LOUIE BELLSON NEA Jazz Master (1994)
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VOLUME XXIII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1992 Dec 12-13, 1992 Vocals have always been with BBJ PROGRAMS are subject to change due to un SINGING GROUPS us, even though swing pur avoidable circumstances or station convenience. Many ists tend to overlook the con requests are receivedfor tape copies o f the programs, tribution made by lyrics in popularizing the Big Bands but stringent copyright laws applying to the records that are the basis of it all. The Mills Brothers, the Pied used prevent us from supplying such copies. Pipers, the Sentimentalists, the Modernaires, the Ink Spots, the Stardusters and the Merry Macs all make ( RECORDS TO CONSIDER) recorded appearances on this salute to the vocal groups, along with a few instrumental and single vocal HERE’S THAT SWING THING Pat Longo hits of the forties. Orchestra -Vocals by Frank Sinatra, Jr. USA Records - 19 Cuts - CD or Cassette Dec 19-20, 1992 It’s a very special BIG BAND CHRISTMAS time with very special Billy May was one of the arrangers for this recording, music, captured as which immediately makes it a must-have. Pat Longo’s performed in the studio and in broadcasts during the Orchestra has a two decade history of solid perfor Christmas seasons of years past. Both Big Bands and mance, some of it a bit far out for some Big Band single vocalists recall the Sounds of Christmas in a traditionalists, but most simply solid swing. Sax man simpler time; perhaps a better time. Recollections of Longo was vice-president of a California bank until he Christmas experiences fill in the moments between the realized money wasn’t what he wanted to handle the music to weave a spell. -
JAMU 20160316-1 – DUKE ELLINGTON 2 (Výběr Z Nahrávek)
JAMU 20160316-1 – DUKE ELLINGTON 2 (výběr z nahrávek) C D 2 – 1 9 4 0 – 1 9 6 9 12. Take the ‘A’ Train (Billy Strayhorn) 2:55 Duke Ellington and his Orchestra: Wallace Jones-tp; Ray Nance-tp, vio; Rex Stewart-co; Joe Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Barney Bigard-cl; Johnny Hodges-cl, ss, as; Otto Hardwick-as, bsx; Harry Carney-cl, as, bs; Ben Webster-ts; Billy Strayhorn-p; Fred Guy-g; Jimmy Blanton-b; Sonny Greer-dr. Hollywood, February 15, 1941. Victor 27380/055283-1. CD Giants of Jazz 53046. 11. Pitter Panther Patter (Duke Ellington) 3:01 Duke Ellington-p; Jimmy Blanton-b. Chicago, October 1, 1940. Victor 27221/053504-2. CD Giants of Jazz 53048. 13. I Got It Bad (And That Ain’t Good) (Duke Ellington-Paul Francis Webster) 3:21 Duke Ellington and his Orchestra (same personnel); Ivie Anderson-voc. Hollywood, June 26, 1941. Victor 17531 /061319-1. CD Giants of Jazz 53046. 14. The Star Spangled Banner (Francis Scott Key) 1:16 15. Black [from Black, Brown and Beige] (Duke Ellington) 3:57 Duke Ellington and his Orchestra: Rex Stewart, Harold Baker, Wallace Jones-tp; Ray Nance-tp, vio; Tricky Sam Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Johnny Hodges, Ben Webster, Harry Carney, Otto Hardwicke, Chauncey Haughton-reeds; Duke Ellington-p; Fred Guy-g; Junior Raglin-b; Sonny Greer-dr. Carnegie Hall, NY, January 23, 1943. LP Prestige P 34004/CD Prestige 2PCD-34004-2. Black, Brown and Beige [four selections] (Duke Ellington) 16. Work Song 4:35 17. -
Duke Ellington Kyle Etges Signature Recordings Cottontail
Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke Ellington, states that Cottontail “opened a window on the future, predicting elements to come in jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more grandiose pieces with more extended forms. -
