DOCSLIB.ORG

Uplatnění Klarinetu V Jazzu – Hlavní Představitelé

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Uplatnění Klarinetu V Jazzu – Hlavní Představitelé JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra dechových nástrojů Studijní obor Klarinet Uplatnění klarinetu v jazzu – hlavní představitelé Bakalářská práce Autor práce: Tomáš Kůgel Dis. Vedoucí práce: MgA. Jan Dalecký Oponent práce: doc. Mgr. Milan Polák Brno 2013 Bibliografický záznam KUGEL, Tomáš, Uplatnění klarinetu v jazzu – hlavní představitelé [the application of the clarinet in jazz - the main leaders]. Brno: Janáčkova akademie múzických umění v Brně, Hudební Fakulta,Katedra dechových nástrojů, rok. 2013. Vedoucí diplomové práce MgA. Jan Dalecký. Anotace Diplomová práce Uplatnění klarinetu v jazzu – hlavní představitelé, pojednává o historii klarinetové hry a klarinetistech, kteří rozvíjeli jak hru na klarinet, tak celkové pojetí jazzové kompozice a improvizace od počátku jazzu aţ po dnešní dobu. Annotation Diploma thesis „ the application of the clarinet in jazz - the main leaders” deals with the history of clarinet play and clarinetists, who developed both the clarinet and the overall concept of jazz composition and improvisation of jazz from the beginning up to the present time. Klíčová slova Klarinet, jazz, dixieland, bebop, swing, cool jazz, Benny Goodman, Artie Shaw, Eddie Daniels, Jimmy Noone Keywords clarinet, jazz, dixieland, bebop, swing, cool jazz, Benny Goodman, Artie Shaw, Eddie Daniels, Jimmy Noone Prohlášení Prohlašuji, ţe jsem předkládanou práci zpracoval samostatně a pouţil jen uvedené prameny a literaturu. Brně, dne 1. 5. 2013 Tomáš Kůgel Poděkování Na tomto místě bych rád poděkoval MgA. Janu Daleckému za poskytnutí potřebných materiálů, konzultačních hodin a za přednášky v Dějinách jazzu, které mi jsou inspirací a vyplňují mezery v mém studiu klasické hudby. Obsah Předmluva....................................................................1 Úvod............................................................................2 1. Dixieland..................................................................3 2. Swing a vrchol klarinetové éry.................................7 3. Bebop, konec nejslavnější klarinetové éry..............15 4. Cool jazz a free jazz................................................20 5. 70., 80.,90. léta a klarinetisté v dnešní době..........25 Závěr..........................................................................31 Použité informační zdroje..........................................32 Seznam příloh............................................................33 Přílohy.......................................................................34 5 Předmluva Tuto práci jsem si vybral z několika důvodů. Ten hlavní je, ţe studuji na klarinet klasickou hudbu a poslední dobou se nejen interpretačně věnuji i hudbě jazzové. Jak jsem však postupně zjišťoval, mé poznatky o hlavních představitelích a stylu hry nebyly dostačující proto, abych mohl z nějakých kořenů při improvizaci vycházet a nacházet přitom svůj styl hry. 1 Úvod Rozhodl jsem se, ţe si vyhledám a nastuduji vše o přednějších klarinetistech a jejich hře v jazzu od počátku po dnešní dobu a vyberu ty nejdůleţitější a pro mě nejbliţší, o kterých napíšu. Budu se zabývat nejen jejich stylem hry, ale i kompozicí a tím, kde v průběhu ţivota působili, koho a jak ovlivnili a kdo ovlivňoval je. Budu postupně nastudovávat jejich nahrávky a snaţit se popsat jejich hru od barvy tónu, po improvizaci. 2 1. Dixieland Na počátku 20. století, se jazz začal objevovat jako součást široké hudební revoluce všeobjímající ragtime, blues, spirituály a pochody. Samozřejmě k této hudební revoluci přispívali hlavně Afroameričané. Tato hudba slouţila hlavně k tanci. Zmínil bych dvě slavné kapely, které na počátku vznikly. Jednou z nich byla kapela trumpetisty Charlese „Buddyho“ Boldena, další pak Kid Ory's Woodland Band. Právě Buddy Bolden vymyslel beat, který nazval „big four“, to znamená, ţe bubeník akcentuje čtvrtou dobu v pochodu. „Díky tomuto beatu se muzikanti nemuseli striktně drţet not, ale hráli ve variacích, improvizovali a organizovali si melodie po svém. A právě v tu chvíli započal jazz“1. V této éře byl klarinet jedním z hlavních nástrojů, vedle banja, trumpety, trombónu, klavíru, tuby, později pak kontrabasu a bicích. Klarinet byl většinou vyuţíván v orchestrech jako melodický nástroj, doplňující dechovou sekci (trombón, trumpeta, saxofón), nebo byl vyuţíván v různých komorních obsazeních, kde mohl zastupovat i jediný melodický nástroj. V této počáteční éře působilo mnoho klarinetistů, já však zmíním jen tři, kteří nějakým způsobem ovlivnili klarinetové dění na počátku jazzu a posouvali způsob hraní, kterému se později učilo mnoho dalších klarinetistů. Jedním z prvním klarinetistů, o kterém budu psát, byl Johnny Dodds. Narodil se 12. 4. 1892 v New Orleansu. Pocházel z hudební rodiny, jeho otec byl amatérský houslista. Jeho učitelé byli Lorenzo Tio a Charlie McCurdy. Jeho prvním profesionálním působištěm byl orchestr slavného trombonisty Edwarda Oryho ( známý jako Kid Ory). Poté působil u Billyho Macka a Kinga Olivera (Creole Jazz Band), kde vystřídal Jimmieho Noona. Pro Kinga Olivera byla důleţitá Doddsova 1 Dokumentární film Buddy Bolden and Birth of Jazz, Winton Marsalys 3 stylová hra, při které vţdy respektoval a většinou díky svým typickým osminkovým akordickým rozkladům i vytvářel základní rytmický tep, ale zároveň i dokonale definoval harmonii. Později opustil Creole Jazz Band a našel působiště v Chicagu v podniku Burta Kellyho, kde hrál s Nattym Dominiquem – trumpeta, Honorém Dutrayem – trombon, Charliem Alexandrem – piano, Billem Johnsonem – kontrabas a „Baby“ Warrenem Doddsem, svým mladším bratrem – bicí. Dodds se setkal s plejádou klíčových osobností historie klasického jazzu. Nahrál snímky se studiovými soubory Louise Armstronga Hot Five (1925-27) a Hot Seven (1927), nahrával s Oliver's Creole Jazz Bandem a Jelly Roll Mortonem. Působil v seskupeních s malebnými dobovými názvy New Orleans Wanderers, New Orleans Bootblacks, Dixieland Jug Blowers, Dixieland Thumpers, State Street Ramblers, Chicago Footwarmers, Paramount Pickers, Beale Street Washboard Band ad. Své umění zvěčnil i na mnoha snímcích bluesových zpěvaček (Ida Coxová, Elzadie Robinsonová, Hociel Thomasová aj.). V krizi na počátku 30. let se musel chvíli ţivit jako taxikář. To ho ale v roce 1937, kdy opět narůstal zájem o starší jazzové styly, přivedlo k hraní. Účastnil se jam sessions, které pořádal trumpetista Paul Mares, v nichţ docházelo k přirozenému splynutí bělošských a černošských hudebníků. Johnny Dodds zemřel 8. 8. 1940 v Chicagu po několika srdečních infarktech. S jeho robustním bluesovým tónem, širokým vibrátem, silným sytým tónem, který byl vyprodukován díky tvrdým plátkům, které pouţíval a perfektním glissandem, díky kterému pro něj nebyl problém spojit jakékoli intervaly, se jeho systém septakordových rozkladů v osminovém pohybu později stal modelem pro většinu revivalistických klarinetistů. 4 Jedním z nejvýraznějších současníků Johnnyho Doddse byl Jimmie Noone, narozený 23. 4. 1885 na farmě poblíţ New Orleansu. Hře na klarinet se učil u Lorenza Tia Jr. Profesionálně začal působit u Freddieho Kepparda. V roce 1918 hrál v Chicagu v různých souborech, například u Billyho Johnsona, Ollieho Powerse v Paradise Garden a jeho slavné odbobí započalo v orchestru Chalese „Doc“ Cooka. Zde začal projevovat své veliké nadání a ojedinělé umění. Svůj první malý soubor zaloţil roku 1926 s názvem Jimmie Noone's Apex Club Orchestra. Nahrávky tohoto souboru se řadí mezi nejvýznamější snímky tohoto období (Apex Blues, It's Tight Like That, Sweet Sue, Four Or Five Times). Soubor měl taky velký vliv na mladé muzikanty. Zváštností tohoto