Nummer Interpret Titel (A/B) Komponist Datum

Total Page:16

File Type:pdf, Size:1020Kb

Nummer Interpret Titel (A/B) Komponist Datum NUMMER INTERPRET TITEL (A/B) KOMPONIST DATUM A 286000 LOIUS ARMSTRONG´S HOT FIVE West End Blues(scat: LA) (Mx: S 400967 B) Oliver Chicago, 28. 06. 1928 EDDIE LANG´S ORCHESTRA Freeze an´ melt (Mx: S 401957 B) Fields / Mc Hugh NYC, 22. 05. 1929 A 286001 JIMMY DORSEY Saxophone Speciality Beebe (Mx: S 401877 B) Dorsey NYC, 13. 06. 1929 TOM DORSEY Trumpet Speciality It´s Right Here For You (Mx: S 401308 C) Bradford NYC, 10. 12. 1928 A 286002 LOUIS ARMSTRONG & his Orch. Ain´t Misbehavin´ (voc. LA) (Mx: S 402534 B) Waller / Razaf NYC, 19. 07. 1929 TOM DORSEY Trumpet Speciality Tiger Rag (Mx: S 401309 C) LaRocca NYC, 10. 12. 1928 A 286003 EDDIE LANG´S ORCHESTRA Bugle Call Rag (Mx: S 401958 C) Pettis / Mills / Schoebel NYC, 27. 05. 1929 EARL HINES Piano Solo Fifty Seven Varities (Mx: S 402220 A) Hines Chicago, 12. 12. 1928 A 286004 LOUIS ARMSTRONG & his Orch. Some Of These Days (voc. LA) (Mx: S 402943 A) Brooks NYC, 10. 09. 1929 JOE VENUTI´S BLUE FOUR The Wild Dog (Mx: S 400179 A) Venuti / Lang NYC, 27. 03. 1928 A 286005 LOUIS ARMSTRONG & his Orch. Basin´ Street Blues (vocal: LA) (Mx: S 402154 A) Williams Chicago, 04. 12. 1928 JOE VENUTI´S BLUE FOUR Running Ragged (Mx: S 403078 B) Bloom / Venuti NYC, 18. 10. 1929 No One Else But You (Vocal: LA) LOUIS ARMSTRONG & his ORCH. Redman Chicago, 05. 12. 1928 A 286006 (Mx: S 402168 B) EARL HINES Piano Solo Graham / Williams Chicago, 12. 12. 1928 I Ain‘t Got Nobody (Mx: S 402218 A) Save It, Pretty Mama (vocal: LA) (Mx: S 402170 LOUIS ARMSTRONG & his Orch. Redmond Chicago, 05. 12. 1928 A 286007 C) CHOCOLATE DANDIES Carmichael NYC, 13. 10. 1928 Stardust (Mx: S 401 219 A) A 286008 LOUIS ARMSTRONG & his Orch. Mahagonny Hall Stomp (Mx: S 401691 B) Williams NYC, 05. 03. 1929 DUKE ELLINGTON Piano Solo Black Beauty (Mx: S 401172 B) Ellington NYC, 01. 10. 1928 Hot And Bothered (Scat: Baby Cox) DUKE ELLINGTON´S ORCH. Ellington NYC 01. 10. 1928 A 286009 (Mx: S 401177 A) DUKE ELLINGTON Piano Solo Ellington NYC 01. 10. 1928 Swampy River (Mx: S 401173 B) Hot Heels (Vocal: RUBE BLOOM) ED LANG and his Orch. Pettis / Goering NYC 22. 05. 1929 A 286010 (Mx: S 401960 C) JOE VENUTI´S BLUE FOUR Edwards NYC 27. 09. 1928 Sensation (Mx: S 401160 A) After You´ve Gone (vocal: LA) (Mx: S 403454 B) LOUIS ARMSTRONG & his Orch. NYC, 26. 11. 1929 A 286011 Man From The South (vocal: RUBE BLOOM) Creamer / Layton— JOE VENUTI´S BLUE FOUR NYC, 14. 06. 1928 (Mx: S 400788 C) A 286012 FRANKIE TRUMBAUER´S ORCH. Shivery Stomp (Mx: S 401961 D) Ellis NYC, 22. 05. 1929 JIMMY DORSEY Clarinet with Orch. Prayin´ The Blues (Mx: S 401878 C) Dorsey NYC, 13. 