DJM Een Van De Frank Driggs, June 2009 June 2009

Total Page:16

File Type:pdf, Size:1020Kb

DJM Een Van De Frank Driggs, June 2009 June 2009 Doctor jazz magazine Op 19 oktober 2009 is - aldus een persbericht - de biografie 'Travelling Blues' over het leven van Trompettist Tommy Ladnier verschenen. Het boek - in ‘t Engels - werd door Daniel Vernhettes en Bo Lindstrom geschreven. Als smaakmaker staat in de rubriek 'artikelen' een in het Nederlands vertaalde voorpublicatie van een Artikel overgenomen uit Doctor Jazz Magazine 205. deel van hoofdstuk 10 over de Sam Wooding Juni 2009, pag. 16. tournee in Rusland, waaraan Tommy Ladnier deelnam. Alle informatie hoe u het boek kunt bestellen vindt u in de flyer (staat achterin groot). Tommy Ladnier in Rusland • Bo Lindström and Dan Vernhettes Traveling Blues Traveling Blues The Life and Music of Tommy Ladnier The Life and Music of Tommy Ladnier. par Bo Lindström et Dan Vernhettes by Bo Lindström and Dan Vernhettes Préface de Frank Driggs Foreword by Frank Driggs Publié par Edit'Jazz en une édition limitée Published by Edit'Jazz at a limited edition de 500 exemplaires of 500 copies 216 pages, texte en anglais, 302 illustrations, 216 pages, english text, 302 illustrations, Inleiding dont beaucoup inédites. of which many never published before. Format: 26 cm x 28,5 cm, offset quadrichromie Format: 26 cm x 28,5 cm, offset quadri Daniel Vernhettes en Bo Lindström zijn van plan om in Disponible en octobre au prix de 40 euros (poste en Available in October 2009 at a cost of 40 euros per sus) sur le site jazzedit.org ou directement à : copy (mailing in addition) on the site jazzedit.org [email protected] or directly at [email protected] het najaar van 2009 hun biografie te publiceren over ou par téléphone au 00 33 (0)1 46 70 24 01 or by telephone at 00 33 (0)1 46 70 24 01 Also at [email protected] (+46 8 6268066) Tommy Ladnier méritait bien un livre. Cet ouvrage Indeed, Tommy Ladnier deserved a book. This exceptio- trompettist Tommy Ladnier (1900-1939). De titel van exceptionnel, résultat d’une longue collaboration entre nal work, the result of a long collaboration between the les auteurs, est présenté dans une mise en pages très authors, is presented in a lively lay-out. vivante. Traveling Blues est Traveling Blues is a beau- het boek zal zijn ‘Traveling Blues – The Life and Music un beau livre et un ouvrage tiful book and a work of de référence. reference. of Tommy Ladnier’. Het zal ongeveer 240 pagina’s « ...Ce livre remarquable est “...This remarkable book is bourré de détails sur les vies loaded with details on the de Tommy Ladnier et de la lives of Tommy Ladnier omvatten en er zijn 250 illustraties beschikbaar. Het plupart de ceux qui ont joué and most of the people he avec lui. Il y a des centaines played with. There are d’illustrations et de photo- hundreds of illustrations, zal tussen de 40 en 50 euro gaan kosten. Op de graphies de gens que je photos of people I’ve never n’avais jamais vues, et j’ai even seen before and I’ve vu la plupart des photogra- seen most of the photos of website www.avard.fr/tommy/ kunnen phies de musiciens de jazz jazz musicians over the au cours de ces dernières past fifty years. The depth cinquante années. L’ampleur of research is I believe geïnteresseerden zich voor het boek inschrijven. Of de de la recherche est à mon unparalleled. avis sans égale. Que Dieu God bless the two fanatics bénisse ces deux fanatiques who have devoted so much qui ont donné autant de of their time and energy to plannen zullen doorgaan hangt sterk af van de leur temps et de leur énergie bring this work of love to pour mener à bien ce travail fruition.” d’amour. » Frank Driggs, interesse. Als een smaakmaker mocht DJM een van de Frank Driggs, June 2009 June 2009 TABLE OF CONTENTS Chapter 8 The First European