orchestru bylo to, ţe v melodické sekci měl jen klarinet a altsaxofon. V Apex Club Orchestra působila spousta vynikajících mladých muzikantů, například na saxofon Joe Poston nebo Eddie Pollack. Na piáno se vystřídali Earl Hines, Alex Hill a Zinky Cohn, jedni z nejlepších z Chicaga. Noone působil začátkem 40. let v Oryho Creole Jazz Bandu. Jimmie Noone byl jedním z nejvýraznějších kreolských představitelů klarinetové školy. Jeho styl byl velmi odlišný od jeho současníků Johnnyho Doddse a Sidneyho Becheta díky jeho jemnému a více romantickému tónu. Snaţil se nikdy neopakovat v sólech, vyhýbal se schematickým postupům. Pouţíval více staccato v rychlých akordických rozkladech. Svou hrou ovlivnil mnoho bílých klarinetistů jako Bennyho Goodmana nebo Jimmyho Dorseye. Legenda praví, ţe slavný francouzský skladatel Maurice Ravel navštívil Apex Club, kde si zapisoval Nooneho sóla a druhý den to dal zahrát svému klarinetistovi v symfonickém orchestru, který řekl, ţe je to nemoţné zahrát2. Jimmie Noone zemřel v Los Angeles 19. 4. 1944. Třetím a posledním hlavním představitelem této počáteční éry byl Sidney Bechet. Narodil se 14. 5. 1897 v New Orleansu. Na 5 klarinet se učil hrát u Georga Baqueta. Kromě klarinetu hrál i na soprán saxofon, takţe na většině jeho nahrávek slyšíme tento nástroj. Jako mladý hrával příleţitostně u Bunka Johnsona, Freddieho Kepparda a Boba Petita. V letech 1914 – 1916 působil ve skupině Clarence Williamse. S Williamsem natočil své první snímky. Se souborem Black Revue v letech 1928 – 1930 podnikl evropské turné. V 30. letech se přesunul do New Yorku, kde v období hospodářské krize působil jako krejčí. Na začátku 40. let vystupoval se svým triem v Greenwich Village a v Town Hall. Krátce po natočení skladeb Delta Mood a Leeve Blues emigroval do Francie, kde se stal jednou ze stěţejních osobností tamního jazzového a uměleckého ţivota. Účinkoval i ve filmových hudebních komedií jako jsou Ah! Quelle équipe (1957)
Load more

Recommended publications
  • Selected Observations from the Harlem Jazz Scene By
    SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan.
    [Show full text]
  • 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 Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas the the Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas the Dave Oliphant
    Oliphant: The Wisconsin Texas Jazz Nexus The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas The The Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas The Dave Oliphant The institution of slavery had, of course, divided the nation, and Chicago. Texas blacks had earlier followed the cattle trails and on opposite sides in the Civil War were the states of Wis- north, but, in the 1920s, they also felt the magnetic pull of consin and Texas, both of which sent troops into the bloody, entertainment worlds in Kansas City and Chicago that catered decisive battle of Gettysburg. Little could the brave men of the to musicians who could perform the new music called jazz that Wisconsin 6th who defended or the determined Rebels of the had begun to crop up from New Jersey to Los Angeles, beholden Texas Regiments who assaulted Cemetery Ridge have suspected to but superseding the guitar-accompanied country blues and that, one day, musicians of their two states would join to pro- the repetitive piano rags. The first jazz recordings had begun to duce the harmonies of jazz that have depended so often on the appear in 1917, and, by 1923, classic jazz ensembles had begun blues form that was native to the Lone Star State yet was loved performing in Kansas City, Chicago, and New York, led by such and played by men from such Wisconsin towns and cities as seminal figures as Bennie Moten, King Oliver, Fletcher Jack Teagarden, courtesy of CLASSICS RECORDS. Teagarden, Jack Fox Lake, Madison, Milwaukee, Waukesha, Brillion, Monroe, Henderson, and Duke Ellington.