I the Use of African Music in Jazz from 1926-1964: an Investigation of the Life
The Use of African Music in Jazz From 1926-1964: An Investigation of the Life, Influences, and Music of Randy Weston by Jason John Squinobal Batchelor of Music, Berklee College of Music, 2003 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Master in Ethnomusicology University of Pittsburgh 2007 i UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This thesis was presented by Jason John Squinobal It was defended on April 17, 2007 and approved by Dr. Nathan T. Davis, Professor, Music Department Dr. Akin Euba, Professor, Music Department Dr. Eric Moe, Professor, Music Department Thesis Director: Dr. Nathan T. Davis, Professor, Music Department ii Copyright © by Jason John Squinobal 2007 iii The Use of African Music in Jazz From 1926-1964: An Investigation of the Life, Influences, and Music of Randy Weston Jason John Squinobal, M.A. University of Pittsburgh, 2007 ABSTRACT There have been many jazz musicians who have utilized traditional African music in their music. Randy Weston was not the first musician to do so, however he was chosen for this thesis because his experiences, influences, and music clearly demonstrate the importance traditional African culture has played in his life. Randy Weston was born during the Harlem Renaissance. His parents, who lived in Brooklyn at that time, were influenced by the political views that predominated African American culture. Weston’s father, in particular, felt a strong connection to his African heritage and instilled the concept of pan-Africanism and the writings of Marcus Garvey firmly into Randy Weston’s consciousness. -
Ellingtonia a Publication of the Duke Ellington Society, Inc
Ellingtonia A Publication Of The Duke Ellington Society, Inc. Volume XXIV, Number 3 March 2016 William McFadden, Editor Copyright © 2016 by The Duke Ellington Society, Inc., P.O. Box 29470, Washington, D.C. 20017, U.S.A. Web Site: depanorama.net/desociety E-mail: [email protected] This Saturday Night . ‘Hero of the Newport Jazz Festival’. Paul Gonsalves Our March meeting will May 19-23, 2016 New York City bring in the month just like the proverbial lion in Sponsored by The Duke Ellington Center a program selected by Art for the Arts (DECFA) Luby. It promises a Tentative Schedule Announced finely-tuned revisit to some of the greatest tenor Thursday, May 19, 2016 saxophone virtuosity by St. Peter’s Church, 619 Lexington Ave. Paul Gonsalves, other 12:30 - 1:45 Jazz on the Plaza—The Music of Duke than his immortal 16-bar solo on “Diminuendo and Ellington, East 53rd St. and Lexington Ave. at St. Peter’s Crescendo in Blue” at the Newport Jazz Festival in 1956. That’s a lot of territory, considering Paul’s quar- 3:00 - 5:30 “A Drum Is A Woman” - Screenings at The ter century with The Orchestra. In addition to his ex- Paley Center for Media, 25 West 52nd St. pertise on things Gonsalves, Art’s inspiration for this 5:30 - 7:00 Dinner break program comes from a memorable evening a decade ago where the same terrain was visited and expertly 7:15 - 8:00 Gala Opening Reception at St. Peter’s, hosted by the late Ted Shell. “The Jazz Church” - Greetings and welcome from Mercedes Art’s blues-and-ballads-filled listen to the man called Ellington, Michael Dinwiddie (DEFCA) and Ray Carman “Strolling Violins” will get going in our regular digs at (TDES, Inc.) Grace Lutheran Church, 4300—16th Street (at Varnum St.), NW, Washington, DC 20011 on: 8:00 - 9:00 The Duke Ellington Center Big Band - Frank Owens, Musical Director Saturday, 5 March 2016—7:00 PM. -
