Joseph Eldridge “Joe”
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Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN 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 and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. -
How to Play in a Band with 2 Chordal Instruments
FEBRUARY 2020 VOLUME 87 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Polish Musicians Merge Art, Business the INAUGURAL EDITION of JAZZ FORUM SHOWCASE POWERED by Szczecin Jazz—Which Ran from Oct
DECEMBER 2019 VOLUME 86 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Swingville Label Discography
Swingville Label Discography: 2000 Series: SVLP 2001 - Coleman Hawkins and The Red Garland Trio - Coleman Hawkins and The Red Garland Trio [1960] It’s a Blue World/I Want to Be Loved/Red Beans/Bean’s Blues/Blues For Ron SVLP 2002 - Tiny In Swingville - Tiny Grimes with Richardson [1960] Annie Laurie/Home Sick/Frankie & Johnnie/Down with It/Ain’t Misbehaving/Durn Tootin’ SVLP 2003 - Tate's Date - Buddy Tate [1960] Me ‘n’ You/Idling/Blow Low/Moon Dog/No Kiddin’/Miss Ruby Jones SVLP 2004 - Callin' the Blues - Tiny Grimes [1960] Reissue of Prestige 7144. Callin’ the Blues/Blue Tiny/Grimes’ Times/Air Mail Special SVLP 2005 – Coleman Hawkins’ All Stars - Coleman Hawkins with Joe Thomas and Vic Dickenson [1960] You Blew Out the Flame/More Bounce to the Vonce/I’m Beginning to See the Light/Cool Blue/Some Stretching SVLP 2006 - The Happy Jazz of Rex Stewart - Rex Stewart [1960] Red Ribbon/If I Could Be with You/Four or Five Times/Rasputin/Please Don’t Talk About me When I’m Gon/San/You Can Depend on Me/I Would Do Most Anything For You/Tell Me/Nagasaki SVLP 2007 - Buck Jumpin' - Al Casey [1960] Buck Jumpin’/Casey’s Blues/Don’t Blame Me/Ain’t Misbehavin’/Honeysuckle Rose/Body & Soul/Rosetta SVLP 2008 - Swingin' with Pee Wee - Pee Wee Russell [1960] What Can I Say Dear/Midnight Blue/Very Thought of You/Lulu’s Back in Town/I Would Do Most Anything For You/Wrap Your Troubles in Dreams/Englewood SVLP 2009 - Yes Indeed! - Claude Hopkins [1960] It Don’t Mean a Thing/Willow Weep For Me/Yes Indeed/Is It So/Empty Bed Blues/What Is This Thing Called Love/Morning Glory SVLP 2010 – Rockin’ in Rhythm - Swingville All Stars (Al Sears, T. -
Savoy and Regent Label Discography
Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli. -
Downbeat.Com September 2010 U.K. £3.50
downbeat.com downbeat.com september 2010 2010 september £3.50 U.K. DownBeat esperanza spalDing // Danilo pérez // al Di Meola // Billy ChilDs // artie shaw septeMBer 2010 SEPTEMBER 2010 � Volume 77 – Number 9 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser AdVertisiNg sAles Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] offices 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] customer serVice 877-904-5299 [email protected] coNtributors Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, How- ard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Jennifer -
“It's Just a Matter of Time”: African American Musicians and The
“It’s just a matter of time”: African American Musicians and the Cultural Boycott in South Africa, 1968-1983 by Ashrudeen Waggie Thesis presented in fulfilment of the requirements for the degree of Master of Arts (History) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr. L. Lambrechts Co-supervisor: Dr. C. J. P. Fransch March 2020 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third-party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Ashrudeen Waggie March 2020 Copyright © 2020 Stellenbosch University All rights reserved i Stellenbosch University https://scholar.sun.ac.za Abstract In 1968 the United Nations General Assembly instituted a cultural boycott against apartheid South Africa. The cultural boycott prevented South Africa from having cultural, educational and sporting ties with the rest of the world, and it was an attempt by the international community to sever ties with South Africa. A culmination of this strategy was the publication of an annual registry by the United Nations of all international entertainers, actors, and others who performed in South Africa from 1983. Based on this registry a number of academic studies have been conducted, but very few studies have investigated those who came to perform in South Africa before the publication of the registry even though renowned artists such as Percy Sledge (1970), Brook Benton (1971 & 1982), Jimmy Smith (1978 & 1982) and Isaac Hayes (1978) performed in South Africa during this time. -
Guide to the Milt Gabler Papers
Guide to the Milt Gabler Papers NMAH.AC.0849 Paula Larich and Matthew Friedman 2004 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 .............................................................................................. 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Personal Correspondence, 1945-1993..................................................... 5 Series 2: Writings, 1938 - 1991............................................................................... 7 Series 3: Music Manuscripts and Sheet Music,, 1927-1981.................................. 10 Series 4: Personal Financial and Legal Records, 1947-2000............................... -
Benny Goodman's Band As Opening C Fit Are Russell Smith, Joe Keyes, Miller Band Opened a Week Ago Bassist
orsey Launches Brain Trust! Four Bands, On the Cover Abe Most, the very fine fe« Three Chirps Brown clarinet man. just couldn't mm up ’he cornfield which uf- 608 S, Dearborn, Chicago, IK feted thi» wonderful opportunity Entered as «cwwrf Hom matter October 6.1939. at the poet oHice at Chicano. tllinou, under the Act of March 3, 1379. Copyright 1941 Taken Over for shucking. Lovely gal io Betty Bn Down Beat I’ubliAing Co., Ine. Janney, the Brown band'* chirp New York—With the open anil rumored fiancee of Most. ing of his penthouse offices Artene Pie- on Broadway and the estab VOL. 0. NO. 20 CHICAGO, OCTOBER 15, 1941 15 CENTS' lishment of his own personal management bureau, headed by Leonard Vannerson and Phil Borut, Tommy Dorsey JaeÆ Clint Brewer This Leader's Double Won Five Bucks becomes one of the most im portant figures in the band In Slash Murder business. Dorsey’s office has taken New York—The mutilated body of a mother of two chil- over Harry James’ band as Iren, found in a Harlem apartment house, sent police in nine well as the orks of Dean Hud lates on a search for Clinton P. Brewer last week. Brewer is son, Alex Bartha and Harold ihe Negro composer-arranger who was granted a parole from Aloma, leader of small “Hawaiian” style combo. In Addi the New Jersey State Penitentiary last summer after he com tion. Dorsey now is playing father posed and arranged Stampede in G-Minor, which Count to three music publishing houses, the Embassy, Seneca and Mohawk Ie’s band recorded. -
STARK, 'Bobbie'
THE PRE-CHICK WEBB RECORDINGS OF BOBBY STARK An Annotated Tentative Personnelo - Discography STARK, ‘Bobbie’ Robert Victor, trumpet born:, New York City, 6th January 1906; died: New York City, 29th December 1945 Began on the alto horn at 15, taught by Lt. Eugene Mikell Sr. at M.T. Industrial School, Bordentown, New Jersey, also studied piano and reed instruments before specialising on trumpet. First professional work subbing for June Clark at Small´s (Sugar Cane Club – KBR), New York (late 1925), then played for many bandleaders in New York including: Edgar Dowell, Leon Abbey, Duncan Mayers, Bobby Brown, Bobby Lee, Billy Butler, and Charlie Turner, also worked briefly in McKinney´s Cotton Pickers. Worked with Chick Webb on and off during 1926-7. Joined Fletcher Henderson early in 1928 and remained with that band until late 1933 except for a brief spell with Elmer Snowden in early 1932. With Chick Webb from 1934 until 1939. Free-lancing, then service in U.S. Army from 14th November 1943. With Garvin Bushell´s Band at Tony Pastor´s Club, New York, from April until July 1944, then worked at Camp Unity with Cass Carr until joining Benny Morton´s Sextet at Café Society (Downtown) New York in September 1944. (J. Chilton, Who´s Who Of Jazz) BOBBY E. STARK (trumpet), b. New York, Jan. 6/06. d. New York, Dec 29/45. Played with Chick Webb´s small band (1927); said also to have worked with McKinney´s Cotton Pickers, but this seems unlikely; joined Fletcher Henderson Nov/27, stayed until c Mar/34 (except said to have left briefly to Elmer Snowden, early 1932). -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz.