Appendix: Ben Webster's Musical Activities

Total Page:16

File Type:pdf, Size:1020Kb

Appendix: Ben Webster's Musical Activities Someone to Watch Over Me: The Life and Music of Ben Webster Frank Büchmann-Møller http://www.press.umich.edu/titleDetailDesc.do?id=86405 The University of Michigan Press, 2006 APPENDIX: BEN WEBSTER’S MUSICAL ACTIVITIES List of jobs, engagements, and recording sessions Information listed here is not complete, of course. It is derived from various sources, among others Down Beat, New Amsterdam News, Chicago Defender, Pitts- burgh Courier, Metronome, Jazz Journal, Jazz Monthly, Melody Maker, Jazz Maga- zine (Paris), Jazz Podium, Orkester Journalen, Variety, Billboard, local newspapers, programs from Jazzhus Montmartre (Copenhagen), and also from interviews. To fill the gaps I borrowed some data from Walter C. Allen, Hendersonia (Allen, 1973), Count Basie and Albert Murray, Good Morning Blues (Random House, 1985), Klaus Stratemann, Duke Ellington: Day by Day and Film by Film (JazzMedia, 1992) sup- plemented with new research by Kenneth R. Steiner, and Franz Hoffmann’s most helpful compilations of Jazz Advertised in the Negro Press, 1910-1967 (Hoffmann, 1980–89) and Jazz Reviewed, 1910–50 (Hoffmann, 1995). “Also” in the date column means that Webster, in addition to the given range of dates, also played another activity, e.g., a recording session. Ca. 1925–27 Odd jobs in Kansas City with his own small band, Rooster Ben and His Little Red Hens, and playing piano in clubs and silent movie theaters Ca. 1927–28 Brethro Nelson and His Orchestra Tours through Kansas, Oklahoma, Texas Ca. 1928–29 Dutch Campbell and His Sugar Stompers Tours through Texas Winter–spring 1929 Amarillo, TX, playing piano in a silent movie theater Summer–autumn 1929 Billy Young and His Family Band Summer Albuquerque, NM Plays alto saxophone Autumn Phoenix, AZ East Lake Park Autumn 1929–late 1930 Gene Coy and His Original Black Aces Oklahoma City, OK, Market Square Garden Shifts to tenor saxophone Late 1930–Feb. 1931 Jap Allen and His Orchestra Kansas City, MO January–February 1931 Tour through South Dakota, Iowa, Nebraska to Tulsa, OK February 1931 Booker Pittman and His Orchestra Tour from Tulsa, OK to Kansas City, MO Feb.–March 1931 Edgar Battle and His Orchestra Philadelphia, PA Pearl Theatre i Someone to Watch Over Me: The Life and Music of Ben Webster Frank Büchmann-Møller http://www.press.umich.edu/titleDetailDesc.do?id=86405 The University of Michigan Press, 2006 BEN WEBSTER’S MUSICAL ACTIVITIES ii March 1931–ca. Nov. 1931 Blanche Calloway and Her Orchestra March 27 Camden, NJ recording session April 4–10 New York City Lafayette Theatre April 18–24 Washington, DC Howard Theatre April 25–May 1 Baltimore, MD Royal Theatre May 8 Camden, NJ recording session June 11 Camden, NJ recording session July–August New York City odd jobs in Harlem September–October Tour through Pennsylvania, New York, New Jersey, New England, Virginia, West Virginia, Ohio September 19–25 Philadelphia, PA Pearl Theatre October 8–14 Kansas City, MO Paseo Hall October 15 Baltimore, MD Masonic Auditorium Ca. October 16 Richmond, VA Ca. October 18 Washington, DC Ca. October 19 Harrisburg, PA October 20 Pittsburgh, PA Pythian Temple Ca.October 22 Orange, NJ Ca. October 24 Wheeling, WV Ca. October 26 Cincinnati, OH Ca. November 1931– Bennie Moten and His Orchestra ca. December 22. 