JAZZ @ the CAM IS BACK! by Tanya Suarez

Total Page:16

File Type:pdf, Size:1020Kb

JAZZ @ the CAM IS BACK! by Tanya Suarez Volume 8, No. 7 January 2012 JAZZ @ THE CAM IS BACK! By Tanya Suarez Put January 5th from 6:30 until 8:00 pm on your calendar. It marks the return of Jazz @ the CAM on the first Thursday of each month through April (except February when it is the 2nd Tuesday instead.) January’s program restarts the series with a bang. El Jay Johnson and the Port City All Stars produce hand-clapping, toe-tapping jazz that will invigorate us after the long stressful holiday. So come and shed your cares and be prepared to leave with a smile and a lighter heart. El Jaye has been seriously involved with music since age ten. He has expanded his involvement in music beyond performing. He is the founder and owner of EDJE Records, an independent record label, which is a subsidiary division of his business El Jaye Enterprises. Since it’s founding, El Jaye has worked as a songwriter, arranger, producer, engineer, promoter and educator. On stage you will see him energetically bounce around from guitar to trumpet to singing and dancing. And although he is an accomplished musician in his own right, he likes to be considered an entertainer, rather than just a musician. He thrives on captivating his audience through his music and his dynamic performances and tries to reach not just their feet, but also their hearts. This show will feature El Jaye Johnson on guitar, trumpet, and vocals joined by a group he created called the Port City All Stars. The All Stars include Kevin Kolb on keys, Teddy Burgh on saxophone and flute, Taylor Lee on bass, Morey Jenkins, Jr. on drums, and Mike Hanson on congas and percussion. Barry Salwen of CVNC.net recently commented about their dynamic shows: “Led by drums and guitar, they showed versatility in playing styles ranging across African, jazz, and Caribbean, and gave the audience a rocking good time.” Tickets may be purchased at the Cameron Art Museum the night of the concert or earlier online at http://www. cameronartmuseum.com/. The prices are: $7.00 for CFJS and CAM members; $10 for nonmembers and $5 for students. Happy New Year to All! from The North Carolina Jazz Festival May 2012 be filled with the wonderful sounds of live jazz. ’Tis the season to be Jazzy Cate Falcone The CFJS annual Holiday Party took place on December 4th, and if you weren’t there you missed a great time. Members had an opportunity to get acquainted with some of our new folks and to catch up with some of our longtime friends. We had a record number of attendees this year and were able to raise nearly $400 with the raffles and merchandise sales. The Doug Irving Trio provided some fabulous music and really got everyone jazzed up for the holidays. We’d like to thank Rucker John’s for their support of CFJS, and for helping us have a great holiday celebration. Finally, we should take a minute to thank the many CFJS members who helped with everything from sending in their reservations to getting raffle prizes donated and cleaning up when the fun was over. Jazz In the Cape Fear Region January March 5th Jazz @ the CAM with 1st Jazz @ the CAM with the Wahl Project* El Jaye Johnson & the 6:30, Cameron Art Museum Port City Allstars* (910) 395-5999 6:30, Cameron Art Museum www.cameronartmuseum.com (910) 395-5999 www.cameronartmuseum.com 25th Liz Pina & the FROG Project* 3-5, Community Center 21st New York Voices Southport 8:00, Thalian Hall (910) 632-2885 April 5th Jazz @ the CAM with Benny Hill* February 6:30, Cameron Art Museum 2nd-4th North Carolina Jazz Festival (910) 395-5999 Hilton Riverside, Wilmington www.cameronartmuseum.com ncjazzfestival.com 20th CFJS/UNCW Scholarship Concert 9th Jazz @ the CAM with with Karrin Allyson* Stardust Kenan