DOCSLIB.ORG

The Les Zacheis Jazz Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Les Zacheis Jazz Collection "Robinson composed nearly five hundred tunes, over four hundred of which were published. They The Les Zacheis Jazz Collection ranged from rags to movie music, from senti­ mental ballads to war songs." We seldom recognize the valuable service private collec­ tors provide through gathering materials within a special subject area and depositing them in archives, libraries, and museums to be preserved and made available for public The twenty-five reel-to-reel tapes contain radio interviews use. Resource centers are continually grateful to these in­ of J. Russel Robinson in 1946, 1948, and 1949, recordings dividuals who, through a combination of motivation, in­ of his compositions played by Robinson himself, and oth­ telligence, and knowledge in a particular Jield, collect ers. One tape contains twenty-two piano roll performances valuable historical items which ultimately play an important by Robinson. role in the research of future scholars. Les Zacheis is one Aside from his copious output of compositions, J. Russel of these dedicated individuals. Robinson was, in his own right, an accomplished musician. Born in 1909 on a farm in southern Illinois, Zacheis dis­ He was a pianist for several years with the Original Dix­ covered early in his life that learning how to play the tenor ieland Jazz Band, touring and recording with the famous saxophone was more appealing than doing the daily chores group. He also teamed up with others to record several around the farm. Listening to jazz bands playing on the commercial releases of both his own compositions and those riverboats, which he visited on occasional trips to St. Louis, of others. The records in the Robinson collection include a further convinced him that music was to be his major in­ few of those on which he performed. While some of the terest in life. At seventeen, much to his father's regret, recordings do not appear to have any direct connection with Zacheis left for St. Louis. In 1927 he played his first en­ him at all, most are renditions of Robinson compositions gagement with a local orchestra and continued playing by a wide variety of artists. Perhaps not all the artists in professionally until the depression, when, seeking a more the Robinson collection are household names. Whatever steady occupation, he served as an apprentice to a jeweler, became of Frank Froeba and His Boys, Paul Goupil's Royal working in music during the evening hours. As the music Tahitians, or Husk O'Hare's Super Orchestra of Chicago? business became more lucrative, Zacheis joined a territory On the other hand, Robinson's compositions were also re­ band which performed in an area west of the Mississippi corded by some of the most popular performers of the day. from Texas to Canada, and west to the Rockies. Life on the Among the renowned names in the collection are Bessie road was grueling, and after sending out several letters Smith, Cab Calloway, Mildred Bailey, and Bix Beiderbecke. applying for a job as a jeweler, he received a response in One of Robinson's greatest successes was "Margie." About 1935 informing him that a position was waiting for him in "Margie," DuncanSchieElt, in Th~Jazz £tate of Indianawrite-s, Cedar Rapids, Iowa ~ He.. was working in Texas at the time, "He hit gold .... The tune seems to epitomize the decade and when he finished the engagement that evening, he that followed. Its easy and bright melody, the catchy lyric, packed his saxophone and clarinet in their cases and left and its dance able rhythm herald the raccoon coat, the pipe, for Cedar Rapids. He never touched his horns again. the ukulele, the megaphone, the short skirt, rolled stockings During the years Zacheis worked as a musician, he had and all the other trappings of the collegiate whirl that was heard recordings by and tales of the "great jazzmen," and soon to embrace the new music." (Schiedt 1977:6,20). In soon after settling in Cedar Rapids he began to collect re­ the Robinson collection are six different interpretations of cordings of outstanding jazz bands and musicians. He fol­ "Margie." They span the gamut of performers from Brother lowed every lead-record producers and manufacturers, Bones and His Shadows, immortalized on the Tempo label, old retail outlets, junk shops, second-hand stores-and even to such notables as Eddie Cantor and Earl Hines. made house-to-house canvasses searching for rare items. It To the Archives, the J. Russel Robinson collection is a was while following a lead to a defunct record manufacturer most valuable addition to a growing collection of original in Iowa City that he discovered a rare cache of early jazz early jazz and popular recordings. To the researcher and discs on the little-known Claxtonola label. Another large the general public, it is a compendium of the legacy of one collection of unsold discs in the basement of a local hard­ of Indiana's, and one of music's, favorite sons. ware store yielded many important jazz recordings on the *Accession numbers 84-1452/1669-C/B and 84-1439-F. old black label Columbia series. And so it went, over the years, exciting and rewarding, locating one treasured item REFERENCE CITED after another. It became a matter of personal pride and satisfaction to fill out sets of pioneer jazz bands like the Schiedt, Duncan P. The Jazz State of Indiana. Pittsboro, Ind.: Louis Armstrong Hot Five, the New Orleans Rhythm Kings, Duncan P. Schiedt, 1977. Duke Ellington, the Wolverines, and the Fletcher Hender­ son Orchestra. Relinquishing the collection Zacheis had so joyfully gath­ Amy E. Novick, Bloomington, Indiana ered had its difficulties. As Zacheis wrote in one of his letters to me, "Parting with something that has been part and parcel of one's life for so many years is one of those things that is so easy to keep postponing." And yet, in making arrangements for the transfer of his collection, Zacheis stated that "The time has come when a permanent An unusual item among the Zacheis recordings is Duke home for the collection must be found. It is my feeling that Ellington's "Dusk in the Desert," erroneously released by these recordings of such great historical importance never Columbia Records in 1937 as a side in the two-disc album really belonged to me. They belong to the public, and I have of Hindemith's "Eine kleine Kammermusik." merely been permitted to serve as their custodian." The Archives of Traditional Music is thus very grateful THE LOUIS ARMSTRONG HOT FIVE AND HOT SEVEN and indebted to Les Zacheis for the gift of 3,300 disc re­ RECORDINGS cordings and numerous photographs, books, periodicals, In 1922, Louis Armstrong left his native New Orleans to clippings and scrapbooks pertaining to the field of jazz. It go to Chicago and play second trumpet to King Oliver in should be mentioned that Les' wife, Jo, whose repertoire Oliver's famous Creole Jazz Band. After leaving Oliver in includes a half-dozen Jelly Roll Morton piano compositions, 1924 and working thirteen months with the Fletcher Hen­ also contributed several prize items to the collection. derson band at the Roseland Ballroom, Armstrong returned The collection is outstanding for a number of special items to Chicago and formed his Hot Five. Between November and collections. Among its high points are: 1925 and July 1928, the Hot Five, and with the addition of two new members, the Hot Seven, recorded fifty-four titles, ORY'S SUNSHINE ORCHESTRA all of which are in the Zacheis collection at the Archives. In the early 1900s, Edward "Kid" Ory was recognized as the prime New Orleans trombonist, leading a band which THE SWING ERA at various times included Joe "King" Oliver, Louis Arm­ Many recordings of big band swing by Duke Ellington, strong, Johnny Dodds, Sidney Bechet, and other leading Count Basie, Charlie Barnet and other orchestras dating jazz musicians in New Orleans. In 1919 he moved to Cal­ roughly from 1935 to 1942, are part of the Zacheis gift. ifornia and organized a group there which, in June 1922, made one of the earliest recordings by a black jazz band. RED ALLEN AND J. C. HIGGINBOTHAM Originally appearing on the Nordskog label as by Spike'S Henry "Red" Allen was born in Algiers, Louisiana, and Seven Pods of Pepper, the recording was reissued shortly played trumpet with his own group and other bands in after as Ory's Sunshine Orchestra with the Sunshine label New Orleans, Chicago, and New York. J. C. Higginbotham, pasted over the original Nordskog label. The Zacheis copy, a trombonist, was born in Atlanta, raised in Cincinnati, and very rare, is the Sunshine release. went to New York in the early 1930s. Allen and Higgin­ botham performed as a team from 1929, when they made FLETCHER HENDERSON AND HIS ORCHESTRA their first recording, throughout most of the 1940s. The Pianist, composer, and arranger, Fletcher Henderson was Archives owns a nearly complete collection of the Allen­ the leader of the first large band to acquire a reputation by Higginbotham recordings. playing jazz. He made his first recording as Henderson's Dance Orchestra in July 1922. His initial recording under KID ORY-"MUTT" CAREY the name of the Dixie Stompers, from which the Zacheis The Archives is fortunate to possess acetate copies of the collection dates, was made in November 1925. Henderson famous Kid Ory-Mutt Carey broadcast for Orson Welles, continued to record with his orchestra until 1941. which took place in San Francisco in 1944. Thomas "Mutt" Carey worked with Kid Ory in New Orleans and followed THE LUIS RUSSELL ORCHESTRA Ory to California in 1919.