Tour 83 hoofdstukken publiceren. Het boek verschijnt uiteraard Aknowledgments 3 Chapter 9 The Fletcher Henderson Days 111 Foreword by Frank Driggs 5 Chapter 10 Job-Hopping in Europe 131 Chapter 1 Louisiana colonization 9 Chapter 11 With Noble Sissle 153 in het Engels. De vertaling van dit hoofdstuk is van Chapter 2 St. Tammany and Mandeville 17 Chapter 12 Bechet and the Southern Tailor Shop 163 Chapter 3 The Ladnier Family 23 Chapter 13 Last Days with Panassié and Mezzrow 173 Chapter 4 Childhood and early musical life 31 Chapter 14 Tommy Ladnier remembered 199 Chapter 5 Early Chicago Days 1917-1921 39 Discography 204 mijn hand om een zo breed mogelijk aantal lezers te Chapter 6 Professional jobs and life in Chicago 45 Index 211 Chapter 7 Paramount’s King of Blues 61 Music index 215 kunnen bereiken. Op de website zal ook nog nadere En option, nous proposons un DVD contenant les As an option we propose a DVD containing the 189 enregistrements (au format mp3) de Tommy 189 recordings (under mp3 files) in which Ladnier, à commander par courriel, au prix Tommy Ladnier took part, to be ordered by informatie staan omtrent kostprijs en andere relevante imbattable de 20 euros port compris!!! email, at 20 euros, postage included!!! mededelingen over deze uitgave. • Ben Kragting jr __________________________________________________________________________________________ www.DoctorJazz.nl DJM 205 – Tommy Ladnier Pagina 1 van 11 Tommy Ladnier in Rusland Vanuit Berlijn reisden de Chocolate Kiddies Revue en het Sam Wooding orkest per trein naar Moskou. De reis er naartoe was makkelijk. Doordat de spoorbreedtes van de rails verschilden moest het gezelschap in Riga overstappen naar een andere trein. Ze reisden van daaruit 800 kilometer oostwaarts naar Excerpt from ‘Traveling Blues – The Life and Music of Tommy Ladnier’ Vertaling: Ben Kragting jr Moskou met slaapwagons en arriveerden waarschijnlijk op 16 maart 1926 op het Belorussky Station.1 Hun eerdere angst, dat ze zouden worden ’verwelkomd De Russische tour van de ‘Chocolate Kiddies’, maart- door Bolsjewieken met een mes tussen de tanden’ of juni 1926. gevangen gezet zouden worden, verdween al snel toen ze zanggroepjes van jonge Russische meisjes zagen aankomst in het Russische treinstation als volgt: ‘They aan beide kanten van de trein in het station. De angst sang songs of greeting. But it was so cold that all I die sommige muzikanten van Wooding voor hun reis could think of was warming myself over a stove naar Rusland hadden geuit was wijdverbreid in de somewhere… you know, to this day I can’t really Verenigde Staten. De Chicago Defender verbreidde al remember much of what they were singing or what geruchten over de verwachte Russische tournee, toen went on and just because of the cold!’ 3 de show nog in Hongarije draaide, dus lang voordat het gezelschap feitelijk was gecontracteerd voor de Het contract dat het gezelschap had met het Russische Russische tour. ’Sam Wooding has been refused to Filharmonische Genootschap Rosfil, was zeer genereus come in Russia because jazz music should offence the met salarissen die hoger waren dan hun voorgaande 2 people. Tommy Ladnier is with them.’ salaris van $400 per maand. Sam Wooding wist loonvoorwaarden te verkrijgen die boven zijn normale De temperatuur in Moskou was erg laag – althans zo $1200 per maand lagen. Dit heeft zeker geholpen om werd het ervaren – en deze lage temperaturen zouden de angsten te overwinnen om naar Rusland te gaan.4 veel musici parten gaan spelen tijdens hun verblijf in Hoewel de musici goed werden betaald, gaven de Rusland. In 1966 herinnerde Sam Wooding zich de meesten van hen het ook weer even makkelijk uit. Garvin Bushell heeft diverse verhalen verteld over zijn City Arrival Opening Closing Venues constante gebrek aan geld. Riga 14 March Change