Glenn Miller Orchestra from Wikipedia, the Free Encyclopedia
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
GLENN MILLER ORCHESTRA Highlights
GLENN MILLER ORCHESTRA Highlights Glenn Miller was born on March 1, 1904, in Clarinda, Iowa. Glenn Miller originally wrote the music for Moonlight Serenade (later to become his theme song) as an exercise when he was studying with noted arranger, Joseph Schilinger. The first Glenn Miller Orchestra, formed in 1937, was a financial failure. In March 1938, Glenn Miller launched his second band, and unlike the first band, it became an enormous success with multiple hit records and huge box office sales. At the height of the orchestra’s popularity, Glenn Miller disbanded his musical organization in 1942 to volunteer for the army. He then organized the famous Glenn Miller Army Air Force Band. On December 15, 1944, Major Glenn Miller took off in a single engine plane from England – against his better judgment – to precede his band to France, never to be seen again. The army officially declared him dead one year later. Due to popular demand, the Miller Estate authorized the formation of the present Glenn Miller Orchestra in 1956. In 1941, Glenn Miller and His Orchestra had more hit records in one year, including A String of Pearls, than anybody in the history of the recording industry. Although other songs had sold over a million record copies, in 1941 Glenn Miller’s recording of Chattanooga Choo Choo received the first Gold Record ever to be awarded. The Glenn Miller Orchestra has been “on the road” longer and more continuously than any other Big Band ever. The Glenn Miller Orchestra travels over 100,000 miles each year, playing nearly 300 dates. -
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. -
Big Band Arrangers of the Swing Era Selected List
Big Band Arrangers of the Swing Era Selected list Band leader Arrangers Tex Beneke Henry Mancini Jimmy Dorsey Tutti Camarata Sonny Burke Tommy Dorsey Paul Weston Sy Oliver Axel Stordahl Benny Goodman Eddie Sauter Buster Harding Fletcher Henderson Horace Heidt Frank DeVol Woody Herman Heil Hefti Ralph Burns Igor Stravinsky Harry James Leroy Holmes Dave Mathews Isham Jones Gordon Jenkins Hal Kemp John Scott Trotter Elliot Lawrence Gerry Mulligan Ray McKinley Eddie Sauter Red Norvo Eddie Sauter Artie Shaw Ray Conniff Johnny Mandel Buster Harding Charlie Spivak Nelson Riddle Claude Thornhill Gil Evans Leader/Arranger Arranger Count Basie Buster Smith Jimmy Mundy Andy Gibson Herschel Evans Cab Calloway Foots Thomas Harry White Duke Ellington Billy Strayhorn Earl Hines Jimmy Mundy Budd Johnson Stan Kenton Pete Rugolo Bill Holman Andy Kirk Mary Lou Williams Earl Thompson Glen Miller Bill Finegan Billy May Claude Thornhill Gil Evans Bill Borden Gerry Mulligan Chick Webb Edgar Sampson Charlie Dixon Andy Gibson Herschel Evans Leader/Arranger Les Brown Benny Carter Larry Clinton Will Hudson Elliot Lawrence Russ Morgan Ray Noble Boyd Raeburn Raymond Scott Musicians in Bands that were Important Arrangers Leader Arranger Instrument Bob Crosby Bob Haggart bass Matty Matlock saxophone Deane Kincaide saxophone Jimmy Dorsey Tutti Camarata trumpet Joe Lipman piano Woody Herman Heil Hefti trumpet Ralph Burns piano Hal Kemp John Scott Trotter piano Gene Krupa Gerry Mulligan saxophone Jimmy Lunceford Sy Oliver trumpet Glen Miller Henry Mancini piano Artie Shaw Ray Conniff trombone Johnny Mandel trombone Charlie Spivak Nelson Riddle trombone . -
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. -
100 Years: a Century of Song 1950S
100 Years: A Century of Song 1950s Page 86 | 100 Years: A Century of song 1950 A Dream Is a Wish Choo’n Gum I Said my Pajamas Your Heart Makes / Teresa Brewer (and Put On My Pray’rs) Vals fra “Zampa” Tony Martin & Fran Warren Count Every Star Victor Silvester Ray Anthony I Wanna Be Loved Ain’t It Grand to Be Billy Eckstine Daddy’s Little Girl Bloomin’ Well Dead The Mills Brothers I’ll Never Be Free Lesley Sarony Kay Starr & Tennessee Daisy Bell Ernie Ford All My Love Katie Lawrence Percy Faith I’m Henery the Eighth, I Am Dear Hearts & Gentle People Any Old Iron Harry Champion Dinah Shore Harry Champion I’m Movin’ On Dearie Hank Snow Autumn Leaves Guy Lombardo (Les Feuilles Mortes) I’m Thinking Tonight Yves Montand Doing the Lambeth Walk of My Blue Eyes / Noel Gay Baldhead Chattanoogie John Byrd & His Don’t Dilly Dally on Shoe-Shine Boy Blues Jumpers the Way (My Old Man) Joe Loss (Professor Longhair) Marie Lloyd If I Knew You Were Comin’ Beloved, Be Faithful Down at the Old I’d Have Baked a Cake Russ Morgan Bull and Bush Eileen Barton Florrie Ford Beside the Seaside, If You were the Only Beside the Sea Enjoy Yourself (It’s Girl in the World Mark Sheridan Later Than You Think) George Robey Guy Lombardo Bewitched (bothered If You’ve Got the Money & bewildered) Foggy Mountain Breakdown (I’ve Got the Time) Doris Day Lester Flatt & Earl Scruggs Lefty Frizzell Bibbidi-Bobbidi-Boo Frosty the Snowman It Isn’t Fair Jo Stafford & Gene Autry Sammy Kaye Gordon MacRae Goodnight, Irene It’s a Long Way Boiled Beef and Carrots Frank Sinatra to Tipperary -