Load more

Recommended publications
  • Finding Aid for the Sheldon Harris Collection (MUM00682)
    University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr.
    [Show full text]
  • Whicl-I Band-Probably Sam; Cf
    A VERY "KID" HOWARD SUMMARY Reel I--refcyped December 22, 1958 Interviewer: William Russell Also present: Howard's mother, Howard's daughter, parakeets Howard was born April 22, 1908, on Bourbon Street, now renamed Pauger Street. His motTier, Mary Eliza Howard, named him Avery, after his father w'ho di^d in 1944* She sang in church choir/ but not professionally. She says Kid used to beat drum on a box with sticks, when he was about twelve years old. When he was sixteen/ he was a drummer. They lived at 922 St. Philip Street When Kid was young. He has lived around tliere all of his life . Kid's father didn't play a regular instrument, but he used to play on^ a comb, "make-like a. trombone," and he used to dance. Howard's parents went to dances and Tiis mother remembers hearing Sam Morgan's band when she was young, and Manuel Perez and [John] Robichaux . The earliest band Kid remembers is Sam Morgan's. After Sam died, he joined the Morgan band/ witli Isaiah Morgan. He played second trumpet. Then he had his own band » The first instrument he.started on was drums . Before his first marriage, when he got his first drums/ he didn't know how to put them up. He had boughtfhem at Werlein's. He and his first wife had a time trying to put them together * Story about }iis first attempt at the drums (see S . B» Charters): Sam Morgan had the original Sam Morgan Band; Isaiah Morgan had l:J^^i', the Young Morgan Band.
    [Show full text]
  • Red Hot Songs
    Red Hot Songs 1 2 4 5 A B C D E F G H I J K L M N O P Q R S T U V W Y Z Red Hot Songs - ['] Song Title Artist/Group or Commentary 'Lasses Candy Original Dixieland Jass Band 'Round My Heart Coon Sanders Nighthawks Orchestra 'S Wonderful 'Tain't Clean Boyd Senter Trio http://cij-assoc.com/jazzpages/alphasonglist.html [2003-02-19 00:49:52] The Red Hot Jazz Archive - Songs Red Hot Songs - [1] Song Title Artist/Group or Commentary 1-2-1944 (intro, song - "Valencia") 12-24-1944 (intro, Bing, Pops & The King's Men) 12-28-1938 (intro) 12th Street Blues Anthony Parenti's Famous Melody Boys 12th Street Blues Anthony Parenti's Famous Melody Boys 12th Street Rag Richard M. Jones 18th Street Stomp Fats Waller 18th Street Strut The Five Musical Blackbirds 18th Street Strut The Bennie Moten's Kansas City Orchestra http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/1.html (1 of 2) [2003-02-19 00:50:48] The Red Hot Jazz Archive - Songs 1919 Rag Kid Ory's Creole Orchestra 1943 (Gracie's "Concerto for Scales and Clinker") 19th Street Blues Dodds And Parham http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/1.html (2 of 2) [2003-02-19 00:50:48] The Red Hot Jazz Archive - Songs Red Hot Songs - [2] Song Title Artist/Group or Commentary 29th And Dearborn Johnny Dodds and his Chicago Boys 29th And Dearborn Richard M. Jones' Three Jazz Wizards http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/2.html [2003-02-19 00:51:05] The Red Hot Jazz Archive - Songs Red Hot Songs - [4] Song Title Artist/Group or Commentary 47th Street Stomp Jimmy Bertrand's
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • 334 XIII. Revivals and Recreations; The