06. 1929 St. Louis Blues (vocal: LA) (Mx: S 403495 B) LOUIS ARMSTRONG & his Orch. Handy NYC, 13. 12. 1929 A 286013 How Am I To Know? (vocal: SMITH BALLEW) FRANKIE TRUMBAUER & his Orch. Parker / King NYC, 18. 09. 1929 (Mx: S 402964 A) LOUIS ARMSTRONG & his Orch. St. James Infirmary (Vocal: LA) Redman Chicago, 12. 12. 1928 A 286014 MCKENZIE AND CONDON´S (Mx: S 402225 A) Kahn / Ergman / Meyers / Chicago, 16. 12. 1927 CHICAGOANS Nobody´s Sweetheart (Mx: S 82082 B) Schoebel McCarthy / Monaco MIFF MOLE´S MOLERS You Made Me Love You (Mx: S 402986 B) NYC, 24. 09. 1929 A 286015 Huyton / Venuti / Lang / JOE VENUTI´S BLUE FOUR Apple Blossoms (Mx: S 403079 B) NYC, 18. 10. 1929 Trumbauer A 286016 JACK PURVIS & his Orchestra Mental Strain At Dawn (Mx: S 403523 A) Purvis New York, 17. 12. 1929 JACK PETTIS & his Orch. Sweetest Melody (Mx: S 401595 D) Goering / Pettis / Mills NYC, 08. 02. 1929 Bessie Couldn´t Help It (Vocal: LA) LOUIS ARMSTRONG & his Orch. Richmond / Baylia NYC, 01. 02. 1930 A 286017 (Mx: S 403714 B) JACK PURVIS & his Orch. Purvis NYC, 04. 04. 1930 Down Georgia Way (Mx: S 403893 B) Navy Blues (Vocal: SMITH BALLEW) Turk / Ahlert MIFF MOLE & his LITTLE MOLERS (Mx: S 403740 A) NYC, 06. 02. 1930 A 286018 Ager / Yellen FRANKIE TRUMBAUER´S ORCH. Happy Feet (Vocal: SMITH BALLEW) NYC, 08. 05. 1930 „The King Of Jazz“ (Mx: S 404007 C) Hayton / Trumbauer / FRANKIE TRUMBAUER & his Orch. I Like That (Mx: S 401841 C) NYC 30. 04. 1929 A 286019 Koehler SEGER (Et: SEGES) ELLIS Piano Solo Shivery Stomp (Mx: S 403873 C) NYC 21. 03. 1930 Ellis A 286020 EDDIE LANG´S Orch. Walkin´ The Dog (Mx: S 403032 C) Brooks NYC 05. 10. 1929 LUIS RUSSEL & his Orch. Jersey Lighting (Mx: S 402940 B) Russel NYC, 09. 09. 1929 I Can´t Give You Anything... (Vocal: LA) LOUIS ARMSTRONG & his Orch. Fields / Mc Hugh NYC 05. 03. 1929 A 286021 (Mx: S 401690 C) SEGER (Et: SEGES) ELLIS Piano Solo Ellis NYC 21. 03. 1930 Sentimental Blues (Mx: S 403872 C) Raggin´ The Scale (Mx: S 404005 C) Claypoole JOE VENUTI´S BLUE FOUR NYC, 07. 05. 1930 A 286022 I´m In The Market For You (Vocal: LA) Hanley / McCarthy LOUIS ARMSTRONG & his Orch. LA, 21. 07. 1930 (Mx: S 404404 C) „High Society Blues“ Rockin´ Chair (vocal: LA - H. CARMICHAEL) LOUIS ARMSTRONG & his Orch. Carmichael NYC, 13. 12. 1929 A 286023 (Mx: S 403496 C) CORNELL (SMELZER) & his Orch. Heath / Doyle NYC, 07. 03. 1930 Collegiate Love (Mx: S 403746 A) Louisiana Swing (Mx: S 404047 A) LUIS RUSSEL & his Orch. Russel NYC, 19. 05. 1930 A 286024 Hittin‘ The Bottle (Vocal: SMITH BALLEW) FRANKIE TRUMBAUER & his Orch. Arlen / Koehler NYC, 22. 07. 1930 (Mx: S 404269 C) I‘m A Ding Dong Daddy (Vocal: LA) A 286025 LOUIS ARMSTRONG & his Orch. (Mx: S 404403 A) Baxter LA, 21. 07. 