    [Show full text]
  • VI. Meanwhile Back at the Ranch
    VI. Meanwhile, Back at the Ranch… Classical music was in a confused and confusing state of flux during the Jazz Age and the Swing Era. The first crack in its façade came in 1860, when Richard Wagner’s opera Tris- tan und Isolde first explored atonal harmonies and unusual chord positions to create a sound world that was uncertain and, to many listeners, difficult to grasp, but the first wave of com- posers influenced by this aesthetic didn’t appear until the 1890s. The earliest and most famous of these were Richard Strauss, whose tone poems Death and Transfiguration, Also Sprach Zarathustra, Till Eulenspiegel and Don Juan opened up a new sound world to thousands of listeners, but concurrent with Strauss were the even more complex scores of Gustav Mahler and Claude Debussy, who fused Wagnerian harmony onto new melodic forms that were even more complex than Strauss’. Debussy, with his slightly more congenial melodic structure and transparent orchestration, was moderately accepted by the greater body of classical listeners, yet when Toscanini premiered his opera Pelléas et Mélisande at La Scala in 1904 it created a riot almost as vociferous as that which greeted Stravinsky’s ballet Le Sacre du Printemps in Paris seven years later. Mahler’s music, with its very complex and (to contemporary listeners) confusing structures, was rejected not only by classical audiences but also by most musicians and critics until 1910, when his Eighth Symphony was premiered to an enthusiastic audience, but even after that point most conductors wouldn’t touch his music with the exception of Wil- lem Mengelberg and Mahler’s protégés, Otto Klemperer, Bruno Walter and Oskar Fried.
    [Show full text]
  • William Russell Collection
    MSS 506 Interviews with Musicians about Jelly Roll Morton 1938-1991 Bulk dates 1968-1970 Extent: 487 items This collection, a part of the larger William Russell Collection, consists of typed interviews about the jazz composer, pianist, and conductor Ferdinand “Jelly Roll” Morton (1885?-1941) and of other material which Russell collected for an intended book about Morton. The title of the collection derives from Russell‟s own descriptive phrase on folders and other packing material. However, the interviews were conducted not only with musicians, but also with others who could shed some light on Morton‟s story, including Frances M. Oliver (folder #118), Morton‟s sister; Joseph Fogarty (folder #54), grandson of Judge John J. Fogarty, who is mentioned in a Morton song; two retired vaudeville performers known as Mack and Mack (folder #108); Morton‟s one- time manager Harrison Smith (folder #174); and many others. Also in this collection are a few letters (folder #157, for instance), many of Jelly Roll‟s own autobiographical writings (folder #104), and several clippings, including an important obituary of Roy Carew (folder #87). The few photographs (none of Morton) are generally those mentioned in the accompanying interview article, and were probably intended as illustrations. Russell also collected the output of other people‟s research. John Steiner‟s chronology, “Jelly Roll in The Chicago Defender” (folders 183-185) and the beginning of Dave Stuart‟s book about his own friendship with Morton (folders 187-191) are examples of these. This material served as the basis for William Russell‟s book “Oh Mister Jelly!”: A Jelly Roll Morton Scrapbook.