    XIII. Revivals and Recreations; The Sociology of Jazz By the early 1970s, as we have seen, jazz was in a state of stylistic chaos. This was one reason why the first glimmers of “smooth jazz” came about as both an antidote to fusion and an answer to “outside jazz.” But classical music was also in a state of chaos. The majority of listen- ers had become sick of listening to the modern music that had come to dominate the field since the end of World War II and had only become more abrasive and less communicative to a lay audience. In addition, the influx of young television executives in that period had not only led to the cancellation of many well-loved programs who they felt only appealed to an older audience demographic, but also the chopping out of virtually all arts programming. Such long-running programs as The Voice of Firestone and The Bell Telephone Hour were already gone by then. Leonard Bernstein had been replaced at the New York Philharmonic by Michael Tilson Thomas, an excellent conductor but not a popular communicator, and thus CBS’s “Young People’s Con- certs” no longer had the same appeal. In addition, both forms of music, classical and jazz, were the victims of an oil shortage that grossly affected American pressings of vinyl LPs. What had once been a high quality market was now riddled with defective copies of discs which had blis- ters in the vinyl, scratchy-sounding surfaces and wore out quickly. Record buyers who were turned off by this switched to cassette tapes or, in some cases, the new eight-track tape format.
    [Show full text]
  • PAUL KELLER TIMELINE / DISCOGRAPHY 1977 Discovered Jazz at the Foxhead Inn Ada, MI
    PAUL KELLER TIMELINE / DISCOGRAPHY 1977 Discovered Jazz at the Foxhead Inn Ada, MI 1978-80 Played first steady gig with Harold “Popeye” Booker and Tom Strang at the Foxhead Inn 1980 Graduated from East Grand Rapids High School 1980-82 Student University of Michigan School of Music 1982 Member of Bennie Carew and His Fabulous Two 1982-87 Member of the John Shea Trio 1985 John Shea Trio - John Shea Trio and Friends Teaspoon Records 1986-89 Member of the Eddie Russ Trio 1988 Formed and continues to co-lead the Keller/Kocher Quartet 1988-96 Performed extensively with Detroit pianists Chuck Robinette and Eddie Russ, continues to work with Bess Bonnier 1989 FORMED THE BIRD OF PARADISE ORCHESTRA 1991 Ray Kamalay and His Red Hot Peppers The Joint Is Jumpin’ Ray Kamalay 1992 Larry Nozero Kaleidoscopin’ Dominic Records 1993-present Midwest All Star at the Sacramento Jazz Jubilee 1993 Jack Brokensha Quartet Xmazz AEM Record Group 1993 Larry Nozero Grand Hotel Dominic Records 1993 The Keller/Kocher Quartet Midnight Sun Paper Bag Records 1993 Tom Saunders’ Detroit All Stars Jazz Is Jazz Parkwood Records 1993 Russell Malone Black Butterfly Columbia Records 1993 The Return of Sampler Claus (with Russell Malone) Columbia Records 1993-94 Toured with Russell Malone Quartet: US, Europe, major jazz festivals 1994 Formed and continues to lead the 7 piece Paul Keller Ensemble 1994 Larry Nozero Street of Dreams Suncoast Jazz 1994 Scott Petersen E-Dog Oriko Corona Music 1994 Janet Tenaj/Sven Anderson At Last J’s Way Jazz 1994-95 Bix Beiderbecke Memorial Jazz Festival, Davenport Iowa 1994 Voted MVP at the Montreux Detroit Jazz Festival 1995 Mr.