1930 FRANKIE TRUMBAUER & his Orch. Bye, Bye, Blues (Vocal: SMITH BALLEW) Hamm / Bennet / Down NYC, 08. 09. 1930 (Mx: S 404433 B) A 286026 THE THREE BOSWELL SISTERS Heebie Jeebies (Mx: S 404408 B) Atkins LA, 03. 10. 1930 FRANKIE TRUMBAUER & his Orch. Choo Choo (Mx: S 404434 B) Trumbauer / Malneck NYC, 08. 09. 1930 What Kind Of Man Is You? EDDIE LANG´S Orch. Carmichael New York, 05. 10. 1929 A 286027 (vocal: MILDRED BAILEY) (Mx: S 403031 A) LOUIS ARMSTRONG & his Orch. Armstrong / Hines Chicago, 07. 12. 1928 Muggles (Mx: S 402940 B) Moanin‘ Low (Mx: S 402530 C) MIFF MOLE & his LITTLE MOLERS Dietz / Rainger NYC, 24. 09. 1929 A 286028 Ring Dem Bells (Scat: DICK ROBERTSON ?) THE HARLEM FOOTWARMERS Ellington / Mills NYC, 30. 10. 1930 (Mx: S404519 A) Blake / Razaf LOUIS ARMSTRONG & his Orch. Memories Of You (Vocal: LA) (Mx: S 404412 D) LA 16. 10. 1930 A 286029 Shay / Ward / THE THREE BOSWELL SISTERS Gee, But I´d Like To ... (Mx: S 404410 B) LA 03. 10. 1930 Montgommery You´re Lucky To Me (vocal: LA) (Mx: S 404413 A 286030 LOUIS ARMSTRONG & his Orch. C) Blake / Razaf LA, 16. 10. 1930 LOUIS ARMSTRONG & his Orch. The Peanut Vendour (vocal: LA) (Mx: S 404419 Sunshine / Simons LA, 23. 12. 1930 B) You´re Driving Me Crazy (Vocal: LA) LOUIS ARMSTRONG & his Orch. Donaldson LA, 23. 12. 1930 A 286031 (Mx: S 404418 B) THE HARLEM FOOTWARMERS Ellington / Mills NYC, 30. 10. 1930 Mood Indigo (Mx: S 480023 B) A 286032 JOE VENUTI´S BLUE FOUR Sweet Sue - Just You(Mx: S 404550 C) Young New York, 12. 11. 1930 EARL HINES Piano Solo Caution Blues (Mx: S 402210 C) Hines Chicago, 09. 12. 1928 THE DORSEY BROTHERS But I Can´t Make A Man (Vocal: WES VAUGHN) Bloom NYC, 07. 11. 1930 A 286033 CHOCOLATE DANDIES (BENNY (Mx: S 404545 A) Carter NYC, 03. 12. 1930 CARTER) Goodbye Blues (Vocal: BC) (Mx: S 404566 A) A 286034 O. K. RHYTHM KINGS Casa Loma Stomp (Mx: S 404569 B) Gifford NYC, 06. 12. 1930 JACK PURVIS When You´re Feeling Blue (Mx: S 403993 A) Purvis / Stevens NYC, 01. 05. 1930 Song Of The Islands (vocal: LA) (Mx: S 403681 LOUIS ARMSTRONG & his Orch. King NYC, 24. 01. 1930 A 286035 A) LOUIS ARMSTRONG & his Orch. Dougherty LA, 19. 08. 1930 Confessin´ (vocal:LA) (Mx: S 404405 A) A 286036 THE HARLEM FOOTWARMERS Rockin´ In Rhythm (Mx: S 404804 A) Ellington / Carney / Mills NYC, 08. 11. 1930 JOE VENUTI´S BLUE FOUR I´ve Found A New Baby (Mx: S 404549 B) Palmer / Williams NYC, 12. 11. 1930 A 286037 O. K. RHYTHM KINGS San Sue Strut (Mx: S 403756 C) Manone NYC, 11. 02. 1930 LUIS RUSSEL & his Orch. Muggin´ Lightly (Mx: S 404428 B) Russel / Levy NYC, 05. 09. 1930 A 286038 LOUIS ARMSTRONG & his Orch. Tiger Rag (Mx: S 404002 B) La Rocca NYC, 04. 05. 1930 THE HARLEM FOOTWARMERS Old Men Blues (Mx: S 404521 B) Ellington / Mills NYC, 30. 10. 1930 LUIS RUSSEL & his Orch. Panama (Mx: S 404429 A) Tyers NYC 05. 09. 1930 A 286039 CHOCOLATE DANDIES (BENNY Got Another Sweetie Now Harrison NYC 31. 12. 1930 CARTER) (Vocal: Jimmy Harrison) (Mx: S 404597 B) A 286040 LOUIS ARMSTRONG & his Orch. Dallas Blues (Vocal: LA) (Mx: S 403494 C) Garratt / Ward NYC 10. 12. 1929 JOE VENUTI´S BLUE FOUR Put And Take (Mx: S 404006 A) Venuti NYC 07. 05. 1930 O. K. RHYTHM KINGS Alexander´s Ragtime Band Berlin NYC, 06. 12. 1930 A 286041 JOE VENUTI‘S BLUE FOUR (Vocal: PEE WEE HUNT) (Mx: S 404568 B) Akst NYC, 27. 03. 1928 (Et: O.
Recommended publications
  • Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
    Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A.
    [Show full text]
  • ¶7櫥«Q }欻' / * #376;扎 #732;†
    120825bk Teagarden2 REV 29/3/06 8:46 PM Page 8 Track 14: John Fallstitch, Pokey Carriere, Sid Jack Lantz, trombones; Merton Smith, Vic Rosi, Feller, trumpets; Jack Teagarden, Jose Bob Derry, Bert Noah, Dave Jolley, saxes; Guttierez, Seymour Goldfinger, Joe Ferrall, Norma Teagarden, piano; Charles Gilruth, trombones; Danny Polo, clarinet, alto sax; Tony guitar; Lloyd Springer, bass; Frank Horrington, Antonelli, Joe Ferdinando, alto sax; Art Moore, drums Art Beck, tenor sax; Ernie Hughes, piano; Track 19: Charlie Teagarden, trumpet; Jack Arnold Fishkin, bass; Paul Collins, drums Teagarden, Moe Schneider, trombones; Matty Track 15: John Fallstitch, Pokey Carriere, Matlock, clarinet, tenor sax; Ray Sherman, Truman Quigley, trumpets; Jack Teagarden, piano; Bill Newman, guitar, banjo; Morty Corb, Jose Guttierez, Seymour Goldfinger, Joe Ferrall, bass; Ben Pollack, drums trombones; Danny Polo, clarinet, alto sax; Tony Track 20: Charlie Teagarden, trumpet; Jack Antonelli, Joe Ferdinando, alto sax; Art Moore, Teagarden, trombone; Jay St. John, clarinet; Art Beck, tenor sax; Ernie Hughes, piano; Norma Teagarden, piano; Kass Malone, bass; Arnold Fishkin, bass; Paul Collins, drums Ray Bauduc, drums Track 16: John Fallstitch, Pokey Carriere, Truman Quigley, trumpets; Jack Teagarden, Also available ... Jose Guttierez, Seymour Goldfinger, Joe Ferrall, trombones; Danny Polo, clarinet, alto sax; Tony Antonelli, Joe Ferdinando, alto sax; Art Moore, Art Beck, tenor sax; Ernie Hughes, piano; Perry Botkin, guitar; Arnold Fishkin, bass; Paul Collins, drums Track
    [Show full text]
  • The Strutter
    The Strutter VOLUME 26 NUMBER 10 Traditional Jazz in the Philadelphia Tri-State Area MAY 2016 OUR NEXT CONCERT backing up such greats as Tony Bennett and Sammy Davis, Jr., in Philadelphia's Kimmel Center, and at AL HARRISON DIXIELAND BAND many jazz festivals all over the country. The Al Harrison Dixieland Band, formed in 2007, has performed concerts for Tri-State Jazz Society, Cape May Traditional Jazz Society, Pennsylvania Jazz Society, and fund raisers for Jazz Bridge and other charities. “A great, lively band that preserves the tradition of classic jazz without embalming it. The creativity is at full throttle, and so is the sense of fun. You can’t listen to Al and his friends and not feel better about life in general.” - JOE BARRON, MONTGOMERY NEWSPAPERS. Website: www.alharrisonjazzband.com Sunday, May 22, 2016 Video: http://vimeo.com/1600600 2:00 – 4:30 p.m. Community Arts Center 414 Plush Mill Road Wallingford, PA 19086 Directions at http://www.tristatejazz.org/directions- cac.html Al Harrison – Trumpet, Cornet, Fluegelhorn, Vocals, Leader Concert Admissions Joe Midiri -Clarinet,Vocals $10 First-time attendees and Members Fred Scott, Trombone $20 General Admission Bill Schilling, Piano High school/college students with ID and Bill Stumm, Bass children with paying adult admitted free Chic Sperell, Drums Pay at the door The Al Harrison Dixieland Band returns to the Tri- State Jazz Society, following its triumph in January, 2015. “The Al Harrison Dixieland Band is a polished ensemble with enough firepower, as Duke In This Issue Ellington would say, to ‘scorch the moon!’” - JIM June 5, 2016 Concert........Page 2 MCGANN, THE STRUTTER.
    [Show full text]
  • ARTIE SHAW NEA Jazz Master (2005)
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ARTIE SHAW NEA Jazz Master (2005) Interviewee: Artie Shaw (May 23, 1910- December 30, 2004) Interviewer: Bruce Talbot Date: October 7 and 8, 1992 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 100 pp. Note: Expletives have been deleted from this Web version of the transcript, and are marked thus: [expletive deleted]. An unaltered transcript is available for use by researchers at the Archives Center, National Museum of American History. Talbot: This is October the 7th [1992], and this is day . the first of two days’ interviews with Artie Shaw. Shaw: Are we o.k.? [recording engineer:] Yeah, we got a great level. Shaw: Before we get into this, or maybe as a way of getting into it, I showed you this material on the book I’ve been working on on-and-off since about 1978. What is it now? This is . It’s been 12 years. I’ve published another book in between. I’ve done some CDs. I’ve done a lot of other stuff. But this one . I’ll tell you the point of it. I wanted to do a trilogy. I had at one time . I don’t know. You’re a reader, so you may know the book. Most people don’t even know of it. Romain Rolland wrote a book called Jean- Christophe. Did you ever read it or hear of it? For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Talbot: Heard of it.