Brand New Beat
Ready for a BRAND NEW BEAT How “DANCING IN THE STREET” Became the Anthem for a Changing America MARK KURLANSKY Riverhead Books A member of Penguin Group (USA) Inc. New York 2013 C H APT E R O N E ARE YOU RE ADY? or my generation rock was not a controversy, it was a fact. F My earliest memory of rock ’n’ roll is Elvis Presley. For others it may be Bill Haley or Chuck Berry. For people born soon after World War II, rock ’n’ roll was a part of childhood. The rock- ers, especially Elvis, are remembered as controversies. But there was no controversy among the kids. They loved the songs, their sense of mischief and especially the driving beat. The controversy came from adults. Only adults attacked Elvis or rock ’n’ roll. The controversy was only in their minds—on their lips. It was the begin- ning of what came to be known as “the generation gap,” a phrase coined by Columbia University president Grayson Kirk in April 1968, shortly before students seized control of his campus. There has never been an American generation that so identified with its music, regarded it as its own, the way the Americans who grew up in the 1950s and 1960s did. The music that started as a subversive movement took over the culture and became a huge, commercially dominant industry. The greatest of the many seismic shifts in the music industry is that young people became the target audience. In no previous generation had the main thrust of popular music been an attempt to appeal to people in their teens. -
Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK -
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell Glenn Miller Original release label “Sun Valley Serenade” Though Glenn Miller and His Orchestra’s well-known, robust and swinging hit “In the Mood” was recorded in 1939 (and was written even earlier), it has since come to symbolize the 1940s, World War II, and the entire Big Band Era. Its resounding success—becoming a hit twice, once in 1940 and again in 1943—and its frequent reprisal by other artists has solidified it as a time- traversing classic. Covered innumerable times, “In the Mood” has endured in two versions, its original instrumental (the specific recording added to the Registry in 2004) and a version with lyrics. The music was written (or written down) by Joe Garland, a Tin Pan Alley tunesmith who also composed “Leap Frog” for Les Brown and his band. The lyrics are by Andy Razaf who would also contribute the words to “Ain’t Misbehavin’” and “Honeysuckle Rose.” For as much as it was an original work, “In the Mood” is also an amalgamation, a “mash-up” before the term was coined. It arrived at its creation via the mixture and integration of three or four different riffs from various earlier works. Its earliest elements can be found in “Clarinet Getaway,” from 1925, recorded by Jimmy O’Bryant, an Arkansas bandleader. For his Paramount label instrumental, O’Bryant was part of a four-person ensemble, featuring a clarinet (played by O’Bryant), a piano, coronet and washboard. Five years later, the jazz piece “Tar Paper Stomp” by Joseph “Wingy” Manone, from 1930, beget “In the Mood’s” signature musical phrase. -
Miller Discography [J D Uv in Peris, Conf
D O W N BEAT February 24. 1954 February PERSPECTIVES Feather Tells Woes Of Lunch, Too? New York — Apollo Theater _________ ________________ By Ralph J- Gleason ■nd all points north! Jazz Club U.S.A. Tour Stag« show» huvr disappear«^) Is the band business coming back? Well, I don’t think any By Leonard Feather ♦------------------------------------------------ irons the Broadway scene, and one can legitimately claim to know the answer to that one, shows, (2) Gene Wright and Bobby the Apollo in Harlem is flow The but there are some indications which point to a resurgence Oslo, Norway — If you’ve1 White, Buddy DeFraneo’ii bassist about the only theater to fea | of interest in the big units. ever told yourself what a ball1 and drummer, had to work on bor ture name bands. And many New t rowed equipment because their in Yorkers will learn this when Gh To begin with, the days of the it must be to tour Europe with Lionel Hampton applies his pro single acts, the vocalists, and struments were snowbound in New a jazz unit, you ought to be; York, (3) Billie Holiday, after a motional mallet* to the problem. Miller the featured instrumentalists, are along on the “Jazz Club U.S. A.” bound, by the nature of the beast, ( long series of hassels about who Hamp goes into the Apollo jaunt, now engaged in a 28-day should accompany her, had nc time for a week starting Feb. 12, and Tradi Biography to be numbered. Most of the real tussle with customs officials in nine draws in the vocal field have priced ' to rehears« with Carl Drinkard, for that period he'll station his had a r countries. -
BOBBY HACKETT “MELLOW MAN with a HORN” by Music Librarian CHRISTOPHER POPA with Comments by Bobby’S Son ERNIE HACKETT
MAY 2017 A FRESH BIOGRAPHICAL SKETCH BOBBY HACKETT “MELLOW MAN WITH A HORN” by Music Librarian CHRISTOPHER POPA with comments by Bobby’s son ERNIE HACKETT VITAL STATS given name Robert Leo Hackett birth January 31, 1915, Providence, Rhode Island father William F. Hackett, a railroad blacksmith mother Rose A. (nee Mulvaney) Hackett siblings six sisters and two brothers education Commercial High School [ now Central High School ], Providence, Rhode Island (he left school at age 14) spouse Edna Lillian (nee Lee) Hackett, b.April 7, 1915; m.July 26, 1937; d.April 15, 2000 son Ernest “Ernie” Hackett, b.April 6, 1949 daughter Barbara Traynor grandchildren two physical description “a short, trim man who sometimes wore a thin mustache” death June 7, 1976, Chatham, Massachusetts, heart attack grave Seaside Cemetery, Chatham, Massachusetts Bobby Hackett’s own big band didn’t last very long; he made a much greater musical impression as a sideman in such orchestras as Horace Heidt, Glenn Miller, and Glen Gray (not to mention his trumpet solos on various Jackie Gleason record albums afterwards). Hackett had been playing music since he was about eight years old. “His first instrument was the violin. Then on to banjo & guitar!,” his son, Ernie, reminded me. “Later he switched over to trumpet & landed on cornet!” Hackett played with various groups at restaurants, hotels, ballrooms across the northeast, and in 1935 received his Musicians Union card from Local 9-535 in Boston. He formed his own group, a small band, not long afterwards, and in 1938 began recording under his own name for the Vocalion label, employing, on various dates, such sidemen as George Brunies (trombone), Brad Gowans (valve trombone), Pee Wee Russell (clarinet), Ernie Caceres (baritone sax), Eddie Condon (guitar), Johnny Blowers (drums), and Linda Keene (vocal). -
CLASSIC JAZZ This Page Intentionally Left Blank CLASSIC JAZZ
CLASSIC JAZZ This page intentionally left blank CLASSIC JAZZ A Personal View of the Music and the Musicians FLOYD LEVIN Foreword by BENNY CARTER UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London Title page illustration: The author and his wife, Lucille—Emperor and Empress of the 1985 Jazz Jubilee, Sacramento, California. Unless otherwise credited, all illustrations are by the author or are from his collection. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2000 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Levin, Floyd. Classic jazz : a personal view of the music and the musicians / Floyd Levin. p. cm. Includes index. isbn 0-520-21360-2 (cloth : alk. paper) 1. Jazz—History and criticism. 2. Jazz musi- cians—United States. I. Title. ml3508.l48 2000 781.65—dc21 00-022554 Manufactured in the United States of America 08 07 06 05 04 03 02 01 00 10987654321 The paper used in this publication meets the mini- mum requirements of ansi/niso z39.48-1992 (r 1997) (Permanence of Paper). To Lucille, my loving wife and perceptive editor, who shared these wonderful experiences with me. Her sincere praises buoyed my efforts, and her unerring criticisms deftly improved my narration. This page intentionally left blank CONTENTS FOREWORD BY BENNY CARTER xv PREFACE xvii ACKNOWLEDGMENTS xxiii INTRODUCTION 1 1 KID ORY AND THE REVIVAL ERA 9 Kid Ory / 11 Kid Ory’s Legendary 1921 Nordskog/Sunshine Recordings / 14 Papa Mutt Carey -
88-Page Mega Version 2016 2015 2014 2013 2012 2011 2010
The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! 88-PAGE MEGA VERSION 2017 2016 2015 2014 2013 2012 2011 2010 COMBINED jazz & blues report jazz-blues.com The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! INDEX 2017 Gift Guide •••••• 3 2016 Gift Guide •••••• 9 2015 Gift Guide •••••• 25 2014 Gift Guide •••••• 44 2013 Gift Guide •••••• 54 2012 Gift Guide •••••• 60 2011 Gift Guide •••••• 68 2010 Gift Guide •••••• 83 jazz &blues report jazz & blues report jazz-blues.com 2017 Gift Guide While our annual Gift Guide appears every year at this time, the gift ideas covered are in no way just to be thought of as holiday gifts only. Obviously, these items would be a good gift idea for any occasion year-round, as well as a gift for yourself! We do not include many, if any at all, single CDs in the guide. Most everything contained will be multiple CD sets, DVDs, CD/DVD sets, books and the like. Of course, you can always look though our back issues to see what came out in 2017 (and prior years), but none of us would want to attempt to decide which CDs would be a fitting ad- dition to this guide. As with 2016, the year 2017 was a bit on the lean side as far as reviews go of box sets, books and DVDs - it appears tht the days of mass quantities of boxed sets are over - but we do have some to check out. These are in no particular order in terms of importance or release dates.