1932 November 1–6 New York City Lafayette Theatre November 7–13 Philadelphia, PA Pearl Theatre November 14–20 Washington, DC Howard Theatre December 12–18 New York, NY Lafayette Theatre Wilmington, DE Philadelphia, PA January 29– Chicago, IL Balaban & Katz ca. February 12, 1932 Public Theatre March 7 Kansas City, MO Paseo Hall 6 weeks tour to the South, including Joplin, MO Fort Smith, AR Pine Stuff, AR April 11 Memphis, TN Bryant Casino April 15 Oklahoma City, OK Forest Park Shreveport, LA Vicksburg, MS Galveston, TX Houston, TX San Antonio, TX April 25 Kansas City, MO Labor Temple Austin, TX Waco, TX Fort Worth, TX 3 weeks Beaumont, TX Cinderella Ballroom Someone to Watch Over Me: The Life and Music of Ben Webster Frank Büchmann-Møller http://www.press.umich.edu/titleDetailDesc.do?id=86405 The University of Michigan Press, 2006 iii Ben Webster’s Musical Activities May 15 Indianapolis, IN Louisville, KY Cincinnati, OH 2 weeks Coney Island, NY 4 weeks Tour of New England June 26 Pittsburgh, PA Harmarville Park June 27 Pittsburgh, PA Pythian Temple Detroit, MI Graystone Ballroom Bowling Green, KY Hopkinsville, KY September 10–16 Cincinnati, OH Graystone Ballroom October Columbus, OH Early December Philadelphia, PA Pearl Theatre December 13 Camden, NJ recording session Richmond, VA Newport News, VA Zanesville, OH Columbus, OH January 1933 Kansas City, MO Sunset Café January 1933–July 1934 Andy Kirk and His Twelve Clouds of Joy January 23–February 18 Denver, CO February 20 Oklahoma City, OK Slaughter’s Hall February 21 Fort Smith, OK February 24–26 Tulsa, OK February 27–April 23 Tour through Louisiana and Florida to Kansas City, MO March 12 Oklahoma City, OK May–September Kansas City, MO Fairyland Park Also December 18 Kansas City, MO Cherry Blosson, jam session July 1934–December 1934 Fletcher Henderson and His Orchestra July 14–20 New York, NY Savoy Ballroom August 26–31 New York, NY Harlem Opera House September 1–7 Montreal, QC, Canada Palais d’Or September 11 New York, NY recording session September 12 New York, NY recording session September 15–21 Philadelphia, PA Lincoln Theatre September 22–28 New York, NY Roseland Ballroom Also September 25 New York, NY recording session October 1 Pittsburgh, PA Savoy Ballrom October 2–29 Cleveland, OH Cotton Club November 5–11 Detroit, MI Graystone Ballrom November 1934– Benny Carter and His Orchestra January 1935 November 16–22 New York, NY Apollo Theatre November 28 Detroit, MI Arcadia Ballroom December 13 New York, NY recording session December 31 Webster Hall Someone to Watch Over Me: The Life and Music of Ben Webster Frank Büchmann-Møller http://www.press.umich.edu/titleDetailDesc.do?id=86405 The University of Michigan Press, 2006 BEN WEBSTER’S MUSICAL ACTIVITIES iv February–August 1935 Willie Bryant and His Orchestra February 1–7 New York, NY Harlem Opera House Also February 25 New York, NY recording session with Bob Howard March 2 Trenton, NJ Elk’s Hall March 3–9 New York, NY Apollo Theatre March 15–21 New York, NY Apollo Theatre March 24–April 20 Buffalo, NY Vendome Hotel ca. early May New York, NY Roseland Ballroom May 8 New York, NY recording session June Tour through the Middle West June 21–27 New York, NY Apollo Theatre Also July 2 New York, NY recording session with Teddy Wilson/ Billie Holiday Also July 31 New York, NY recording session with Teddy Wilson/ Billie Holiday August 1 New York, NY recording session August 2–8 New York, NY Apollo Theatre August–early September Duke Ellington and His Orchestra August 19 New York, NY recording session August 20 Pittsburgh, PA Sky Club August 26–31 Indianapolis, IN Lyric Theatre September 1 Pittsburgh, PA Savoy Ballroom September 2 Atlantic City, NJ Convention Hall September 1935– Cab Calloway and His Orchestra ca. July 24, 1937 September Toronto, ON, Canada Chicago, IL October 18–24 Detroit, MI Fox Theatre October–November Hollywood, CA November 5–11 San Diego, CA San Diego Fair Exposition December 9–15 San Francisco, CA Persian Gardens December 29, 1935– Culver City, CA Frank Sebastian’s January 11, 1936 Cotton Club January 12 Hollywood, CA filming of The Singing Kid begins January 25 Los Angeles, CA Al Jolson Shell Chateau radio show January 27 Los