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J. Dorsey, Earl Hines Also Swell Trombone Showcased
DOWN BEAT Chicago. April 15. 1941 Chicago fl by his latest cutting. Everything Depends On You, in which he spots Gems of Jazz’ and Kirby Madeline Green and a male vocal trio. On BBird 11036, it’s a side which shows a new Hines, a Hines who can bow to the public’s de Albarns Draw Big Raves; mands and yet maintain a high artistic plane. Backer is In Suiamp Lande, a juniper, with the leader’s I—Oh Le 88, Franz Jackson’s tenor and a »—New ' J. Dorsey, Earl Hines Also swell trombone showcased. Je Uy, 3—dmapi Jelly (BBird 11065) slow 4—Perfid by DAVE DEXTER, JR. blues with more sprightly Hines, 5—The A and a Pha Terrelish v ical by Bill 6—High I JvlUSICIANS SHOULD FIND the new “Gems of Jazz” and Eckstein. Flipover, I’m Falling 7—There' For You, is the only really bad John Kirby albums of interest, for the two collections em side of the four. It’s a draggy pop 9—Chapeí brace a little bit of everything in the jazz field. The “Gems” with too much Eckstein. [O—Th> l include 12 exceptional sides featuring Mildred Bailey, Jess 11—f Unti Stacy, Lux Lewis, Joe Marsala and Bud Freeman. Made in Jimmy Dorsey 12—Frenes 1936, they’ were issued only in England on Parlophone and Hot as a gang of ants on a WATCH O have been unavailable domestically until now. warm rock, Jim and his gang click again with two new Tudi« Cama Ma «mvng tl B a i 1 ey’s rata versions uf Yours (the Man Behind the Counter in soda-jerk getup in that rat. -
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. -
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. -
JREV3.8FULL.Pdf
JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc. -
Fall 2015 Uchicago Arts Guide
UCHICAGO ARTS FALL 2015 EVENT & EXHIBITION HIGHLIGHTS IN THIS ISSUE The Renaissance Society Centennial UChicago in the Chicago Architecture Biennial CinéVardaExpo.Agnès Varda in Chicago arts.uchicago.edu BerlinFullPage.pdf 1 8/21/15 12:27 PM 2015 Randy L. and Melvin R. BERLIN FAMILY LECTURES CONTENTS 5 Exhibitions & Visual Arts 42 Youth & Family 12 Five Things You (Probably) Didn’t 44 Arts Map Know About the Renaissance Society 46 Info 17 Film 20 CinéVardaExpo.Agnès Varda in Chicago 23 Design & Architecture Icon Key 25 Literature Chicago Architecture Biennial event 28 Multidisciplinary CinéVardaExpo event C M 31 Music UChicago 125th Anniversary event Y 39 Theater, Dance & Performance UChicago student event CM MY AMITAV GHOSH The University of Chicago is a destination where ON THE COVER CY artists, scholars, students, and audiences converge Daniel Buren, Intersecting Axes: A Work In Situ, installation view, CMY T G D and create. Explore our theaters, performance The Renaissance Society, Apr 10–May 4, 1983 K spaces, museums and galleries, academic | arts.uchicago.edu F, H, P A programs, cultural initiatives, and more. Photo credits: (page 5) Attributed to Wassily Kandinsky, Composition, 1914, oil on canvas, Smart Museum of Art, the University of Chicago, Gift of Dolores and Donn Shapiro in honor of Jory Shapiro, 2012.51.; Jessica Stockholder, detail of Rose’s Inclination, 2015, site-specific installation commissioned by the Smart Museum of Art;page ( 6) William G W Butler Yeats (1865–1939), Poems, London: published by T. Fisher Unwin; Boston: Copeland and Day, 1895, promised Gift of Deborah Wachs Barnes, Sharon Wachs Hirsch, Judith Pieprz, and Joel Wachs, AB’92; Justin Kern, Harper Memorial Reading Room, 2015, photo courtesy the artist; page( 7) Gate of Xerxes, Guardian Man-Bulls of the eastern doorway, from Erich F. -
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. -
And the Future of Jazz!
gram JAZZ PROMOTING AND NURTURING JAZZ IN CHICAGO NOVEMBER 2019 WWW.JAZZINCHICAGO.ORG MUHAL'S JAZZ PROGENY CELEBRATE HIS LEGACY - AND THE FUTURE OF JAZZ! JAZZCITY 2019: A JOURNEY THROUGH JAZZ - PLAY IT FORWARD NOVEMBER 1 AT 7PM Hamilton Park | 513 W. 72nd St. KEYBOARDIST JUSTIN DILLARD STUDIED with Muhal Richard Abrams, one of the dedicatees of JazzCity’s Nov. 1 show at Hamilton Park for only a short time. And the lessons that Dillard learned from the late avant-gardist and AACM legend can't always be easily detected in his handsome mainstream sound. But when you're around an artist and educator of Abrams’ stature, you absorb more than you may think, whatever stylistic direction you choose. “He was a very quiet, humble cat,” said Dillard. “Sometimes, he could be very particular in pointing things out. At other times, he could be quite aloof. But whenever you were in his presence, you couldn’t help but be inspired to reach higher.” Having played with such stellar AACM ensembles as Nicole Mitchell’s Black Earth Ensemble, Ernest Dawkins’ Chicago 12 and the Kahil El’Zabar Quartet, Dillard is Foster James by Photo Justin Dillard. right at home with the AACM’s untethered, "roots to the future" approach. That will be evident at Hamilton Park, Marvel Comics character Loki: "Freedom is life’s great where he will lead an ensemble stacked with notables lie. Once you accept that, in your heart, you will know from that South Side institution: Edwin Daugherty on peace." alto saxophone, Steve Berry on trombone, Junius Paul Ultimately, of course, it is the freedom to filter all on bass and Vincent Davis on drums. -
Down Beat October 19 1967
SOUND PERFECTION... JOE MORELLOI LUDWIG! As in his playing, many times jazz poll ^'?j winner Joe Morello insists on perfection in his drums! That’s why Joe insists on Ludwig! Only Ludwig1 drums provide him with the exceptional tone, response and durability required for his great performances. For over 10 years, Joe has played and travelled with the Dave Brubeck Quartet ... a rigorous and demanding career which has earned Joe the wide acclaim he deserves. And, wherever you see and hear Joe play, you'll be witnessing the finest drummer playing the finest drums . Ludwig! experience/imagination/craftsmanship October 19, 1967 Vol. 34, No. 21 ONCE MORE FROM THE 1 DAN MORGENSTERN WEST down ' • BILL QUINN COAST IRA GITLER LEONARD FEATHER beat BARBARA GARDNER HARVEY SIDERS THE BIWEEKLY MUSIC MAGAZINE On Newsstands Throughout the World MARTIN GALL AY Every Other Thursday READERS IN 142 COUNTRIES GLORIA BALDWIN contents 6 Chords and Discords 13 News 16 The Natural: A Conversation with Erroll Garner: After years at the top, the famous pianist is seeking additional outlets for his musical ideas. By V/V6-8671 Harvey Siders Along comes California’s vibist-in- 19 Body & Soul: The Total Experience of Denny Zeitlin: Pianist Zeitlin achieves residence with some choice new Latin cooking, seasoned with Soul. a harmonious balance of mind and emotion, resulting in the “Now” sound. By Steve Toomajian 21 Cheers for Shearing: The resurgence of spirit and drive he shows in his Bolakete playing makes George Shearing seem ageless. By Harry Frost __ atthe 23 Down Patti: A Profile of Patti Bown: In the midst of a music world dominated Monterey by men, Miss Bown is recognized as an equal. -
A Case of Astonishing Disregard
A Case of Astonishing Disregard BILLY BANKS AND HIS ORCHESTRA By K.-B. Rau The last three issues of this very “Magazine for Discographical Research” brought us three articles on the career of Billy Banks by researcher Chris Smith, showing us that there was much more to the careers of many musicians and singers of the classic jazz years than was known. The discographies only showed what had been recorded, and everything else was left to interested persons to excavate from hard-to-find publications. The world-wide-web has done us an immense favour in providing access to hitherto inaccessable sources. But there still are a lot of doubtful items in the discographies that still await clarification – especially so in the several editions of Rust´s ‘Jazz and Ragtime Records’. But: there is so much written and printed information at hand on the classic years of jazz music even today, that we only need to check through the publications of the last half-century to be able to clarify more features than assumed to be possible. The above-mentioned articles on Billy Banks caused us to check Rust´s list of Bank´s recordings, only to find out that besides Bank´s righteously famous ‘Rhythmakers’ sessions and the sides he sang with the ‘Mills Blue Rhythm Band’, there are two sessions – recorded and issued by Victor - still listed with entirely unknown personnels. Only two of these six titles of May and August 1932 had earlier been reissued – and largely over-looked - on an American LP Harrison K ‘Jazzin´ Around’ in 1980. -
The Strutter
The Strutter VOLUME 30 NUMBER 4 Traditional Jazz in the Philadelphia Tri-State Area OCTOBER 2019 Porter’ and ‘what kind of music IS this?’ We combine OUR NEXT CONCERT vintage pop, western swing, traditional jazz and even tango in the programs we put together. If you're Buck and a Quarter Quartet curious about our name,” continues Bianchi, “we Sunday, October 13, 2019 started out as a trio (The Three-Quarter Quartet) and 2:00 to 4:30 pm quickly added two additional musicians.” Community Arts Center, Wallingford, PA John Bianchi – Vocals, Clarinet, Saxes, Ukulele, Song- writer, Leader John Landry – Violin, Vocals, Songwriter Angus Loten – Tenor Banjo, Guitar, Percussion, Bird Whistle Ben Mealer – Ukulele, Percussion, Vocals Brian Nalepka – Bass, Tuba, Vocals Michaela Gomez – Guitar Visit the Buck and a Quarter ($1.25) website Watch the band perform ”The Very Thought of You” Some welcome silliness – ”Frankfurter Sandwiches” Member admission is $10, general admission is $20. Introductory offer - start a new, first-time TSJS annual Photo by Saskia Kahn membership ($20) at the door and receive free admission to this concert (this offer is not applicable to The Buck and a Quarter Quartet is the Brooklyn and renewing or reactivating membership.) Full-time Manhattan-based string band that appears several students with ID and children accompanied by a paying times every month at leading clubs and venues throughout New York City and the surrounding area. adult are free. There are no advance sales or Since the band’s founding in 2014, gigs have included reservations. Dancing is welcome at all performances. -
Chris Greene Quintet: the Popular, Longstanding Chicago Band on Preparing a Tribute to Eddie Harris
gram JAZZ PROMOTING AND NURTURING JAZZ IN CHICAGO APRIL 2020 WWW.JAZZINCHICAGO.ORG CHRIS GREENE QUINTET: THE POPULAR, LONGSTANDING CHICAGO BAND ON PREPARING A TRIBUTE TO EDDIE HARRIS JAZZCITY 2020 SOUL TO SOUL: A CELEBRATION OF EDDIE HARRIS COMPARED TO WHAT?! (EVENT CANCELED) WHEN THE JAZZ INSTITUTE OF CHICAGO DECIDED to make Eddie Harris the recipient of this year's ongoing JazzCity tribute, one artist and one band were an obvious choice to participate. Who better to capture the slippery, soulful, stylistically restless sound of the late, great tenor saxophonist Chris Greene and his quintet? As suggested by the title of the band's album, Boundary Issues, Greene has never had much use for staying in one place with Chris Greene Ensemble his music. "I don't know my place, I guess, which is why I'm always stepping outside of the so-called boundaries. With the music I like, I just can't help thinking, what would it be like if I did this, or this?" We would have expected to hear Greene and company – keyboardist Damian Espinosa, bassist Marc Piane, trumpeter John Moore and drummer Steve Corley – play popular Harris staples including "Compared to What," "Freedom Jazz Dance" and "Cold Duck Time" at Loyola Park on April 3rd. And if the spirit moved them, the band, which has been together since 2005, might have treated the crowd to one or all of those songs. But having taken a deep dive into Harris' compositions – which in many ways are as notable as his tenor saxophone inventions, something Greene hoped to convey to the audience – the saxophonist is more interested in exposing lesser-heard tunes. -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz.