Gershwin Part 1: “I Got Rhythm” Music from 9AM – 9:30 - Log On, Get Your Coffee, Listen, Relax
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Love, Oh Love, Oh Careless Love
Love, Oh Love, Oh Careless Love Careless Love is perhaps the most enduring of traditional folk songs. Of obscure origins, the song’s message is that “careless love” could care less who it hurts in the process. Although the lyrics have changed from version to version, the words usually speak of the pain and heartbreak brought on by love that can take one totally by surprise. And then things go terribly wrong. In many instances, the song’s narrator threatens to kill his or her errant lover. “Love is messy like a po-boy – leaving you drippin’ in debris.” Now, this concept of love is not the sentiment of this author, but, for some, love does not always go right. Countless artists have recorded Careless Love. Rare photo of “Buddy” Bolden Lonnie Johnson New Orleans cornetist and early jazz icon Charles Joseph “Buddy” Bolden played this song and made it one of the best known pieces in his band’s repertory in the early 1900s, and it has remained both a jazz standard and blues standard. In fact, it’s a folk, blues, country and jazz song all rolled into one. Bessie Smith, the Empress of the Blues, cut an extraordinary recording of the song in 1925. Lonnie Johnson of New Orleans recorded it in 1928. It is Pete Seeger’s favorite folk song. Careless Love has been recorded by Louis Armstrong, Ray Charles, Bob Dylan and Johnny Cash. Fats Domino recorded his version in 1951. Crescent City jazz clarinetist George Lewis (born Joseph Louis Francois Zenon, 1900 – 1968) played it, as did other New Orleans performers, such as Dr. -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 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..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
Program Notes
“Come on along, you can’t go wrong Kicking the clouds away!” Broadway was booming in the 1920s with the energy of youth and new ideas roaring across the nation. In New York City, immigrants such as George Gershwin were infusing American music with their own indigenous traditions. The melting pot was cooking up a completely new sound and jazz was a key ingredient. At the time, radio and the phonograph weren’t widely available; sheet music and live performances remained the popular ways to enjoy the latest hits. In fact, New York City’s Tin Pan Alley was overflowing with "song pluggers" like George Gershwin who demonstrated new tunes to promote the sale of sheet music. George and his brother Ira Gershwin composed music and lyrics for the 1927 Broadway musical Funny Face. It was the second musical they had written as a vehicle for Fred and Adele Astaire. As such, Funny Face enabled the tap-dancing duo to feature new and well-loved routines. During a number entitled “High Hat,” Fred sported evening clothes and a top hat while tapping in front of an enormous male chorus. The image of Fred during that song became iconic and versions of the routine appeared in later years. The unforgettable score featured such gems as “’S Wonderful,” “My One And Only,” “He Loves and She Loves,” and “The Babbitt and the Bromide.” The plot concerned a girl named Frankie (Adele Astaire), who persuaded her boyfriend Peter (Allen Kearns) to help retrieve her stolen diary from Jimmie Reeve (Fred Astaire). However, Peter pilfered a piece of jewelry and a wild chase ensued. -
Aaamc Issue 9 Chrono