Morgenstern, Dan. [Record Review: Thad Jones & Mel Lewis: Live at the Village Vanguard] Down Beat 35:8 (April 18, 1968)
Records are reviewed by Don DeMicheal, Gilbert M. Erskine, Kenny Dorha m, Barbara Gardner, Bill Mathieu, Marian McPartland, Dan Mor 11e nslar Bill Quinn, Harvey Pekar, William Russo, Harvey Siders, Pete Welding, John S. Wilson, and Michael Zwerin. Reviews are signed by !lie Wr't n, I ers Ratings are : * * * * * excellent, * * * * very good, * * * good, * * fair, * poor . ' When two catalog numbers are listed, the first is mono, and the second is stereo . times (especially on Yellow Days) · his Thad Jones-Mel Lewis •- •- -. ... touch is uncannily close to the master 's. LIVE AT THE Vl.LLAGB VANGUA.ll." Solid S1A1e SS l80l6: L/lflc Pi:<lo ll; ,1 "/l'v..,. BIG BANDS Two ringers were brought in to beef up l'reodom; Barba l'eo/i11'; Do11'1 Git Sn1ty• tltl•, /0111 Tree; Samba Co11 Gde/m. ' "' 1I. Duke Ellington the trumpet section, currently the ban.d's weakest link. Everybody was on best be Personnel: Jone1, flu·cgelhoro; Snooky y 0 SOUL CALL-Verve V/V6·870l: La Pim Bell• Jimmy No1tingb3m, Marvin Stamm, Rkfiard ~•• Af.-i&11l11r;IVett litdia11 Pa11caltt; Soul C111/;Slti11 Jiavior, it seems-the band sounds tight Iiams, Bill Berry. trumpets; Bob Brool<o, II, Du/I; Jan, Will, Sm11. and together at all times. The superb ·re Garnett Bl'owo, Tom Mclmo,h, Cliff fi~a~yer, Personnel: Cnt Anderson, Herbie Jones, Cootie irombones; Jerome Richnrdson, Jerry Dad !>tr, \Villla 'ms. M,rccer I!llingron. uumpors; Buster cord ing brings out the foll flavor of the Joe Parcell, '.Eddie Daniels, -Pepper Adams r~t• lloiaod Hannn piano; Sam Herm an, • IM • Cooper, Lawrence Brown, Chuck Connors , rrom• magnificent Ellington sound; the reeds, in 1 bonci.: Russell Procope. -
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”. -
The Journal of the Duke Ellington Society Uk Volume 23 Number 3 Autumn 2016
THE JOURNAL OF THE DUKE ELLINGTON SOCIETY UK VOLUME 23 NUMBER 3 AUTUMN 2016 nil significat nisi pulsatur DUKE ELLINGTON SOCIETY UK http://dukeellington.org.uk DESUK COMMITTEE HONORARY MEMBERS OF DESUK Art Baron CHAIRMAN: Geoff Smith John Lamb Vincent Prudente VICE CHAIRMAN: Mike Coates Monsignor John Sanders SECRETARY: Quentin Bryar Tel: 0208 998 2761 Email: [email protected] HONORARY MEMBERS SADLY NO LONGER WITH US TREASURER: Grant Elliot Tel: 01284 753825 Bill Berry (13 October 2002) Email: [email protected] Harold Ashby (13 June 2003) Jimmy Woode (23 April 2005) MEMBERSHIP SECRETARY: Mike Coates Tel: 0114 234 8927 Humphrey Lyttelton (25 April 2008) Email: [email protected] Louie Bellson (14 February 2009) Joya Sherrill (28 June 2010) PUBLICITY: Chris Addison Tel:01642-274740 Alice Babs (11 February, 2014) Email: [email protected] Herb Jeffries (25 May 2014) MEETINGS: Antony Pepper Tel: 01342-314053 Derek Else (16 July 2014) Email: [email protected] Clark Terry (21 February 2015) Joe Temperley (11 May, 2016) COMMITTEE MEMBERS: Roger Boyes, Ian Buster Cooper (13 May 2016) Bradley, George Duncan, Frank Griffith, Frank Harvey Membership of Duke Ellington Society UK costs £25 SOCIETY NOTICES per year. Members receive quarterly a copy of the Society’s journal Blue Light. DESUK London Social Meetings: Civil Service Club, 13-15 Great Scotland Yard, London nd Payment may be made by: SW1A 2HJ; off Whitehall, Trafalgar Square end. 2 Saturday of the month, 2pm. Cheque, payable to DESUK drawn on a Sterling bank Antony Pepper, contact details as above. account and sent to The Treasurer, 55 Home Farm Lane, Bury St. -
(Pdf) Download
Artist Song 2 Unlimited Maximum Overdrive 2 Unlimited Twilight Zone 2Pac All Eyez On Me 3 Doors Down When I'm Gone 3 Doors Down Away From The Sun 3 Doors Down Let Me Go 3 Doors Down Behind Those Eyes 3 Doors Down Here By Me 3 Doors Down Live For Today 3 Doors Down Citizen Soldier 3 Doors Down Train 3 Doors Down Let Me Be Myself 3 Doors Down Here Without You 3 Doors Down Be Like That 3 Doors Down The Road I'm On 3 Doors Down It's Not My Time (I Won't Go) 3 Doors Down Featuring Bob Seger Landing In London 38 Special If I'd Been The One 4him The Basics Of Life 98 Degrees Because Of You 98 Degrees This Gift 98 Degrees I Do (Cherish You) 98 Degrees Feat. Stevie Wonder True To Your Heart A Flock Of Seagulls The More You Live The More You Love A Flock Of Seagulls Wishing (If I Had A Photograph Of You) A Flock Of Seagulls I Ran (So Far Away) A Great Big World Say Something A Great Big World ft Chritina Aguilara Say Something A Great Big World ftg. Christina Aguilera Say Something A Taste Of Honey Boogie Oogie Oogie A.R. Rahman And The Pussycat Dolls Jai Ho Aaliyah Age Ain't Nothing But A Number Aaliyah I Can Be Aaliyah I Refuse Aaliyah Never No More Aaliyah Read Between The Lines Aaliyah What If Aaron Carter Oh Aaron Aaron Carter Aaron's Party (Come And Get It) Aaron Carter How I Beat Shaq Aaron Lines Love Changes Everything Aaron Neville Don't Take Away My Heaven Aaron Neville Everybody Plays The Fool Aaron Tippin Her Aaron Watson Outta Style ABC All Of My Heart ABC Poison Arrow Ad Libs The Boy From New York City Afroman Because I Got High Air -
Disability and Music
th nd 19 November to 22 December UKDHM 2018 will focus on Disability and Music. We want to explore the links between the experience of disablement in a world where the barriers faced by people with impairments can be overwhelming. Yet the creative impulse, urge for self expression and the need to connect to our fellow human beings often ‘trumps’ the oppression we as disabled people have faced, do face and will face in the future. Each culture and sub-culture creates identity and defines itself by its music. ‘Music is the language of the soul. To express ourselves we have to be vibrating, radiating human beings!’ Alasdair Fraser. Born in Salford in 1952, polio survivor Alan Holdsworth goes by the stage name ‘Johnny Crescendo’. His music addresses civil rights, disability pride and social injustices, making him a crucial voice of the movement and one of the best-loved performers on the disability arts circuit. In 1990 and 1992, Alan co- organised Block Telethon, a high-profile media and community campaign which culminated in the demise of the televised fundraiser. His albums included Easy Money, Pride and Not Dead Yet, all of which celebrate disabled identity and critique disabling barriers and attitudes. He is best known for his song Choices and Rights, which became the anthem for the disabled people’s movement in Britain in the late 1980s and includes the powerful lyrics: Choices and Right That’s what we gotta fight for Choices and rights in our lives I don’t want your benefit I want dignity from where I sit I want choices and rights in our lives I don’t want you to speak for me I got my own autonomy I want choices and rights in our lives https://youtu.be/yU8344cQy5g?t=14 The polio virus attacked the nerves. -
Freddie Green Chords
Swinging Strategies for Jazz Ensemble Guitarists Dave Ness, presenter Outline I. Freddie Green A. THE Big Band Swing Style B. Count Basie II. Equipment A. Guitar 1. Full Hollow-body Guitar 2. Amp III. Chords for Swing charts A. Freddie Green Style 1. 4 to the bar 2. Chord Shapes 3. 5th and 6th String 4. Theory 5. Tablature and chord charts B. Bb Blues examples C. Freddie Green listening Example “Hail to the Chief” IV. Reading Notes A. All the Notes in 1st position V. Other styles A. Bossa 1.Girl From Ipanema Dave Ness [email protected] [email protected] Chicago Jazz Magazine said of Dave Ness, “there is no denying his superlative skill on the guitar.” A sought-out educator and clinician for nearly 25 years, Dave has directed jazz ensembles for several colleges and high schools, including Northwestern University and Carthage College. Dave has been studying Freddie Green guitar style since 1990 and in 1999 his article on Freddie Green was published in the Jazz Educators Journal. Currently Dave teaches guitar and jazz ensemble as well as AP Music Theory and Music Production and Sound Engineering at Libertyville High School. Dave has released three albums (with all original compositions) with the Dave Ness Trio: “Sketches,” “Layers,” and his 2018 release “Grooveness.” His website can be found at www.daveness.net Freddie Green: Birth of a Style by David Ness Background Frederick William Greene, born 1911, anchored Count Basie’s rhythm section from 1937 until his death in 1987 with few interruptions. A self-taught guitarist, Green (as he preferred to spell it) was a devoted member of the band. -
"Extraordinarily Phones, the Clariry Is Jaw-Dropping
RECORD REVIEWS tAzz Through Grado SR-225 head- "extraordinarily phones, the clariry is jaw-dropping. Yes, surface noise is significant, but it POYYerful... varies th,roughout, sometimes within unGolor€d... a single track. Balancing pros and cons of sound quality versus historical .natural" value can make bootleg releases an ift proposition in general, but in this case -./ohn Atkinso4 Stereophih the lamer prioriry wins out. The historical importance of the 1940 recording of '8ody and Soul" by Coleman Hawkins that begins this COLEMAN HAWKINS & FRIENDS collection can't be overstated. Two The Savory Collection, Volume No.01: more swinging, beautifully arranged Body and Soul Hawkins numbers follow, then rwo Coleman Hawkins, Herschel Evans, tenor saxophone; from Ella with Chick Webb. Then a Ella Fitzgerald, vocal; Charlie Shavers, trumpet; come rouglrly 25 blissful minutes, six Emilio Caceres, violin; Carl Kress, Dick McDonough. tracks in all, from Fats Waller and His U guitar; Fats Waller, piano, vocal; Lionel Hampton, vibraphone, piano, vocal; Milt Hinton, bass; Cozy Rhythm (before nearly every number, Cole, drums; others Fats implores his public to "Latch National Jazz Museum in Harlem NJMH-0112 on!"). Next, in a Lionel Hampton-led (MP4).2016. William Savory, orig. prod., eng.; Ken Druker, Loren Schoenberg, reissue prods.; Doug jam session with Herschel Evans, Pomeroy, restoration, mastering. A-D. TT: 70:43 Charlie Shavers, Milt Hinton, Cozy jazzmuseuminharlem.org,/the-museum/ See hltp'.// Cole, and others, Hamp plays vibes collections,/the-savory-collection ? and piano and sings, blowing them all PERFoRMANcE ffi off the bandstand. Herschel's ballad soNrcs EXXdE fearure, "Stardust." compares interest- This music is culled from aluminum ingly with Hawk's "Body and Soul." and lacquer discs that, over the course The last rwo racks are more inti- of decades, rotted in the home of one mate curiosities, wonderful in their Bill Savory.