Angeles, CA recording session February 2 tour towards the East Coast begins February 7 Indianapolis, IN Loew’s State Theatre February Chicago, IL April 10–16 New York, NY Apollo Theatre April 18 New York, NY New Theatre May 21 New York, NY recording session Someone to Watch Over Me: The Life and Music of Ben Webster Frank Büchmann-Møller http://www.press.umich.edu/titleDetailDesc.do?id=86405 The University of Michigan Press, 2006 v Ben Webster’s Musical Activities May Boston, MA June–July Tour to Texas Memphis, TN Atlanta, GA June 28 New Orleans, LA The Fairground July 9 Johnson City, TN July 24–30 New York, NY Loew’s State Theatre July 10 Johnson City, TN Tobacco Warehouse Also July 29 New York, NY recording session with Duke Ellington August 7–13 New York, NY Loew’s State Theatre August 14–20 New York, NY Apollo Theatre August 28–Septembe 2 Palisades Park, NJ Palisades Amusement Park September 3 New York, NY Os-We-Go Club September 15 New York, NY recording session September 24, 1936– New York, NY Cotton Club March 16, 1937 Also October 21 New York, NY recording session with Teddy Wilson/ Billie Holiday Also October 28 New York, NY recording session with Teddy Wilson/ Billie Holiday Also November 9 New York, NY recording session with Mildred Bailey Also November 19 New York, NY recording session with Teddy Wilson/ Billie Holiday Also November 25 New York, NY Rockland Palace Also December 16 New York, NY recording session with Teddy Wilson Also January 6, 1937 New York, NY radio broadcast with Stuff Smith Also January 8 New York, NY radio broadcast with Stuff Smith Also January 11 New York, NY radio broadcast with Stuff Smith Also January 12 New York, NY recording session with Billie Holiday Also January 13 New York, NY radio broadcast with Stuff Smith Also January 15 New York, NY radio broadcast with Stuff Smith Also January 18 New York, NY radio broadcast with Stuff Smith Also January 20 New York, NY radio broadcast with Stuff Smith Someone to Watch Over Me: The Life and Music of Ben Webster Frank Büchmann-Møller http://www.press.umich.edu/titleDetailDesc.do?id=86405
Recommended publications
  • Ellington-Lambert-Richards) 3
    1. The Stevedore’s Serenade (Edelstein-Gordon-Ellington) 2. La Dee Doody Doo (Ellington-Lambert-Richards) 3. A Blues Serenade (Parish-Signorelli-Grande-Lytell) 4. Love In Swingtime (Lambert-Richards-Mills) 5. Please Forgive Me (Ellington-Gordon-Mills) 6. Lambeth Walk (Furber-Gay) 7. Prelude To A Kiss (Mills-Gordon-Ellington) 8. Hip Chic (Ellington) 9. Buffet Flat (Ellington) 10. Prelude To A Kiss (Mills-Gordon-Ellington) 11. There’s Something About An Old Love (Mills-Fien-Hudson) 12. The Jeep Is Jumpin’ (Ellington-Hodges) 13. Krum Elbow Blues (Ellington-Hodges) 14. Twits And Twerps (Ellington-Stewart) 15. Mighty Like The Blues (Feather) 16. Jazz Potpourri (Ellington) 17. T. T. On Toast lEllington-Mills) 18. Battle Of Swing (Ellington) 19. Portrait Of The Lion (Ellington) 20. (I Want) Something To Live For (Ellington-Strayhorn) 21. Solid Old Man (Ellington) 22. Cotton Club Stomp (Carney-Hodges-Ellington) 23. Doin’The Voom Voom (Miley-Ellington) 24. Way Low (Ellington) 25. Serenade To Sweden (Ellington) 26. In A Mizz (Johnson-Barnet) 27. I’m Checkin’ Out, Goo’m Bye (Ellington) 28. A Lonely Co-Ed (Ellington) 29. You Can Count On Me (Maxwell-Myrow) 30. Bouncing Buoyancy (Ellington) 31. The Sergeant Was Shy (Ellington) 32. Grievin’ (Strayhorn-Ellington) 33. Little Posey (Ellington) 34. I Never Felt This Way Before (Ellington) 35. Grievin’ (Strayhorn-Ellington) 36. Tootin Through The Roof (Ellington) 37. Weely (A Portrait Of Billy Strayhorn) (Ellington) 38. Killin’ Myself (Ellington) 39. Your Love Has Faded (Ellington) 40. Country Gal (Ellington) 41. Solitude (Ellington-De Lange-Mills) 42. Stormy Weather (Arlen-Köhler) 43.
    [Show full text]
  • Johnny Hodges: an Analysis and Study of His Improvisational Style Through Selected Transcriptions
    HILL, AARON D., D.M.A. Johnny Hodges: An Analysis and Study of His Improvisational Style Through Selected Transcriptions. (2021) Directed by Dr. Steven Stusek. 82 pp This document investigates the improvisational style of Johnny Hodges based on improvised solos selected from a broad swath of his recording career. Hodges is widely considered one of the foundational voices of the alto saxophone, and yet there are no comprehensive studies of his style. This study includes the analysis of four solos recorded between 1928 and 1962 which have been divided into the categories of blues, swing, and ballads, and his harmonic, rhythmic, and affective tendencies will be discussed. Hodges’ harmonic approach regularly balanced diatonicism with the accentuation of locally significant non-diatonic tones, and his improvisations frequently relied on ornamentation of the melody. He demonstrated considerable rhythmic fluidity in terms of swing, polyrhythmic, and double time feel. The most individually identifiable quality of his style was his frequent and often exaggerated use of affectations, such as scoops, sighs, and glissandi. The resulting body of research highlights the identifiable characteristics of Hodges’ style, and it provides both musical and historical contributions to the scholarship. JOHNNY HODGES: AN ANALYSIS AND STUDY OF HIS IMPROVISATIONAL STYLE THROUGH SELECTED TRANSCRIPTIONS by Aaron D. Hill A Dissertation Submitted to The Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2021 Approved by __________________________________ Committee Chair 2 APPROVAL PAGE This dissertation written by AARON D. HILL has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro.
    [Show full text]
  • 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 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
    04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS
    [Show full text]
  • JUKEBOX JAZZ by Ian Muldoon* ______
    JUKEBOX JAZZ by Ian Muldoon* ____________________________________________________ n 1955 Bill Haley’s Rock Around the Clock was the first rock and roll record to become number one on the hit parade. It had made a stunning introduction in I the opening moments to a film called Blackboard Jungle. But at that time my favourite record was one by Lionel Hampton. I was not alone. Me and my three jazz loving friends couldn’t be bothered spending hard-earned cash on rock and roll records. Our quartet consisted of clarinet, drums, bass and vocal. Robert (nickname Orgy) was learning clarinet; Malcolm (Slim) was going to learn drums (which in due course he did under the guidance of Gordon LeCornu, a percussionist and drummer in the days when Sydney still had a thriving show scene); Dave (Bebop) loved the bass; and I was the vocalist a la Joe (Bebop) Lane. We were four of 120 RAAF apprentices undergoing three years boarding school training at Wagga Wagga RAAF Base from 1955-1957. Of course, we never performed together but we dreamt of doing so and luckily, dreaming was not contrary to RAAF regulations. Wearing an official RAAF beret in the style of Thelonious Monk or Dizzy Gillespie, however, was. Thelonious Monk wearing his beret the way Dave (Bebop) wore his… PHOTO CREDIT WILLIAM P GOTTLIEB _________________________________________________________ *Ian Muldoon has been a jazz enthusiast since, as a child, he heard his aunt play Fats Waller and Duke Ellington on the household piano. At around ten years of age he was given a windup record player and a modest supply of steel needles, on which he played his record collection, consisting of two 78s, one featuring Dizzy Gillespie and the other Fats Waller.
    [Show full text]
  • Downbeat.Com December 2014 U.K. £3.50
    £3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman,
    [Show full text]
  • GIVING a JAZZ RECORD AS a GIFT by Eric Myers National Times, December 7, 1980 ______
    GIVING A JAZZ RECORD AS A GIFT by Eric Myers National Times, December 7, 1980 ______________________________________________________________ The National Times opera critic JOHN CARMODY, Sydney Morning Herald jazz critic ERIC MYERS and rock writer SHANE NICHOLS prepared this guide to records most likely to be gratefully received. They cover a range of tastes and should be available. ______________________________________________________________ f you are buying a jazz record as a gift, you should determine the style preferred. There are so many different, although related, idioms I congregating under the banner of "jazz" that it is rarely possible, these days, to buy a "jazz" album that suits all tastes. Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). If the recipient likes big band jazz, you could do no better than the three-record set Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). This was a performance at the Crystal Ballroom, Fargo, North Dakota, on 1 November 7, 1940. Many critics believe, with some justice, that this particular line-up of musicians was the greatest that Ellington ever assembled. This was a special performance - the first night Ray Nance played in the trumpet section, having just replaced Cootie Williams, who had left to join Benny Goodman. Rex Stewart is also in the section. The saxophones include Barney Bigard (clarinet), Johnny Hodges (alto) and Ben Webster (tenor) among others; Tricky Sam Nanton and Lawrence Brown are among the trombones; and the great Jimmy Blanton is on bass. It is a distinguished line-up, and the band roars through the Ellington repertoire with all the qualities that made it the greatest big band in jazz.