    [Show full text]
  • Download Booklet
    120762bk DorseyBros 14/2/05 8:43 PM Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Available in the Naxos Jazz Legends and Nostalgia series … 8.120625* 8.120628 8.120632* 8.120681* 8.120697* 8.120746* * Not available in the USA NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 120762bk DorseyBros 14/2/05 8:43 PM Page 2 THE DORSEY BROTHERS Personnel Tracks 1, 3 & 4: Bunny Berigan, trumpet; Tracks 8-11: Manny Klein & unknown, trumpet; ‘Stop, Look and Listen’ Original 1932-1935 Recordings Tommy Dorsey, trombone; Jimmy Dorsey, Tommy Dorsey, Glenn Miller, trombones; clarinet, alto sax; Larry Binyon, tenor sax; Jimmy Dorsey, clarinet, alto sax; unknown, alto Whether you call them The Fabulous or The over to the newly formed American Decca label. Fulton McGrath, piano; Dick McDonough, sax; Larry Binyon (?), tenor sax; Fulton Battling Dorsey Brothers, Tommy (1905-1956) In the two knock-down drag-out years that guitar; Artie Bernstein, bass; Stan King, drums McGrath (?), piano; Dick McDonough, guitar; and Jimmy Dorsey (1904-1957) were major followed, the Dorseys produced some Track 2: Bunny Berigan, trumpet; Tommy Artie Bernstein (?), bass; Stan King or Ray influences on the development of jazz in the outstanding and exciting jazz, all the while Dorsey, trombone; Jimmy Dorsey, clarinet; McKinley, drums 1920s and ’30s.
    [Show full text]
  • The Strutter
    The Strutter VOLUME 26 NUMBER 10 Traditional Jazz in the Philadelphia Tri-State Area MAY 2016 OUR NEXT CONCERT backing up such greats as Tony Bennett and Sammy Davis, Jr., in Philadelphia's Kimmel Center, and at AL HARRISON DIXIELAND BAND many jazz festivals all over the country. The Al Harrison Dixieland Band, formed in 2007, has performed concerts for Tri-State Jazz Society, Cape May Traditional Jazz Society, Pennsylvania Jazz Society, and fund raisers for Jazz Bridge and other charities. “A great, lively band that preserves the tradition of classic jazz without embalming it. The creativity is at full throttle, and so is the sense of fun. You can’t listen to Al and his friends and not feel better about life in general.” - JOE BARRON, MONTGOMERY NEWSPAPERS. Website: www.alharrisonjazzband.com Sunday, May 22, 2016 Video: http://vimeo.com/1600600 2:00 – 4:30 p.m. Community Arts Center 414 Plush Mill Road Wallingford, PA 19086 Directions at http://www.tristatejazz.org/directions- cac.html Al Harrison – Trumpet, Cornet, Fluegelhorn, Vocals, Leader Concert Admissions Joe Midiri -Clarinet,Vocals $10 First-time attendees and Members Fred Scott, Trombone $20 General Admission Bill Schilling, Piano High school/college students with ID and Bill Stumm, Bass children with paying adult admitted free Chic Sperell, Drums Pay at the door The Al Harrison Dixieland Band returns to the Tri- State Jazz Society, following its triumph in January, 2015. “The Al Harrison Dixieland Band is a polished ensemble with enough firepower, as Duke In This Issue Ellington would say, to ‘scorch the moon!’” - JIM June 5, 2016 Concert........Page 2 MCGANN, THE STRUTTER.