    [Show full text]
  • Artie Shaw 1938-1939
    Glenn Miller Archives ARTIE SHAW 1938-1939 Prepared by: Reinhard F. Scheer-Hennings and Dennis M. Spragg In Cooperation with the University of Arizona Updated December 11, 2020 1 Table of Contents I. 1938 ................................................................................................................... 3 June 1938 ............................................................................................................... 3 July 1938 ................................................................................................................ 4 August 1938 ......................................................................................................... 12 September 1938 ................................................................................................... 15 October 1938 ........................................................................................................ 32 November 1938 .................................................................................................... 37 December 1938 .................................................................................................... 60 II. 1939 ............................................................................................................... 101 January 1939 ...................................................................................................... 101 February 1939 .................................................................................................... 131 March 1939 ........................................................................................................
    [Show full text]
  • The Jazz Tradition Jeff Rupert Thursday, June 27
    Music for All Summer Symposium presented by Yamaha www.musicforall.org The Jazz Tradition Jeff Rupert Thursday, June 27 Music For All Summer Symposium SURVEY OF JAZZ HISTORY Jeff Rupert I Influences and elements of early jazz A Congo Square, New Orleans. 1 Gathering place for slaves in New Orleans, from the late 1700’s. 2 Catholicism in New Orleans. 3 Slave trade abolished in 1808. 4 Emancipation proclamation in 1862. B Ragtime 1 Scott Joplin,(1867-1917), primary composer and pianist. 2 Piano music, first published in 1896. 3 Syncopated music 4 Complex march-like song forms 5 Simulating the orchestra or marching band C Country Blues 1 Migration from the country into New Orleans. 2 Blues Inflections 3 Vocal Characteristics peculiar to the blues. 4 The first blues published in 1904. “I’ve got the blues”. 5 W.C. Handy publishes “St. Louis Blues” in 1914. D Marching bands in New Orleans 1 Several popular bands, serving numerous functions The Superior, the Onward Brass Bands playing parades, funerals and concerts. 2 Marching bands syncopating, or “ragging” rhythms 3 Playing “head charts” 4 The Big 4 5 Buddy Bolden,(1877-1931), Freddie Keppard, (1890-1933). E Opera and other European influence in New Orleans. 1 Opera and Orchestras in New Orleans 2 Creoles before and after the “black codes” or Jim Crow laws.(1877-1965). Plessy vs Ferguson upheld Jim Crow laws of separate but equal in Louisiana in 1896. 3 Music in New Orleans after the black codes. 4 Instruments incorporated in early jazz. Jazz History Outline. © Jeff Rupert RUPE MUSIC Pub.
    [Show full text]
  • Bradley N. Litwin Programs for Younger Audiences
    Bradley N. Litwin Programs for Younger Audiences photo by Jody Kolodzey Ragtime Jazz Stride Blues A Program & Residency Guide For: Presenters, Teachers, Administrators, Parents & Children Bradley N. Litwin Programs for Younger Audiences Ragtime Jazz Stride Blues Information for Presenters, Teachers, Administrators, Parents & Children Table of Contents: 3. Why is this music important? 3. Curriculum Connections 6. The Historical Context 8. Sample Topics & Questions for Classroom Workshops 9. Activity Suggestions 10. Audience Expectations 11. About Bradley N. Litwin 12. What Kids Would Like To Know About Bradley N. Litwin 13. Repertoire Highlights 14. Online Music Listings 15. Historical Writers & Performers 16. Bibliography 16. Online Resource Links 17. Available Funding This document is available as a PDF download at www.jujubee.com/edguide 2 Bradley N. Litwin Programs for Younger Audiences This guide is intended for educational presenters, teachers, administrators, parents and children who will host or attend my presentations. If you have any questions about this material, please feel free to give me a call or email: 215.224.9534 [email protected]. Q. Why are Blues, Ragtime and Jazz music important? In short, they are a common thread that binds much of our shared culture. The unlikely story of these primal art forms is a wide-open window through which we can explore our social heritage, community and historical connections, and celebrate the African- American contribution to mainstream culture. “Roots” music is the basis of much of American popular music, including Blues, Jazz, Rock & Roll, Country, Western, Gospel, Soul, Disco, Rap, Hip Hop and R&B. All these musical styles rely on the melodic, harmonic, and rhythmic components of earlier musical genres.
    [Show full text]
  • EDDIE LANG – the FORMATIVE YEARS, 1902-1925 by Nick Dellow
    167 Eddie Lang Part One_Layout 1 05/09/2013 12:07 Page 1 EDDIE LANG – THE FORMATIVE YEARS, 1902-1925 By Nick Dellow Jazz musicians who live short lives often leave the deepest impressions. There is something about their immutable youth, echoed through the sound of distant recordings, that encapsulates the spirit of jazz. One thinks of Bix and Bubber, Murray and Teschemacher, and Lang and Christian. Of these, guitarist Eddie Lang left the largest recorded testament, spanning jazz, blues and popular music generally. Whether his guitar was imparting a rich chordal support for other instrumentalists, driving jazz and dance bands with rhythmic propulsion, or providing a sensitive backing for a variety of singers, Lang’s influence was pervasive. Django Reinhardt once said that Eddie Lang helped him to find his own way in music. Like his contemporary Bix Beiderbecke, Lang’s defining role as a musician was acknowledged early on in his career, and has been venerated ever since. As is often the case with musicians who are prolific, there are gaps in our knowledge. This article attempts to address some of these, with particular attention being paid to Lang’s early career. In the second part of the article the Mound City Blue Blowers’ visit to London in 1925 is discussed in detail, and possible recordings that Lang made during the band’s engagement at the Piccadilly Hotel are outlined and assessed. More generally, Lang’s importance as a guitarist is set in context against the background of the guitar’s role in early jazz and dance music.
    [Show full text]
  • MUNI 20111017 – (New Orleans), New York, Swing 1. Struttin' with Some Barbecue (Lilian Hardin Armstrong) Louis Armstrong
    MUNI 20111017 – (New Orleans), New York, swing 1. Struttin’ with Some Barbecue (Lilian Hardin Armstrong) Louis Armstrong and His Hot Five: Louis Armstrong-co; Edward “Kid” Ory-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo. First issue OKeh 8566. December 9, 1927. 2. Hotter Than That (Lil Hardin Armstrong) Louis Armstrong and His Hot Five: Louis Armstrong-co, voc; Kid Ory-tb; Johnny Dodds- cl; Lil Armstrong-p; Johnny St. Cyr-bjo; guest Lonnie Johnson-g. OKeh 8535. December 13, 1927. 3. West End Blues (Joe “King” Oliver, Clarence Williams) Louis Armstrong and His Hot Five: Louis Armstrong-tp, voc; Fred Robinson-tb; Jimmy Strong-cl; Earl Hines-p; Mancy Cara-bjo; Zutty Singleton-dr. OKeh 8597. June 28, 1928. 4. Weather Bird (Joe Oliver) Louis Armstrong and Earl Hines: Louis Armstrong-tp; Earl Hines-p. OKeh 41454. December 5, 1928. 5. Singin’ the Blues (Jimmy McHugh) Frankie Trumbauer and His Orchestra: Bix Beiderbecke-co; Frankie Trumbauer-C melody sax; Bill Rank-tb; Jimmy Dorsey-cl, as; Paul Mertz-p; Eddie Lang-g; Chauncey Morehouse- dr. OKeh 40772. February 4, 1927. 6. Riverboat Shuffle (Hoagy Carmichael) Frankie Trumbauer and His Orchestra: Bix Beiderbecke-co; Bill Rank-tb; Don Murray-cl, bs; Frankie Trumbauer-Cmel sax; Doc Ryker-as; Itzy Riskin-p; Eddie Lang-g; Chauncey Morehouse-dr. OKeh 40822. May 9, 1927. 7. Dinah (Henry Akst) Red Nichols and His Five Pennies: Red Nichols, Manny Klein, Leo McConville-tp; Jack Teagarden, Bill Trone or Herb Taylor-tb; Benny Goodman-cl; Babe Russin-ts; Arthur Schutt-p; Carl Kress-g; Art Miller-b; Gene Krupa-dr.
