Paul Whiteman and His Orchestra, New York, January 12, 1928
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JUKEBOX JAZZ by Ian Muldoon* ______
JUKEBOX JAZZ by Ian Muldoon* ____________________________________________________ n 1955 Bill Haley’s Rock Around the Clock was the first rock and roll record to become number one on the hit parade. It had made a stunning introduction in I the opening moments to a film called Blackboard Jungle. But at that time my favourite record was one by Lionel Hampton. I was not alone. Me and my three jazz loving friends couldn’t be bothered spending hard-earned cash on rock and roll records. Our quartet consisted of clarinet, drums, bass and vocal. Robert (nickname Orgy) was learning clarinet; Malcolm (Slim) was going to learn drums (which in due course he did under the guidance of Gordon LeCornu, a percussionist and drummer in the days when Sydney still had a thriving show scene); Dave (Bebop) loved the bass; and I was the vocalist a la Joe (Bebop) Lane. We were four of 120 RAAF apprentices undergoing three years boarding school training at Wagga Wagga RAAF Base from 1955-1957. Of course, we never performed together but we dreamt of doing so and luckily, dreaming was not contrary to RAAF regulations. Wearing an official RAAF beret in the style of Thelonious Monk or Dizzy Gillespie, however, was. Thelonious Monk wearing his beret the way Dave (Bebop) wore his… PHOTO CREDIT WILLIAM P GOTTLIEB _________________________________________________________ *Ian Muldoon has been a jazz enthusiast since, as a child, he heard his aunt play Fats Waller and Duke Ellington on the household piano. At around ten years of age he was given a windup record player and a modest supply of steel needles, on which he played his record collection, consisting of two 78s, one featuring Dizzy Gillespie and the other Fats Waller. -
334 XIII. Revivals and Recreations; The
XIII. Revivals and Recreations; The Sociology of Jazz By the early 1970s, as we have seen, jazz was in a state of stylistic chaos. This was one reason why the first glimmers of “smooth jazz” came about as both an antidote to fusion and an answer to “outside jazz.” But classical music was also in a state of chaos. The majority of listen- ers had become sick of listening to the modern music that had come to dominate the field since the end of World War II and had only become more abrasive and less communicative to a lay audience. In addition, the influx of young television executives in that period had not only led to the cancellation of many well-loved programs who they felt only appealed to an older audience demographic, but also the chopping out of virtually all arts programming. Such long-running programs as The Voice of Firestone and The Bell Telephone Hour were already gone by then. Leonard Bernstein had been replaced at the New York Philharmonic by Michael Tilson Thomas, an excellent conductor but not a popular communicator, and thus CBS’s “Young People’s Con- certs” no longer had the same appeal. In addition, both forms of music, classical and jazz, were the victims of an oil shortage that grossly affected American pressings of vinyl LPs. What had once been a high quality market was now riddled with defective copies of discs which had blis- ters in the vinyl, scratchy-sounding surfaces and wore out quickly. Record buyers who were turned off by this switched to cassette tapes or, in some cases, the new eight-track tape format. -
The Victor Black Label Discography
