In Modern Jazz: Texan Gene Ramey in Kansas City & New York
Addis: The 'Baptist Beat' in Modern Jazz Texan Gene Ramey in Kansas City & New York” in Kansas City & New Gene Ramey Texan in Modern Jazz: ‘Baptist Beat’ “The Produced by The Berkeley Electronic Press, 2004 1 Journal of Texas Music History, Vol. 4 [2004], Iss. 2, Art. 3 Texan Gene Ramey in Kansas City & New York” in Kansas City & New Gene Ramey Texan in Modern Jazz: ‘Baptist Beat’ “The Texan Gene Ramey in Kansas City & New York” in Kansas City & New Gene Ramey Texan in Modern Jazz: ‘Baptist Beat’ “The With roots in Texas gospel and blues, Ramey put his stamp Tyler but moved to Austin. Alphonso Trent’s concerts from the on some of the most important music of the era, playing bass Adolphus Hotel in Dallas played on WFAA radio and, over the alongside such musical giants as Charlie Parker, Lester noon hour, Ramey heard the Herman Waldman Band’s “society Young, Billie Holiday, Sonny Rollins, Thelonious Monk, swing” broadcast from the Gunther Hotel in San Antonio. and fellow Texan, Charlie Christian. Ramey had the rare Many of these groups came to be known as “territory ability to play two styles—swing and bebop—and, after bands,” because they normally played within a limited region, his return to Texas in 1976, he reminisced about the role or “territory,” that was usually within a day or two’s drive of a he played in the transition from one to the other. Always “home” radio station, on which they regularly performed. During generous to interviewers, such as Stanley Dance, Ross the 1920s, many of these territory bands congregated in Kansas Russell, François Postif, and Nathan Pearson, Ramey’s City, Kansas.
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