DOCSLIB.ORG

VJM 190 RW Auction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
VJM 190 RW Auction Offers invited by Ralph Wondraschek Kaiserstr. 54, 69115 Heidelberg, Germany Email: [email protected] Tel.: +49 6221 6531114 Conservative grading, done aurally. E+ is my highest grade. No packaging & handling fee – only actual shipping cost to pay. PayPal payments to Email address above. Please double check your bid numbers. 001 Ban 1104 E- Original Memphis Five / Roy Collins Orchestra I Wish I Could Shimmy Like My Sister Kate (-1) / Chicago (-2) 002 Ban 1143 E- Original Memphis Five Loose Feet (-2) / Running Wild (-3) 003 Ban 1322 E-/V+ Six Black Diamonds / Original Memphis Five Lots O’ Mamma (-1) / Maybe She’ll Write Me (-2) 004 Ban 1346 E- Six Black Diamonds / Original Memphis Five My Papa Doesn’t Two-Time No Time (-2) / Forgetful Blues (-2) 005 BB B-7757 E Jelly-Roll Morton And His Red Hot Peppers Kansas City Stomps / New Orleans Bump [masters] 006 Br 2292 E- The Cotton Pickers Hot Lips / State Street Blues 007 Br 2404 E-/V+ The Cotton Pickers You Tell Her, I Stutter (9866) / Way Down Yonder In New Orleans 008 Br 2490 V+/E- The Cotton Pickers Mama Goes Where Papa Goes / Walk, Jenny, Walk 009 Br 2981 V+/E- The Cotton Pickers Carolina Stomp / Stomp Off – Let’s Go 010 Br 3069 V+ Abe Lyman’s California Orchestra Shake That Thing / After I Say I’m Sorry 011 Br 3224 V+ Charley Straight And His Orchestra Deep Henderson / Hobo’s Prayer 012 Br 3817 V+/E- Bessie Brown Chloe / Someone Else May Be There While I’m Gone (C-1672) 013 Br 4345 E- The Jungle Band [Ellington] Doin’ The Voom Voom / Rent Party Blues 014 Br 4845 E- Louisiana Rhythm Kings Swanee / The Meanest Kind Of Blues 015 Cam 284 E- Jazz-Bo’s Carolina Serenaders / Dixie Daisies Chicago (-C) / Way Down Yonder In New Orleans 016 Cam 902 E- Lucille Hegamin / William Robyn Poor Papa / If Dreams Could Bring You Back Again 017 Col 62-D V The Georgians Lovey Came Back / Dancin’ Dan 018 Col 74-D E- Original Memphis Five Why Should I Weep About One Sweetie / Since Ma Is Playing Mah Jong 019 Col 126-D V+ Fletcher Henderson And His Orchestra My Papa Doesn’t Two-Time No Time / Somebody Stole My Gal 020 Col 155-D E- The Original Memphis Five It Ain’t Gonna Rain No Mo’ / Red Hot Mamma 021 Col 175-D V+ The Little Ramblers Them Ramblin’ Blues / Arkansas Blues 022 Col 292-D V Fletcher Henderson And His Orchestra Bye And Bye / Play Me Slow (-3) 023 Col 395-D V+/V Fletcher Henderson & His Orchestra Sugar Foot Stomp / What-Cha-Call-‘Em Blues 024 Col 541-D V Halfway House Dance Orchestra Squeeze Me / New Orleans Shuffle 025 Col 688-D V New Orleans Owls Tampeekoe / West End Romp 026 Col 698-D V New Orleans Wanderers Perdido Street Blues / Gate Mouth 027 Col(F) DF-847 E- Fletcher Henderson Et Son Orchestre My Gal Sal / My Pretty Girl [masters] 028 Col 1044-D V/V+ Joe Mannone’s Harmony Kings Up The Country Blues / Ringside Stomp 029 Col 2217-D E-/V+ Ted Lewis The Yellow Dog Blues / Sobbin’ Blues 030 Col A2857 E- Louisiana Five / Ted Lewis You Can’t Get Lovin’ (-1) / Wond’rin 031 Col A3426 V/V+ Mary Stafford And Her Jazz Band Wild Weeping Blues / I’ve Lost My Heart To The Meanest Girl In Town 032 Col A3493 E- Mary Stafford And Her Jazz Band Arkansas Blues / Blind Man Blues 033 Col A3696 E- Leona Williams Sugar Blues / The Meanest Man In The World 034 Col A3835 E- Leona Williams That Teasin’ Squeezin’ Man Of Mine / If Your Man Is Like My Man 035 Col A3893 E- Johnny Dunn’s Original Jazz Band Sweet Lovin’ Mama / Vamping Sal 036 Col A3923 V+ Chicago Blues Dance Orchestra Blue Grass Blues / House Of David Blues 037 Col A3936 V Bessie Smith Bleeding Hearted Blues / Midnight Blues 038 Col A3939 E- Bessie Smith Lady-Luck Blues / Yodling Blues 039 Col 13005-D E- Bessie Smith St. Louis Gal / Sam Jones Blues 040 Col 13007-D E- Bessie Smith & Clara Smith Far Away Blues / I’m Going Back To My Used To Be 041 Col 14020-D V+ Bessie Smith Sorrowful Blues / Rockin‘ Chair Blues 042 Col 14025-D V/V+ Bessie Smith Pinchbacks – Take ’Em Away / Ticket Agent Ease Your Window Down 043 Col 14086-D V/V- The Original Jazz Hounds Fo’ Day Blues / 1620 to 1865 (Uncle Eph’s Dream) 044 Col 14128-D V+/E- Dixie Washboard Band [dig skips 2 grvs, side 2] Wait Till You See My Baby Do The Charleston / Livin’ High 045 Col 14129-D V+ Bessie Smith What’s The Matter Now / I Want Ev’ry Bit Of It 046 Col 14137-D V- Bessie Smith Money Blues / Hard Driving Papa 047 Col 35876 E Earl Hines Caution Blues / A Monday Date [masters] 048 El EG-7793 EE- Original Dixieland Jazz Band Tiger Rag / Jazz Me Blues 049 Em 9158 V+ ´ Louisiana Five Laughing Blues (-2) / A Good Man Is Hard To Find (-2) 050 Em 9179 E- Louisiana Five Yama Yama Blues (-2) / Church Street Sobbin’ Blues (-2) 051 Em 10116 E- Louisiana Five Weary Blues (-1) / Down Where The Rajahs Dwell (-2) 052 Em 10116 E- Louisiana Five Weary Blues (-2) / Down Where The Rajahs Dwell (-2) 053 Em 10172 V+ Louisiana Five Big Fat Ma (-2) / Weeping Willow Blues (-2) 054 Em 10723 E- Original Memphis Five / Lucky Strike O .(Nathan Glantz) I’ve Got A Cross-Eyed Papa / Come On Red! 055 Gnt 3075 V+ Bailey’s Lucky Seven Smile All The While / I’ve Named My Pillow After You 056 Gnt 3094 V+ Bailey’s Lucky Seven Summer Nights / Marguerite 057 Gnt 3140 V+ Bailey’s Lucky Seven / Travis Carlton Orch. The Baby Looks Like Me / Dreaming Of Tomorrow 058 Gnt 3204 V+, 1” hcr The Southerners / Bailey’s Lucky Seven That Certain Party / I Love My Baby 059 Gnt 4762 E-/V+ Ladd’s Black Aces Aunt Hager’s Children’s Blues / Shake It And Break It 060 Gnt 4903 E- Bailey’s Lucky Seven / Harry Raderman’s Orch. Rock Me In My Swanee Cradle (-A) / Little Thoughts (-A) 061 Gnt 4938 V+ Ladd’s Black Aces You Can Have Him, I Don’t Want Him (-A) / Sister Kate (-A) 062 Gnt 5009 V+ Friar’s Society Orch./ Husk O’Hare’s Super Orch. of Chicago Eccentric / San (- -) 063 Gnt 5013 V+/E- Bailey’s Lucky Seven / Carolina Cotton Pickers [Abe Small] Baby Blue Eyes / Dumbell (-B) 064 Gnt 5018 V Ladd’s Black Aces Great White Way Blues (-A) / Railroad Men (- -) 065 Gnt 5023 V+ Ladd’s Black Aces Aggravatin’ Papa (-B) / Sweet Lovin’ Mama (- -) 066 Gnt 5102 V New Orleans Rhythm Kings Weary Blues / Wolverine Blues (-A) 067 Gnt 5142 V+ Mandy Lee And Ladd’s Black Aces ‘Taint Nobody’s Biz-Ness If I Do (-A) / Papa Better Watch Your Step 068 Gnt 5150 V+ Ladd’s Black Aces Long Lost Mamma / Two-Time Dan 069 Gnt 5349 V Bailey’s Lucky Seven Steppin’ Out (-A) / Maybe She’ll Write Me, Maybe She’ll Phone Me (- -) 070 Gnt 5366 V Ladd’s Black Aces Lots O’ Mama / Nine O’ Clock Sal 071 Gnt vinyl pressing E-/V+ Wingy Mannone’s Orchestra Tin Roof Blues (17059- -) / Tar Paper Stomp (16951- -) 072 Har 70-H V+ The Dixie Stompers Spanish Shawl / Clap Hands! Here Comes Charley! 