The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig ISBN 978-1-7351787-3-8 ii The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig American Discography Project UC Santa Barbara Library © 2017 John R. Bolig. All rights reserved. ii The Victor Discography Series By John R. Bolig The advent of this online discography is a continuation of record descriptions that were compiled by me and published in book form by Allan Sutton, the publisher and owner of Mainspring Press. When undertaking our work, Allan and I were aware of the work started by Ted Fa- gan and Bill Moran, in which they intended to account for every recording made by the Victor Talking Machine Company. We decided to take on what we believed was a more practical approach, one that best met the needs of record collectors. Simply stat- ed, Fagan and Moran were describing recordings that were not necessarily published; I believed record collectors were interested in records that were actually available. We decided to account for records found in Victor catalogs, ones that were purchased and found in homes after 1901 as 78rpm discs, many of which have become highly sought- after collector’s items. The following Victor discographies by John R. Bolig have been published by Main- spring Press: Caruso Records ‐ A History and Discography GEMS – The Victor Light Opera Company Discography The Victor Black Label Discography – 16000 and 17000 Series The Victor Black Label Discography – 18000 and 19000 Series The Victor Black -
JREV3.6FULL.Pdf
KNO ED YOUNG FM98 MONDAY thru FRIDAY 11 am to 3 pm: CHARLES M. WEISENBERG SLEEPY I STEVENSON SUNDAY 8 to 9 pm: EVERYDAY 12 midnite to 2 am: STEIN MONDAY thru SATURDAY 7 to 11 pm: KNOBVT THE CENTER OF 'He THt fM DIAL FM 98 KNOB Los Angeles F as a composite contribution of Dom Cerulli, Jack Tynan and others. What LETTERS actually happened was that Jack Tracy, then editor of Down Beat, decided the magazine needed some humor and cre• ated Out of My Head by George Crater, which he wrote himself. After several issues, he welcomed contributions from the staff, and Don Gold and I began. to contribute regularly. After Jack left, I inherited Crater's column and wrote it, with occasional contributions from Don and Jack Tynan, until I found that the well was running dry. Don and I wrote it some more and then Crater sort of passed from the scene, much like last year's favorite soloist. One other thing: I think Bill Crow will be delighted to learn that the picture of Billie Holiday he so admired on the cover of the Decca Billie Holiday memo• rial album was taken by Tony Scott. Dom Cerulli New York City PRAISE FAMOUS MEN Orville K. "Bud" Jacobson died in West Palm Beach, Florida on April 12, 1960 of a heart attack. He had been there for his heart since 1956. It was Bud who gave Frank Teschemacher his first clarinet lessons, weaning him away from violin. He was directly responsible for the Okeh recording date of Louis' Hot 5. -
Newsletter “In the Can.” for a Memorial Tribute to the Late, Great Jazz Writer & Ambassador, Herb Wong
THE GREAT ESCAPE!* j *“Anything that is good jazz is a great escape. When you’re involved in playing or listening to great jazz, no one can get to you.” -Woody Herman Issue No. 31 Presented by: www.dixieswing.com Benny’s Busy Day By Browser Bob Knack Transcriptions are 16 inch discs containing music that was not Benny Goodman must have slept well on the night of available on 78s but sold exclusively to radio stations for air-play. June 6th 1935, because he and his band sure had a busy day! Back then, because of the depression, it is said that He and his Rhythm Makers Orchestra went into the studio and in transcriptions actually outsold 78 RPM records. During the one sitting recorded 50 tracks (one a medley of two) for the RCA 1970’s, there was a “direct-to-disc” recording craze where bands transcription service. recorded a “live” session directly to a master disc with no editing The backstory: Benny in 1934 had organized a big band or mixing. Bands such as Harry James, Les Brown, Buddy Rich, for Billy Rose’s Music Hall in New York City. It was run as a and Benny Goodman participated in the production of these supper club with vaudeville acts opening and the Goodman band audiophile LP’s. Fact is Benny’s 1935 transcriptions were the playing for dancing later. A fortuitous aspect of the engagement same as direct-to-disc, and all 50 sides were done with one take! was that a radio broadcast was arranged for the performances So on June 6, Goodman, happy to have the work, went and Benny got some welcome exposure. -
The Strutter
The Strutter VOLUME 26 NUMBER 10 Traditional Jazz in the Philadelphia Tri-State Area MAY 2016 OUR NEXT CONCERT backing up such greats as Tony Bennett and Sammy Davis, Jr., in Philadelphia's Kimmel Center, and at AL HARRISON DIXIELAND BAND many jazz festivals all over the country. The Al Harrison Dixieland Band, formed in 2007, has performed concerts for Tri-State Jazz Society, Cape May Traditional Jazz Society, Pennsylvania Jazz Society, and fund raisers for Jazz Bridge and other charities. “A great, lively band that preserves the tradition of classic jazz without embalming it. The creativity is at full throttle, and so is the sense of fun. You can’t listen to Al and his friends and not feel better about life in general.” - JOE BARRON, MONTGOMERY NEWSPAPERS. Website: www.alharrisonjazzband.com Sunday, May 22, 2016 Video: http://vimeo.com/1600600 2:00 – 4:30 p.m. Community Arts Center 414 Plush Mill Road Wallingford, PA 19086 Directions at http://www.tristatejazz.org/directions- cac.html Al Harrison – Trumpet, Cornet, Fluegelhorn, Vocals, Leader Concert Admissions Joe Midiri -Clarinet,Vocals $10 First-time attendees and Members Fred Scott, Trombone $20 General Admission Bill Schilling, Piano High school/college students with ID and Bill Stumm, Bass children with paying adult admitted free Chic Sperell, Drums Pay at the door The Al Harrison Dixieland Band returns to the Tri- State Jazz Society, following its triumph in January, 2015. “The Al Harrison Dixieland Band is a polished ensemble with enough firepower, as Duke In This Issue Ellington would say, to ‘scorch the moon!’” - JIM June 5, 2016 Concert........Page 2 MCGANN, THE STRUTTER. -
Benny Goodman Hits of the Swing Craze Volume 9 (1936-1939) Mp3, Flac, Wma
Benny Goodman Hits Of The Swing Craze Volume 9 (1936-1939) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Hits Of The Swing Craze Volume 9 (1936-1939) Country: France Released: 1973 Style: Big Band MP3 version RAR size: 1709 mb FLAC version RAR size: 1398 mb WMA version RAR size: 1866 mb Rating: 4.3 Votes: 561 Other Formats: AIFF MMF AAC WAV MOD VQF ADX Tracklist Hide Credits Pick Yourself Up A1 2:51 Written-By – Dorothy Fields, Jerome Kern St. Louis Blues A2 3:20 Arranged By – Fletcher HendersonWritten-By – William Christopher Handy* Love Me Or Leave Me A3 3:36 Arranged By – Fletcher HendersonWritten-By – Gus Kahn, Walter Donaldson Ruffin' At The Ritz A4 3:24 Written-By, Arranged By – William Miller* Bugle Call Rag A5 2:56 Arranged By – Fletcher HendersonWritten-By – B. Meyers*, E. Schoebel*, J. Pettis* Minnie The Moocher's Wedding Day A6 2:57 Arranged By – Fletcher HendersonWritten-By – Harold Arlen, Ted Koehler I Never Knew A7 2:20 Arranged By – Fletcher HendersonWritten-By – Gus Kahn, Ted Fiorito Sweet Sue, Just You A8 3:26 Written-By – Victor Young, Will J. Harris* The Flat Foot Floogee B1 3:18 Arranged By – Joe BelfordWritten-By – Bud Green, Slam Stewart, Slim Gaillard Margie B2 2:10 Arranged By – James Mundy*Written-By – B. Davis*, C. Conrad*, J. R. Robinson* Russian Lullaby B3 2:22 Written-By – Irving Berlin Topsy B4 2:57 Written-By – Eddie Durham, Edgar Battle My Honey's Lovin' Arms B5 2:25 Arranged By – Fletcher HendersonWritten-By – Herman Ruby, Joseph Meyer Farewell Blues B6 2:11 Arranged By – James Mundy*Written-By – E. -
THE INFLUENCE of BIX BEIDERBECKE – VOLUME ONE: USA by Max Easterman Even Though It Became Known As “The Jazz Age”, Real Ja
THE INFLUENCE OF BIX BEIDERBECKE – VOLUME ONE: USA By Max Easterman Even though it became known as “The Jazz Age”, real jazz was rarely popular in its own right during the 1920s, as witness the rarity of many of the finest jazz recordings from this era. Jazzmen – particularly white jazzmen – made much more money and often won greater fame using it to pep up dance music than they ever did making pure jazz recordings, though, of course, it’s by the jazz they played on records that we now judge their worth. Such is the distorting mirror of history! Of course, to the general public of the time, arranged dance music played with a rhythmic bounce and offering the occasional jazz-like solo was what they thought of as “jazz”. Two recordings suffice to illustrate the point. The recording of Paul Whiteman’s Back In Your Own Backyard , issued in March 1928, sold 88,000 copies; Bix’s recording of Somebody Stole My Gal , recorded a few weeks later, made sales of only 2400. The first is a highly arranged dance band recording containing just two short solos by Bix; the latter is a romping jazz gem, on which Bix flies like a bird throughout and inspires his fellows to greater things than they knew they were capable of. Bix was a legend in his lifetime for the men who played with him, or listened to him and tried to play like him. But for the general public, who bought the discs, he was just another name, a name which only became significant, for some of them, long after his death. -
Emmett Berry
1 The TRUMPET of EMMETT BERRY Solographer: Jan Evensmo Last updated: July 18, 2019 2 Born: Macon, Georgia, July 23, 1915 Died: June 22, 1993 Introduction: Emmett Berry was an excellent swing trumpeter but possibly suffered by being overshadowed by the charismatic Roy Eldridge with a related style. It was quite obvious that he should be a candidate for a solography on internet! Early history: Raised in Cleveland, Ohio; began ‘gigging’ with local bands, then joined J. Frank Terry’s Chicago Nightingales in Toledo, Ohio (1932), left Terry in Albany, New York, in 1933and ‘gigged’ mainly in that area during the following three years. Joined Fletcher Henderson in late 1936, and remained until Fletcher disbanded in June 1939. With Horace Henderson until October 1940, briefly with Earl Hines, then with Teddy Wilson’s sextet from May 1941 until July 1942, then joined Raymond Scott at C.B.S. With Lionel Hampton from spring of 1943, week with Teddy Wilson in August 1943, briefly with Don Redman and Benny Carter, then again rejomed Teddy Wilson c. November 1943. With John Kirby Sextet from summer 1944 until January 1945, Eddie Heywood, February until October 1945, then joined Count Basie. Left Basie in 1950. (ref. John Chilton). Message: I met Emmett Berry’s daughter Christina at the National Jazz Museum of Harlem a few years ago, seeking information about her father. I promised her a solography, it has taken some time, but here it is. Hopefully you are happy with this tribute to your father, Christina! 3 EMMETT BERRY SOLOGRAPHY FLETCHER HENDERSON & HIS ORCHESTRA NYC. -
Download Booklet
120665bk Teddy2 23/1/03 4:47 pm Page 2 1. Sweet Lorraine 3:02 8. Too Good To Be True 3:06 16. Where Or When 3:23 19. Just A Mood (Blue Mood) 6:42 (Cliff Burwell–Mitchell Parish) (Clay Boland) (Richard Rodgers–Lorenz Hart) (Teddy Wilson) Brunswick 7520, mx B 17916-1 Brunswick 7663, mx C 1377-2 Benny Goodman Trio Teddy Wilson Quartet Recorded 31 July 1935, New York Recorded 14 May 1936, Chicago Victor 25725, mx BS 015575-1 Brunswick 7973, mx LA 1429-A, 1430-A 2. Body And Soul 3:30 9. Warmin’ Up 3:11 Recorded 29 October 1937, New York Recorded 5 September 1937, Los Angeles (Johnny Green–Edward Heyman–Robert (Teddy Wilson) 17. Coquette 2:43 20. I’ve Found A New Baby 2:40 Sour–Frank Eyton) Brunswick 7684, mx C 1378-1 (Johnny Green–Gus Kahn–Carmen (Jack Palmer–Spencer Williams) Benny Goodman Trio Recorded 14 May 1936, Chicago Lombardo) Brunswick 7926, mx B 21220-1 Victor 25115, mx BS 92705-1 10. Why Do I Lie To Myself About You 3:04 Brunswick 7943, mx LA 1383-A Recorded 1 June 1937, New York Recorded 13 July 1935, New York (Benny Davis–J. Fred Coots) Recorded 30 July 1937, Los Angeles Teddy Wilson & His Orchestra except: 3. Life Begins When You’re In Love 3:03 Brunswick 7699, mx B 19496-2 18. The Hour Of Parting 3:12 Benny Goodman Trio (tracks 2 &16) and (Lew Brown–Victor Schertzinger–Harry Recorded 30 June 1936, New York (Gus Kahn–Mischa Spoliansky) Teddy Wilson Quartet (track 19) Richman) 11. -
