DOCSLIB.ORG

By LEONARD FEATHER J, Autumn the Dark

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
By LEONARD FEATHER J, Autumn the Dark ure to hear the even and steady work of Joe Newman-Sir Charles Thompson and Roy Eldridge were starred. Smoke and BASICALLY SWING—American Recording So­ Pen/d Best. ciety G-447: Close Quarters; Jose Beguines; Blue Scuttlebutt are Grammercy Five sides, the There and on Love, the juxtaposition of For Slim; Tke Sleeper; Bop This; Ok Joel former with Butterfield, Johnnv Guarnieri Memories Of Yon; For Tke Ears. Scott .md Pee Wee Russell decidedly dram­ et al: the latter with Rov. Dodo Marmarosa, The first four tracks are by a Newman atizes the way the former can force him- Barney Kessel, among members. An excel­ group, including Franks Foster and Wess, «lf and even ailed emotion, and Russell, lent buy at Camden's $1.98 tag. Matthew (Jee, Eddie Jones, and Osie John­ for all his twists and tangents, knows how son, 'I'he other side is by I hompson, with to lei it happen. Cootie William—Kev Stewart Benny Powell, Newman, Pete Brown Gene THE BIG CHALLENGE—American Recording Otherwise, a nearly brilliant Pettiford Ramey, and others. Substantial swing, culled Society G-448: I'm Beginning To See The Light; solo doesn't salvage a sloppy anti cliche- from early Vanguard records. Good sound. Do Nothing Till You Hear Prom Me; Alphonse And Gaston; I Got A Right To Sing The Blues; ridden Leaps Nor does very good Knepper (D.C.) Walkin' My Baby Back Home; U ken Your Lover do that for Lover Man, nor very good Artie Shaw Flanagan and good Hawkins for Ornithol­ THE GREAT ARTIE SHAW—Camden CAL- ogy. 465: / Can't Get Started; Scuttlebutt; A Room Jazztonc. An excellent investment for mem­ Wilk A View; Blues In Tke Nigkt; Rosalie; A bers of the mail-order society. Also on The implication in the notes that noth­ Foggy Day; Wkat Is Tkere To Say; My Heart hand are Coleman Hawkins, Bud Freeman, ing much happened on the street until Stood Still; Smoke Gets In Your Eyes; Tke Man Lawrence Brown, J. C. Higginlxnham. Hank 1912 and that the practice of writing new A cross-cut of Shavian bands and groups Jones, Billy Bauer, Milt Hinton, and Gus lines on old chord structures began with covering 19.38 to 1945. and including bands Johnson. Hawkins is excellent on this set. bop both are arguable, to say the least. in which Hot l ips Page, Billy Butterfield, (D.C.) And as long as we are being so scholarly AKEY about the lunes, Benny Harris' point of • 1595 departure for Ornithology was Parkers solo on The Jumpin’ Blues—so there. (MAV.) Miet Davi* ank Jone*, Fhe tunet: by LEONARD FEATHER J, Autumn the Dark. / Jazz Authority, Columnist for Down Beat nonball. tal Author of Encyclopedia of Jazz Series . Chronicle Foreword by JOHN • DIZZY" GILLESPIE rgh Courier OTE 1595 Why the Experts Rave About This NEW and DS k 23 A Guide Fascinating Picture of XL • JAZZ • To The Entire Field of Jazz DUKE ELLINGTON MW "Will Interest both the non.««pert and that« who are already aware. Th« Anat­ N • Its nature and its instruments omy of Improvisation chaptar will com­ • Its sources and sounds mand the respect of the classical musi­ Jazz Reissues cian: It shows a highly scientific ap­ • Its development, performers, proach, and clearly the author has tho > AT heart for it, os well as th« musical 5ITY composers, race problems, equipment. THE BOOK OF JAZZ Is for and its future p«opl« who would b«com« musically , 1959 Jelh Koll Morton mature." THE KING OF NEW ORI EANS JAZZ—RCA Including JOHN "DIZZY” GILLESFIE says: Victor LPM-1649; Black Bottom Stomp; Tke "A lot of information that has novar Chant ; Smoke House Blues; Steamboat Stomp; “The Anatomy of Improvisation" bean put together in this particular (and Sidewalk Hines (No. 2 and 3); Dead .Man Hines very useful) way ... a very valuable (So. I and 2); Cannon Ball Blues; Grandpa's presenting for the first timn actual musical Illus­ addition to our literature on tho sub­ Spells; Doctor Jazz; Original" Jelly Roll Blues; trations of the jazz improvisations by 15 of the ject ... a searchlight into tho future." Jungle Blues (No. 2 and 3); Tke Pearls; Beale Street Blues; Kansas City Stomp; Shoe Shiners“ great soloists of all time ... as clear and JOHN HAMMOND *ay»i Drag; Georgia Swing. fascinating to the listener as to the musician. "Demolishes some myths, ond affords new insights into tho origins and future Another in the RCA-Victor Down Beat SENSATIONAL OFFER TO of jazz and Its instrumentalist*.'