Auditorium, UNCW (Jim & Laura McFayden & Friends)* (910) 962-3500 6:30, Cameron Art Museum (910) 395-5999 May www.cameronartmuseum.com 11th John Brown Orchestra 8:00, Thalian Hall 28th Wynton Marsalis (910) 632-2885 Kenan Auditorium, UNCW (910) 962-3500 *An asterisk indicates events sponsored or co-sponsored by the Cape Fear Jazz Society HELP WANTED: CFJS ARCHIVIST We are seeking an archivist to collect, catalog and maintain our photos, articles, posters, concert announcements, etc. in our archives. Into scrapbooking? You are just the one we need to “put it all together.” This volunteer position has many rewards including being a part of an organization dedicated to keeping jazz alive in the Cape Fear region. Interested volunteers should contact President Tanya Suarez at 910-792-9531 or tmsuarez@charter.net or send us a note via our website, www.capefearjazzsociety.org JAZZ ACROSS THE STATE Contributors: Matthew Lilly, Tanya Suarez, and TomtheJazzman Mallison JANUARY 2012 Wednesday, 21st DAVID BENOIT & BRIAN CULBERTSON Friday, 13th BRANFORD MARSALIS Carolina Theatre Duke University Durham, NC Durham, NC Thursday, 22nd HERBIE HANCOCK Saturday, 14th BRANFORD MARSALIS UNC Duke University Chapel Hill, NC Durham, NC Thursday, 22nd DIANA KRALL Friday, 27th NNENNA FREELON Durham Performing Arts Center Grove Park Inn Durham, NC Asheville, NC Saturday, 24th JOHN PIZZARELLI & Friday, 27th JOHN PIZZARELLI JESSICA MOLASKEY Grove Park Inn NC State University Asheville, NC Raleigh, NC Saturday, 28th JESSICA MOLASKY & APRIL AARON WEINSTEIN Grove Park Inn Thursday, 10th JOSHUA REDMAN & Asheville, NC BRAD MEHLDAU UNC Saturday, 28th TURTLE ISLAND QUARTET Chapel Hill, NC NC State University Raleigh, NC FEBRUARY MAY Thursday, 9th CHRIS BOTTI Saturday, 12th RIPPINGTONS East Carolina University High Point Theatre Greenville, NC High Point, NC Friday, 10th OVERTONE QUARTET (DAVE HOLLAND, CHRIS JUNE POTTER, JASON MORAN, & ERIC HARLAND) Friday, 22nd PIECES OF A DREAM UNC, Chapel Hill, NC Uptown Charlotte Jazz Festival Charlotte, NC Friday, 10th PAT BERGESON & ANNIE SELLICK tickets at www.uptowncharlottejazzfest.com Heart and Soul of Jazz Festival at Carolina Hotel Saturday, 23rd BONEY JAMES Pinehurst, NC Uptown Charlotte Jazz Festival Charlotte, NC Saturday, 11th BRIAN NEWMAN tickets at www.uptowncharlottejazzfest.com Heart and Soul of Jazz Festival Carolina Hotel, Pinehurst, NC Friday, 24th CHRISTIAN MCBRIDE UNC Chapel Hill, NC Saturday, 25th STEPHANIE NAKASIAN Pamlico Musical Society Oriental, NC MARCH Thursday, 15th WYNTON MARSALIS JAZZ AT LINCOLN UNC CENTER ORCHESTRA Chapel Hill, NC The Jazz Library: Dizzy Gillespie (1917-1993) Last month’s article featured one of the two fathers of bebop, Charlie Parker. The other father, of course, is the groundbreaking trumpeter and musical ambassador Dizzy Gillespie. Of Parker I wrote “performer, composer, one of the fathers of bebop, and icon for the beat generation – all these labels work for Bird, but his immortality is due to the way he taught the world to improvise.” Exactly the same can be said for Gillespie, and because the two were so closely linked, it’s essential to do these two articles back- to-back. John Birks Gillespie was born in Cheraw, SC, son of a bricklayer who was a pianist and bandleader in his spare time. Gillespie Senior kept all the instruments for his band around the house: young Gillespie, a pianist from early on, tried the trombone, but his arms were too short. At age 13 he heard Roy Eldridge on the radio, fell in love with the trumpet, and never looked back. He received a music scholarship at the Laurinburg Institute in Dizzy Gillespie, ca. 1950 NC, a traditionally Black prep school that flourishes to this day. © Unknown He studied music theory, harmony and performance for two years, but had to leave