of trains De Chocolate Kiddies startten gelijk met het opbouwen Moscow 16 March 19 March 5 May State Circus van hun show in het Staatscircus en de première vond Building plaats op 19 maart 1926. Het Staatscircus van Moskou "Leningrad” 6 May 8 May 23 May Leningrad was in die tijd gevestigd op Tsvetnoy Boulevard 13, (St. Peters- Music Hall burg) anderhalve kilometer ten noorden van het Rode Plein en het Kremlin.5 Het gebouw werd oorspronkelijk in Riga ?24 May ?27 May Unknown 1880 gebouwd, maar werd diverse keren verbouwd en Konigsberg 28 May Unknown gerenoveerd en is sinds 1984, toen de beroemde (Kaliningrad) Russische clown Nikulin directeur werd, een modern Danzig 4 June ?11 June Wilhelm Theater circusgebouw geworden. 1 Er wordt beweerd in Starr, S. Fredrick; Red and Hot: Russia's Roaring Twenties, Oxford Univ. Press, 1983, dat ze arriveerden in het Warsaw Station in Moskou. Er was echter geen Warsaw Station in Moskou, maar wel is een Warsaw Station te vinden in St Petersburg (Leningrad). Treinen naar Moskou vanuit Latvia (Riga) kwmane in deze tijd aan in het Belorussky Station en soms in het Rizsky Station. 2 Chicago Defender, 11 november 1925. 3 Napoleon, Art; A Pioneer Looks Back - Sam Wooding, Storyville no 9-10 1966. In deze herinnering geeft Wooding een verkeerde datum van aankomst in Moskou. 4 Starr, S. Fredrick; Red and Hot: Russia's Roaring Twenties, Oxford Univ. Press, 1983. 5 Het oude Staatscircus heet tegenwoordig Nikulin Staatscircus. Het moderne Moskou Staatscircus is een nieuw gebouw dat buiten de binnenstad van Moskou ligt. __________________________________________________________________________________________ www.DoctorJazz.nl DJM 205 – Tommy Ladnier Pagina 2 van 11 show toe. Tommy Ladnier vertelde aan Panassié, dat Leon Trotsky, een van de Russische communistische kopstukken, enkele keren naar de show kwam, ‘sitting in his box, in a dark shirt, negligently dressed.’8 Tijdens hun verblijf in Moskou maakten diverse leden van het gezelschap gebruik van de diensten van een man, die ze ‘Harry’ noemden en die zich aanbood als bediende.
Recommended publications
  • 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.
    [Show full text]
  • Murder in Montmartre: the Leon Crutcher Affair by Anthony Baldwin with Original Artwork by Peter Poplaski
    Murder in Montmartre: The Leon Crutcher Affair by Anthony Baldwin with original artwork by Peter Poplaski opening the place on 2nd September 1925 in a blaze of publicity. The group photo was taken at Le Pavillon’s first-anniversary outdoor gala the following season. The hiring of musicians and entertainers was handled by Max-Roger-Louis Lolivrel, one of the project’s directors and former owner of Rector’s Club at 45 Rue des Acacias in Paris, where Syd and Harry Roy’s Crichton Lyricals had cut their Continental teeth in 1923-24. Dance acts and choreography at Le Pavillon were organized by veteran hoofer Harry Pilcer, formerly dance director at Rector’s. Max Lolivrel was even pushy enough to hang Rector’s trademark signboard of two drunken dogs above Le Pavillon’s garden stage. Rector’s itself had been closed since the spring of 1925, when Max had filed for bankruptcy in the Paris courts. However, nobody seemed to care. These were heady days. Leon Allen Crutcher (b. Trenton Falls, NJ, 10 Dec 1902) and drummer George Hill Evans (b. Wilmington, NC, 8 July 1896) had been regulars at Rector’s in Paris since their arrival from New York in 1924. Leon had no particular family background n September 2nd, 1926, almost exactly ninety years in music: his father was a New York postman and his mother ago, a society photographer in the French city of an apartment-house janitress. With his good looks and Biarritz took the remarkable action shot of the Palm OBeach Six reproduced on this edition’s cover page.