    [Show full text]
  • John Cornelius Hodges “Johnny” “Rabbit”
    1 The ALTOSAX and SOPRANOSAX of JOHN CORNELIUS HODGES “JOHNNY” “RABBIT” Solographers: Jan Evensmo & Ulf Renberg Last update: Aug. 1, 2014, June 5, 2021 2 Born: Cambridge, Massachusetts, July 25, 1906 Died: NYC. May 11, 1970 Introduction: When I joined the Oslo Jazz Circle back in 1950s, there were in fact only three altosaxophonists who really mattered: Benny Carter, Johnny Hodges and Charlie Parker (in alphabetical order). JH’s playing with Duke Ellington, as well as numerous swing recording sessions made an unforgettable impression on me and my friends. It is time to go through his works and organize a solography! Early history: Played drums and piano, then sax at the age of 14; through his sister, he got to know Sidney Bechet, who gave him lessons. He followed Bechet in Willie ‘The Lion’ Smith’s quartet at the Rhythm Club (ca. 1924), then played with Bechet at the Club Basha (1925). Continued to live in Boston during the mid -1920s, travelling to New York for week-end ‘gigs’. Played with Bobby Sawyer (ca. 1925) and Lloyd Scott (ca. 1926), then from late 1926 worked regularly with Chick webb at Paddock Club, Savoy Ballroom, etc. Briefly with Luckey Roberts’ orchestra, then joined Duke Ellington in May 1928. With Duke until March 1951 when formed own small band (ref. John Chilton). Message: No jazz topic has been studied by more people and more systematically than Duke Ellington. So much has been written, culminating with Luciano Massagli & Giovanni M. Volonte: “The New Desor – An updated edition of Duke Ellington’s Story on Records 1924 – 1974”.
    [Show full text]
  • Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JON HENDRICKS NEA Jazz Master (1993) Interviewee: Jon Hendricks (September 16, 1921 - ) and, on August 18, his wife Judith Interviewer: James Zimmerman with recording engineer Ken Kimery Date: August 17-18, 1995 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 95 pp. Zimmerman: Today is August 17th. We’re in Washington, D.C., at the National Portrait Galley. Today we’re interviewing Mr. Jon Hendricks, composer, lyricist, playwright, singer: the poet laureate of jazz. Jon. Hendricks: Yes. Zimmerman: Would you give us your full name, the birth place, and share with us your familial history. Hendricks: My name is John – J-o-h-n – Carl Hendricks. I was born September 16th, 1921, in Newark, Ohio, the ninth child and the seventh son of Reverend and Mrs. Willie Hendricks. My father was a minister in the African Methodist Episcopal Church, the AME Church. Zimmerman: Who were your brothers and sisters? Hendricks: My brothers and sisters chronologically: Norman Stanley was the oldest. We call him Stanley. William Brooks, WB, was next. My sister, the oldest girl, Florence Hendricks – Florence Missouri Hendricks – whom we called Zuttie, for reasons I never For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 really found out – was next. Then Charles Lancel Hendricks, who is surviving, came next. Stuart Devon Hendricks was next. Then my second sister, Vivian Christina Hendricks, was next. Then Edward Alan Hendricks came next.
    [Show full text]
  • French Stewardship of Jazz: the Case of France Musique and France Culture
    ABSTRACT Title: FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE Roscoe Seldon Suddarth, Master of Arts, 2008 Directed By: Richard G. King, Associate Professor, Musicology, School of Music The French treat jazz as “high art,” as their state radio stations France Musique and France Culture demonstrate. Jazz came to France in World War I with the US army, and became fashionable in the 1920s—treated as exotic African- American folklore. However, when France developed its own jazz players, notably Django Reinhardt and Stéphane Grappelli, jazz became accepted as a universal art. Two well-born Frenchmen, Hugues Panassié and Charles Delaunay, embraced jazz and propagated it through the Hot Club de France. After World War II, several highly educated commentators insured that jazz was taken seriously. French radio jazz gradually acquired the support of the French government. This thesis describes the major jazz programs of France Musique and France Culture, particularly the daily programs of Alain Gerber and Arnaud Merlin, and demonstrates how these programs display connoisseurship, erudition, thoroughness, critical insight, and dedication. France takes its “stewardship” of jazz seriously. FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE By Roscoe Seldon Suddarth Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Associate Professor Richard King, Musicology Division, Chair Professor Robert Gibson, Director of the School of Music Professor Christopher Vadala, Director, Jazz Studies Program © Copyright by Roscoe Seldon Suddarth 2008 Foreword This thesis is the result of many years of listening to the jazz broadcasts of France Musique, the French national classical music station, and, to a lesser extent, France Culture, the national station for literary, historical, and artistic programs.
    [Show full text]
  • Mi M®, 7273 the FUNCTION of ORAL TRADITION in MARY LOU's MASS by MARY LOU WILLIAMS THESIS Presented to the Graduate Counci
    37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 Fledderus, France. The Function of Oral Tradition in Mary Lou's Mass by Mary Lou Williams. Master of Music (Musicology), August, 1996,141 pp., 44 titles. The musical and spiritual life of Mary Lou Williams (1910 - 1981) came together in her later years in the writing of Mary Lou's Mass. Being both Roman Catholic and a jazz pianist and composer, it was inevitable that Williams would be the first jazz composer to write a setting of the mass. The degree of success resulting from the combination of jazz and the traditional forms of Western art music has always been controversial. Because of Williams's personal faith and aesthetics of music, however, she had little choice but to attempt the union of jazz and liturgical worship. After a biography of Williams, discussed in the context of her musical aesthetics, this thesis investigates the elements of conventional mass settings and oral tradition found in Mary Lou's Mass.
    [Show full text]
  • Worldwide Ticket Sales TOP 200 THEATRE VENUES 1-100
    2018 MIDYEAR Worldwide Ticket Sales TOP 200 THEATRE VENUES 1-100 1 758,219 Auditorio Nacional Mexico City, MEXICO 51 78,389 Stadsschouwburg Antwerp, BELGIUM 2 419,539 Fox Theatre Atlanta, GA 52 78,207 Velma V. Morrison Ctr. For The Perf. Arts Boise, ID 3 253,361 Durham Performing Arts Center Durham, NC 53 76,060 Park Theater At Monte Carlo Resort & Casino Las Vegas, NV 4 207,375 Smart Financial Centre At Sugar Land Sugar Land, TX 54 74,948 The Theater At MGM National Harbor Oxon Hill, MD 5 205,717 Zappos Theater At Planet Hollywood Las Vegas, NV 55 74,817 Auditorio Pabellón M Monterrey, MEXICO 6 203,250 Auditorio Telmex Zapopan, MEXICO 56 71,494 Express Live! Columbus, OH 7 200,074 Dreyfoos Hall West Palm Beach, FL 57 67,914 SEC Armadillo Glasgow, UNITED KINGDOM 8 198,172 Broward Ctr. Au-Rene Theater Fort Lauderdale, FL 58 67,504 Hanover Theatre For Performing Arts Worcester, MA 9 167,681 Bill Graham Civic Auditorium San Francisco, CA 59 66,761 Peace Center Concert Hall Greenville, SC 10 167,166 Chicago Theatre Chicago, IL 60 65,652 The Colosseum At Caesars Palace Las Vegas, NV 11 154,160 Radio City Music Hall New York, NY 61 63,464 WinStar Global Event Center Thackerville, OK 12 150,221 The Smith Center / Reynolds Hall Las Vegas, NV 62 62,974 The Plaza Theatre El Paso, TX 13 150,179 Carol Morsani Hall Tampa, FL 63 62,815 Andrew Jackson Hall Nashville, TN 14 141,531 Fox Theatre Detroit, MI 64 62,673 Stage AE Pittsburgh, PA 15 123,333 Ryman Auditorium Nashville, TN 65 62,267 Bushnell Center Mortensen Hall Hartford, CT 16 118,705 Orpheum Theatre Minneapolis, MN 66 62,094 Fabulous Fox Theatre St.
    [Show full text]