Extensions of Remarks E1279 HON. HENRY C. ''HANK
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Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (Guest Post)*
“Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (guest post)* Chano Pozo and Dizzy Gillespie The jazz standard “Manteca” was the product of a collaboration between Charles Birks “Dizzy” Gillespie and Cuban musician, composer and dancer Luciano (Chano) Pozo González. “Manteca” signified one of the beginning steps on the road from Afro-Cuban rhythms to Latin jazz. In the years leading up to 1940, Cuban rhythms and melodies migrated to the United States, while, simultaneously, the sounds of American jazz traveled across the Caribbean. Musicians and audiences acquainted themselves with each other’s musical idioms as they played and danced to rhumba, conga and big-band swing. Anthropologist, dancer and choreographer Katherine Dunham was instrumental in bringing several Cuban drummers who performed in authentic style with her dance troupe in New York in the mid-1940s. All this laid the groundwork for the fusion of jazz and Afro-Cuban music that was to occur in New York City in the 1940s, which brought in a completely new musical form to enthusiastic audiences of all kinds. This coming fusion was “in the air.” A brash young group of artists looking to push jazz in fresh directions began to experiment with a radical new approach. Often playing at speeds beyond the skills of most performers, the new sound, “bebop,” became the proving ground for young New York jazz musicians. One of them, “Dizzy” Gillespie, was destined to become a major force in the development of Afro-Cuban or Latin jazz. Gillespie was interested in the complex rhythms played by Cuban orchestras in New York, in particular the hot dance mixture of jazz with Afro-Cuban sounds presented in the early 1940s by Mario Bauzá and Machito’s Afrocubans Orchestra which included singer Graciela’s balmy ballads. -
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 -
Robert GADEN: Slim GAILLARD
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN -
The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 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 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. 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. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 -
MIC Buzz Magazine Article 10402 Reference Table1 Cuba Watch 040517 Cuban Music Is Caribbean Music Not Latin Music 15.Numbers
Reference Information Table 1 (Updated 5th June 2017) For: Article 10402 | Cuba Watch NB: All content and featured images copyrights 04/05/2017 reserved to MIC Buzz Limited content and image providers and also content and image owners. Title: Cuban Music Is Caribbean Music, Not Latin Music. Item Subject Date and Timeline Name and Topic Nationality Document / information Website references / Origins 1 Danzon Mambo Creator 1938 -- One of his Orestes Lopez Cuban Born n Havana on December 29, 1911 Artist Biography by Max Salazar compositions, was It is known the world over in that it was Orestes Lopez, Arcano's celloist and (Celloist and pianist) broadcast by Arcaño pianist who invented the Danzon Mambo in 1938. Orestes's brother, bassist http://www.allmusic.com/artist/antonio-arcaño- in 1938, was a Israel "Cachao" Lopez, wrote the arrangements which enables Arcano Y Sus mn0001534741/biography Maravillas to enjoy world-wide recognition. Arcano and Cachao are alive. rhythmic danzón Orestes died December 1991 in Havana. And also: entitled ‘Mambo’ In 29 August 1908, Havana, Cuba. As a child López studied several instruments, including piano and cello, and he was briefly with a local symphony orchestra. His Artist Biography by allmusic.com brother, Israel ‘Cachao’ López, also became a musician and influential composer. From the late 20s onwards, López played with charanga bands such as that led by http://www.allmusic.com/artist/orestes-lopez- Miguel Vásquez and he also led and co-led bands. In 1937 he joined Antonio mn0000485432 Arcaño’s band, Sus Maravillas. Playing piano, cello and bass, López also wrote many arrangements in addition to composing some original music. -