073 Har 73-H V+ University Six In Your Green Hat / I Love My Baby 074 Har 88-H V+ The Dixie Stompers Florida Stomp / Get It Fixed 075 Har 153-H V+ The Dixie Stompers Nervous Charlie Stomp / Black Horse Stomp 076 Har 166-H E- The Dixie Stompers Tampeekoe / Jackass Blues (-3) 077 Har 179-H E- Original Indiana Five / The Dixie Stompers So Is Your Old Lady (-2) / Hi-Diddle-Diddle (-2) 078 Har 197-H V+ The Dixie Stompers Hard-To-Get Gertie / Static Strut 079 Har 206-H E- Blue Grass Footwarmers Senorita Mine / How Could I Be Blue 080 Har 217-H V+/E- Original Indiana Five Spanish Mamma / Deep Henderson 081 Har 407-H V+ The Dixie Stompers Wabash Blues / The Wang-Wang Bues 082 Har 974-H V+ The Dixie Stompers / Bert Lown And His Loungers I’m Feelin’ Devilish / The Jazz Me Blues 083 HMV (Can) 18394 E- Earl Fuller’s Famous Jazz Band A Coon Band Contest / Li’l Liza Jane 084 Od (G) 28364 E- Duke Ellington Und Sein Orchester The Blues With A Feelin‘ / Misty Mornin‘ [masters] 085 Od (F) 165581 E Bud Freeman & His Orchestra Crazeology / Can’t Help Loving Dat Man (-B) 086 Od (Ar) 193651 E/E- L. Armstrong Y Su Orquesta After You’ve Gone / St. Louis Blues [masters] 087 Od (F) 238404 E- Louis Armstrong And His Sebastian New Cotton Club Orch. You’re Driving Me Crazy ! / The Peanut Vendor [masters] 088 OK 4906 V+ King Oliver’s Jazz Band Sweet Lovin’ Man / Sobbin’ Blues 089 OK 8157 V Laura Smith Texas Moaner Blues / Has Anybody Seen My Man ? 090 OK 8195 V Billy & Mary Mack [Punch Miller, cornet] Black – But Sweet, Oh God ! / My Heart-Breakin’ Gal 091 OK 8255 V+ Bennie Moten’s Kansas City Orchestra She’s Sweeter Than Sugar / South Street Blues 092 OK 8300 V+ Louis Armstrong Hot Five [TrueTone] Heebie Jeebies / Muskrat Ramble 093 OK 8343 V+ Louis Armstrong Hot Five [TrueTone] Don’t Forget To Mess Around / I’m Gonna Gitcha 094 OK 8525 V- Clarence Williams’ Washboard Four Yama Yama Blues / Church Street Sobbin’ Blues 095 OK 8680 E- Louis Armstrong Savoy Ballroom Five [small red] Beau Koo Jack / Mahogany Hall Stomp 096 OK 40220 V+ Harlem Trio Muddy Water Blues / I Ain’t Gonna Blame It On The Blues 097 OK 40541 V- Clarence Williams Stompers Spanish Shawl / Dinah 098 OK 40598 V+ Clarence Williams Stompers Jackass Blues / What’s The Matter Now? 099 OK 40772 V Frankie Trumbauer & His Orchestra With Bix And Lang Clarinet Marmalade /Singin’ The Blues 100 Oriole 1483 V, 1” hcr Irving Mills Group [McPartland, Teagarden, Goodman] It’s Tight Like That (-4) / Four Or Five Times (-3) 101 Pm 12246 V Jimmy O’Bryant Red Hot Mama / Drunk Man’s Strut 102 Pm 20226 V+ Fletcher Henderson And His Orchestra Beale Street Mamma (-2) / Don’t Think You’ll Be Missed (-1) 103 Pm 20341 V Boyd Senter Mobile Blues / St.