when his family moved to Philadelphia. There he began playing with local bands. His crazy antics on stage quickly earned him the nickname “Dizzy.” The name, and the antics, lasted the rest of his life. In 1937 Dizzy moved to New York, first playing with his idol Roy Eldridge’s band, then with Cab Calloway. He was fired by Calloway after a notorious incident in which Dizzy, fond of throwing spitballs during performances, allegedly threw one at Calloway: in the resulting post-concert confrontation, the mercurial Gillespie pulled a knife and cut Calloway in the hand. Gillespie worked with a “who’s who” of other bands during the early 1940s (Chick Webb, Fletcher Henderson, and Benny Carter). He was in the Earl Hines band in 1943 when he worked with Charlie Parker for the first time, and the two moved together to the more Dizzy Gillespie, ca. 1965 musically adventurous Billy Eckstine band. Of that time Gillespie © Unknown recalled, “New York is the place, and both of us blossomed.” They formed their own combo in 1945; as discussed last month, it ushered in the bebop era and was one of the greatest small bands of the 20th century. In 1946 the two made a California tour with great success, but as we discussed last month, the trip ended with Parker’s commitment to a rehab facility. Gillespie, who did not do drugs and used little alcohol, returned on his own to lead other small combos (including such luminaries as Ray Brown, Kenny Clarke, John Coltrane, Milt Jackson, J.J. Johnson, and Lalo Schifrin). He also appeared frequently as a soloist with Norman Granz’s Jazz at the Philharmonic. Gillespie’s and Parker’s famous “Salt Peanuts” introduced the world to bebop. This column has not discussed the great and sudden transition in jazz of the early 1940s, which made “Salt Peanuts” such a surprise to the world, so a digression is in order. In August of 1942 the American Federation of Musicians, trying to escape the powerful financial thumb of the recording companies, imposed a ban on all recordings by union members.
Recommended publications
  • Various All Star Sessions Mp3, Flac, Wma
    Various All Star Sessions mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: All Star Sessions Country: Netherlands Style: Bop MP3 version RAR size: 1694 mb FLAC version RAR size: 1421 mb WMA version RAR size: 1940 mb Rating: 4.9 Votes: 322 Other Formats: MP1 DXD XM AHX WAV DTS ADX Tracklist Hide Credits Capitol International Jazzmen You Can Depend On Me Acoustic Bass – John KirbyAcoustic Guitar – Oscar MooreAlto Saxophone – A1 Benny CarterClarinet – Buster BaileyDrums – Max RoachLead Vocals – 2:55 Kay StarrPiano – Nat "King" Cole*Tenor Saxophone – Coleman HawkinsTrumpet – Bill Coleman A2 If I Could Be With You 2:43 A3 Riffamarole 2:47 Metronome All Stars - 1947 Leap Here Acoustic Bass – Eddie SafranskiClarinet – Buddy DeFrancoDrums – Buddy A4 3:18 RichGuitar – Billy BauerPiano – Nat "King" Cole*Tenor Saxophone – Flip PhillipsTrombone – Bill HarrisTrumpet – Dizzy Gillespie Add Metronome Riff Alto Saxophone – Art Pepper, George WeidlerBaritone Saxophone – Bob GiogaDirected By – Stan KentonDrums – Shelly ManneTenor Saxophone – A5 2:37 Bob Cooper, Warner Weidler*Trombone – Harry Betts, Harry Forbes , Milt BernhartTrombone [Baritone] – Bart VarsalonaTrumpet – Al Porcino, Buddy Childers, Ken Hanna, Ray Wetzel Metronome All Stars - 1951 Early Spring Acoustic Bass – Eddie SafranskiAcoustic Guitar – Billy BauerAlto Saxophone – Lee KonitzBaritone Saxophone – Serge ChaloffClarinet – John A6 2:42 LaPortaDrums – Max RoachPiano – George ShearingTenor Saxophone – Stan GetzTrombone – Kai WindingTrumpet – Miles DavisVibraphone – Terry Gibbs
    [Show full text]
  • Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
    Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect.