    [Show full text]
  • Download the TROMBONE of Benny Morton
    1 The TROMBONE of HENRY STERLING MORTON “BENNY” Solographers: Jan Evensmo & Ola Rønnow Last update: March 11, 2020 2 Born: NYC. Jan. 31, 1907 Died: NYC. Dec. 28, 1985 Introduction: Benny Morton was the most elegant of the black trombone players of the swing era, his music always had great qualities, and he had only a very few competitors on his instrument. He certainly deserves to be remembered! Early history: Step-father was a violinist. Studied at Textile High School in New York and began ‘gigging’ with school friends. Spent several years on and off with Billy Fowler’s orchestra from 1924. With Fletcher Henderson (1926-28). With Chick Webb (1930-31), then rejoined Fletcher Henderson (March 1931). With Don Redman from 1932 until 1937, joined Count Basie in October 1937. Left Basie in January 1940 to join Joe Sullivan’s band at Café Society. With Teddy Wilson sextet from July 1940 until 1943, then worked in Edmond Hall’s sextet (ref. John Chilton: Who’s Who of Jazz). Message: My co-solographer Ola Rønnow is a professional bass trombone player in the orchestra of the Norwegian National Opera , as well as playing trombone in Christiania 12, a local swing orchestra with a repertoire from the twenties and thirties. He has contributed many of the comments, particularly those which show a profound knowledge of the instrument, and an insight which I can only admire. 3 BENNY MORTON SOLOGRAPHY FLETCHER HENDERSON & HIS ORCHESTRA NYC. May 14, 1926 Russell Smith, Joe Smith, Rex Stewart (tp), Benny Morton (tb), Buster Bailey, Don Redman (cl, as), Coleman Hawkins (cl, ts), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Ma rshall (dm).
    [Show full text]
  • Australian Music Charts – Compiled by Nostalgia Radio
    AUSTRALIAN MUSIC CHARTS – COMPILED BY NOSTALGIA RADIO As played on Australian radio stations TOP 60 SONGS 1950-1954 TOP 60 SONGS 1955-1959 1: Too young - Nat King Cole 1: Smoke gets in your eyes - Platters 2: Quicksilver - Bing Crosby and the Andrews Sisters 2: Just walking in the rain - Johnnie Ray 3: Happy wanderer - Frank Weir 3: Whatever will be, will be (que sera sera) - Doris Day 4: Music music music - Donald Peers 4: Round and round - Perry Como 5: Auf wiedersehen, sweetheart - Vera Lynn 5: Around the world - Bing Crosby 6: Pretend - Nat King Cole 6: Diana - Paul Anka 7: Lavender blue (dilly dilly) - Burl Ives 7: Catch a falling star - Perry Como 8: Goodnight Irene - Gordon Jenkins and the Weavers 8: Tom Dooley - Kingston Trio 9: Because of you - Tony Bennett 9: Joeys song - Bill Haley a/ h Comets 10: A kiss to build a dream on - Louis Armstrong 10: Volare - Domenico Modueno 11: You belong to me - Jo Stafford 11: Hold my hand - Don Cornell 12: Song from Moulin Rouge - Percy Faith 12: Melody of love - Four Aces 13: Mona Lisa - Dennis Day 13: Rock around the clock - Bill Haley and his Comets 14: Bewitched - Gordon Jenkins 14: Yellow rose of Texas - Mitch Miller 15: Slowcoach - Pee Wee King 15: Sixteen tons - Tennessee Ernie Ford 16: Cry - Johnnie Ray 16: Singing the blues - Guy Mitchell 17: Til I waltz again with you - Teresa Brewer 17: April love - Pat Boone 18: Rags to riches - Tony Bennett 18: Purple people eater - Sheb Wooley 19: Little things mean a lot - Kitty Kallen 19: A fool such as I - Elvis Presley 20: “A” you’re adorable - Perry Como a/t Fontaine Sist.