Load more

Recommended publications
  • Original Dixieland Jazz Band & "Nick" Larocca of New Orleans, Creator
    Jack "Papa" Laine (Sicilian native George Vitale), Leader of his famous Reliance Brass Military Marching Band of New Orleans. Nick LaRocca was a regular member from 1910 to 1916. Original Dixieland Jazz Band & "Nick" LaRocca of New Orleans, Creator of Jazz Original Dixieland Jazz Band Members Victor release of "Livery Stable Blues" 1917. Victor release of "Dixie Jass Band One-Step" 1917. Original Dixieland Jazz Band - A 1918 promotional postcard showing (from left), drummer Tony Sbarbaro (aka Tony Spargo), trombonist Edwin "Daddy" Edwards, cornetist Dominick James "Nick" LaRocca, clarinetist Larry Shields, and pianist Henry Ragas 1917 Nick LaRocca Bust Courtesy Nick LaRocca Cultural Arts Center in Salaparuta, Sicily Dominic James "Nick" LaRocca Jimmy LaRocca 1889-1961 Continuing the Tradition In 1917, under the leadership of Nick LaRocca, the Original Dixieland Jazz Band (ODJB) made the first jazz recording. This first and many to follow were instant sensational “Hits” that were inspirational and influential beyond imagination. The success of the ODJB recordings was immense and musicians worldwide changed instrumentation to emulate the sound and style they made famous. From 1917 to 1938 they recorded fifty-two 78’s that are still sold today on various CD compilations. (Click on the photo below for a printable 8 X 10.) On February 8, 2006 the Original Dixieland Jazz Band was inducted into the Grammy Hall of Fame for their 1917 recording of the “Darktown Strutter’s Ball.” The ODJB is back in full swing under the direction of the original leader’s son, Jimmy LaRocca, on trumpet and vocals, with a fine ensemble of New Orleans musicians.
    [Show full text]
  • Finding Aid for the Sheldon Harris Collection (MUM00682)
    University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr.
    [Show full text]
  • Red Hot Songs
    Red Hot Songs 1 2 4 5 A B C D E F G H I J K L M N O P Q R S T U V W Y Z Red Hot Songs - ['] Song Title Artist/Group or Commentary 'Lasses Candy Original Dixieland Jass Band 'Round My Heart Coon Sanders Nighthawks Orchestra 'S Wonderful 'Tain't Clean Boyd Senter Trio http://cij-assoc.com/jazzpages/alphasonglist.html [2003-02-19 00:49:52] The Red Hot Jazz Archive - Songs Red Hot Songs - [1] Song Title Artist/Group or Commentary 1-2-1944 (intro, song - "Valencia") 12-24-1944 (intro, Bing, Pops & The King's Men) 12-28-1938 (intro) 12th Street Blues Anthony Parenti's Famous Melody Boys 12th Street Blues Anthony Parenti's Famous Melody Boys 12th Street Rag Richard M. Jones 18th Street Stomp Fats Waller 18th Street Strut The Five Musical Blackbirds 18th Street Strut The Bennie Moten's Kansas City Orchestra http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/1.html (1 of 2) [2003-02-19 00:50:48] The Red Hot Jazz Archive - Songs 1919 Rag Kid Ory's Creole Orchestra 1943 (Gracie's "Concerto for Scales and Clinker") 19th Street Blues Dodds And Parham http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/1.html (2 of 2) [2003-02-19 00:50:48] The Red Hot Jazz Archive - Songs Red Hot Songs - [2] Song Title Artist/Group or Commentary 29th And Dearborn Johnny Dodds and his Chicago Boys 29th And Dearborn Richard M. Jones' Three Jazz Wizards http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/2.html [2003-02-19 00:51:05] The Red Hot Jazz Archive - Songs Red Hot Songs - [4] Song Title Artist/Group or Commentary 47th Street Stomp Jimmy Bertrand's