    [Show full text]
  • The Red Norvo Trio
    L UNIVERSITYOF NEWHAMPSHIRE OURTWELFTH PROGRAM THE REDNORVO TRIO REDNORVO VIBRAHARP TAL FARLOW GUITAR STEVE]{OVOSEL BASS SPONSOREDBY MUSO, THEDEPARTMENT OF MUSIC, ANDTHE NEW HAMPSHIRE LIBRARYOF TRADITIONAL JAZZ 8 PM MONDAY NOVEMBER30, Iq 9 I STRAFFORDROOM MEMORIALUNION DURHAM,NEW HAMPSHIRE T T o N A (ft r{ E THE ARTISTS As jazz traditions havedeveloped there havebeen a few unique instancesof one giftedindividual virtually making a particularidiom come ot ageand shapingits directionfor yearsahead. Examples would be LouisArmstrong's trumpet, Johnny Hodges'altosax, and BennyGoodman's clarinet, in thesecases each expanding the potentialof the instrumentalready considered to be in the mainstream. Red Norvo's remarkablecontribution is that he took a familyof instrumentsusually associated with orchestralspecial effects or the noveltyaspects of vaudevilleand madethem into vehiclesof jazzexpression totally unanticipated previously; the xylophone,marimba, and vibraharptook on new dimensionsthat excitedclassical comoosers as well as jazz artists. RedNorvo was born in Beardstown,lllinois, in 1908,and hasa listof performing credits and associationsthat almost comprisea jazz encyclopedia- Paul Whitman, MildredBailey, Benny Goodman, Woody Herman, Bunny Berigan, Chu Berry,Gene Krupa,Jack Jenny, Charlie Barnet, and countlessothers. In 1950,Bed adopteda trio lormatfor his delicate,chamber-like sound. He wasjoined by the lateCharlie Mingueson bass,and guitaristTal Farlow,a discipleot CharlieChristian; Tal's own lyric style intluencedmany of the next generationol players. THE REDNORVO TRIO The groupdisbanded in 1956,but aJtertwo decadesof requestswas reconstituted earlythis year, with youngand responsivebassist Steve Novosel. The reception accordedthe trio in NewYork was vividly described by WhiteyBalliett in "The New Yorker"when he wrote:"All Norvoneed do is matchthe standardof beautyhe establishedfor himselfforty years ago.
    [Show full text]
  • AM Bing Crosby Bio & Career Stats Rev100314
    Press Contact: Natasha Padilla, WNET 212.560.8824, [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://pbs.org/americanmasters , http://facebook.com/americanmasters , @PBSAmerMasters , http://pbsamericanmasters.tumblr.com , http://youtube.com/AmericanMastersPBS , http://instagram.com/pbsamericanmasters , #AmericanMasters American Masters Bing Crosby Rediscovered Premieres nationally Tuesday, December 2 at 8 p.m. on PBS Holiday encore presentation Friday, December 26 at 9 p.m. on PBS (check local listings) Bing Crosby Biography & Career Highlights Biography by Gary Giddins (©Gary Giddins 2007) To most Americans, he was the eternal Crooner: a much celebrated and beloved performer of unparalleled popularity. Yet Bing Crosby was far more than that: He was an architect of 20th century entertainment, a force in the development of three industries that barely existed when he came into the world: recordings, motion pictures, and broadcasting. As the most successful recording artist of all time; an abiding star of movies, radio, and television; and a firm believer in the wonders of technology, he helped to transform and define the cultural life not only of the United States, but of the world. When Harry Lillis Crosby was born, on May 3, 1903, to a working-class Catholic Irish- Anglo family with deep roots in the American Northwest, there was little reason to think he would amount to much. Though an obviously intelligent and conscientious student, his primary interests were sports (he won many swimming medals), school plays, and music–he played drums (not very well), sang, and whistled. At Gonzaga University, he decided to study law because he could think of nothing better at the time and it pleased his parents.
