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Saturn Is Both the Name of Sun Ra's Record Label and the Place That He Claimed As Home, Even Though a More Earthly Account W
Contact: Glenn Siegel, (413) 545-2876 www.fineartscenter.com/magictriangle THE 2004 MAGIC TRIANGLE JAZZ SERIES PRESENTS: Sun Ra Arkestra under the direction of Marshall Allen The Magic Triangle Jazz Series, produced by WMUA, 91.1FM and the Residential Arts Program of the Fine Arts Center at the University of Massachusetts at Amherst, continues its 15th season with a performance by Sun Ra Arkestra under the direction of Marshall Allen, featuring Michael Ray, Fred Adams, David Gordon- trumpets; Tyrone Hill, Dave Davis, Dick Griffin-trombones; Marshall Allen, Noël Scott, Ya Ya Abdul Majid, Charles Davis-reeds; Bruce Edwards-electric guitar; John Ore-bass; Luqman Ali, Elson Nascimento, Jimmi Esspirit-percussion on Thursday, March 25, 2004 at Bezanson Recital Hall, University of Massachusetts, Amherst at 8:00 pm. Saturn is both the name of Sun Ra's record label and the place that he claimed as home, even though a more earthly account would have his birthplace (22 May 1914) and resting place (30 May 1993) as Birmingham, Alabama. Composer, arranger, keyboard master and philosophical guru (and Trickster), Le Sony'Ra became an internationally acclaimed exponent of free jazz, a leader in retro-swing and a continuing source of breath-taking originality in the music that we call jazz. Born May 25, 1924 in Louisville, Kentucky, Marshall Allen was stationed in Paris during WW II, and played in Europe with Don Byas and James Moody during the late 40's. Upon his discharge, Mr. Allen enrolled in the Paris Conservatory of Music studying clarinet. Returning to the States in 1951 Marshall settled in Chicago where he met Sun Ra. -
Booker Little
1 The TRUMPET of BOOKER LITTLE Solographer: Jan Evensmo Last update: Feb. 11, 2020 2 Born: Memphis, April 2, 1938 Died: NYC. Oct. 5, 1961 Introduction: You may not believe this, but the vintage Oslo Jazz Circle, firmly founded on the swinging thirties, was very interested in the modern trends represented by Eric Dolphy and through him, was introduced to the magnificent trumpet playing by the young Booker Little. Even those sceptical in the beginning gave in and agreed that here was something very special. History: Born into a musical family and played clarinet for a few months before taking up the trumpet at the age of 12; he took part in jam sessions with Phineas Newborn while still in his teens. Graduated from Manassas High School. While attending the Chicago Conservatory (1956-58) he played with Johnny Griffin and Walter Perkins’s group MJT+3; he then played with Max Roach (June 1958 to February 1959), worked as a freelancer in New York with, among others, Mal Waldron, and from February 1960 worked again with Roach. With Eric Dolphy he took part in the recording of John Coltrane’s album “Africa Brass” (1961) and led a quintet at the Five Spot in New York in July 1961. Booker Little’s playing was characterized by an open, gentle tone, a breathy attack on individual notes, a nd a subtle vibrato. His soli had the brisk tempi, wide range, and clean lines of hard bop, but he also enlarged his musical vocabulary by making sophisticated use of dissonance, which, especially in his collaborations with Dolphy, brought his playing close to free jazz. -
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. -
Urging All of Us to Open Our Minds and Hearts So That We Can Know Beyond
CHAPTER 1 HOLISTIC READING We have left the land and embarked. We have burned our bridges behind us- indeed we have gone farther and destroyed the land behind us. Now, little ship, look out! Beside you is the ocean: to be sure, it does not always roar, and at times it lies spread out like silk and gold and reveries of graciousness. But hours will come when you realize that it is infinite and that there is nothing more awesome than infinity... Oh, the poor bird that felt free now strikes the walls of this cage! Woe, when you feel homesick for the land as if it had offered more freedom- and there is no longer any ―land.‖ - Nietzsche Each man‘s life represents a road toward himself, an attempt at such a road, the intimation of a path. No man has ever been entirely and completely himself. Yet each one strives to become that- one in an awkward, the other in a more intelligent way, each as best he can. Each man carries the vestiges of his birth- the slime and eggshells of his primeval past-… to the end of his days... Each represents a gamble on the part of nature in creation of the human. We all share the same origin, our mothers; all of us come in at the same door. But each of us- experiments of the depths- strives toward his own destiny. We can understand one another; but each is able to interpret himself alone. – Herman Hesse 1 In this chapter I suggest a new method of reading, which I call “holistic reading.” Building on the spiritual model of the Self offered by Jiddu Krishnamurti and the psychological model of “self” offered by Dr. -
Music and the American Civil War
“LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans. -
Spring Newsletter May 2011
Volume 34 Spring Newsletter May 2011 Seldom-Heard Civil then, in September 1861, Elliot was commissioned an officer in the 30th Massachusetts at Camp Chase, Lowell War Tales under the command of General Benjamin F. Butler. Elliott's regiment was among those sent to Ship Island in by Martha Mayo the Gulf of Mexico to begin operations against New Orleans. His diary covers the year of 1862 while in New Come one, come all to a discussion of unusual and seldom Orleans, Baton Rouge, and Vicksburg with detailed heard stories of the Civil War. Our panel will consist of descriptions of his assignments and camp life. A gifted Jack Herlihy, Museum Specialist at the Lowell National artist, the diary features many unique hand-drawn Historical Park; Martha Mayo, librarian and archivist for illustrations of his time on Ship Island and Baton Rouge. LHS; and Attorney Richard P. Howe Jr., Middlesex North Register of Deeds and former Society president. See Calendar of Events on page 6 for location details. A few of the stories to be told include: jjjjjjjjjjjjjjjjjjj George J. Fox (1841-1863) – At first Fox was held back from enlisting by his mother, who feared for the safety of her only son. But his belief "that my fathers would be ashamed of me if they were living for not going Part Time Job Opportunity before" compelled Fox to join his cousin David Goodhue Site Coordinator for the Lowell Historical Society. as volunteer in Company C, Massachusetts Sixth ($10/hour, six hour/week with flexible work hours.) Regiment, enlisting for nine months service. -
Windward Passenger
MAY 2018—ISSUE 193 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE BURRELL WINDWARD PASSENGER PHEEROAN NICKI DOM HASAAN akLAFF PARROTT SALVADOR IBN ALI Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2018—ISSUE 193 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : PHEEROAN aklaff 6 by anders griffen [email protected] Andrey Henkin: [email protected] Artist Feature : nicki parrott 7 by jim motavalli General Inquiries: [email protected] ON The Cover : dave burrell 8 by john sharpe Advertising: [email protected] Encore : dom salvador by laurel gross Calendar: 10 [email protected] VOXNews: Lest We Forget : HASAAN IBN ALI 10 by eric wendell [email protected] LAbel Spotlight : space time by ken dryden US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIVAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD ReviewS 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Miscellany 43 Suzanne Lorge, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Event Calendar 44 Andrew Vélez, Scott Yanow Contributing Writers Kevin Canfield, Marco Cangiano, Pierre Crépon George Grella, Laurel Gross, Jim Motavalli, Greg Packham, Eric Wendell Contributing Photographers In jazz parlance, the “rhythm section” is shorthand for piano, bass and drums. -
S·Ylo )Oll,J SCHOOL of MUSIC 11- I~ UNIVERSITY of WASHINGTON Presents
( (t tN1 ~?t (t ol r.s L S·Ylo )Oll,J SCHOOL OF MUSIC 11- I~ UNIVERSITY of WASHINGTON presents featuring Seattle's own Sun Ra Tribute Band Jones Playhouse, 18 November 2014 (!. ])=1f Ir,09'1 Performed without intermission, the set includes Saturn, Lights ofa Satellite, Carefree, Space Loneliness, Somewhere Else, Others in Their World, Outer Nothingness, A Call for All Demons, We Travel the Spaceways, costumes, improvisations, processionals and other surprises. Artist Biography by Scott Yanow Of all the jazz musicians, Sun Ra was probably the most controversial. He did not make it easy for people to take him seriously, for he surrounded his adventurous music with costumes and mythology that both looked backward toward ancient Egypt and forward into science fiction. In addition, Ra documented his musk in very erratic fashion on-hjs-SaQ.im label, gel}er1l.!.ly not listing recording dates and giving inaccurat~ personnel information, so one could not really tell how adv'anced some 'of his innovations were. It has taken a lot of time to sort it all out (although Robert L. CampbeU's Sun Ra discography has done a miraculous job). In addition, while there were times when Sun Ra's aggregation performed brilliantly, on other occasions they were badly out of tune and showcasing absurd vocals. Near the end of his life, Ra was featuring plate twirlers and fire eaters in his colorful show as a sort of Ed Sullivan for the 1980s. But despite all of the trappings, Sun Ra was a major innovator. Bom Herman Sonny Blount in Birmingham, AL (although he claimed he was from another planet), Ra led his own band for the first time in 1934. -
Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N. -
Monthly Review Press Catalog, 2011
PAID PAID Social Structure RIPON, WI and Forms of NON-PROFIT U.S. POSTAGE U.S. POSTAGE Consciousness ORGANIZATION ORGANIZATION PERMIT NO. 100 volume ii The Dialectic of Structure and History István Mészáros Class Dismissed WHY WE CANNOT TEACH OR LEARN OUR WAY OUT OF INEQUALITY John Marsh JOSÉ CARLOS MARIÁTEGUI an anthology MONTHLY REVIEW PRESS Harry E. Vanden and Marc Becker editors and translators the story of the center for constitutional rights How Venezuela and Cuba are Changing the World’s Conception of Health Care the people’s RevolutionaRy lawyer DOCTORS 2011 Albert Ruben Steve Brouwer WHAT EVERY ENVIRONMENTALIST NEEDS TO KNOW ABOUT CAPITALISM JOHN BELLAMY FOSTER FRED MAGDOFF monthly review press review monthly #6W 29th Street, 146 West NY 10001 New York, www.monthlyreview.org 2011 MRP catalog:TMOI.qxd 1/4/2011 3:49 PM Page 1 THE DEVIL’S MILK A Social History of Rubber JOHN TULLY From the early stages of primitivehistory accu- mulation“ to the heights of the industrial revolution and beyond, rubber is one of a handful of commodities that has played a crucial role in shaping the modern world, and yet, as John Tully shows in this remarkable book, laboring people around the globe have every reason to THE DEVIL’S MILK regard it as “the devil’s milk.” All the A S O C I A L H I S T O R Y O F R U B B E R advancements made possible by rubber have occurred against a backdrop of seemingly endless exploitation, con- quest, slavery, and war. -
Spilleliste: Åtti Deilige År Med Blue Note Foredrag Oslo Jazz Circle, 14
Spilleliste: Åtti deilige år med Blue Note Foredrag Oslo Jazz Circle, 14. januar 2020 av Johan Hauknes Preludium BLP 1515/16 Jutta Hipp At The Hickory House /1956 Hickory House, NYC, April 5, 1956 Jutta Hipp, piano / Peter Ind, bass / Ed Thigpen, drums Volume 1: Take Me In Your Arms / Dear Old Stockholm / Billie's Bounce / I'll Remember April / Lady Bird / Mad About The Boy / Ain't Misbehavin' / These Foolish Things / Jeepers Creepers / The Moon Was Yellow Del I Forhistorien Meade Lux Lewis, Albert Ammons & Pete Johnson Jumpin' Blues From Spiritals to Swing, Carnegie Hall, NYC, December 23, 1938 BN 4 Albert Ammons - Chicago In Mind / Meade "Lux" Lewis, Albert Ammons - Two And Fews Albert Ammons Chicago in Mind probably WMGM Radio Station, NYC, January 6, 1939 BN 6 Port of Harlem Seven - Pounding Heart Blues / Sidney Bechet - Summertime 1939 Sidney Bechet, soprano sax; Meade "Lux" Lewis, piano; Teddy Bunn, guitar; Johnny Williams, bass; Sidney Catlett, drums Summertime probably WMGM Radio Station, NYC, June 8, 1939 Del II 1500-serien BLP 1517 Patterns in Jazz /1956 Gil Mellé, baritone sax; Eddie Bert [Edward Bertolatus], trombone; Joe Cinderella, guitar; Oscar Pettiford, bass; Ed Thigpen, drums The Set Break Van Gelder Studio, Hackensack, NJ, April 1, 1956 BLP 1521/22 Art Blakey Quintet: A Night at Birdland Clifford Brown, trumpet; Lou Donaldson, alto sax; Horace Silver, piano; Curly Russell, bass; Art Blakey, drums A Night in Tunisia (Dizzy Gillespie) Birdland, NYC, February 21, 1954 BLP 1523 Introducing Kenny Burrell /1956 Tommy Flanagan, -
Sun Ra and the Performance of Reckoning
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 "The planet is the way it is because of the scheme of words": Sun Ra and the Performance of Reckoning Maryam Ivette Parhizkar Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1086 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] "THE PLANET IS THE WAY IT IS BECAUSE OF THE SCHEME OF WORDS": SUN RA AND THE PERFORMANCE OF RECKONING BY MARYAM IVETTE PARHIZKAR A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York. 2015 i This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the requirement for the degree of Master of Arts. Thesis Adviser: ________________________________________ Ammiel Alcalay Date: ________________________________________ Executive Officer: _______________________________________ Matthew K. Gold Date: ________________________________________ THE CITY UNIVERSITY OF NEW YORK ii Abstract "The Planet is the Way it is Because of the Scheme of Words": Sun Ra and the Performance of Reckoning By Maryam Ivette Parhizkar Adviser: Ammiel Alcalay This constellatory essay is a study of the African American sound experimentalist, thinker and self-proclaimed extraterrestrial Sun Ra (1914-1993) through samplings of his wide, interdisciplinary archive: photographs, film excerpts, selected recordings, and various interviews and anecdotes.