1988 Commencement Program State University of New York College at Cortland
SUNY College Cortland Digital Commons @ Cortland College Commencements Programs College Commencements 5-14-1988 1988 Commencement Program State University of New York College at Cortland Follow this and additional works at: https://digitalcommons.cortland.edu/ commencements_programs Recommended Citation State University of New York College at Cortland, "1988 Commencement Program" (1988). College Commencements Programs. 153. https://digitalcommons.cortland.edu/commencements_programs/153 This Program is brought to you for free and open access by the College Commencements at Digital Commons @ Cortland. It has been accepted for inclusion in College Commencements Programs by an authorized administrator of Digital Commons @ Cortland. For more information, please contact [email protected]. 23 (2.(; COMMENCEMENT Saturday, May 14, 1988 STATE UNIVERSITY OF NEW YORK COLLEGE AT CORTLAND 1987-88 • THE 120TH YEAR '. ALMA MATER ,. By lofty elm trees shaded round, Tioughnioga near, Our grand old Cortland College stands, To all of us how dear! We'll sing to thee, dear Alma Mater, Of love that shall never die, We'll strive for thy glory eternal, '-, Keep thy stainless honor high. Inspiring each son and each daughter The noblest aims to try, ~. , All thy fame and thy spirit, ' Thy might are ours As the swift years hurry by. j " Mace Bearer The College Council George McDermott Janet J. Edison Nicholas J. Gabriel Ann Gorski Gonfalouiers Walter W. Grunfeld Marcia Carlson Florence S. Hage Robert Hammond KevinR Howe Robert Rhodes Theodore I. Jacobus, Chairman Martin Mack Marlene Markoe '88 David Perfetti Marshals Donna Anderson Timothy Baroni AJden L. Carlson Commencement Committee Daniel Driscoll Timothy Baroni John L. Fauth Trudi Ciccoricco '88 Ann O. -
2012 Pee Wee Russell Memorial Stomp
Volume 40 • Issue 1 January 2012 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Nineteen-year-old Harmony Boys bandleader Timme Rosenkrantz posing at the drums. His violin stands on floor to his left. Four of the sextet doubled on other instruments. This 1930 photo courtesy of Lis I. Godtfredsen, daughter of the youngest sideman, then 15-year-old alto saxophonist Erik Godtfredsen, who went on to become a prominent ophthalmologist. imme Rosenkrantz was a Danish journalist, photographer, author, Tconcert and record producer, broadcaster and entrepreneur with a 2012 life-long consuming passion for jazz. Known as the Jazz Baron, he liked Pee Wee to trace his family roots back to the Rosencrantz in Shakespeare’s Russell Hamlet. Timme was the first European journalist to report on Meet Memorial the jazz scene in Harlem, from 1934 until 1969. He is credited Stomp with discovering and being first to record the pianist Erroll Garner. SUNDAY, Several LPs from those home-recorded sessions were released by Blue Note and later on many other jazz labels. He also found and the MARCH 4 Birchwood recorded the saxophonist Don Byas and the trombonist Tyree Glenn. Manor Now the first English edition of Harlem Jazz Adventures — A Jazz TICKETS ON SALE NOW. European Baron’s Memoir, 1934-1969, a translation and adaptation see ad of Rosenkrantz’s long out of print 1964 Danish memoir by Jersey Jazz’s page 9 International Editor Fradley Garner, is set for publication in the United States, Canada and the United Kingdom this month by The Scarecrow Press.