* Jazz Milestones scries with excellent annota­ LANGSTON HUGHES »ay»: tion bv (Jeorge Hoefer, conductor of this "More musical sense and more Intellec­ DOWN BEAT READERS ONLY tual meat than most factual books on magazine's The Hol Box. Titles stem from any subject these days. His dramatic and 1926, '27, ‘28, when Motion was at his peak. THE BOOK OF JAZZ . $3.95 informative chapter on jazz and race Is alone worth the price of the book.” vith Stan Among the Red Hot Peppers were such as 1 YEAR OF DOWN BEAT . 7.00 summer, MARSHALL STEARNS says. Omer Simeon. Johnny St. Cyr, Kid Ory, "A wealth of first-hand information. In­ ind many TOTAL VALUE .... $10.95 Baby Dodds, George Mitchell, and others. strument by instrument, enlivened by a ation will new and controversial point of view.” inducting Sound is quite good. Recommended. (D.C.) BOTH FOR ONLY *895 NAT HENTOFF says ested in Offer open to »ubteriber* . add "Invaluable information contained In no ind mail. other book.” Mulligan-Coltrane-Rollins subscription to your present one. SAXOPHONE REVOLT — Riverside 12-284 : Kkythm-a-uing (Gerry Mulligan-Theoloniu« Monk); Hurry Maher Publlcatlon», Inc. Monk's Mood (John Coltrane-Monk); Woody'n 2001 Calumet Ave., Chicago 16, Illinois lo« (Johnny Griffin); Think Deep (Coleman Haw- kinat; A Little Taste (Julian Adderley); Mood Mail Coupon Floate send me Tho Book ol Jazz and enter my subscrlptlon to Down Beat for 1 Stan Kenton ‘•digo (Johnny Hodges); Namely Yon (Benny (26 issue«) □ Add to my present subscription sity, July 26 Gallon I; Cutie (Sonny Rollins). Now □ I enclose $8.95 (instead of tho regular price of $10 95) Eight of the outstanding sax men in jazz □ I endete $7.00 for one year subscription to Down Boot alone, For Thi» todav are represented in samples generally □ I endow $3.95 for The Book of Jazx alone. quite excellent on this I P All tracks have Money Nome been pulled from previously issued River­ Saving Addre» ITE________ - side I Ps, but the anthology is well worth 359 City. Zone.........State. owning even if you already have one or Offer ■359 two or more of the original sets. (D.C.) March 5, 1959 • 37.
Load more

Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
    [Show full text]
  • Lorraine Feather Master Clinic.06.01.06E
    2006/2007 Master Clinics and Master Performances Lorraine Feather Lorraine Feather “She has dazzled us as both a singer and lyricist...with Such Sweet Thunder , she rises to new heights by taking a full- length dive into Ellingtonia...genius. Pure genius.” Christopher Loudon Jazz Times “Energetic, enchanting and exceptional.” Carol Sloane Down Beat Lorraine Feather has wowed the jazz world with her latest recording Dooji Wooji. Down Beat Magazine calls her “It's a bit early, but here's “energetic, enchanting and exceptional.” The daughter of the my bid for Best Vocal famous critic and songwriter Leonard Feather (and goddaughter Project of 2004. Lorraine of Billie Holiday), Lorraine has exploded onto the jazz scene Feather, daughter of the with her ingenious lyrics, her dazzling voice, and her exceptional famed jazz historian/ performances. Lorraine is this generation’s celebrated jazz critic/composer Leonard lyricist and singer. Feather, has delivered a significant appreciation of Lorraine’s new album, Dooji Wooji (May, 2005, Sanctuary the Ellington/ Strayhorn Records), is a natural progression from the projects she has oeuvre..” done since 1999, which have featured a combination of well- Michael P. Gladstone known instrumental pieces with her contemporary lyrics (Fats All About Jazz Waller in her 1999 New York City Drag for Rhombus Records; Duke Ellington in last year’s Such Sweet Thunder on Sanctuary) “Great jazz lyricists are as well as all-new songs in a classic jazz vein on her 2002 not easy to find, for Sanctuary release Cafe Society. wordsmiths on a par with Jon Hendricks and Eddie When writing and recording Such Sweet Thunder (2004), Jefferson remain Lorraine became intrigued by the “small big band” sound perpetually in short favored by Duke Ellington, as well as other 1930’s band leaders supply…Feather can turn such as John Kirby and Benny Goodman.