of renowned rhythm and blues artists from this same time period lip-synch- ing to their hit recordings. These three aaamc mission: collections provide primary source The AAAMC is devoted to the collection, materials for researchers and students preservation, and dissemination of materi- and, thus, are invaluable additions to als for the purpose of research and study of our growing body of materials on African American music and culture. African American music and popular www.indiana.edu/~aaamc culture. The Archives has begun analyzing data from the project Black Music in Dutch Culture by annotating video No. 9, Fall 2004 recordings made during field research conducted in the Netherlands from 1998–2003. This research documents IN THIS ISSUE: the performance of African American music by Dutch musicians and the Letter ways this music has been integrated into the fabric of Dutch culture. The • From the Desk of the Director ...........................1 “The legacy of Ray In the Vault Charles is a reminder • Donations .............................1 of the importance of documenting and • Featured Collections: preserving the Nelson George .................2 achievements of Phyl Garland ....................2 creative artists and making this Arizona Dranes.................5 information available to students, Events researchers, Tribute.................................3 performers, and the • Ray Charles general public.” 1930-2004 photo by Beverly Parker (Nelson George Collection) photo by Beverly Parker (Nelson George Visiting Scholars reminder of the importance of docu- annotation component of this project is • Scot Brown ......................4 From the Desk menting and preserving the achieve- part of a joint initiative of Indiana of the Director ments of creative artists and making University and the University of this information available to students, Michigan that is funded by the On June 10, 2004, the world lost a researchers, performers, and the gener- Andrew W. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
Notre Dame Collegiate Jazz Festival Program, 1999
Archives of the University of Notre Dame Archives of the University of Notre Dame '"1; it all began with the cord between the fingers, its sound penetrated et'en the bottom of the soul and there it remained, "'thborts later came the drum, Tony Mowod j·9PM marvel.ous , Evelyn Hawkins 9-Midnight r h y t h m I C, sensual. WeeknightG (except W~)'l) its sound t'ibrated in my hands, TIMDlG1$ E\'IJlYTJlNCi••.md JlOW'! THE lBfEf entering the center of my heart, and there it stayed, -Helio Orulo N/ltiOIGl Pu~ttc itJriitJ www.wvpc.oig 1999 Committee Tom Hayes Sean Lipscomb Curtis Norvett . AmySaks .,., 'ate Paul Rickets Jenn Roberts Carol Konrad Bernardo's Stephen Donndelinger Festival Chairperson :FORMAL WEAR 'RENTALS Lisa Zimmer ,"BERNARpO'S RENTS THE BEST FITl1NG TUXEDOS" Jill Borchardt WE SELL BRAND .NAME TUXEDOS & ACCESSORIES John Forgash WE SUIT ANY OCCASl{)N Master of Ceremonies Kate Bohn Curtis Norvett 255·8818 Evan Edinger 3131 GraDe ROIICI· Mishawaka Amy Harpole Assistant Producer Paul Krivickas Marie Hogan Jane Kulm Program / Poster Design Julie Reising Jenny Schaaf -il.: Archives of the University of Notre Dame Past Chairpersons I want to echo my colleagues in welcoming you to the 41 st Annual 1959 Bill Graham Collegiate Jazz Festival, sponsored by the Student Union Board of the 1961 Jim Haughton University of Notre Dame. Notre Dame has so much to offer, and I sincerely 1961 Da\'e Sommer Dear Participants in the Collegiate Festival: hope that you will take advantage of the other opportunities that are taking 1962 Tom Eiff place on our beautiful campus while you are spending time with us this week 1963 Charlie Murphy Welcome to the University ofNotre Dame campus! We are quite proud of end. -
AC;T I - SCENE 1 No.1 Overture Seep
