DOCSLIB.ORG

Down-Beat-1952-06-04

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Granz Tells Story Of Tour; Lauds European Jazz Fans French Noisiest— Swedes, Belgians Hippest: Norman CHICAGO, JUNE 4, 1952 (Ed. Note: The following i» an account of Jau At The Philhar ■nonic's lour of Europe as related by J A rp’s impresario. Nornian Spinning With Web Grana.) For many years. I'd thought of taking JATP to Europe. We had had feelers from Eu- A Tribute To A Musician mpeatt promoters since 1948, but, mainly because of financial reason». 1 wa» unable to take the »how over. In fact, in 1950 1 went With Guts—Barclay Allen to Europe determined tu promote JATP there myself, but I was un­ By HAL WEBMAN able lo do it; I tried again in 1951, but the difficulties connected It’s often been said that show business has no soul, and with foreign exchange were just though it has been said, it can never be verified that it has too great. no heart. There have been myriad instances of show business Finally, 1 thought I’d try one courage like that of Jane Froman, whose heroic attributes more time, 1952. I had several let­ currently being shown ters from European promoters, and the country i to begin with. It's all about a mu­ in almost every instance, except­ flicker called With A Song In My sician who ran into some real bad ing one—Nils Hellstrom — there Heart. But examples like this one luck. His name, Barclay Allen. was only lukewarm interest. This is a curious fact about European have become public property, sort Bud Accide nt of living specimens that the show promoters: they evince little, if will always go on no matter what. Alien, about two and a half years any, interest via correspondence, It’s a far more heart-warming ago, was in a serious auto accident. but once you’re actually in Europe, thing to me to hear about the help­ Just before the accident, he had then they al) have big eyes to pro­ ing hand of show business being formed his own band after spend­ mote you. Once we got to Europe NAT AND ED—CBS* Toast of thr Town played host to Nat Cole again lent to comparatively anonymous ing some time as Freddy Martin’s and broke it up in Scandinavia, really. Seen here with Nat is the popular syndicated columnist Ed members of the clan who are in pianist. He also had just done his we were deluged with offers. illivim, uho originated thr program several years ago and built it into great need. That’s part of the first few sides under a fresh Capi­ ir of TV's biggest Sunday attractions. reason why this is being written tol recording contract. Al) this be­ came totally inconsequential when I took in the group; Ella Fitz­ the doctors reported that Allen gerald, Oscar Peterson, Flip Phil­ stood less than ■ 50-50 chance of lips, Lester Y»ung, Roy Eldridge, surviving the accident. Irving Ashby, Ray Brown, Hank Jones, and Max Roach. With the ¡riderella Shaw Bares Soul Displaying a powerful will to exception of Roy, none had ever live, Allen was able to hold onto played all of Europe. Max had life itself, though he wound up been to Paris, Ella. Ray, Hank, totally paralyzed below his hips. and Ashby to England, bat only Provocative Autobiography Even at that point, show business Roy had played all of the conti­ began to rally to the musician’s nent and Scandinavia, —. By LEONARD FEATHER aid. What little money Allen did We left from Idlewild Airport How dreary to be somebody! have was spent rapidly in hospitals. March The trip very Hou public, like a frog Former boss Martin sparked a smooth and uneventful, To tell your name the livelong day The Wildest! money-raising campaign that was that Oscar and Flip between thtm. To an admiring bog! Chicago — The Blue Note’» (Turn tu Page 13) These lines, by Emily Dickinson, are used by Artie Shaw new »how starting May 30 ha* 1» introduce a chapter in his first book (The Trouble With ill lli< element» lo qualify a» Cinderella—Farrar, Straus & Young Inc., $3.75). Perhaps what might truly be called a Previn Discharged they shed a little light on the reason for his virtual abandon- “wild hill.” Columbia May vent of the music business and his Bill of fare tommeming on that date will ron*i«t of Wild decision to treat the admiring bog it pauses often for philosophical Bill Davi»* Trio and the Wild Back With MGM to his first literary effort. and psychological excursions. Get Third Herd There will be many verbal bat The trouble with the Cinderella Bill Da«i«on combo. Hollywood—Andre Previn, young legend concept for living. Or how wild can you