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • Immigrant Musicians on the New York Jazz Scene by Ofer Gazit A
    Sounds Like Home: Immigrant Musicians on the New York Jazz Scene By Ofer Gazit A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Chair Professor Jocelyne Guilbault Professor George Lewis Professor Scott Saul Summer 2016 Abstract Sounds Like Home: Immigrant Musicians On the New York Jazz Scene By Ofer Gazit Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Chair At a time of mass migration and growing xenophobia, what can we learn about the reception, incorporation, and alienation of immigrants in American society from listening to the ways they perform jazz, the ‘national music’ of their new host country? Ethnographies of contemporary migrations emphasize the palpable presence of national borders and social boundaries in the everyday life of immigrants. Ethnomusicological literature on migrant and border musics has focused primarily on the role of music in evoking a sense of home and expressing group identity and solidarity in the face of assimilation. In jazz scholarship, the articulation and crossing of genre boundaries has been tied to jazz as a symbol of national cultural identity, both in the U.S and in jazz scenes around the world. While these works cover important aspects of the relationship between nationalism, immigration and music, the role of jazz in facilitating the crossing of national borders and blurring social boundaries between immigrant and native-born musicians in the U.S. has received relatively little attention to date.
    [Show full text]
  • The Recordings
    Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr.
    [Show full text]
  • Mezz Mezzrow Mezz Mezzrow Avec Tommy Ladnier Mp3, Flac, Wma
    Mezz Mezzrow Mezz Mezzrow Avec Tommy Ladnier mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Blues Album: Mezz Mezzrow Avec Tommy Ladnier Country: France Released: 1955 Style: Ragtime MP3 version RAR size: 1581 mb FLAC version RAR size: 1979 mb WMA version RAR size: 1392 mb Rating: 4.7 Votes: 902 Other Formats: AC3 FLAC MP2 AAC AIFF ASF TTA Tracklist A1 Comin' On With The Come On A2 Revolutionary Blues A3 Jada A4 Really The Blues A5 When You And I Were Young Maggy B1 Royal Garden Blues B2 If You See Me Comin' B3 Everybody Loves My Baby B4 Ain't Gonna Give Nobody None Of My Jelly Roll B5 Gettin' Together B6 Weary Blues Companies, etc. Printed By – Carron & Cie Credits Illustration – Alain Carrier Liner Notes – Guy Vincent - Heugas Supervised By, Liner Notes – Hugues Panassié Barcode and Other Identifiers Rights Society: M.C.P.S. BIEM Matrix / Runout (A Side Runout): M6 -143940 2XLV 37- 21 Matrix / Runout (B Side Runout): M6 -144024 2XLV 38 - 21 Related Music albums to Mezz Mezzrow Avec Tommy Ladnier by Mezz Mezzrow 1. Mezz Mezzrow, Sidney Bechet - None 2. Mezz Mezzrow - Memorial 3. Tommy Ladnier And His Orchestra / Milton "Mezz" Mezzrow And His Orchestra - Really The Blues / Revolutionary Blues 4. Mezz Mezzrow And His Orchestra - "Pleyel Concert" 5. Sidney Bechet, Mezz Mezzrow - Blues With Bechet 6. Mezz Mezzrow - In Chronology - 1936-1939 7. The Mezzrow-Bechet Quintet / Septet & Sammy Price - Really The Blues 8. Tommy Ladnier And Orchestra - Weary Blues / When You And I Were Young, Maggie 9. Mezz Mezzrow / Buck Clayton / Pee Wee Russell / Bud Freeman - I Giganti Del Jazz Vol.
    [Show full text]
  • Dissertation Committee for Michael James Schmidt Certifies That This Is the Approved Version of the Following Dissertation
    Copyright by Michael James Schmidt 2014 The Dissertation Committee for Michael James Schmidt certifies that this is the approved version of the following dissertation: The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany Committee: David F. Crew, Supervisor Judith Coffin Sabine Hake Tracie Matysik Karl H. Miller The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany by Michael James Schmidt, B.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2014 To my family: Mom, Dad, Paul, and Lindsey Acknowledgements I would like to thank, above all, my advisor David Crew for his intellectual guidance, his encouragement, and his personal support throughout the long, rewarding process that culminated in this dissertation. It has been an immense privilege to study under David and his thoughtful, open, and rigorous approach has fundamentally shaped the way I think about history. I would also like to Judith Coffin, who has been patiently mentored me since I was a hapless undergraduate. Judy’s ideas and suggestions have constantly opened up new ways of thinking for me and her elegance as a writer will be something to which I will always aspire. I would like to express my appreciation to Karl Hagstrom Miller, who has poignantly altered the way I listen to and encounter music since the first time he shared the recordings of Ellington’s Blanton-Webster band with me when I was 20 years old.
    [Show full text]
  • Really the Blues, Mezzrow Says: “I Was the Only White Man in the Crowd
    rom the time that Mezz Mezzrow first heard Sidney Bechet playing with the Original New Orleans Creole Jazz Band in Chicago in 1918, he nursed a burning ambition to record with him, inspired by the duets Bechet played with the band’s clarinettist Fleader, Lawrence Dewey. It took Mezzrow 20 years to realise that ambition, finally achieving his goal when French critic Hugues Panassié made his recording safari to New York in November 1938. The 12 tracks on this album are of later vintage, a selection from the sides that Mezzrow made in the mid-forties when he was president of the King Jazz record company. Recalling the Bechet dates in his celebrated autobiography, Really The Blues, Mezzrow says: “I was the only white man in the crowd. I walked on clouds all through those recording sessions… How easy it was, falling in with Bechet – what an instinctive mastery of harmony he has, and how marvellously delicate his ear is!” The Mezzrow-Bechet partnership was a conspicuously one-sided match because Mezzrow had nothing like Bechet’s stature as a musician. But he was undoubtedly a good catalyst for Bechet, for whom he had a boundless admiration, and he made no secret of his inability to measure up to Bechet’s almost overpowering virtuosity. Mezzrow once said of one of his sessions with Bechet: “I was ashamed of not being better than I was, to give him the support he deserved and the inspiration, too”. Mezzrow came in for more than his share of adverse criticism during his playing career, and certainly he was never more than a mediocre musician whose intonation was frequently wretched.
    [Show full text]
  • Jazz Music (Chicago)]
    Library of Congress [Jazz Music (Chicago)] [W366?] Forms to be Filled out for Each Interview CHICAGO FOLKSTUFF FORM A Circumstances of interview FOLKLORE CHICAGO No. Words STATE Illinois NAME OF WORKER Sam Ross ADDRESS 713 Rush Street DATE May 18, 1939 SUBJECT Jazz music (Chicago) 1. Date and time of interview - April 28th - May 4-9 2. Place of interview - [Jazz Music (Chicago)] http://www.loc.gov/resource/wpalh0.08030313 Library of Congress Town Room - Hotel Sherman Panther Room - Hotel Sherman 3. Name and address of informant - Muggsy Spanier - hotel Sherman 4. Name and address of person, if any, who put you in touch with informant. - None 5. Name and address of person, if any, accompanying you - None 6. Description of room, house, surroundings, etc. - Night club surroundings (Use as many additional sheets as necessary, for any of the forms, each bearing the proper heading and the number to which the material refers.) FORM B Personal History of Informant CHICAGO FOLKSTUFF FOLKLORE CHICAGO STATE Illinois NAME OF WORKER Sam Ross [Jazz Music (Chicago)] http://www.loc.gov/resource/wpalh0.08030313 Library of Congress ADDRESS 723 Bush Street DATE May 18, 1939 SUBJECT Jazz music (Chicago) NAME OF INFORMANT Muggsy Spanier 1. Ancestry Irish 2. Place and date of birth, - November 9, 1906 - Chicago 3. Family - Irish 4. Places lived in, with dates - Practically all over the country (stated in part in Form D) 5. Education, with dates - Parochial grade school 6. Occupations and accomplishments, with dates - Musician 7. Special skills and interests - [Jazz Music (Chicago)] http://www.loc.gov/resource/wpalh0.08030313 Library of Congress Musician, baseball 8.
    [Show full text]
  • Proquest Dissertations
    The saxophone in Germany, 1924-1935 Item Type text; Dissertation-Reproduction (electronic) Authors Bell, Daniel Michaels Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 07:49:44 Link to Item http://hdl.handle.net/10150/290020 THE SAXOPHONE IN GERMANY 1924-1935 by Daniel Michaels Bell Copyright © Daniel Michaels Bell 2004 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC THE UNIVERSITY OF ARIZONA 2004 UMI Number: 3131585 Copyright 2004 by Bell, Daniel Michaels All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 3131585 Copyright 2004 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O.