    [Show full text]
  • Adéla Jonášová
    Wikipedista:Alfi51 Žiji v Českém Těšíně. Aleš Havlíček Jsem důchodce a rád si hraji s počítačem. Články mnou založené Alannah Currie Aldeburgh Angie Dickinson Alexandre Francois Debain Alex Sadkin Andělín Grobelný Adéla Jonášová Anita Carter Axel Stordahl The Beatmen Beatles For Sale Bedřich Havlíček Berthold Bartosch Biela voda (přítok Teplice) Billy Vera Bob Chester Bobbi Kristina Brown Bobby Vee Bobby Vinton Carlene Carter Carl Perkins Chuck Jackson Dana Vrchovská Eydie Gormé Emil Vašek Festival Kino na hranici Flora Murrayová Frankie Avalon Frank P. Banta French press Aleš v roce 2008 George Dunning George Botsford Gene Greene Hal Základní informace David Hans Mrogala Harmonium Harry James Helen Carter Help! (album) Howard Deutch Ida Münzbergová Narození 21. dubna 1951 Ina Ray Hutton Ipeľská pahorkatina Ivana Ostrava, Česko Wojtylová Izabela Trojanowska Jakub Mátl James Scott Žánry pop, blues (hudebník) Jan Hasník Javorianska hornatina Jerzy Povolání hudební skladatel, počítačový Kronhold Jimmy Durante John Keeble José Feliciano Joseph Lamb Judy Clay June Hutton Jungle fanatik a wikipedista Funk Kateřina Kornová Koruna (hudba) Kunešovská Nástroje kytara hornatina Ladislav Báča Largo (Florida) LaVerne Sophia Aktivní roky dosud Andrews Les Brown (hudebník) Let It Be (album) Louis Manžel(ka) Dagmar Krzyžánková Prima Louisa Garrett Andersonová Madelyn Deutch Maggi Hambling Martha a Tena Maxene Angelyn Andrews Děti Aleš, Martin Mezinárodní divadelní festival Na hranici Millicent Garrett Rodiče Bedřich Havlíček, Fawcett Mira Kubasińska Mud
    [Show full text]
  • A Sampler of Blues Musicians and Styles, 1903 - 1964
    Teacher’s Guide: THE BLUES - A SAMPLER OF BLUES MUSICIANS AND STYLES, 1903 - 1964 WITH ROBERT JONES B-5; 21:17 MIN At the end of the video, “The Blues - A Sampler of Significant Blues Musicians, 1903-1964” the students will be able to: Identify who is considered the Father of the Blues and explain why. Name two female blues artist important in the 1920s and explain why. Identify the world-known blues/ jazz musician from Davenport, Iowa who recorded the song “Davenport Blues. Explain what kind of blues music was considered City Blues. Identify great musicians who played City Blues and explain what they were known for. 2 THE BLUES – A SAMPLER OF BLUES MUSICIANS AND STYLES, 1903 – 1964 Video: Video: W.C. Handy because he discovered blues music being played Mamie Smith was the first female to record blues music in in the South, rather than inventing it. 1920. Bessie Smith dominated the blues music scene in the 1920s. 3 THE BLUES – A SAMPLER OF BLUES MUSICIANS AND STYLES, 1903 – 1964 Video: Blues music commonly played by a band that included an electric guitar. Video: Bix Beiderbecke who had a band that recorded under the name “Bix & His Rhythm Jugglers.” Video: T-Bone Walker was known as one of the greatest blues gui- tarists and singers. Muddy Waters was known equally well for Answers to Multiple Choice Quiz: his singing and playing and for his expertise at playing slide 1. C 2. D 3. A 4. B 5. D guitar. Big Mama Thornton, known for, among other things, an early recording of “Hound Dog.” 4 THE BLUES – A SAMPLER OF BLUES MUSICIANS AND STYLES, 1903 – 1964 Additional Learning, from Robert Jones Women in the Blues: Gertrude “Ma” Rainey (1886-1939) was the first blues singer to tour, which is why she is called the “Mother of the Blues.” Mamie Smith, by being the first blues artist to record, opened the door for the many artists that W.C.
    [Show full text]