    [Show full text]
  • Robert GADEN: Slim GAILLARD
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN
    [Show full text]
  • “Dizzy” Gillespie Was One of the Most Important and Influential Jazz Trumpeters, After Louis Armstrong
    35 lesson9 Meet the Great Jazz Legends dizzygillespie Photo: © Carl Van Vechten, Library of Congress Vechten, Photo: © Carl Van IMPORTANT FACTS TO KNOW ABOUT JOHN “DIZZY” GILLESPIE Born: October 21, 1917, Cheraw, South Carolina Died: January 6, 1993, Englewood, New Jersey Period/Style of Jazz: Bebop, Afro-Cuban Jazz Instrument: Trumpet, bandleader and composer Major Compositions: A Night in Tunisia, Con Alma, Groovin’ High, Manteca Interesting Facts: Dizzy Gillespie invented the modern approach to jazz trumpet playing, which included extending the range of the instrument, improvising in a more linear fashion and playing with dramatic bursts with large interval leaps. He was among the first to use Afro-Cuban music in jazz. Included Listening: A Night in Tunisia Track 9 36 Meet the Great Jazz Legends ■ The Story of Dizzy Gillespie (1917–1993) ohn Birks “Dizzy” Gillespie was one of the most important and influential jazz trumpeters, after Louis Armstrong. Dizzy Gillespie, along with his colleagues Charlie Parker and Thelonious J Monk, are considered to be the “fathers” of the fast-and-furious style called bebop. Dizzy Gillespie was known for his soaring trumpet lines, his puffed cheeks and the tilted bell of his trumpet. He was loved by musicians and fans for his engaging personality and showmanship. Gillespie was inspired to play music by his father who was a bricklayer and part- time musician. Gillespie began playing the piano at the age of 4. He taught himself to play the trumpet by trial and error, with the help of a few friends at the age of 12. In 1935, Gillespie moved to Philadelphia with his mother, after the death of his father.
    [Show full text]
  • 88-Page Mega Version 2016 2015 2014 2013 2012 2011 2010
    The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! 88-PAGE MEGA VERSION 2017 2016 2015 2014 2013 2012 2011 2010 COMBINED jazz & blues report jazz-blues.com The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! INDEX 2017 Gift Guide •••••• 3 2016 Gift Guide •••••• 9 2015 Gift Guide •••••• 25 2014 Gift Guide •••••• 44 2013 Gift Guide •••••• 54 2012 Gift Guide •••••• 60 2011 Gift Guide •••••• 68 2010 Gift Guide •••••• 83 jazz &blues report jazz & blues report jazz-blues.com 2017 Gift Guide While our annual Gift Guide appears every year at this time, the gift ideas covered are in no way just to be thought of as holiday gifts only. Obviously, these items would be a good gift idea for any occasion year-round, as well as a gift for yourself! We do not include many, if any at all, single CDs in the guide. Most everything contained will be multiple CD sets, DVDs, CD/DVD sets, books and the like. Of course, you can always look though our back issues to see what came out in 2017 (and prior years), but none of us would want to attempt to decide which CDs would be a fitting ad- dition to this guide. As with 2016, the year 2017 was a bit on the lean side as far as reviews go of box sets, books and DVDs - it appears tht the days of mass quantities of boxed sets are over - but we do have some to check out. These are in no particular order in terms of importance or release dates.