    [Show full text]
  • American Music Review the H
    American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Spring 2013 Invisible Woman: Vi Redd’s Contributions as a Jazz Saxophonist By Yoko Suzuki, University of Pittsburgh The story of alto saxophonist Vi Redd illustrates yet another way in which women jazz instrumentalists have been excluded from the dominant discourse on jazz history. Although she performed with such jazz greats as Count Basie, Max Roach, Dizzy Gillespie, and Earl Hines, she is rarely discussed in jazz history books except for those focusing specifically on female jazz musicians. One reason for her omission is that jazz historiography has heavily relied on commercially produced recordings. Despite her active and successful career in the 1960s, Redd released only two recordings as a bandleader, in 1962 and 1964. Reviews of these recordings, along with published accounts of her live performances and memories of her fellow musicians illuminate how Redd’s career as a jazz instrumentalist was greatly shaped by the established gender norms of the jazz world. Elvira “Vi” Redd was born in Los Angeles in 1928. Her father, New Orleans drummer Alton Redd, worked with such jazz greats as Kid Ory, Dexter Gordon, and Wardell Gray. Redd began singing in church when she was five, and started on alto saxophone around the age of twelve, when her great aunt gave her a horn and taught her how to play. Around 1948 she formed a band with her first husband, trumpeter Nathaniel Meeks. She played the saxophone and sang, and began performing professionally.
    [Show full text]
  • The Great Migration and Women in Jazz
    BORDER CROSSINGS: THE GREAT MIGRATION AND WOMEN IN JAZZ Dinah Washington – Circa 1952 Birth name Ruth Lee Jones Also known as Queen of the Blues, Queen of the Jukebox, Queen of Jam Sessions Influenced by Mahalia Jackson Origin/Grew Up - Chicago, Illinois, U.S. Genres - Jazz, blues, R&B, gospel, traditional pop music Instruments - Vocals, piano, vibraphone Associated acts - Lionel Hampton, Brook Benton 1924 - Born August 29 - Tuscaloosa, Alabama, U.S. 1939 - Won an amateur contest at Chicago's Regal Theater where she sang "I Can't Face the Music". After winning a talent contest at the age of 15, she began performing in clubs. 1941-42 Performing in such Chicago clubs as Dave's Rhumboogie and the Downbeat Room of the Sherman Hotel (with Fats Waller). She was playing at the Three Deuces, a jazz club, when a friend took her to hear Billie Holiday at the Garrick Stage Bar. Joe Sherman[who?] 1944 - Recording debut for the Keynote label that December with "Evil Gal Blues", written by Leonard Feather and backed by Hampton and musicians from his band, including Joe Morris (trumpet) and Milt Buckner (piano).[1][6][7] Both that record and its follow-up, "Salty Papa Blues", made Billboard's "Harlem Hit Parade". 1946 - Signed with Mercury Records as a solo singer. Her first solo recording for Mercury, a version of Fats Waller's "Ain't Misbehavin'", was another hit, starting a long string of success. 1948 – 1955 27 R&B top ten hits, making her one of the most popular and successful singers of the period.