    [Show full text]
  • Play List Ideale, En Avant La Musique
    PLAY LIST IDEALE, EN AVANT LA MUSIQUE AFRIQUE The Fulani* – Niger / Northern Bénin: Music Of The Fulani / Musique Des Peuls Auvidis – UNESCO Collection of Traditional Music of the World – , Musics & Musicians of the World – 1988 GOSPEL BLUES The Fisk Jubilee Quartet There Breathes A Hope (The Story Of John Work II And His Fisk Jubilee Quartet, 1909 – 1916 Archeophone Records 2010 Fisk Jubilee singers Vol. 3 (1924-1940) Document Records 1997 Gospel Music Hall of Fame Series: The Fisk Jubilee Singers- 16 Songs of Faith 2007 Really the Blues?: A Blues History (1893-1959), Vol. 1 (1893-1929) West Hill Radio Archives 2012 (cher) Mahalia JACKSON, Where you there, Gospels, Spirituals & Hymns - Volume 2 Columbia Legacy 1992 Sam Cooke With The Soul Stirrers – Sam Cooke With The Soul Stirrers Specialty 1991 Golden Gate Quartet* – Gospel 1937 - 1941 Frémeaux & Associés – 1997 2011 AMERIQUE / BRASS BAND, RAGTIME, HOT JAZZ, NEW ORLEANS, JAZZ CLASSIQUE Eureka Brass Band – In Rehearsal 1956 American Music – AMCD-110/111 2 × CD 2000 Various – Treme: Music From The HBO Original Series, Season 1 Geffen Records – 602527508450 CD 2011 Freddie Keppard – The Complete Set: 1923 - 1926 Retrieval – RTR 79017 CD 2005 Original Dixieland Jazz Band – Classic Jazz Archive - Documents – 221980-306 Classic Jazz Archive – 2 × CD 2004 Sidney Bechet – Sidney Bechet And The Blues Singers – Volume I - 1923 Fat Cat's Jazz 1986 Wild Cat Blues, Sidney Bechet – The Essential Vol. 1 1923 - 1937 : Wild Cat Blues Music Memoria 1989 Krooked blues, Louis Armstrong & King Oliver – Creole Jazz Tradition – Rykodisc – 1998 Clarence Williams – The 1923-1931 Recordings: The Complete Sidney Bechet & Louis Armstrong Sessions EPM Musique Hot'N Sweet 1991 Copenhagen - Fletcher Henderson – 1924 / 1927 EPM Musique Jazz Archives (2) – 1991 Alexander’s ragtime band, Bessie Smith – The Essential Bessie Smith Columbia Legacy – Roots N' Blues –1997 Jelly Roll Morton – The Complete Jelly Roll Morton Vol.
    [Show full text]
  • BESSIE SMITH 'Downhearted Blues'
    120660bk Bessie 6/1/03 10:38 pm Page 8 Also available in the Naxos Jazz Legends series 8.120572 8.120583 8.120609* 8.120611* 8.120616 8.120622* * Not available in the USA 120660bk Bessie 6/1/03 10:38 pm Page 2 BESSIE SMITH The Naxos Historical labels aim to make available the greatest recordings of the history of ‘Downhearted Blues’ recorded music, in the best and truest sound that contemporary technology can provide. To Original Recordings 1923-1924 achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the “She made life amusing, serious, witty and devastatingly depressing and she field of historical recordings. sang, without compromise, for people who were honest enough to realise David Lennick that life is like that.” (Spike Hughes – Melody Maker obituary, 1937) As a producer of CD reissues, David Lennick’s work in this field grew directly from his own “Bessie’s control of her voice was without parallel; a subtle accent on one needs as a broadcaster specializing in vintage material and the need to make it listenable while syllable could change the entire meaning of a line. Her sense of pitch was as being transmitted through equalizers, compressors and the inherent limitations of A.M. radio. dramatic as it was accurate.” (George Avakian) Equally at home in classical, pop, jazz and nostalgia, Lennick describes himself as exercising as much control as possible on the final product, in conjunction with CEDAR noise reduction To her friends and fans Bessie became known as ‘The Queen of the Blues’ and the record applied by Graham Newton in Toronto.
    [Show full text]