    [Show full text]
  • Gene Ammons Éÿ³æ¨‚Å°ˆè¼¯ ĸ²È¡Œ (ĸ“Ⱦ‘ & Æ—¶É—´È¡¨)
    Gene Ammons 音樂專輯 串行 (专辑 & 时间表) Velvet Soul https://zh.listvote.com/lists/music/albums/velvet-soul-7919419/songs Funky https://zh.listvote.com/lists/music/albums/funky-5509284/songs All Star Sessions https://zh.listvote.com/lists/music/albums/all-star-sessions-4729674/songs Soul Summit Vol. 2 https://zh.listvote.com/lists/music/albums/soul-summit-vol.-2-15818440/songs Sock! https://zh.listvote.com/lists/music/albums/sock%21-15814227/songs Big Bad Jug https://zh.listvote.com/lists/music/albums/big-bad-jug-4904975/songs Got My Own https://zh.listvote.com/lists/music/albums/got-my-own-5587667/songs You Talk That Talk! https://zh.listvote.com/lists/music/albums/you-talk-that-talk%21-8057541/songs Soul Summit https://zh.listvote.com/lists/music/albums/soul-summit-7564331/songs Free Again https://zh.listvote.com/lists/music/albums/free-again-5499729/songs Twisting the Jug https://zh.listvote.com/lists/music/albums/twisting-the-jug-7858586/songs The Boss Is Back! https://zh.listvote.com/lists/music/albums/the-boss-is-back%21-7719440/songs My Way https://zh.listvote.com/lists/music/albums/my-way-6946594/songs https://zh.listvote.com/lists/music/albums/the-soulful-moods-of-gene-ammons- The Soulful Moods of Gene Ammons 7765379/songs Brasswind https://zh.listvote.com/lists/music/albums/brasswind-4957970/songs The Black Cat! https://zh.listvote.com/lists/music/albums/the-black-cat%21-7718275/songs Brother Jug! https://zh.listvote.com/lists/music/albums/brother-jug%21-4975523/songs Boss Soul! https://zh.listvote.com/lists/music/albums/boss-soul%21-4947520/songs
    [Show full text]
  • Singer of the Hollies and Marks An- Thews.Melissa'ssoulfulversion Should Down Home Funkisstillvery Much a Other Change of Pace for Havens
    DEDICATED TO THE NEEDS OF THE MUSIC 'RECORD I SINGLES SLEEPERS ALBUMS BOZ SCAGGS, "LIDO SHUFFLE" (prod. by Joe THIN .LIZZY, "DON'T BELIEVE A WORD" (prod. NATALIE COLE, "UNPREDICTABLE."It Wissert)(writers: B.Scaggs & D. by John Alcock)(writer:P.Lynott) is rare that an artist "arrives" on the Paich) (Boz Scaggs/Hudmar, ASCAP) (RSO/Chappell, ASCAP) (2:18). The scene, estabiishes herself with a first (3:40). One of the best tracks from closest that the group has come to release and :mmediately takes a place Scaggs' much acclaimed "Silk De- the infectious,rockingbadboy among the giants of popdom with every grees" album, this one seems the sound of "The Boys Are BackIn indicatio' being that's where she'll re- most likely contender to follow in Town," this "Johnny The Fox" track main for many years. Such has been.thie' thesuccessfulfootstepsof"Low- has already charted in the U.K. Be- case for Ms. Cole, whose remarkable down." Scaggs' easy going vocal lieveit: the boys are back to stay. growth continues unabated with yet a blazes the way. Columbia 3 10491. Mercury 73892. third Ip. Capitol SO -11600 (6.98). DAVID BOWIE, "SOUND AND VISION" (prod. GENESIS, "YOUR OWN SPECIAL WAY" (prod. JETHRO7JIi.L, "SONGS FROM THE )114K)1.1 -,P - by David Bowie & Tony Visconti) by David Hentschel & Genesis) WOOD." .::te tour of smaller halls re- (writers: David Bowie) (Bewlay Bros./ (writer: Michael Rutherford) (Warner cently completed by Tull has put the Fleur, BMI) (3:00). "The man who Bros., ASCAP) (3:03). The group is group in the proper frame of reference fell to earth" is still one step ahead currently enjoying its biggest album for this latest set.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]
  • Emanon Full Score