Stage Door Swings Brochure
. 0 A G 6 E C R 2 G , O 1 FEATURING A H . T T D C I O I S F A N O E O A P T B R I . P P G The Palladium Big 3 Orchestra S M . N N R U O E O Featuring the combined orchestras N P L of Tito Puente, Machito and Tito Rodriguez presents Manteca - The Afro-Cuban Music of The Dizzy Gillespie Big Band FROM with special guest Candido CUBAN FIRE Brazilliance featuring TO SKETCHES Bud Shank OF SPAIN The Music of Chico O’ Farrill Big Band Directed by Arturo O’Farrill Bill Holman Band- Echoes of Aranjuez 8 3 0 Armando Peraza 0 - 8 Stan Kenton’s Cuban Fire 0 8 0 Viva Tirado- 9 e The Gerald Wilson Orchestra t A u t C i Jose Rizo’s Jazz on , t s h the Latin Side All-Stars n c I a z Francisco Aguabella e z B a Justo Almario J g n s o Shorty Rogers Big Band- e l L , e Afro-Cuban Influence 8 g 3 n Viva Zapata-The Latin Side of 0 A 8 The Lighthouse All-Stars s x o o L Jack Costanzo B . e O h Sketches of Spain . P T The classic Gil Evans-Miles Davis October 9-12, 2008 collaboration featuring Bobby Shew Hyatt Regency Newport Beach Johnny Richards’ Rites of Diablo 1107 Jamboree Road www.lajazzinstitute.org Newport Beach, CA The Estrada Brothers- Tribute to Cal Tjader about the LOS PLATINUM VIP PACKAGE! ANGELES The VIP package includes priority seats in the DATES HOW TO amphitheater and ballroom (first come, first served JAZZ FESTIVAL | October 9-12, 2008 PURCHASE TICKETS basis) plus a Wednesday Night bonus concert. -
Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen 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] 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, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
The Jazz Scene”—Various Artists (1949) Added to the National Registry: 2007 Essay by Tad Hershorn (Guest Post)*
“The Jazz Scene”—Various artists (1949) Added to the National Registry: 2007 Essay by Tad Hershorn (guest post)* Original album cover When “The Jazz Scene” was released in 1950, Norman Granz had significantly reshaped the jazz world in his image. Jazz historian and senior “Down Beat” editor John McDonough emphatically summed up Granz’s achievements when he wrote, “Two mavericks changed the face of jazz in the 1940s. Charlie Parker changed the way it was played. Norman Granz changed the way it was sold.” By this time, Granz’s popular seasonal national tours of Jazz at the Philharmonic (JATP), jam session concerts of jazz superstars, had gone on since 1945 after their debut in his hometown of Los Angeles the previous year. In 1949, Ella Fitzgerald joined JATP in what turned out to be a nearly 45-year relationship with Granz, who both managed her career and had her recording contract. Oscar Peterson began a similar long-term relationship with Granz when he joined JATP in 1950, when Granz likewise managed and recorded him over the decades. Granz also distinguished himself as an unyielding champion of racial justice, who had anti-segregation clauses in his contracts from the very beginning, and also offered top pay, travel and accommodations for those working for him. Two years later the jazz impresario began annual tours of Europe, where JATP proved to be as popular there as it had been in the United States. In 1953, Granz and his tours and recordings on his independent labels were beginning to crest. Around 500,000 people packed his concerts worldwide, including tours of Europe and Japan, while he also produced half the jazz records in the United States. -
Excerpts from a Concert Review of Machito and His Orchestra the Palladium Ballroom, December 1,1949
Excerpts from a Concert Review of Machito and His Orchestra The Palladium Ballroom, December 1,1949 Machito and His Afro-Cuban Orchestra (1940s) With the emergence of be-bop [a form of Jazz] from its hidden, out-of-the-way incubators uptown into the heady air of Broadway, it’s become the thing to talk learnedly of the Afro-Cuban origins of bop rhythm. A trip to the Palladium to dig the remarkable Machito band can soon put the matter into its true perspective. (Dizzy Gillespie and Stan Kenton are frequent visitors.) The subtle interplay of Machito’s five-man rhythm section, with Machito or Graciela making a sixth on the claves, is wondrous