    [Show full text]
  • An Analytical Approach to Vibraphone Performance Through the Transcription and Analysis of Gary Burton’S Solo on Blue Monk
    AN ANALYTICAL APPROACH TO VIBRAPHONE PERFORMANCE THROUGH THE TRANSCRIPTION AND ANALYSIS OF GARY BURTON’S SOLO ON BLUE MONK A Monograph 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 Musical Arts in The School of Music By Charles B. Brooks B.A., Western Kentucky University, 1997 M.A., Austin Peay State University, 2000 December 2007 ACKNOWLEDGMENTS This document would not exist without the guidance and counsel of several extraordinary individuals. It is dedicated to my father for introducing me to the world of music. I would like to extend special gratitude to my mother for her guidance, strength, and belief that anything is possible. In addition I would like to thank Johnny Walker and my brother, Michael Brooks, without whom none of this would possible. This document is also dedicated to Kenneth Welch and Larry Long for their counsel and friendship. I extend special thanks to my teachers Dr. Christopher Norton, Mr. David Steinquest, Dr. Charles Smith, Dr. Thomas King, Dr. Jefferey Wood, Dr. Dinos Constantinides, Dr. Joseph Skillen, Dr. Robert Peck, and Dr. Michael Kingan. I would especially like to thank Dr. Willis Delony for staying the course and guiding me through rough terrain. ii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................................................ii LIST OF MUSICAL EXAMPLES................................................................................iv
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]
  • Swingville Label Discography
    Swingville Label Discography: 2000 Series: SVLP 2001 - Coleman Hawkins and The Red Garland Trio - Coleman Hawkins and The Red Garland Trio [1960] It’s a Blue World/I Want to Be Loved/Red Beans/Bean’s Blues/Blues For Ron SVLP 2002 - Tiny In Swingville - Tiny Grimes with Richardson [1960] Annie Laurie/Home Sick/Frankie & Johnnie/Down with It/Ain’t Misbehaving/Durn Tootin’ SVLP 2003 - Tate's Date - Buddy Tate [1960] Me ‘n’ You/Idling/Blow Low/Moon Dog/No Kiddin’/Miss Ruby Jones SVLP 2004 - Callin' the Blues - Tiny Grimes [1960] Reissue of Prestige 7144. Callin’ the Blues/Blue Tiny/Grimes’ Times/Air Mail Special SVLP 2005 – Coleman Hawkins’ All Stars - Coleman Hawkins with Joe Thomas and Vic Dickenson [1960] You Blew Out the Flame/More Bounce to the Vonce/I’m Beginning to See the Light/Cool Blue/Some Stretching SVLP 2006 - The Happy Jazz of Rex Stewart - Rex Stewart [1960] Red Ribbon/If I Could Be with You/Four or Five Times/Rasputin/Please Don’t Talk About me When I’m Gon/San/You Can Depend on Me/I Would Do Most Anything For You/Tell Me/Nagasaki SVLP 2007 - Buck Jumpin' - Al Casey [1960] Buck Jumpin’/Casey’s Blues/Don’t Blame Me/Ain’t Misbehavin’/Honeysuckle Rose/Body & Soul/Rosetta SVLP 2008 - Swingin' with Pee Wee - Pee Wee Russell [1960] What Can I Say Dear/Midnight Blue/Very Thought of You/Lulu’s Back in Town/I Would Do Most Anything For You/Wrap Your Troubles in Dreams/Englewood SVLP 2009 - Yes Indeed! - Claude Hopkins [1960] It Don’t Mean a Thing/Willow Weep For Me/Yes Indeed/Is It So/Empty Bed Blues/What Is This Thing Called Love/Morning Glory SVLP 2010 – Rockin’ in Rhythm - Swingville All Stars (Al Sears, T.
    [Show full text]
  • The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
    THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.
    [Show full text]
  • Jon Hendricks
    Jon Hendricks By Leonard Feather ToJay the world is knocking at Jon Hendricks’ door. Less than two sears ago, it was the other way around. Possessed of a remark­ able talent, Jon paid heavy dues for many years, earning a bare living playing drums, writing unsuccessful songs, and singing when a gig was available. As anyone can tell you who has studied the records of Lambert- Hendricks-Ross (for most of which Jon supplies the words), he is not merely a lyricist but a poet and a philosopher. During the recent Jazz tor Moderns tour, I got to know Jon well and found in him an e tergizing, 200-volt A.C. personality, with strong and often infuriating views on every subject from Fascism and Communism to astrology and numerology. This automatically meant that the records for his first Blindfold Test, instead of being confined to vocals, had to cover as broad a range as possible. His comments were tape-recorded, as are all inter­ views for this feature, and he was given no information, either before or during the test, about the records played. of th«» ‘Yeah, Ming the Mercifull' 1, Mel Torme with the Mel-Tones. A Bunch of down, because I was stomping my feet What they want to mess with War­ the Bluet (Verve). Art Pepper, tenor sax; all the way. Four stars. Was it the dell’s tune like that for? I liked it better Jack Sheldon, trumpet. 15, Col. Dukes of Dixieland? the old way, so that spoiled this one for A potpourri of blues—yeah! I heard me.
    [Show full text]
  • Firing the Canon: Multiple Insularities in Jazz Criticism
    FIRING THE CANON: MULTIPLE INSULARITIES IN JAZZ CRITICISM By © 2014 Christopher Robinson Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson, Sherrie Tucker ________________________________ Randal Jelks ________________________________ Tony Bolden ________________________________ John Gennari ________________________________ William J Harris Date Defended: April 7, 2014 The Dissertation Committee for Christopher Robinson certifies that this is the approved version of the following dissertation: Firing the Canon: Multiple Insularities in Jazz Criticism ________________________________ Chairperson, Sherrie Tucker Date approved: April 7, 2014 ii ABSTRACT Whereas many jazz scholars focus on jazz criticism's construction and implications of a single, or insular, jazz canon, this dissertation argues that what many jazz critics do is precisely the opposite. These critics disrupt the sense of a singular and insular jazz canon by challenging it through the creation of what I call an insularity, which is a bounded collection of artists and music with a definable tradition, values and established criteria which regulates what is suitable for inclusion. This dissertation argues that jazz does not consist of a single canon and music that exists beyond the canon's boundaries; rather, jazz contains multiple insularities that challenge the canon and vie for the opportunity to overthrow the canon in order to reach canonical status. This dissertation conceptualizes jazz critics as cultural authorities who create or deconstruct insularities through a variety of race, gender and nation projects. It examines the criticism of Leonard Feather, Val Wilmer and Nathaniel Mackey to highlight the numerous ways in which critics engage with multiple insularities.
    [Show full text]
  • Flight of the Foo Birds Full Score
    Jazz Lines Publications Presents flight of the foo birds recorded by count basie Arranged by neal hefti Prepared by Dylan Canterbury, Rob DuBoff, and Jeffrey Sultanof full score JLP-8012 Music by Neal Hefti Copyright © 1959 (Renewed) WB MUSIC CORP. This Arrangement © 2017 WB MUSIC CORP. All Rights Reserved Used by Permission of ALFRED MUSIC Logos, Graphics, and Layout Copyright © 2017 The Jazz Lines Foundation Inc. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA count basie series flight of the foo birds (1957) Background: The 1950s were a particularly productive era for William “Count” Basie. After a period of musical and financial uncertainty in the late 1940s, his reformed big band (known informally as the New Testament band) put out a number of recordings that would achieve tremendous levels of critical and commercial acclaim. This version of the band contained not just a stable of legendary instrumental soloists, but also a book of charts from what may be the best catalog of arrangers in jazz history. Even amidst the band’s high standards, Neal Hefti’s Flight Of The Foo Birds has emerged over time as one of the most popular and well-loved of the Basie band’s prolific output due to its infectious melody, memorable solo performances, and brilliantly exciting shout chorus. The Music: The melody is initially stated in unison by a trademark Hefti sound: two trumpets in cup mutes, two trumpets in harmon mutes with stems in.
    [Show full text]
  • Newman Website NEWMANCATHOLIC COMMUNITY at CAROLINA Before Attending Outdoor Mass
    SUMMER OFFICE HOURS 9:30 AM TO 2:30 PM MON-THU d Always check the Newman website NEWMANCATHOLIC COMMUNITY AT CAROLINA before attending outdoor Mass. A Ministry of the Conventual Franciscan Friars JUNE 13, 2021 - 11TH SUNDAY IN ORDINARY TIME Members of the Newman Repair & Refurbish Crew have begun work. Under parishioner Tom Konsler’s guidance, they and other helpers plan to come together about once a month to tackle small projects on Newman’s buildings. Please join us! All skill levels welcome. For details, contact Karen Ille at [email protected] or call the parish office at 919.929.3730. WORSHIP SONG SHEET - PAGE 6 We need volunteers to help BISHOP’S ANNUAL APPEAL plan and organize the upcoming AS OF 6/2 NEWMAN BAA Goal: $86,984 Families/Individuals Contributing: 154 HOMECOMING event currently scheduled for Total Cash & Pledges: $70,467 Sunday, September 26, 2021 Remaining to Goal: $16,517 For details, please contact Therese Taxis at [email protected] Post-Pandemic Parish Survey Report - Page 4 LITURGY SCHEDULE BY THE NUMBERS Following directives of the State of North MAY 22 - 28 Carolina and the Diocese of Raleigh. Online: $3,215.00 CELEBRATIONS OF THE EUCHARIST Cash & Checks: $1,792.00 NEWMAN Saturday Vigil: 5:15 PM - Indoors Newman’s budget for this year calls for $25,000 per CATHOLIC Sunday: 9:00 AM - Outdoors quarter in collections for Mortgage reductions. We CENTER 11:00 AM - Indoors recently received an anonymous $10,000 lead gift for this quarter; our deepest thanks to this generous The Sunday 11:00 AM Mass is livestreamed on donor.
    [Show full text]