    Jazz Lines Publications Presents emanon Arranged by john lewis prepared by dylan canterbury, rob duboff, and jeffrey sultanof full score jlp-7175 Music by John ‘Dizzy’ Gillespie and Milton Shaw Copyright © 1965 (Renewed) by Music Sales Corporation (ASCAP) This arrangement © 2016 by Music Sales Corporation (ASCAP) International Copyright Secured. All Rights Reserved. Reprinted by permission. Logos, Graphics, and Layout Copyright © 2016 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 dizzy gillespie series emanon (1946) Background: If Charlie Parker is considered to be the heart of bebop, then John Birks “Dizzy” Gillespie must be considered its brain. His iconic bullfrog cheeks, upward bent trumpet and comical on-stage persona provided an accessible veneer for a musical intellect of the highest order. His efforts as a trumpeter, composer, bandleader and teacher resulted in some of jazz’s most timelessly innovative moments during his 50-plus years in the public limelight. Born in the rural town of Cheraw, S.C. on October 21, 1917, Gillespie displayed an aptitude for music at an early age. Starting on piano at age four, Gillespie first tried his hand at the trombone before finally settling on trumpet. His musical education continued at the Laurinburg Institute before eventually setting out on a musical career. After stints in such smaller outlets as the Frank Fairfax, Edgar Hayes and Teddy Hill organizations, Gillespie’s first major exposure to the music world came during his time in the band of singer Cab Calloway.
    [Show full text]
  • Charlie Parker Transcriptions Collection
    http://oac.cdlib.org/findaid/ark:/13030/ft4v19n6vq No online items Finding Aid for the Charlie Parker Transcriptions Collection Collection processed and machine-readable finding aid created by UCLA Performing Arts Special Collections staff. UCLA Library, Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: speccoll-paging@library.ucla.edu http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm © 2002 The Regents of the University of California. All rights reserved. Note Arts and Humanities--Music Finding Aid for the Charlie Parker 182 1 Transcriptions Collection Finding Aid of the Charlie Parker Transcriptions Collection Collection number: 182 UCLA Library, Performing Arts Special Collections University of California, Los Angeles Los Angeles, CA Contact Information University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: speccoll-paging@library.ucla.edu URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm Processed by: UCLA Performing Arts Special Collections staff Date Completed: 2001 Encoded by: Bryan Griest © 2002 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Charlie Parker Transcriptions Collection Collection number: 182 Creator: Parker, Charlie Extent: 1 box (0.5 linear ft.) Repository: University of California, Los Angeles. Library. Performing Arts Special Collections Los Angeles, California 90095-1575 Abstract: This collection consists of transcriptions by Andrew White of sound recordings of saxophone solos Physical location: Stored off-site at SRLF.
    [Show full text]
  • Prestige Label Discography
    Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
    [Show full text]
  • One Bass Hit Full Score
    Jazz Lines Publications Presents one bass hit Arranged by gil fuller edited by rob duboff and jeffrey sultanof full score jlp-8718 Music by John ‘Dizzy’ Gillespie, Walter ‘Gil’ Fuller and Raymond M. Brown Copyright © 1948 (Renewed) by Music Sales Corporation (ASCAP) This Arrangement Copyright © 2011 Music Sales Corporation (ASCAP) International Copyright Secured All Rights Reserved Reprinted by Permission Warning: Unauthorized reproduction of this publication is prohibited by Federal Law and is subject to criminal prosecution. Logos, Graphics, and Layout Copyright © 2011 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 dizzy gillespie series one bass hit (1946) Background: If Charlie Parker is considered to be the heart of bebop, then John Birks “Dizzy” Gillespie must be considered its brain. His iconic bullfrog cheeks, upward bent trumpet and comical on-stage persona provided an accessible veneer for a musical intellect of the highest order. His efforts as a trumpeter, composer, bandleader and teacher resulted in some of jazz’s most timelessly innovative moments during his 50-plus years in the public limelight. Born in the rural town of Cheraw, S.C. on October 21, 1917, Gillespie displayed an aptitude for music at an early age. Starting on piano at age four, Gillespie first tried his hand at the trombone before finally settling on trumpet. His musical education continued at the Laurinburg Institute before eventually setting out on a musical career.
    [Show full text]