    [Show full text]
  • Fiiilihletter
    P.O. Box 240 Ojai, Calif. fiiilihletter 93024--0240 February 1990 Vol. 9 N0. 2 Where’s Georgie? of playing, and even in the curious sense of joy undercolored by darkness. When I asked Miles, famed for purported Gerry Mulligan is trying to fmd the Georgie Auld band book, militancy, if he had listened a lot to Bix, he, far from being so that he can catalogue it. If anyone knows where that offended, answered, "No, but I listened a lot to Bobby Hackett. library is, please drop me a line and I’ll pass it along to Gerry. And he listened to Bix." Furthermore, according to Gil Evans -- whom Miles once described to me as his best friend -- one Bix and Bill of the influences on Miles was Harry James who, when he One afternoon in 1958 I sat in a Paris cafe with the French turned away from lugubrious ballads and broad vibrato, was a critic and composer Andre Hodeir, author of Jazz: Its Evolu- hot and hard and dazzling jan player. Rex Stewart, a writer tion and Essence. Americans incline to be flattered by as well as a cornet player, had much to say on the impact of European praise, and Hodeir’s book caused a stir in the jazz Bix Beiderbecke. Saxophonist Billie Mitchell told me that his intellectual community in the United States -- not the music- big early influence was Artie Shaw. Artie Shaw told me that ians, to be sure, but editors and writers on the subject. he spent his early days trying to play like Bix on a saxophone.
    [Show full text]
  • 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. ARTIE SHAW NEA Jazz Master (2005) Interviewee: Artie Shaw (May 23, 1910- December 30, 2004) Interviewer: Bruce Talbot Date: October 7 and 8, 1992 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 100 pp. Note: Expletives have been deleted from this Web version of the transcript, and are marked thus: [expletive deleted]. An unaltered transcript is available for use by researchers at the Archives Center, National Museum of American History. Talbot: This is October the 7th [1992], and this is day . the first of two days’ interviews with Artie Shaw. Shaw: Are we o.k.? [recording engineer:] Yeah, we got a great level. Shaw: Before we get into this, or maybe as a way of getting into it, I showed you this material on the book I’ve been working on on-and-off since about 1978. What is it now? This is . It’s been 12 years. I’ve published another book in between. I’ve done some CDs. I’ve done a lot of other stuff. But this one . I’ll tell you the point of it. I wanted to do a trilogy. I had at one time . I don’t know. You’re a reader, so you may know the book. Most people don’t even know of it. Romain Rolland wrote a book called Jean- Christophe. Did you ever read it or hear of it? For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Talbot: Heard of it.
    [Show full text]
  • Lester Young, Grand Daddy of Cool by Con Chapman
    Lester Young, Grand Daddy of Cool by Con Chapman When an anthropologist of twentieth century attitudes finally gets around to tracing the concept of ”cool” to its source, he will find the figure of Lester oungY standing there waiting for him, his tenor sax tilted to one side. Lester Young Young is credited with the first use of “cool” as a expression of approval, and he embodied the concept in his life and in his playing. His only problem was he was born too soon, in 1909; neither America nor its popular music were ready for him when he came along, and players born a generation later—Miles Davis, Stan Getz and Chet Baker, to name a few—were the beneficiaries of the spade work he did in jazz and the culture at large. Born into a musical family in Woodville, Mississippi, Young was a drummer first but gave up that instrument for the saxophone once Available online at «http://fictionaut.com/stories/con-chapman/lester-young- grand-daddy-of-cool» Copyright © 2013 Con Chapman. All rights reserved. he discovered that all the pretty girls would be taken by the other members of the band by the time he'd packed up his drum kit at the end of a gig. Bus of the Rabbit Foot Minstrels Lester's father Billy formed the family and other musicians into The New Orleans Strutters, a traveling side show of black musicians that performed with circuses and carnivals during the mild seasons of the year, then in theatres under the management of the Theater Owners' Booking Association, an organization whose initials were jokingly translated as “Tough on Black Asses” by those who worked for it.
    [Show full text]