous covers includes no vocal at all, and barely follows the tune. And it’s gone on to become, arguably, the single most-recorded pop standard in history. Introduction. Body and Soul, a 1929 composition by Johnny Green (music), Edward Heyman, Robert Sour and Frank Eyton (lyrics) is the most recorded song of all times. Tom Lord’s jazz discography lists over 2000 recordings and broadcast performances of the song and there probably are nearly 3000. Body and Soul is both a jazz standard and a popular song. In view of the importance of the tune in the realms of jazz and popular music, it is surprising that the literature (both print and internet) provides incorrect information about the genesis of the song –where, when and for whom it was composed and what are the dates of the first recordings. It has been reported that Body and Soul was sung by Gertrude Lawrence in England in the summer of 1929. The song spread like wildfire (in the very words of Johnny Green himself, see below) and by the end of 1930, there were seventeen recordings of the song in England. -
Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert
BENNY GOODMAN’S FAMOUS 1938 CARNEGIE HALL JAZZ CONCERT OXFORD STUDIES IN RECORDED JAZZ Series Editor Jeremy Barham Louis Armstrong’s Hot Five and Hot Seven Recordings Brian Harker Th e Studio Recordings of the Miles Davis Quintet, 1965–68 Keith Waters Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert Catherine Tackley BENNY GOODMAN’S FAMOUS 1938 CARNEGIE HALL JAZZ CONCERT C ATHERINE T ACKLEY 1 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto W i t h o ffi ces in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Th ailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, New York 10016 copyright 2012 © Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. -
Guide to the Duncan P. Schiedt Photograph Collection
Guide to the Duncan P. Schiedt Photograph Collection NMAH.AC.1323 Vanessa Broussard Simmons, Franklin A. Robinson Jr., and Craig A. Orr. Processing and encoding funded by a grant from the Council on Library and Information Resources. 2016 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Background Information and Research Materials, 1915-2012, undated..................................................................................................................... 4 Series 2: Photographic Materials, 1900-2012, -
Louis Armstrong -Portrait of the Artist As a Young Man 1923-1934
Louis Armstrong—Portrait of the Artist as a Young Man 1923-1934 Dan Morgenstern Grammy Award for Best Album Notes 1994 Columbia/Legacy Smithsonian Institution Press C4K 57176 Transcript provided by Hank Hehmsoth – National Endowment for the Arts 2019 INDEX OF RECORDINGS: for discographical reference and music commentary, see designated page next to each selection. Title Page A Monday Date ............................................................................................................................. 19 Ain’t Misbehavin’ .......................................................................................................................... 16 Alone at Last .................................................................................................................................. 10 Anybody Here Want to Try My Cabbage? .................................................................................... 07 Basin Street Blues (rec. 1928) ...................................................................................................... 20 Basin Street Blues (rec. 1933) ...................................................................................................... 33 Beau Koo Jack ............................................................................................................................... 21 Between the Devil and the Deep Blue Sea .................................................................................... 33 Big Butter and Egg Man ................................................................................................................ -
C in His <Z$Ssue a $Nd Oflamj (Othe/Is
W OM HOW*«000 iOL. 4, NO. 10 OCTOBER, 1946 c in his <z$ssue Peggy Lee Jack Smith Andy Russell Martha Tilton A Johnny Mercer L Billy Butterfield 1 Woody Herman P Lionel Hampton Benny Goodman ' ^ .1 Bobby Sherwood 5^ I Jazz Cavalcade” | | $nd Oflamj (Othe/is . ■ m m ■■ ■iinirMBep WÊÊtmmmÊÊÊÊÊÊÊÊÊKÊU the CAPITOL THE Tenor T ita n s Form N ew Bands Published Monthly by CAPITOL PUBLICATIONS, INC Scramble Is On Sunset and Vine, Hollywood 28, Calif. EDITED BY DAVE DEXTER, JR. "|"HAT LEAD-OFF letter from Holland in the column a t th e le ft is no F o r Three S a x e r s phony. Actually, it reflects the feelings of a grea t m a n y Europeans; There’s a hot ratrace on right men who look toward America as a Promised Land and who are now in H’wood with Vido Musso, determined to live here even if they must hold their heads under water for Lucky Thompson and Babe Russin, 24 hours as the extraordinary Dutch gentleman so eagerly promises to do. all highly regarded tenor saxists Letters like that offer a moral for a lot of us who complain that a who have worked for various name buck is only worth 30 cents nowadays. orks, competing with each other as Stuff and Such From Here and There maestros. But- Can This Cat fRIENDS AND fans of Alan Courtney— and they number in the Musso q u it Stan Kenton and has been rehearsing a big band that will hundreds of thousands throughout the New York area— m ay write Make Records? ? ? emphasize “ sweet stuff as well as hot,” Amsterdam, Holland.