    [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]
  • ¶7櫥«Q }欻' / * #376;扎 #732;†
    120825bk Teagarden2 REV 29/3/06 8:46 PM Page 8 Track 14: John Fallstitch, Pokey Carriere, Sid Jack Lantz, trombones; Merton Smith, Vic Rosi, Feller, trumpets; Jack Teagarden, Jose Bob Derry, Bert Noah, Dave Jolley, saxes; Guttierez, Seymour Goldfinger, Joe Ferrall, Norma Teagarden, piano; Charles Gilruth, trombones; Danny Polo, clarinet, alto sax; Tony guitar; Lloyd Springer, bass; Frank Horrington, Antonelli, Joe Ferdinando, alto sax; Art Moore, drums Art Beck, tenor sax; Ernie Hughes, piano; Track 19: Charlie Teagarden, trumpet; Jack Arnold Fishkin, bass; Paul Collins, drums Teagarden, Moe Schneider, trombones; Matty Track 15: John Fallstitch, Pokey Carriere, Matlock, clarinet, tenor sax; Ray Sherman, Truman Quigley, trumpets; Jack Teagarden, piano; Bill Newman, guitar, banjo; Morty Corb, Jose Guttierez, Seymour Goldfinger, Joe Ferrall, bass; Ben Pollack, drums trombones; Danny Polo, clarinet, alto sax; Tony Track 20: Charlie Teagarden, trumpet; Jack Antonelli, Joe Ferdinando, alto sax; Art Moore, Teagarden, trombone; Jay St. John, clarinet; Art Beck, tenor sax; Ernie Hughes, piano; Norma Teagarden, piano; Kass Malone, bass; Arnold Fishkin, bass; Paul Collins, drums Ray Bauduc, drums Track 16: John Fallstitch, Pokey Carriere, Truman Quigley, trumpets; Jack Teagarden, Also available ... Jose Guttierez, Seymour Goldfinger, Joe Ferrall, trombones; Danny Polo, clarinet, alto sax; Tony Antonelli, Joe Ferdinando, alto sax; Art Moore, Art Beck, tenor sax; Ernie Hughes, piano; Perry Botkin, guitar; Arnold Fishkin, bass; Paul Collins, drums Track
    [Show full text]
  • Guide to the Martin Williams Collection
    Columbia College Chicago Digital Commons @ Columbia College Chicago CBMR Collection Guides / Finding Aids Center for Black Music Research 2020 Guide to the Martin Williams Collection Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cmbr_guides Part of the History Commons, and the Music Commons Columbia COLLEGE CHICAGO CENTER FOR BLACK MUSIC RESEARCH COLLECTION The Martin Williams Collection,1945-1992 EXTENT 7 boxes, 3 linear feet COLLECTION SUMMARY Mark Williams was a critic specializing in jazz and American popular culture and the collection includes published articles, unpublished manuscripts, files and correspondence, and music scores of jazz compositions. PROCESSING INFORMATION The collection was processed, and a finding aid created, in 2010. BIOGRAPHICAL NOTE Martin Williams [1924-1992] was born in Richmond Virginia and educated at the University of Virginia (BA 1948), the University of Pennsylvania (MA 1950) and Columbia University. He was a nationally known critic, specializing in jazz and American popular culture. He wrote for major jazz periodicals, especially Down Beat, co-founded The Jazz Review and was the author of numerous books on jazz. His book The Jazz Tradition won the ASCAP-Deems Taylor Award for excellence in music criticism in 1973. From 1971-1981 he directed the Jazz and American Culture Programs at the Smithsonian Institution, where he compiled two widely respected collections of recordings, The Smithsonian Collection of Classic Jazz, and The Smithsonian Collection of Big Band Jazz. His liner notes for the latter won a Grammy Award. SCOPE & CONTENT/COLLECTION DESCRIPTION Martin Williams preferred to retain his writings in their published form: there are many clipped articles but few manuscript drafts of published materials in his files.