    [Show full text]
  • A Feminist Perspective on New Orleans Jazzwomen
    A FEMINIST PERSPECTIVE ON NEW ORLEANS JAZZWOMEN Sherrie Tucker Principal Investigator Submitted by Center for Research University of Kansas 2385 Irving Hill Road Lawrence, KS 66045-7563 September 30, 2004 In Partial Fulfillment of #P5705010381 Submitted to New Orleans Jazz National Historical Park National Park Service 419 Rue Decatur New Orleans, LA 70130 This is a study of women in New Orleans jazz, contracted by the National Park Service, completed between 2001 and 2004. Women have participated in numerous ways, and in a variety of complex cultural contexts, throughout the history of jazz in New Orleans. While we do see traces of women’s participation in extant New Orleans jazz histories, we seldom see women presented as central to jazz culture. Therefore, they tend to appear to occupy minor or supporting roles, if they appear at all. This Research Study uses a feminist perspective to increase our knowledge of women and gender in New Orleans jazz history, roughly between 1880 and 1980, with an emphasis on the earlier years. A Feminist Perspective on New Orleans Jazzwomen: A NOJNHP Research Study by Sherrie Tucker, University of Kansas New Orleans Jazz National Historical Park Research Study A Feminist Perspective on New Orleans Jazz Women Sherrie Tucker, University of Kansas September 30, 2004 Table of Contents Acknowledgments ................................................................................................ iii Introduction ...........................................................................................................1
    [Show full text]
  • Roaming the Air Waves • U4»Lcv's
    Stability Noted In • • ROAMING THE AIR WAVES • • -With RAY FITZPATRICK- Seasonal Expansion Oole Nelson, whose band Is Sammy Kaye's popular dance P heard on the Bakers’ Broadcast, band may be beard Thursday WATR PROGRAMS Favorable Features in Survey of Busi* has an all-Wlntcr contract Outstanding signed afternoon at 3:3d through with New York's Hotel Lexington, imauiwiBiM emln- ness Conditions in United States where he has been playing .in the WATB. Kaye’s orchestra grill room for two months. During ates from the Mutual Broad- 2:00—Dybat: Resolved,' That the ut Co- Increased re- the two months, the hotel an- casting System. ISstenslon Consumers' ; Business in the United States con- way equipment—has operatives would contribute all of its records for at- tinues to show the favorable fea- cently, and the outlook In these di- nounced, • to the Public Welfare. were broken. tures that have been observed in rections Is believed to be favorable. tendance Phil Cahill, director of the 3:00—Kb and Zeb. 3:15—Say It With Myitc. recent months, states the current The construction Industry reports WATR Playhouse, announces that on the When band 3:40—Petticoat Air. issue of The Survey, pub- further toward higher lev- Kay Kyaer’s a series of detective mysteries will 4:00—House of Peter McGregor, Guaranty progress "I Lave Yon From Coast lished the Guaranty Trust Com- of with played be aired soon- The players have 4:1.5—.Let's Dance. by els activity, gains especially ta Coast” on the Football Re- Kaye's Orch.
    [Show full text]
  • Great Escape Vol. 30
    THE GREAT ESCAPE!* ♪ *“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 30 Presented by: www.dixieswing.com Our 30th Issue! The Story of Three Trumpet Players By Browser Joe Carlton Here are thumbnail sketches of three lesser known In his later years, Jimmy picked up the bagpipes and often trumpet players. This is not about the likes of Harry James, appeared playing them in New York City's St. Patrick's Day's Charlie Spivak or Louis Armstrong. It's about some of the parade. So, this was the life of a skilled trumpeter who had guys who paid their dues mostly in section work, two of an appealing tone but who lost his way as he aged. whom later becoming better known but of one who Harry Aaron Finkelman is the second of these three didn't. Thanks to Google and Wikipedia, I am able to tell you trumpet players. He picked up a catchy first name and at least, part of their stories. One of them made it and then shortened his last name, all of which gave him the stage faded away, never to return and another of who made it and name of Ziggy Elman. Born in 1914, at an early age he then disappeared only to return and one of them was really played for Jewish weddings and in their clubs. He joined great but got little acclaim. Benny Goodman at the age of 22 in 1936.
    [Show full text]
  • Main Artist (Group) Album Title Other Artists Date Cannonball Adderley
    Julian Andrews Collection (LPs) at the Pendlebury Library of Music, Cambridge list compiled by Rachel Ambrose Evans, August 2010 Main Artist (Group) Album Title Other Artists Date Cannonball Adderley Coast to Coast Adderley Quintet 1959/62 and Sextet (Nat Adderley, Bobby Timmons, Sam Jones, Louis Hayes, Yusef Lateef, Joe Zawinul) Cannonball Adderley The Cannonball Wes Montgomery, 1960 Adderley Victor Feldman, Collection: Ray Brown, Louis Volume 4 Hayes Nat Adderley Work Songs Wes Montgomery, 1978 Cannonball Adderley, Yusef Lateef Larry Adler Extracts from the film 'Genevieve' Monty Alexander Monty Strikes Ernest Ranglin, 1974 Again. (Live in Eberhard Weber, Germany) Kenny Clare Monty Alexander, Ray Brown, Herb Triple Treat 1982 Ellis The Monty Alexander Quintet Ivory and Steel Monty Alexander, 1980 Othello Molineux, Robert Thomas Jr., Frank Gant, Gerald Wiggins Monty Alexander Ivory and Steel (2) Othello Molineux, 1988 Len Sharpe, Marshall Wood, Bernard Montgomery, Robert Thomas Jr., Marvin Smith Henry Allen Henry “Red” 1929 Allen and his New York Orchestra. Volume 1 (1929) Henry Allen The College Steve Kuhn, 1967 Concert of Pee Charlie Haden, Wee Russell and Marty Morell, Henry Red Allen Whitney Balliett Mose Allison Local Color Mose Allison Trio 1957 (Addison Farmer, Nick Stabulas) Mose Allison The Prestige Various 1957-9 Collection: Greatest Hits Mose Allison Mose Allison Addison Farmer, 1963 Sings Frank Isola, Ronnie Free, Nick Stabulas Mose Allison Middle Class Joe Farrell, Phil 1982 White Boy Upchurch, Putter Smith, John Dentz, Ron Powell Mose Allison Lessons in Living Jack Bruce, Billy 1982 Cobham, Lou Donaldson, Eric Gale Mose Allison Ever Since the Denis Irwin, Tom 1987 World Ended Whaley Laurindo Almeida Laurindo Almeida Bud Shank, Harry quartet featuring Babasin, Roy Bud Shank Harte Bert Ambrose Ambrose and his Various 1983 Orchestra: Swing is in the air Albert Ammons, Pete Johnson Boogie Woogie 1939 Classics Albert Ammons, Pete Johnson, Jimmy Boogie Woogie James F.
    [Show full text]
  • Oceánide 6 2014 a Spaniard in America / an Americano in Spain: Xavier Cugat and His Incredible Story Galina BAKHTIAROVA (Wester
    Oceánide 6 2014 Fecha de recepción: 30 diciembre 2013 Fecha de aceptación: 28 enero 2014 Fecha de publicación: 10 febrero 2014 URL:http://oceanide.netne.net/articulos/art6-1.php Oceánide número 6, ISSN 1989-6328 A Spaniard in America / An Americano in Spain: Xavier Cugat and his Incredible Story Galina BAKHTIAROVA (Western Connecticut State University, Danbury, United States) RESUMEN: El líder estadounidense Xavier Cugat (1901-1990), autoproclamado Rey de la Rumba, es uno de los nombres más conocidos en el panorama musical de los Estados Unidos desde finales de 1930 hasta la década de 1960. Nacido en la ciudad de Girona, en lo que hoy es la Comunidad Autónoma de Cataluña, en España, y educado como músico en Cuba, Cugat aprovechó el encanto de los ritmos exóticos asociados entre España y América Latina. Cugat siempre se auto-identificó como catalán y al tiempo, se sentía orgulloso de su ciudadanía americana. Su influencia en la música popular estadounidense y mundial fue enorme. Su trayectoria refleja, como ninguna otra, la historia de la música popular del siglo XX cuando se difuminan las fronteras nacionales y las culturas se mezclan entre sí. Un gran promotor de sí mismo e inteligente showman, ha participado en numerosos actos publicitarios, siempre dispuesto a conceder entrevistas. De estas entrevistas nace en parte el mito de Cugat, convirtiendo su biografía en una fusión entre realidad e imaginación, que sigue confundiendo aun hoy en día a escritores e investigadores. Una yuxtaposición de sus dos relatos autobiográficos, y múltiples entrevistas a los medios, insinúan cierta aura de fama, y un deseo desenfrenado de auto-promoción.
    [Show full text]