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Victory and Sorrow: the Music & Life of Booker Little
ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P. -
Discography of the Mainstream Label
Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet -
JREV3.8FULL.Pdf
JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc. -
Vculvcuarts Chega De Saudade (No More Blues)
VCU JAZZ FACULTY DEPARTMENTOF Taylor Bamett-Jazz Improvisation; Carlos Chafin—Affiliate Faculty (In Your Ear Studio); Reginald Chapman-Small Jazz Ensemble; John D'earth-Artist in Residence (Trumpet, Jazz Masterclass); Victor Dvoskin-Bass; Michael MUSIC Ess-Guitar, SJE; Antonio Garcia- Director of Jazz Studies, Trombone, Jazz Orchestra I, SJE, Jazz Theory, Music Industry; Wells Hanley-Piano; Darryl Harper-Jazz History; J.C. Kuhl-Saxophone; Tony Martucci-Drum Set, SJE; Randall Pharr-Bass, SJE; Doug Richards-Arranging; Rex Richardson- Trumpet; Marcus Tenney-Jazz Orchestra II, SJE THE VCU JAZZ STUDENTS FUND We hope that you will make a gift to the VCU Jazz Students Fund. The Fund helps advance the careers of future jazz musicians by providing scholarships, equipment, and travelfunding for students/ensembles, plus fees for visiting artists. Your gift now at any of the following levels will help us secure these opportunities for our students: $1000+ (Jazz Orchestra), $500 - $999 (Big Band), $250 - $499 (Quartet), $100 - $249 (Duo), $1 - $99 (Soloist). Please make your checks payable to the "VCU Jazz Students Fund" and mail them VCU SMALL JAZZ to Antonio Garcia, VCU Music, Box 842004, Richmond, VA 23284-2004. JAZZ 4 JUSTICE® ENSEMBLES See details inthe calendar below regarding a special night of music Friday, February 5, when VCU Jazz and the Greater Richmond Bar Foundation present MIKE ESS, REGINALD CHAPMAN, Richmond's second Jazz4Justice© concert. Proceeds from the evening assist pro bono legal services in our community and will help provide VCU Jazz ANTONIO GARCIA, TONY MARTUCCI, scholarships. Join us for a great cause and great music! RANDALL PHARR, & MARCUS TENNEY, DIRECTORS VCU JAZZ CALENDAR (in part and subject to change) All concerts $7 advance; $10 at the door and free for VCU students with ID, unless noted. -
Robert Johnson, Folk Revivalism, and Disremembering the American Past
The Green Fields of the Mind: Robert Johnson, Folk Revivalism, and Disremembering the American Past Blaine Quincy Waide A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Folklore Program, Department of American Studies Chapel Hill 2009 Approved by: William Ferris Robert Cantwell Timothy Marr ©2009 Blaine Quincy Waide ALL RIGHTS RESERVED ii Abstract Blaine Quincy Waide: The Green Fields of the Mind: Robert Johnson, Folk Revivalism, and Disremembering the American Past (Under the direction of William Ferris) This thesis seeks to understand the phenomenon of folk revivalism as it occurred in America during several moments in the twentieth and twenty-first centuries. More specifically, I examine how and why often marginalized southern vernacular musicians, especially Mississippi blues singer Robert Johnson, were celebrated during the folk revivals of the 1930s and 1960s as possessing something inherently American, and differentiate these periods of intense interest in the traditional music of the American South from the most recent example of revivalism early in the new millennium. In the process, I suggest the term “disremembering” to elucidate the ways in which the intent of some vernacular traditions, such as blues music, has often been redirected towards a different social or political purpose when communities with divergent needs in a stratified society have convened around a common interest in cultural practice. iii Table of Contents Chapter Introduction: Imagining America in an Iowa Cornfield and at a Mississippi Crossroads…………………………………………………………………………1 I. Discovering America in the Mouth of Jim Crow: Alan Lomax, Robert Johnson, and the Mississippi Paradox…………………………………...23 II. -
Ira Gershwin
Late Night Jazz – Ira Gershwin Samstag, 15. September 2018 22.05 – 24.00 SRF 2 Kultur Der ältere Bruder des Jahrhundertkomponisten George Gershwin (1898 – 1937) verschwindet hinter dem Genie des jüngeren Gershwin zuweilen etwas. Dabei lieferte er kongeniale Texte zu George Gershwin’s Melodien, zum Beispiel für die Oper «Porgy and Bess». Und nach dem frühen Tod des Bruders arbeitete Ira noch fast fünfzig Jahre weiter. Er schrieb Songtexte zu Melodien von Harold Arlen, Jerome Kern und Kurt Weill, die von Stars wie Barbra Streisand oder Frank Sinatra gesungen wurden. Redaktion: Beat Blaser Moderation: Annina Salis Sonny Stitt - Verve Jazz Masters 50 (1959) Label: Verve Track 01: I Got Rhythm Judy Garland - A Star Is Born (1954) Label: Columbia Track 03: Gotta Have Me Go with You Benny Goodman Sextet - Slipped Disc 1945 – 1946 (1945) Label: CBS Track 12: Liza Cab Calloway and His Orchestra - 1942-1947 (1945) Label: Classics Records Track 07: All at Once Ira Gershwin & Kurt Weill - Tryout. A series of private rehearsal recordings (1945) Label: DRG Track 07: Manhattan (Indian Song) Oscar Peterson Trio - The Gershwin Songbooks (1952) Label: Verve Track 06: Oh, Lady Be Good Ella Fitzgerald - Get happy! (1959) Label: Verve Track 02: Cheerful Little Earful Artie Shaw - In the Beginning (1936) Label: HEP Records Track 03: I Used to Be Above Love Stan Getz - West Coast Jazz (1955) Label: Verve Track 08: Of Thee I Sing Judy Garland - A star is born (1954) Label: Columbia Track 16: Here's What I'm Here For The Four Freshmen - The Complete Capitol Four -
Lee Morgan Chronology 1956–1972 by Jeffery S
Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC). -
Duke Ellington 4 Meet the Ellingtonians 9 Additional Resources 15