7 AC;T I - SCENE 1 No.1 Overture Seep. 85 IOrchestra) Music seg11es as one. No. 2 Sweet And Lowdown 5-.:e p. 85 (Jimmy, Jeannie, Cirls & Cuys) Lights Up: A speakeasy in New York Cih;. JEANNIE leads a gaggle of CHORUS GIRLS. The surrounding tables are full of handsome YOUNG MEN. We are at a society bachelor party - rich boys having fun. JEANNIE & GIRLS. Grab a cab and go down To where the band is playing; Where milk and honey flow down Where ev'ry one is saying "Blow that sweet and low-down!" Busy as a beaver, You'll dance until you totter; You're sure to get the fever For nothing could be hotter Oh, that sweet and low-down! JEANNIE. (Over music) All right, peoples, peoples - listen up! Now this is a very sad occasion, 'cause tomorrow morning, our own Jimmy Winter is gettin' married for the third time! JIMMY. (Stands up) Fourth time! EVERYBODY cheers. JlMMY. (Continued) But this time, I'm not marrying some cheap chorus girl! JEANNIE & GIRLS. Awww. JIMMY. Sorry, cheap chorus girls. EVERYBODY cheers. JIMMY. (sung) There's a cabaret in this city I can recommend to you; Peps you up like electricity When the band is blowing blue. \:IC - l'rompt Book 8 .. I (JJ MY. They play nothing classic, Oh no• Down there, They crave nothing e se Bu he low-down there I you need a on·c nd he need is chron c If you're in a crisis. my advice is }EA lE & L Grab a cab and go down Grab a cab and go down To where the band 1s playin : Where he band i playing; Where milk and honey flow down Where ev'ry one is sayin' E IR Blow Blow that eet and low-d wnl" Low low down t Busy as a beaver, Busy as a beaver. -
Crowd Pleaser Thousands Flock to Princeton for Food and Jazz by Tony Mottola Editor Jersey Jazz
Volume 35 • Issue 10 November 2007 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Crowd Pleaser Thousands flock to Princeton for food and jazz By Tony Mottola Editor Jersey Jazz Princeton JazzFeast 2007 — story on page 26. Free for members! inset: photo Alan Dale. Photos by Tony Mottola. NJJS Annual Meeting SUNDAY, DECEMBER 2 • CONCERT see pp 3, 8, 49 ARTICLES Ellingtonia on the Net . 32 Institute of Jazz Studies/ Snuffy’s . 23 in this issue: Classic Stine. 9 Crow’s Nest . 49 Jazz from Archives. 49 CTS Images . 24 NEW JERSEY JAZZ SOCIETY Meadowbrook Swings Again. 9 REVIEWS Somewhere There’s Music . 50 Lana’s Fine Dining . 25 Pres Sez/NJJS Calendar Big Band in the Sky . 10 D. Sherman/KT Sullivan . 34 The Name Dropper . 51 Community Theatre. 33 NH Library of Traditional Jazz . 14 Glen Rock Inn . 34 & Bulletin Board. 2 CDs: Compact Views/ ADVERTISERS Talking Jazz with Anat Cohen . 16 Other Views . 36 Arbors Records . 35 November 18 Member Meeting . 3 Cornerstone. 5 The Mail Bag/Jazz Trivia. 4 Dan’s Den . 22 DVDs: Jazz Icons/ Jazzdagen Tours. 39 Yours for a Song . 24 Improvisation . 40 Shanghai Jazz. 7 46 Lounge . 43 Editor’s Pick/Deadlines/NJJS info . 6 35th Anniversary Dinner Dance. 28 September Member Meeting . 46 Whiskey Café. 11 PA Jazz Society . 44 Notes from the Music Committee . 8 Riverwalk Jazz on WBGO. 30 EVENTS Cedar Grove Elks/Meadowbrook. 13 Atlanta Jazz Party . 45 In the Mainstream. 44 Giants of Jazz at the Baird . 30 ’Round Jersey: Bridgewater, Trumpets . -
Bright Moments!
Volume 46 • Issue 6 JUNE 2018 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. On stage at NJPAC performing Rahsaan Roland Kirk’s “Bright Moments” to close the tribute to Dorthaan Kirk on April 28 are (from left) Steve Turre, Mark Gross, musical director Don Braden, Antoinette Montague and Freddy Cole. Photo by Tony Graves. SNEAKING INTO SAN DIEGO BRIGHT MOMENTS! Pianist Donald Vega’s long, sometimes “Dorthaan At 80” Celebrating Newark’s “First harrowing journey from war-torn Nicaragua Lady of Jazz” Dorthaan Kirk with a star-filled gala to a spot in Ron Carter’s Quintet. Schaen concert and tribute at the New Jersey Performing Arts Fox’s interview begins on page 14. Center. Story and Tony Graves’s photos on page 24. New JerseyJazzSociety in this issue: New Jersey Jazz socIety Prez Sez . 2 Bulletin Board . 2 NJJS Calendar . 3 Jazz Trivia . 4 Prez sez Editor’s Pick/Deadlines/NJJS Info . 6 Change of Address/Support NJJS/ By Cydney Halpin President, NJJS Volunteer/Join NJJs . 43 Crow’s Nest . 44 t is with great delight that I announce Don commitment to jazz, and for keeping the music New/Renewed Members . 45 IBraden has joined the NJJS Board of Directors playing. (Information: www.arborsrecords.com) in an advisory capacity. As well as being a jazz storIes n The April Social at Shanghai Jazz showcased musician of the highest caliber on saxophone and Dorthaan at 80 . cover three generations of musicians, jazz guitar Big Band in the Sky . 8 flute, Don is an award-winning recording artist, virtuosi Gene Bertoncini and Roni Ben-Hur and Memories of Bob Dorough . -
Boogiewoogie.Ru Boogiewoogie.Ru Boogiewoogie.Ru Boogiewoogie.Ru
BOOGIEWOOGIE.RU BOOGIEWOOGIE.RU BOOGIEWOOGIE.RU BOOGIEWOOGIE.RU Contents ALL THE I-IVELONG DAY (And The Long, Long Night), 141 THE BACK BAY POLKA, 119 BESS YOU IS MY WOMAN, 9 (I've Got) BEGINNER'S LUCK, 66 BY STRAUSS, 131 A FOGGY DAY, 87 FOR YOU, FOR ME, FOR EVERMORE, 123 I CAN'T BE BOTHERED NOW, 91 I GOT PLENTY 0' NUTTIN', 17 I LOVE TO RHYME, 103 I WAS DOING ALL RIGHT, 107 IT AIIV'T NECESSARILY SO, 23 THE JOLLY TAR AND THE MILK MAID, 95 JUST ANOTHER RHUMBA, 53 LET'S CALL THE WHOLE THING OFF, 70 LOVE IS HERE TO STAY, 11 1 LOVE WALKED IN, 11 5 MY MAN'S GONE NOW, 29 NICE WORK IF YOU CAN GET IT, 99 OH BESS, OH WHERE'S MY BESS, 35 PROMENADE (Piano Solo), 74 THE REAL AMERICAN FOLK SONG (Is A Rag), 4 SHALL WE DANCE, 78 SLAP THAT BASS, 61 SOPHIA, 136 SUMMERTIME, 40 THERE'S A BOAT DAT'S LEAVIN' SOON FOR NEW YORK, 44 THEY ALL LAUGHED, 82 THEY CAN'T TAKE THAT AWAY FROM ME, 127 A WOMAN IS A SOMETIME THING, 48 For all works contained herein: International Copyright Secured ALL RIGHTS RESERVED Printed in U.S.A. Unauthorized copying, arranging, adapting, recording or public performance is an infringement of copyright. Infringers are liable under the law. THE REAL AMERICAN FOLK BOOGIEWOOGIE.RUSONG (Is A Ras)* Lyrics by IRA GERSHWN Music by GEORGE GERSH WIN 1 " Near Bar - ce - io - na the Deas - int cioons The old tra - di - tion - a1 I You may dis - like, or you 'may a - dore, The na - tire songs from a A Fm6 C Cmaj7 Am7 C dim Span - ish tunes; The Ne - a - pol - i - tan Street Song sighs, You for - eign shore; They may be songs that you can't for - get,- They I I Written for "Ladies First" (1918) The first George and In Gershwin collaboration used in a Broadway show Copyright @ 1959 by Gershwin Publishing Corporation Assigned to Chappell & Co., Inc. -
99 Stat. 288 Public Law 99-86—Aug. 9, 1985
99 STAT. 288 PUBLIC LAW 99-86—AUG. 9, 1985 Public Law 99-86 99th Congress Joint Resolution To provide that a special gold medal honoring George Gershwin be presented to his Aug. 9, li>a5 sister, Frances Gershwin Godowsky, and a special gold medal honoring Ira Gersh- [H.J. Res. 251] win be presented to his widow, Leonore Gershwin, and to provide for the production of bronze duplicates of such medals for sale to the public. Whereas George and Ira Gershwin, individually and jointly, created music which is undeniably American and which is internationally admired; Whereas George Gershwin composed works acclaimed both as classi cal music and as popular music, including "Rhapsody in Blue", "An American in Paris", "Concerto in F", and "Three Preludes for Piano"; Whereas Ira Gershwin won a Pulitzer Prize for the lyrics for "Of Thee I Sing", the first lyricist ever to receive such prize; Whereas Ira Gershwin composed the lyrics for major Broadway productions, including "A Star is Born", "Lady in the Dark", "The Barkleys of Broadway", and for hit songs, including "I Can't Get Started", "Long Ago and Far Away", and "The Man That Got Away"; Whereas George and Ira Gershwin collaborated to compose the music and lyrics for major Broadway productions, including "Lady Be Good", "Of Thee I Sing", "Strike Up the Band", "Oh Kay!", and "Funny Face"; Whereas George and Ira Gershwin collaborated to produce the opera "Porgy and Bess" and the 50th anniversary of its first perform ance will occur during 1985; Whereas George and Ira Gershwin collaborated to compose