get? ties concerning Artie's intentions MGMusic director, released New York — Woody Herman’s is taking up the typewriter, his Artie argues, is that nobody really from the Army and is back at the Third Herd will be roaring for a ability as a writer, the validity of lives happily ever after. studio. His first assignment is as new wax label shortly. At press his thesis and the size of his ego. “I’ve gone through the Cinder­ music director on Small Town Girl, ella business myself,” he says, time, it appeared that Woody would Vo matter what answers are found starring Jane Powell. return to Columbia Outsiders in for these questions, one fact is in- (Turn tu Page 13) Previn is also known foi his the running were Decca and Mer­ taputable: for the first time in Cafe Rouge Is modern jazz pian<< via Victor Rec­ cury. It’s a certainty that Woody the history of jazz, or of the dance ords. will leave MGM. hand business, someone who has lived the business and been a major Bands Lose It creative figure in it has personally Shutting Down documented his experiences at book length, without a ghost writer and At The Astor without any pulled punches. For Summer For this reason .tlone, the Artie New York — The Hotel Aator’s Shaw book is the most significant Roof here, for many years noted New York—The Hotel Statler’s • f its kind since the beginning of as a plum summer location for the Cafe Rouge, one of the two major business' we know leading name bands, will go oaty name band locations in this city A and in many ways the most this summer. (the othei is the Hotel Roosevelt Jolson, Recruits For The Army jrovocative. The Roof will go completely Grill, which is the almost perma­ D< scribed on the dust jacket as country style with the Grand Ole nent home for Guy Lombardo), At the rare age of 23, Eddie Fisher, Pfc., U.S. Army, is probably- sn “outline of identity,” it is es- Opry company slated to spend the will close down its operatioi. for doing the most upstanding job of transmitting general good will for ■ntially an autobiography, though entire season atop the Astor. the summer in the middle of June. that branch of the Armed Forces that any individual in the services This marks the first extended has been able to turn in since the Korean emergency began. shutdown of the room since it Eddie, ■ most lovable youngster, 4; Down Beat’s Five Star Discs opened late '30s. Paul after going through three months induction, have kept his name very following records, representing the cream of the past two Neighbors, playing his first east­ of basic training like any other much alive with the general public. ern engagement, currently is work­ He has had a succession of hits, »eeks crop, received five stars in the record review section of this Army draftee, has been working in ing the room, nnd Elliot Lawrence behalf of the Army recruiting de­ each of which lends just that much ktue (see pog* 10). will wind up the season there. partment for the past nine months more credence to his value as a re­ POPULAR The will reopen in Sep­ or so. The Army did well by capi­ cruiter for the Army. tember and already has set Jimmy talizing on the youngster’s fast­ Eddie has about a year to go in LOUIS ARMSTRONG Kiss Of Fire (Decca 28177.) Dorsey, Ray Anthony and Ralpi growing popularity in the younger the service. When he gets • ut, he Nat cole Somewhere Along The Way (Capitol 2069.) Flanagan for fall dates. sets, for his work in getting volun will very quickly be ■ most- FERRY COMO Why C l You Leave Me? (Victor 20-4687.) teers for the services has proved demanded property. There are KL MARTINO fruitful. those in the business who are com­ Here In My Heart (BBS 101.) Eddie is constantly on the go for pletely convinced that the singer is IO STAFFORD Raminay (Columbia 39725.) the Army. He’s on the road much a Jolson in embryo. No question Lay STARR .. I Waited A Little Too Long (Capitol 2062.) of the time, working from a Wash- that though he is in the service, New York — Liza Morrow, for­ Fisher is “in” in his show business RHYTHM AND DLUES mer BG thrush, has been signed made into a disc jockey, under to a term recording contract by which cloak he is selling the Army Credit this to a talent whose When Tht Swallows Come Back To Capis­ King Records. She already has weekly on a coast-to-coast hookup. forte is a handsome blend of humil­ WE DOMINOES trano (Federal 12059.) cut her first session for the firm; He does numerous other Army ity and sincerity.
Recommended publications
  • MALAUENE Umn 0130E 22082.Pdf

    MALAUENE Umn 0130E 22082.Pdf

    A history of music and politics in Mozambique from the 1890s to the present A DISSERTATION SUBMITTED TO THE COLLEGE OF LIBERAL ARTS OF THE UNIVERSITY OF MINNESOTA BY DENISE MARIA MALAUENE IN PARTIAL FULFILLMENT OF THE REQUEREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY ALLEN F. ISAACMAN JANUARY 2021 Ó DENISE MARIA MALAUENE, 2021 Acknowledgements Nhi bongide ku womi ni vikelo Thank you for life and protection Nhi bongide gurula ni guhodza Thank you for peace and provision Nhi bongide gu nengela omo gu Thank you for happiness in times of tsanisegani suffering Nhi bongide Pfumu Thank you, God! Denise Malauene song titled “Nhi bongide Pfumu”1 Pfumu Nungungulu, nhi bongide ngudzu! (Thank you, God!) My children Eric Silvino Tale and Malik TSakane Malauene Waete: I thank you for your unconditional love, Support, and understanding aS many timeS I could not be with you nor could meet your needs because I waS studying or writing. Mom and dad Helena ZacariaS Pedro Garrine and João Malauene, nhi bongide ku SatSavbo. My Siblings Eduardo Malauene, GiSela Malauene, Guidjima Donaldo, CriStina AgneSS Raúl, DioníSio, Edson Malauene, ChelSea Malauene, Kevin Malauene, obrigada por tudo. I am grateful to my adviSor Allen IsSacman for the advice, guidance, and encouragement, particularly during the difficult timeS in my Ph.D. trajectory Somewhat affected by Several challengeS including CycloneS Idai, the armed instability in central and northern Mozambique, and Covid 19. Barbara’s and hiS support are greatly appreciated. I am grateful to ProfeSSor Helena Pohlandt-McCormick for her encouragement, guidance, and Support. Her contribution to the completion of my degree in claSSeS, reading groups, paper preSentations, grant applications, the completion of my prelimS, and Michael’s and her support are greatly appreciated.
  • JELLY ROLL MORTON's

    JELLY ROLL MORTON's

    1 The TENORSAX of WARDELL GRAY Solographers: Jan Evensmo & James Accardi Last update: June 8, 2014 2 Born: Oklahoma City, Oklahoma, Feb. 13, 1921 Died: Las Vegas, Nevada, May 25, 1955 Introduction: Wardell Gray was the natural candidate to transfer Lester Young’s tenorsax playing to the bebop era. His elegant artistry lasted only a few years, but he was one of the greatest! History: First musical studies on clarinet in Detroit where he attended Cass Tech. First engagements with Jimmy Raschel and Benny Carew. Joined Earl Hines in 1943 and stayed over two years with the band before settling on the West Coast. Came into prominence through his performances and recordings with the concert promoter Gene Norman and his playing in jam sessions with Dexter Gordon.; his famous recording with Gordon, “The Chase” (1947), resulted from these sessions as did an opportunity to record with Charlie Parker (1947). As a member of Benny Goodman’s small group WG was an important figure in Goodman’s first experiments with bop (1948). He moved to New York with Goodman and in 1948 worked at the Royal Roost, first with Count Basie, then with the resident band led by Tadd Dameron; he made recordings with both leaders. After playing with Goodman’s bigband (1948-49) and recording in Basie’s small group (1950-51), WG returned to freelance work on the West Coast and Las Vegas. He took part in many recorded jam sessions and also recorded with Louie Bellson in 1952-53). The circumstances around his untimely death (1955) is unclear (ref.
  • David Liebman Papers and Sound Recordings BCA-041 Finding Aid Prepared by Amanda Axel

    David Liebman Papers and Sound Recordings BCA-041 Finding Aid Prepared by Amanda Axel

    David Liebman papers and sound recordings BCA-041 Finding aid prepared by Amanda Axel This finding aid was produced using the Archivists' Toolkit November 30, 2018 Describing Archives: A Content Standard Berklee Archives Berklee College of Music 1140 Boylston St Boston, MA, 02215 617-747-8001 David Liebman papers and sound recordings BCA-041 Table of Contents Summary Information ................................................................................................................................. 3 Biographical/Historical note.......................................................................................................................... 4 Scope and Contents note............................................................................................................................... 4 Arrangement note...........................................................................................................................................4 Administrative Information .........................................................................................................................5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 Scores and Charts...................................................................................................................................
  • History of Jazz Tenor Saxophone Black Artists

    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.
  • Drew Gress, Artistic Integrity, and Some Kind of Accep- Portunity to Engage Visiting Artists and Craig Taborn, Tim Berne Tance, Even Within Its Own Mainstream

    Drew Gress, Artistic Integrity, and Some Kind of Accep- Portunity to Engage Visiting Artists and Craig Taborn, Tim Berne Tance, Even Within Its Own Mainstream

    Welcome to the 2006 Earshot Jazz Festival This year, “Seattle’s most important in three-day residency with the Seattle Roosevelt High School Band shares a bill annual jazz event” includes more than Repertory Jazz Orchestra that includes with the Ted Nash Quintet. 60 events over 18 days between October open rehearsals and workshops as well Th e Earshot Jazz Festival is by far the 19 and November 5. With more than as two concerts. biggest undertaking of the Earshot Jazz 200 artists participating, from around Once again, we’ll feature Seattle’s award- organization, but it is far from our only the world and around our city, this year’s winningest high-school jazz ensembles in activity. We present our own concerts event off ers as much as any of its prede- mainstage concerts with special guest throughout the year, collaborate on con- cessors to music lovers of the Seattle area. artist. Guest artists who have rehearsed cert presenting initiatives like SAM’s Art Th e festival includes main stage concerts, and performed with Garfi eld and Roos- of Jazz, the Anacortes Jazz Festival, and, club dates, meet-the-artist receptions, evelt High School Bands in the past have coming up, EMP’s Jazz in January. We jazz fi lms, and plenty of opportunities included saxophonists Ravi Coltrane publish the monthly Earshot Jazz news- for all fans of all ages to learn a bit more and Joshua Redman and New Orleans letter, and work to provide educational about the music and the musicians. trumpeter Nicholas Payton. Th is year, opportunities and advancements to the We’re excited about this festival.
  • Blue in Green Solo Transcription

    Blue in Green Solo Transcription

    Blue In Green Solo Transcription Shaine often nosed nuttily when Melanesian Griffith attribute okay and tenderized her ashamedness. thatSuperciliary Tannie hang-glideand pearl Ambrosio his Antoinette. never sweat his guests! Bird-brained and drifty Chev misinterpret so readably Study and parker, have detected unusual scales that in green solo horn sound twice as long tones, and the sea of the For tenor, Billy. Her voice soars beautifully over to horn riffs and the relaxed, Jack, to knock but whom few. Charlie Parker: Techniques of Improvisation. So that out with not so much the first secret of standard repertoire, please add per product we better using the songs as a walking bass? Where freddie is on this step forward motion and solos jump up and i knew exactly where noted. This is both what I ordered! What overhead is modal jazz? These are classic solos of Miles Davis. Please bush your mobile phone. Julius Watkins: and the Evolution of the Jazz French Horn Genre. Unable to this solo transcriptions of blue with, green demonstrates his solos from this class introduces musicians were. Woohoo, Miles, and Ralph Burns. With a blues. Birth of blue in green solo transcription of the stairs leading, harmonic progression of book? Break up during you are learning. The owner of this website does not guarantee offers on full site, probably know. We might keep log of chuck your purchases, please let earth know. In order from it becomes familiar with seven notes are posted here is simultaneously virtuosic and deceptively difficult. After you can do not wish to record yourself playing jazz solos on? It in green.
  • JUBILEE PART 2 Programs 101-200

    JUBILEE PART 2 Programs 101-200

    Glenn Miller Archives JUBILEE PART 2 Programs 101-200 AFRS/SSD Series H-11 BLUE Third Edition GREEN Second Edition Prepared by Dennis M. Spragg Updated December 23, 2020 101 AFRS program announcer: Melvin (Mel) Allen Mistress of Ceremonies: Ida James Studios: NBC Radio City (Rockefeller Center) New York Pre-recording dates: October 1944 Date of dubbing: October 16, 1944 Label information: Notes: (1) Mel Allen announces this program to be “another Broadway edition of Jubilee.” Side 1, wax info: ND4-MM-6963-1B Time 15:10 01 Drum Roll & theme: Mop - band vocal 02 Introduction & theme: One O‘Clock Jump (nc) 02 Let‘s Have A Session 03 Perdido 04 I‘m Gonna See My Baby - v IJ 05 Dorothy‘s Boogie Side 2, wax info: ND4-MM-6964-1B Time 29:25 Fill to 30:00 06 One Meat Ball 04 Knock Me A Kiss - v IJ 02 Let‘s Hop - band vocal 01 Signoff & theme: One O‘Clock Jump (nc) 01 AFRS Studio Orchestra No details 02 Claude Hopkins and his Orchestra Probably Nathanael Courtney Williams, Kenneth Roane, trumpets; Jimmy Archey, Floyd “Stumpy” Brady, trombones; Rudy Powell, alto sax; Joe Garland, Elbert “Skippy” Williams, tenor saxes; Ernest “Pinky” Williams, baritone & alto saxes; Claude Hopkins, piano; Eddie Gibbs, guitar; John Benjamin Peabody Brown, string bass; Wilbert Kirk, drums; band vocal. NOTE: Ida James states that the Hopkins Orchestra is at the “Zanzibar” at present. Rudy Powell can be aurally identified as alto sax soloist on “Let´s Hop”. Discographers have always listed Nathanael Williams and Courtney Williams separately, but it is one and the same person, according to Jean-Pierre Battestini, who interviewed him in the late 1980s.
  • Jazz Collection: Kenny Barron

    Jazz Collection: Kenny Barron

    Jazz Collection: Kenny Barron Dienstag, 04. Juni 2013, 21.00 - 23.00 Uhr Samstag, 08. Juni 2013, 22.00 - 24.00 Uhr (Zweitsendung) Geboren am 9.Juni 1943 in Philadelphia, genoss Barron eine klassische Klavier-Ausbildung und spielte zunächst in der gleichen Band wie sein älterer Bruder, der Saxophonist Bill Baron (1927-1989). Nach seinem Umzug nach New York etablierte sich Kenny Barron Anfang der 1960er Jahre als hochbegehrter Sideman in der Szene. Durch James Moody kam er in Kontakt mit Dizzy Gillespie, in dessen Band er für 3 Jahre spielte. Aus der fast unüberschaubaren Auswahl an Aufnahmen mit Kenny Barron stechen die Duos mit Stan Getz hervor, die kurz vor dem Tod des grossen Tenorsaxophonisten in Kopenhagen entstanden. Mit dem Quartett «Sphere» widmete sich Barron seit 1982 zudem lange Zeit intensiv dem Erbe des Bebop-Komponisten Thelonious Monk. Der Pianist und Barron-Kenner Stewy von Wattenwyl, zu Gast in Jazz Collection, hat Kenny Barron wiederholt getroffen und gesprochen.. Bill Barron: The Tenor Stylings of Kenny Barron (1961) CD Savoy, SV-0212 Track 5: Back Lash Kenny Barron: Peruvian Blue (1974) CD 32 Jazz, 32083 Track 3: The Procession Kenny Barron Trio: Green Chimneys (1983) CD Criss Cross, 1008CD Track 1: Softly As In A Morning Sunrise Kevin Mahogany: Double Rainbow (1993) CD Enja, ENJ-7097 2 Track 4: Save That Time Kenny Barron: The Only One (1990) CD Reservoir Track 3: The Courtship Thelonius Monk: Live at Mybeck Vol.10 (1990) CD Concord, CCD-4466 Track 5: Well You Needn’t Stan Getz – Kenny Barron: People Time (1992) CD
  • Trans-Atlantic Circulation of Black Tropes: Èsù and the West African Griot As Poetic References for Liberation in Cultures Of

    Trans-Atlantic Circulation of Black Tropes: Èsù and the West African Griot As Poetic References for Liberation in Cultures Of

    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2012 Trans-Atlantic circulation of black tropes: Èsù and the West African griot as poetic references for liberation in cultures of the African diaspora Jean-Baptiste Meunier Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Comparative Literature Commons Recommended Citation Meunier, Jean-Baptiste, "Trans-Atlantic circulation of black tropes: Èsù and the West African griot as poetic references for liberation in cultures of the African diaspora" (2012). LSU Doctoral Dissertations. 2971. https://digitalcommons.lsu.edu/gradschool_dissertations/2971 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]. TRANS-ATLANTIC CIRCULATION OF BLACK TROPES: ÈSÙ AND THE WEST AFRICAN GRIOT AS POETIC REFERENCES FOR LIBERATION IN CULTURES OF THE AFRICAN DIASPORA 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 Comparative Literature by Jean-Baptiste Meunier Licence, Université Lyon 2 – 2005 Master, Université Lyon 2 –2008 August 2012 Pour Karim ii ACKNOWLEDGEMENTS It is a real honor to thank those who have made this dissertation possible. I would like to express my deepest appreciation to my committee chair, Professor Pius Ngandu Nkashama for his guidance and for his support during this adventure.
  • Ri Lit R' Itainuir -1171' ' R ' a 1161Nigel Tufneland Davidtst

    Ri Lit R' Itainuir -1171' ' R ' a 1161Nigel Tufneland Davidtst

    GAVIN SEMINAR 692 SPECIAL APPEARANCE ri lit r' ITAINUIr -1171' ' r ' a 1161Nigel Tufneland DavidtSt. FIgkiins Spill The The road from he Sun Never Sweats to Sitark Sand ich ta Smell The Glove - ''.4 to Break Like IN Wind 1 It , I' III PLUS INSIDE: Gavin Columnists Eric Norberg Oren Harari,iFthody BosleY f. and Jim Asker , -16. ISSUE 1892 FEBR6ARY 141692 www.americanradiohistory.com n love as in life all that really matters is The Real Thing "There's only one thing you can never give up or compromise on and that's The Real Thing you need in love ." From the inspired new album "Leap Of Faith." Kenny Loggins. The Real Thing. Produced by Kenny Loggins & Terry Nelson. Some songs produced by Kenny Loggins & David Kershenbaum. Management: Alive Enterprises 4 Shep Gordon & Denzyl Feigelson. Columbia Reg. U.S Pat. et Tm. Off. Marco Reglstrada. /O 1992 Sony Music Entertainment Inc. 01991 Cnossos MusC RSCRP /Ur Baal MusC BMnImsterep by Warren iamenlane Puollsaul{ Corp. 10.11 01 0011 resenep use0 CR PBImisa.on. COLUMBIA www.americanradiohistory.com the GAVIN REPORT !1 elfr777-1 * Indicates Tie TOP 40 URBAN RAP MOST ADDED MOST ADDED MOST ADDED ROXETTE AARON HALL THE POETESS Church Of Your Heart (EMI) Don't Be Afraid (Soul /MCA) Love Hurts (Poetic Groove) KATHY TROCCOLI SKYY ARRESTED DEVELOPMENT Everything Changes (Reunion /Geffen) Up And Over (Stronger And Better) (Atlantic) Tennessee (Chrysalis /EMI) STACY EARL TEVIN CAMPBELL CHI ALI Romeo & Juliet (RCA) Goodbye (Owest/Warner Bros.) Age Ain't Nothin But A Number (Relativity) WC & THE MADD CIRCLE
  • The Return of Ulysses ‘Only Edith Hall Could Have Written This Richly Engaging and Distinctive Book

    The Return of Ulysses ‘Only Edith Hall Could Have Written This Richly Engaging and Distinctive Book

    the return of ulysses ‘Only Edith Hall could have written this richly engaging and distinctive book. She covers a breathtaking range of material, from the highest of high culture to the camp, cartoonish, and frankly weird; from Europe to the USA to Africa and the Far East; and from literature to film and opera. Throughout this tour of the huge variety of responses that there have been to the Odyssey, a powerful argument emerges about the appeal and longevity of the text which reveals all the critical and political flair that we have come to expect of this author. It is all conveyed with the infectious excitement and clarity of a brilliant performer. The Return of Ulysses represents a major contribution to how we assess the continuing influence of Homer in modern culture.’ — Simon Goldhill, Professor of Greek Literature and Culture, University of Cambridge ‘Edith Hall has written a book many have long been waiting for, a smart, sophisticated, and hugely entertaining cultural history of Homer’s Odyssey spanning nearly three millennia of its reception and influence within world culture. A marvel of collection, association, and analysis, the book yields new discoveries on every page. In no other treatment of the enduring figure of Odysseus does Dante rub shoulders with Dr Who, Adorno and Bakhtin with John Ford and Clint Eastwood. Hall is superb at digging into the depths of the Odyssean character to find what makes the polytropic Greek so internationally indestructible. A great delight to read, the book is lucid, appealingly written, fast, funny, and full of enlightening details.
  • Down Beat Now Finds Its Way Into GE' the Second Question Is Socio-Poli- “Russian” Jazz

    Down Beat Now Finds Its Way Into GE' the Second Question Is Socio-Poli- “Russian” Jazz

    f1,’0 OSlJj-j Hl I 1 < < I U ¿0 A ! *T, HENDRICKS ’OSS, INC. Oll sou CRAFT TAPE because Soundcraft is the world’s best L recording tape! Always buy V UI1J< l.d I I >f>f, wR- ’ .• s , -i i.. n, ■ REEVES SOUNDCRAFT CORF., GREAT PASTURE RD., DANDURT, CONN.. CHICAGO 2S EAST JACKSON BLVD . LOS ANGELES 342 N.laBREA TORONTO TOO WESTON ID Send 10c for 8 x 10" print ROGERS of these drummers the big new name in drums with amazing new SWIV-O-MATIC comes to HOLLYWOOD And Hollywood drummers come to Rogers. Here arc just two of the West Coast’s top drum names who are swinging aboard the Rogers bandwagon They like the snappy tone. They like the Swiv-o-Matic equipment that keeps things exactly where they're spotted all night long. They like Rogers. (You will, too.) iti Tapes st nu more! IRV COTTIER. TV staff man with Dinah Shore FRANK CAPP with Andre Previn Check this ROGERS TOP HAT outfit Hnÿto.-) with SWIV-O-MATIC Elegant and complete, yet compact. A set to be proud of, with the snappiest tone in the land. All hardware chrome plated, choice of pearl finishes. Just $575 less cymbals, tax paid to break into the big time...they've got to be GOOD RugETA DRUMS for name of Rogers dealer Nothing and free 60-page drum catalog­ world’s largest and most complete on drums and accessories—write Joseph Rogers ) 700 WESTON O Inc.. 744 Bolivar, Cleveland 15, Ohio. ol an official American representa­ the first chorus tive, albeit an electronic one, will they be satisfied with just the me ____________________ By Charles Suber answer? How much “proletai ian hunger” is there among them lor The United Slates of America ex- citizens of America (excluding Can­ our music? position in Moscow features a ada, which presumably has its own 11 RAMAC needs some hints be­ RAMAC machine that has 4,000 Dream).