to hear. With each percussionist doing something of his own, the sounds fuse into an irresistible beat. Emphasis shifts from man to man, in a continuously varying pattern, but the beat is always there, strong, true and exciting. There lies the essential Cubano contribution to be- bop—the shifting among rhythm instruments while attempting to produce a steady discernible pulse. But the bopsters [be-bop Jazz musicians] are a long way from mastery of this technique, which is second nature within the Machito band. Material consists largely of standard and original [Latin American] numbers of every rhythm—rumba variations, boleros, guaguanacos, guajaras, guarachas. The current craze is the mambo, a fast rumba, with which the hip terpers are now compulsively occupied. One of the hall’s features is the Wednesday night mambo contests, which regularly draw not only the hip steppers but also instructors and pros like Arthur Murray and the de Marcos. -
Dizzy Gillespie - Buddy Rich
MUNI 20070503 Dizzy Gillespie - Buddy Rich 1. Ow! (Dizzy Gillespie) 3:02 Dizzy Gillespie and His Orchestra : Dizzy Gillespie, Dave Burns, Elmon Wright, Matthew McKay, Ray Orr-tp; Taswell Baird, William Shepherd-tb; John Brown, Howard Johnson-as; James Moody, Joe Gazles-ts; Cecil Payne-bs; Milt Jackson-vib; John Lewis-p; John Collins-g; Ray Brown-b; Joe Harris-dr. New York, August 22, 1947. Victor 20-2480/D7-VB-1542-1. [RCA 07863 66528 2] 2. Manteca (Dizzy Gillespie-Walter “Gil” Fuller-Chano Pozo) 3:08 Dizzy Gillespie and His Orchestra : Dizzy Gillespie, Dave Burns, Elmon Wright, Lamar Wright, Jr., Benny Bailey-tp; William Shepherd, Ted Kelly-tb; John Brown, Howard Johnson-as; Joe Gayles, „Big Nick“ Nicholas-ts; Cecil Payne-bs; John Lewis-p; Al McKibbon-b; Kenny Clarke-dr; Chano Pozo-conga, bongos, voc. New York, December 30, 1947. Victor 20-3023/D7-VB-3080-1. [RCA 07863 66528 2] 3. Cubana Bop (George Russell-Dizzy Gillespie) 3:20 Dizzy Gillespie and His Orchestra : same personnel. New York, December 22, 1947. Victor 20-3145/D7-VB-2935-1. [RCA 07863 66528 2] 4. Gillespiana – 1. Prelude (Boris “Lalo” Schifrin) 5:56 Dizzy Gillespie and His Orchestra : John Frosk, Dizzy Gillespie, Ernie Royal, Clark Terry, Joe Wilder-tp; Urbie Green, Frank Rehak, Britt Woodman-tb; Paul Faulise-btb; Jammes BufFington, Al Richman, Gunther Schuller, Julius Watkins-h; Don ButterField-tu; Leo Wright-Fl, as; Lalo SchiFrin-p; Art Davis-b; Jack Del Rio-bongos; Candido Camero-conga; Willie Rodriguez-timb; Chuck Lampkin-dr. New York, November 14-15, 1960. -
Itunes 88025
1 Mambo Mucho Mambo AMB 88025 2 Mambo Mucho Mambo Recorded in New York City 1949 - 1952 1. Mambo Mucho Mambo (Blanco Suazo)..................................................................3:00 MACHITO: Leader, maracas 2. Si Si, No No (Blanco Suazo).......................................................................................3:10 Musicians on these sessions include: 3. Mambo A La Savoy (Fuller - Machito).....................................................................2:50 Graciela Perez: vocals (1 • 4) Rugual Brothers: vocals (4) 4. Contigo En La Distancia (Cesar Portillo) ................................................................3:14 René Hernandez: piano 5. Zambia (R. Hernandez) ..............................................................................................2:37 Mario Bauza, Bobby Woodlin, Frank Davila, 6. Oboe Mambo (R. Hernandez)....................................................................................2:18 Ed Medina: trumpet Mitch Miller: oboe (6) 7. Negro Nañamboro (R. Mercerón) .............................................................................3:16 Fred Zitom Vern Friley, Eddie Bert: trombone 8. Tu Felicidad (D.R.) .......................................................................................................2:52 Lennie Hambro, Jimmy Frisaura, 9. Freezelandia (P. Beque) ..............................................................................................3:03 Gene Johnson, José Madera, Freddie Skerritt, Leslie Johnakins: reeds 10. Blen, Blen, Blen (Chano Pozo)...................................................................................3:09