    [Show full text]
  • Glenn Miller 1939 the Year He Found the Sound
    GLENN MILLER 1939 THE YEAR HE FOUND THE SOUND Dedicated to the Glenn Miller Birthpace Society June 2019 Prepared by: Dennis M. Spragg Glenn Miller Archives Alton Glenn Miller (1904-1944) From Glenn Miller Declassified © 2017 Dennis M. Spragg Sound Roots Glenn Miller was one of the foremost popular music celebrities of the twentieth century. The creative musician and successful businessman was remarkably intuitive and organized, but far from perfect. His instincts were uncanny, although like any human being, he made mistakes. His record sales, radio popularity, and box-office success at theaters and dance halls across the nation were unsurpassed. He had not come to fame and fortune without struggle and was often judgmental and stubborn. He had remarkable insight into public taste and was not afraid to take risks. To understand Miller is to appreciate his ideals and authenticity, essential characteristics of a prominent man who came from virtually nothing. He sincerely believed he owed something to the nation he loved and the fellow countrymen who bought his records. The third child of Lewis Elmer Miller and Mattie Lou Cavender, Alton Glen Miller was born March 1, 1904, at 601 South 16th Street in Clarinda, a small farming community tucked in the southwest corner of Iowa. Miller’s middle name changed to Glenn several years later in Nebraska. His father was an itinerant carpenter, and his mother taught school. His older brother, Elmer Deane, was a dentist. In 1906 Miller’s father took his family to the harsh sand hills of Tryon, Nebraska, near North Platte. The family moved to Hershey, Nebraska, in the fall of 1912 and returned to North Platte in July 1913, where Glenn’s younger siblings John Herbert and Emma Irene were born.
    [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]
  • The Strutter VOLUME 22 NUMBER 4 Traditional Jazz in the Philadelphia Tri-State Area December 2011
    “Best of South Jersey” 2008 - 2011! The Strutter VOLUME 22 NUMBER 4 Traditional Jazz in the Philadelphia Tri-State Area December 2011 OUR NEXT CONCERTS TRI-STATE JAZZ SOCIETY Roberts Duo... the musical intuition between the Presents two is truly miraculous!" and Renée Silberman reviews a London/Ontario concert as "a spine THE ORTNER-ROBERTS DUO tingling fusion of Klezmer and Creole magic." German-born clarinetist Susanne Ortner and American jazz pianist Tom Roberts met in Pittsburgh while performing in 2006 and formed the Ortner-Roberts Duo in 2007, melding the two supposedly unrelated musical and cultural influences of Harlem Stride Piano and Klezmer to form a whole new style they affectionately call "Yiddish/Creole Fusion." The Roberts have thoroughly immersed themselves in the music of the '20s, '30s, and '40s as well and painstakingly recreate the music of Benny Goodman, Jelly Roll Morton, Artie Shaw, and Sidney Bechet among others, evoking "the thicksweet air of New Orleans or the glamour of a shimmering dancehall... in Chicago or New York City." See them in concert at www.youtube.com/watch?v=ee23Y8k5- Susanne Ortner-Roberts, clarinet YY&feature=related. Tom Roberts, piano CONCERT ADMISSION Sunday, December 11, 2011 $20 ADMISSION $10 FIRST TIME ATTENDEES & MEMBERS 2:00 p.m. – 5:00 p.m. HIGH SCHOOL/COLLEGE STUDENTS WITH ID AND CHILDREN WITH PAYING ADULT Saint Matthew Lutheran Church ADMITTED FREE Pay At the Door - No Advance Sales 318 Chester Avenue Moorestown, NJ 08057 In This Issue… Directions on Page 7 Looking Ahead .............. Page 2 Pittsburgh-based Susanne Ortner-Roberts and Tom American Rag ..............