ellington 101 a beginner’s guide Vital Statistics • One of the greatest composers of the 20th century • Composed nearly 2,000 works, including three-minute instrumental pieces, popular songs, large-scale suites, sacred music, film scores, and a nearly finished opera • Developed an extraordinary group of musicians, many of whom stayed with him for over 50 years • Played more than 20,000 performances over the course of his career • Influenced generations of pianists with his distinctive style and beautiful sound • Embraced the range of American music like no one else • Extended the scope and sound of jazz • Spread the language of jazz around the world ellington 101 a beginner’s guide Table of Contents A Brief Biography of Duke Ellington 4 Meet the Ellingtonians 9 Additional Resources 15 Duke’s artistic development and sustained achievement were among the most spectacular in the history of music. His was a distinctly democratic vision of music in which musicians developed their unique styles by selflessly contributing to the whole band’s sound . Few other artists of the last 100 years have been more successful at capturing humanity’s triumphs and tribulations in their work than this composer, bandleader, and pianist. He codified the sound of America in the 20th century. Wynton Marsalis Artistic Director, Jazz at Lincoln Center Ellington, 1934 I wrote “Black and Tan Fantasy” in a taxi coming down through Central Park on my way to a recording studio. I wrote “Mood Indigo” in 15 minutes. I wrote “Solitude” in 20 minutes in Chicago, standing up against a glass enclosure, waiting for another band to finish recording. -
Frank Driggs Collection of Duke Ellington Photographic Reference Prints [Copy Prints]
Frank Driggs Collection of Duke Ellington Photographic Reference Prints [copy prints] NMAH.AC.0389 NMAH Staff 2018 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 Arrangement..................................................................................................................... 2 Scope and Contents note................................................................................................ 2 Biographical/Historical note.............................................................................................. 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 3 Series 1: Band Members......................................................................................... 3 Series 2: Ellington at Piano...................................................................................... 5 Series 3: Candid Shots............................................................................................ 6 Series : Ellington -
1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement. -
Jazz Preparation Pack Trumpet Congratulations on Your Successful Audition to Study Jazz at Leeds College of Music
@LeedsMusic www.lcm.ac.uk | Jazz Preparation Pack Trumpet Congratulations on your successful audition to study Jazz at Leeds College of Music. We are very much looking forward to welcoming you to our community! This booklet has been designed to give you some advice as to the sort of things you might want to spend some time looking at between now and the onset of your course. The idea is to make sure that we ‘hit the ground running’ in September, by giving you a bit of notice as to the sort of topic areas that may be covered. It’s important to clarify that you will be assigned to a 1-to-1 tutor upon enrolment, and the content of the lessons you receive will be determined by them once they have met you and got a sense of what you would benefit from the most. Naturally, your own interests and aspirations will come into it as well – we don’t deliver ‘one size fits all’ lessons. Having said that, though, there are certain fundamentals that every Jazz musician needs to deal with in one way or other, and the purpose of this booklet is to give you a bit of a head start in these areas. No-one expects you to have fully mastered all of this before you start, but any progress you can make towards that goal will be time very well spent! Technical Exercises Get a copy of the following books: Technical Studies for Cornet Herbert Clarke Lip Flexibilities Charles Colin An Integrated Warm Up Laurie Frink (Download only, available here) Listening List One of the great pleasures of being a musician is listening to music every day, and as jazz is an aural/oral tradition it is imperative that you listen to some music every day. -
50 Easy Jazz Solos by Jazz Masters
50 EASY JAZZ SOLOS BY JAZZ MASTERS COMPILED BY JEFF LIBMAN Band Leader Time Soloist Song Recording Of Recording Type Of Tune Musical Style Sig Form Barney Kessel Embraceable You To Swing or Not to Barney Kessel standard ballad 4/4 ABAC Swing Blue Mitchell Oh When the Saints Out of the Blue Blue Mitchell folk song swing - 4/4 16 bar medium up Cannonball Adderley Au Privave Cannonball Adderley Cannonball blues swing - 4/4 blues and the Poll Winners Adderley medium up Cannonball Adderley Never Will I Marry Nancy Wilson & Nancy Wilson & standard swing - 4/4 ABACBA Cannonball Adderley Cannonball medium up Adderley Charlie Parker Cool Blues Bird: The Complete Charlie Parker jazz standard swing - 4/4 blues Savoy Recordings medium Chet Baker Time After Time The Best Of Chet Chet Baker standard swing - 4/4 ABAC Baker Sings medium Chet Baker I Fall in Love Too The Best Of Chet Chet Baker standard ballad 4/4 ABCD Easily Baker Sings Chet Baker Therer Will Never Be The Best Of Chet Chet Baker standard swing - 4/4 ABAC Another You Baker Sings medium up Chet Baker You're Driving me It Could Happen To Chet Baker standard swing - 4/4 AABA Crazy You medium Chet Baker Do it the Hard Way It Could Happen To Chet Baker standard swing - 4/4 ABAC You medium up Clifford Brown Stompin' at the Brown and Roach, Clifford Brown standard swing - 4/4 AABC Savoy Inc. and Max Roach medium up Curtis Fuller Blue Room The Sermon Jimmy Smith standard swing - 4/4 AABA Curtis Fuller In the Wee Small Caravan Art Blakey standard mediumballad 4/4 ABAC Hours of the Curtis Fuller