THE DIXIELAND REVIVAL in CHICAGO SEE PAGE 14 Page 2
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
24Th Annual Dixieland Jazz Festival June 26, 27, 28, 29, 2014 Saint Martin’S University Macus Pavilion 5300 Pacific Ave
24th Annual Dixieland Jazz Festival June 26, 27, 28, 29, 2014 Saint Martin’s University Macus Pavilion 5300 Pacific Ave. SE • Lacey, Washington www.olyjazz.com FOUR VENUES • ONE SITE Great Bands • Large Dance Floors • Swing Set Jazz Festival Dance Lessons - Hal & Georgia Myers, California Nearby Hotels • Shuttle Service Available • Parasol Parades RV Accommodations • Tickets Available at Door INFORMATION: Charlotte Dickison - 360-943-9123 Email: [email protected] RV PARKING: Pat Herndon - 360-956-7132 Email: [email protected] www.olyjazz.com Great Bands plus special set: Tribute to Ray Smith Parmount Jazz Band buck creek evergreen classic grand dominion high sierra ivory & gold* jerry krahn & katie cavera titan hot seven* tom hook/terriers tom rigney flambeau uptown lowdown west end wolverines yerba buena stompers eddie erickson* brady mckay* Festival Times Special Events Kick-Off Party June 26 - 7pm - 10:30pm June 26 ................. 7pm - Kick off party June 26 .............................Kick off party Saint Martin’s University June 27 ..................11:00am - 10:45pm ($15.00 at the door) Marcus Pavilion June 28 .....................9:30am - 11:00pm June 27 ... Farmers Market - 11am-2pm ($15 at the door) June 29 ........................9:30am - Gospel June 29 ...........Sunday Gospel - 9:30am Bands (subject to change) HIgh Sierra • Tom Hook/Terriers Festival ....................10:45am - 3:45pm After Glow Party - 5pm - Tugboat Annies Grand Dominion Shuttle service - 1 hour before event start Food & beverages available Area Hotels (ask for Jazz Rates) Area Hotels (ask for Jazz Rates) Comfort Inn* ................................................................... $99.99 Double Tree Inn by Hilton............................................ $129.00 Lacey • 360-456-6300 Olympia • 360-570-0555 Comfort Inn Tumwater* ................................................ -
J. Dorsey, Earl Hines Also Swell Trombone Showcased
DOWN BEAT Chicago. April 15. 1941 Chicago fl by his latest cutting. Everything Depends On You, in which he spots Gems of Jazz’ and Kirby Madeline Green and a male vocal trio. On BBird 11036, it’s a side which shows a new Hines, a Hines who can bow to the public’s de Albarns Draw Big Raves; mands and yet maintain a high artistic plane. Backer is In Suiamp Lande, a juniper, with the leader’s I—Oh Le 88, Franz Jackson’s tenor and a »—New ' J. Dorsey, Earl Hines Also swell trombone showcased. Je Uy, 3—dmapi Jelly (BBird 11065) slow 4—Perfid by DAVE DEXTER, JR. blues with more sprightly Hines, 5—The A and a Pha Terrelish v ical by Bill 6—High I JvlUSICIANS SHOULD FIND the new “Gems of Jazz” and Eckstein. Flipover, I’m Falling 7—There' For You, is the only really bad John Kirby albums of interest, for the two collections em side of the four. It’s a draggy pop 9—Chapeí brace a little bit of everything in the jazz field. The “Gems” with too much Eckstein. [O—Th> l include 12 exceptional sides featuring Mildred Bailey, Jess 11—f Unti Stacy, Lux Lewis, Joe Marsala and Bud Freeman. Made in Jimmy Dorsey 12—Frenes 1936, they’ were issued only in England on Parlophone and Hot as a gang of ants on a WATCH O have been unavailable domestically until now. warm rock, Jim and his gang click again with two new Tudi« Cama Ma «mvng tl B a i 1 ey’s rata versions uf Yours (the Man Behind the Counter in soda-jerk getup in that rat. -
The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 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]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph 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 Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr. -
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 -
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. -