    [Show full text]
  • King Porter Stomp" and the Jazz Tradition* Jazz Historians Have Reinforced and Expanded Morton's Claim and Goodman's Testimony
    JEFFREY MAGEE 23 "King Porter Stomp" and the Jazz Tradition* Jazz historians have reinforced and expanded Morton's claim and Goodman's testimony. The Palomar explosion and its aftershocks have By Jeffrey Magee led some historians to cite it as the birth of the Swing Era, most notably Marshall W. Stearns, who, after tracing jazz's development in 1930-34, could simply assert, "The Swing Era was born on the night of 21 August 1935" (Stearns 1956:211; see echoes of this statement in Erenberg Fletcher won quite a few battles of music with "King Porter Stomp." 1998:3-4, and Giddins 1998:156). Gunther Schuller has called "King And Jelly Roll Morton knew this, and he used to go and say "I made Porter Stomp" one of the "dozen or so major stations in the development Fletcher Henderson." And Fletcher used to laugh . and say "You of jazz in the twenty years between 1926 and 1946" (Schuller 1989:840). did," you know. He wouldn't argue. (Henderson 1975, 1:69) And Goodman's recording, he wrote elsewhere, "was largely responsible for ushering in the Swing Era" (Schuller 1985). One of Morton's many Toward the end of his life in May 1938, Ferdinand "Jelly Roll" Morton recordings of "King Porter Stomp" appeared on the canon-shaping (1890-1941) walked into the Library of Congress's Coolidge Auditorium Smithsonian Collection of Classic Jazz (now out of print), and Henderson's sporting an expensive suit, a gold watch fob and rings, and a diamond- and Goodman's versions may be found on the Smithsonian's Big-Band Jazz studded incisor (Lomax 1993:xvii).
    [Show full text]
  • 234 October 26, L959i Reel I 2218 Constance Street, New Orleans., Louisiana
    234 NICK LAROCCAINTERVIEWS October 26, l959i Reel I r'laoei 2218 Constance Street, New Orleans., Louisiana Voicees HoganJ I 2.35 NICK LAROCCA Reel I Ootober 26; 19$9 [Hogans] My name ia w. R. Hogan. I'm chairman of the History Department at Tulane University. Mr. D. Clive Hare;,-., of Tulane University staff and I are interviewing Mr, Nick LaRocca, the leader of the Original Dixieland Jazz Band. My purpose in coming here to Mr. LaRocoa•a home is to sort of wind up the tape recordings 'Which have been conducted over a period of sane months. Mr. LaRooca has been ill and he has .very kindly gotten up out of a eick bed in order to talk to us. The first questions I have arise out of some inquirl.es that came from a reading of Mr. L~oeca 1 e tape recordings., and the first question has to do with his early life. In his statement about his father he said that hie father spoke four different langua1~s. M;y first question is1 what four languages did he speak? [LaRocoa.i] He spoke German, he spoke French; and Italian and Portuguese. And he had trade with these boats--not boats., they were barksJ they were sailing veeaela. At that time of my early 11.f'e the:ty hadr).1 t no steamships; they had steam boa.ts, but not steamships. The wharfs used to be open. [~:lgam] He needed these languages in bis business. [LaRoocas ) That I e oorreotJ he used 1 t to go and do bu.einess with these people.
    [Show full text]
  • NICK LAROCCA, Creator of Jazz
    NICK LAROCCA, Creator of Jazz By Linda Serio Published 2007 Written in cooperation with the American Italian Renaissance Foundation Research Library. Nick LaRocca, leader of the Original Dixieland Jazz Band (ODJB), would have been 100 years old April 11, 1989. He died in 1961, but a handful of New Orleanians dedicated to his immortalization as the creator of jazz often speak of him in present tense. This group ignited my interest in the subject, and made possible this birthday tribute to Nick LaRocca. The individual who could best convince you that Nick lives on is his widow, Ruth LaRocca. Her blue eyes sparkle when she tells of being literally swept off her feet by a man known almost as well for his dancing as his trumpet playing. Musician and long-time friend Phil Zito has followed Nick's request to carve his rightful place in history and created the Nick LaRocca Original Dixieland Jazz Band Foundation. Bruce Raeburn, curator of Tulane University's jazz archive, is more objective and scholarly in his approach to Nick, but eagerly shares a wealth of knowledge and documentation on Nick's contributions to American musical and cultural history. Adrian Victor, at the music store “Werlein's For Music” knows the Nick LaRocca story by heart and provided a possible answer as to how Louisiana State University (LSU) acquired Nick's famous "Tiger Rag" as its fight song. Last, but not least, this article is dedicated to writer and historian Mike Palao, who, were it not for severe illness, would be offering his personal 100-year salute to Nick LaRocca on these pages.
    [Show full text]