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell Glenn Miller Original release label “Sun Valley Serenade” Though Glenn Miller and His Orchestra’s well-known, robust and swinging hit “In the Mood” was recorded in 1939 (and was written even earlier), it has since come to symbolize the 1940s, World War II, and the entire Big Band Era. Its resounding success—becoming a hit twice, once in 1940 and again in 1943—and its frequent reprisal by other artists has solidified it as a time- traversing classic. Covered innumerable times, “In the Mood” has endured in two versions, its original instrumental (the specific recording added to the Registry in 2004) and a version with lyrics. The music was written (or written down) by Joe Garland, a Tin Pan Alley tunesmith who also composed “Leap Frog” for Les Brown and his band. The lyrics are by Andy Razaf who would also contribute the words to “Ain’t Misbehavin’” and “Honeysuckle Rose.” For as much as it was an original work, “In the Mood” is also an amalgamation, a “mash-up” before the term was coined. It arrived at its creation via the mixture and integration of three or four different riffs from various earlier works. Its earliest elements can be found in “Clarinet Getaway,” from 1925, recorded by Jimmy O’Bryant, an Arkansas bandleader. For his Paramount label instrumental, O’Bryant was part of a four-person ensemble, featuring a clarinet (played by O’Bryant), a piano, coronet and washboard. Five years later, the jazz piece “Tar Paper Stomp” by Joseph “Wingy” Manone, from 1930, beget “In the Mood’s” signature musical phrase. -
Tommy Dorsey 1 9
Glenn Miller Archives TOMMY DORSEY 1 9 3 7 Prepared by: DENNIS M. SPRAGG CHRONOLOGY Part 1 - Chapter 3 Updated February 10, 2021 TABLE OF CONTENTS January 1937 ................................................................................................................. 3 February 1937 .............................................................................................................. 22 March 1937 .................................................................................................................. 34 April 1937 ..................................................................................................................... 53 May 1937 ...................................................................................................................... 68 June 1937 ..................................................................................................................... 85 July 1937 ...................................................................................................................... 95 August 1937 ............................................................................................................... 111 September 1937 ......................................................................................................... 122 October 1937 ............................................................................................................. 138 November 1937 ......................................................................................................... -
Because in Church He Would Tell the Brother and Sisters What to Do .. ,;^^
f rt f y * .. 'f v .'. i'..." Presenti ':Ric'hard B- Alleh* 1 (- ^* i. t .'^. FREDDIE MOORE ^ » f I 1 ' ^- -f; .!. * ^ f tl' '- t- 1. r 1 ....-!:£ ^eel I-Summary-Re typed banny Barker f I ''.I ('' * <'! I + s June 19, 1969 f, / t / .i ''. I * ^ * » v I "('.> ^ -rl^ -I r 1 4 I i The tape was recorded at 115 W» 141st Street in tTew Yofk t . / * 4a * I . .'.t City. Fred Moore is called by most of the people Freddie Moore» I ;( i .'} ^ .*. T Freddie was born in Washington, North Carolina which is sometimes .r f '^ 1. 1 ^ -t Ik called "Little Washington," Nortt-i Carolina; Freddie l/s birthday * I J. * ^ i -1 is August 20, approximately 1900; he is fifty-ei^ht years old new. ,-f ^'};' -^ ^ * "; f* . Freddie is the only one in his family who played or sang* Freddi6 ^ :.^ f '':. s. i.' * ;- '".; .» + *. >-. 1 f ; started off wifh mus 1c as a kid with the carnivals and minstrel T?^ Jf f * t. J » '4 * .'V' h *' I f- shows; he was a hamfat dancer, ie* a buck dancejc, DB "sort of a * ^ ^ ' n \-} .< t 1 ', '1. Not a teal skilljsd 1 jive dancer, buck and wing, cut the fool," r ^ ^ t -.1'. -,. Freddie t I, professional dancer, but what ever came into your mind* " -' 'i f ^ I r .S1 t I r 1 was a black-faced comedian* » ( .h + ^ * t .* I- J »^ The first music Freddie remembers hearing was some of Jelly 1^ .; :^ '"^ It- \ + r-»'" A \ I. J Roll Morton s number s» [Obviously DB and RBA doul^t -bliis] < Of I- t. -
Frisco Cricket Published by the San Francisco Traditional Jazz Foundation Fall 2013 INTERNATIONAL = NATIONAL = LOCAL by William Carter
Frisco Cricket Published By The San Francisco Traditional Jazz Foundation Fall 2013 INTERNATIONAL = NATIONAL = LOCAL by William Carter We’re reminded, once again, of the perma- spent decades in Europe and South America. nent power of jazz to syncopate itself across time Our media-savvy correspondent Dave Ra- zones. From the earliest years, Storyville’s “ragtime” dlauer has rendered future jazz historians a service and “jazz” bands quickly reproduced themselves on by painstakingly tracking the elusive career of this San Francisco’s Barbary Coast, then in Los Angeles, peripatetic reedman (and sometime trumpeter). After Chicago, New York, Paris... Seeking jobs -- even on you peruse the Goodie story in this issue, be sure to ocean liners -- jazzmen tune your digital device joined the flood of their to his streaming site, recordings in seamlessly jazzhotbigstep.com for blanketing the planet more info and sound with a music that would recordings. come to be recognized as Another ex- America’s great cultural ample of the increas- gift to the world. ingly two-way com- Yet jazz also merce between national remains, a century later, and local events have firmly anchored to its been the appearances hometown venues. This of Loren Schoenberg in issue of your Cricket the South Bay. Once a celebrates the little- year for three years, this known career of Frank Director of the National “Big Boy” Goodie. His Jazz Museum in Harlem compelling life story has been presenting begins in Creole New fascinating free public Orleans and ends (like lectures at Stanford that of many another University’s Cantor classic jazz pioneer: Museum. -
Download Booklet
120699bk Bechet 3 22/5/03 11:09 am Page 2 6. One O’Clock Jump 2:25 14. Save It Pretty Mama 2:51 Personnel (Count Basie) (Don Redman–Paul Denniker–Joe Davis) Victor 27204, mx BS 046833-1 Victor 27240, mx BS 053434-1 16 November 1938: Sidney Bechet, clarinet, 6 September 1940 (tracks 13-15): Rex Stewart, Recorded 5 February 1940, New York Recorded 6 September 1940, Chicago soprano sax; Ernie Caceres, baritone sax; Dave cornet; Sidney Bechet, clarinet, soprano sax; Bowman, piano; Leonard Ware, electric guitar; Earl Hines, piano; John Lindsay, bass; Baby 7. Preachin’ Blues 3:02 15. Stompy Jones 2:47 (Sidney Bechet) (Duke Ellington) Henry Turner, bass; Zutty Singleton, drums Dodds, drums Bluebird B 10623, mx BS 046834-1 Victor 27240, mx BS 053435-1 5 February 1940: Sidney Bechet, clarinet, soprano 8 January 1941: Henry Allen, trumpet; J. C. Recorded 5 February 1940, New York Recorded 6 September 1940, Chicago sax; Sonny White, piano; Charlie Howard, Higginbotham, trombone; Sidney Bechet, 8. Shake It And Break It 2:54 16. Coal Black Shine 2:43 electric guitar; Wilson Myers, bass; Kenny clarinet; James Tolliver, piano; Wellman Braud, (Friscoe Lou Chicha–H. Quaill Clarke) (John Reid-Sidney Bechet) Clarke, drums bass; J. C. Heard, drums Victor 26640, mx BS 051222-1 Victor 27386, mx BS 058776-1 4 June 1940: Sidney de Paris, trumpet; Sandy 28 April 1941: Gus Aiken, trumpet; Sandy Recorded 4 June 1940, New York Recorded 8 January 1941, New York Williams, trombone; Sidney Bechet, clarinet, Williams, trombone; Sidney Bechet, soprano sax; 9. -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
Jazzletter PO Box 240, Oiai CA93024-0240
GerE Lrc Ad Libitwm & Jazzletter PO Box 240, Oiai CA93024-0240 Rodin, Dick Morgan, Benny Goodman and Glenn Miller had The Glenn Miller Years II a suite. We all moved into that, practically the whole band, with the exception of Pollack, sleeping on chairs, couches, of the apartment was 1411' The Pollack band was booked to play at the Little Club on the floor, anywhere. The number came up: Room l4l l,with Benny 44th Street in New York, and opened there in March 1928. And that is how that title We hadbeen out ofwork about five weeks Bud Freeman years later recalled that the band's personnel at Goodman's Boys. home and said, 'I've got a recording date that time included himself, Gil Rodin, and Benny Goodman when Benny came can get some money, buy some food, on saxes; Glenn on trombone, Al Harris on trumpet, Jimmy with Brunswick. We McPartland playing jazzcornet, Goodman's brother Harry on eat."' least in that period of the big bands, bass, Vic Briedis on piano, Dick Morgan on guitar, and of (Jazz mtsicians, at have always found charming and course Pollack on drums. had a term, that I for one to staying in someone else's hotel Freeman said, "We were only there a couple of months and inventive: they referred paying for it as "ghosting.") were continually getting in trouble with the boss. We were room without registering or o'We Miller, myself and two or jusl an independent bunch of individuals and were always made that date. Goodman, playing different kinds of numberclike Blue and fluffing the boss off and getting just as fed up with him as he three more, we named Room l4l l.