NATIONALS They JUMP Like Mid' CITY
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“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. -
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. -
Spring Concert
ANCHOR BAY BAND BOOSTERS EXECUTIVE BOARD The Anchor Bay High School Instrumental Music Department Tom Stanton, President Chris Worton, Vice President - Fundraising proudly presents the Patti Dillon, Vice President - Bingo Paula Eckert, Treasurer Dean Larson, Student Accounts CONCERT BAND Joan Kowalski, Secretary P. David Visnaw II, Instrumental Music Director SYMPHONIC BAND WIND ENSEMBLE ANCHOR BAY HIGH SCHOOL ADMINISTRATION and the Mr. Ken Krause, Principal Mr. Hank Anderson, Assistant Principal JAZZ ENSEMBLE Mr. Vic Balaj, Assistant Principal in a SPRING CON- UPCOMING INSTRUMENTAL MUSIC EVENTS 5/16 - 5/19/02 — Mackinaw Trip! 5/23 — New Marcher Orientation (6:00 pm - 8:00 pm) 5/27/02 — New Baltimore Memorial Day Parade (10:00 am) 5/28/02 — Instrumental Music Banquet (6:30 pm) 6/2/02 — Graduation @ McMorran Auditorium (2:00 pm) CERT 6/13, 6/14, & 6/17/02 — Marching Band Pre-Camp (9:00 - 3:00) 6/23/02 — Jazz Ensemble @ NB Tastefest (4:00 pm) Wednesday, May 15, 2002 6/30/02 — Bay Rama Parade (1:00 pm) 7:30 P.M. 7/29 - 8/3/02 — Marching Band Camp @ CMU PROGRAM SYMPHONIC BAND PICCOLO OBOE FRENCH HORN Monica Lucas Jessica Roy Chris Budnick Mike Cooks CONCERT BAND FLUTE BASSOON Doug Jakubowski* Katie Collica Dan Ruhlman Mark Wallace A Bayside Trilogy..............….………………..............D. Black Katie Hartner Megan Leitzel* ALTO SAXOPHONE TROMBONE Tori Steerzer Cristine Cluney Ashley Ellerbe I. Sunrise Over the Golden Gate Suzy Sweeney Richard Hackler Vince Randazzo Kellie Kunkel Chris Swisher* II. Midafternoon in Chinatown Michael Loschiavo III. Mountain View (A Majestic Celebration) CLARINET Josh Rotarius EUPHONIUM Vicki Adamek Melissa Schanta* Jessica Bannasch* René Borkowski Max Daley John Williams in Concert..……...J. -
Cow Cow Davenport
rienty Switched... CHICAGO, ILL—"I didn't Davenport switch because of my name," declares Plenty Forgotten composer of yesterday's hit Calvert, welder, of this city. "Like thousands of songs lives in poverty in Cleveland slum others, I switched toCal- vert Risserve because BY FRANK HARRIOTT it's plenty smooth,plenty mellow. No doubt about it/' he odds, "Calvert HE NAME of Charles "Cow Cow" Davenport is known to tastes best!" few Americans. Although they have sung his tunes and Theard his music hundreds of times on the -radio and in night spots, most people have allowed his name to pass into oblivion with flagpole sitting, two chickens in every pot and bathtub gin. To those who do remember him, the name brings back memories of the jazz-happy 2O's, rent parties and the six-table cellar cabarets ...and plenty of others called speakeasies. Cow Cow, as he prefers to be called, was a headliner in vaude- ville's golden years. A blues singer, pianist and composer, he (SWITCHED TO CALVERT RESERVE) earned thousands of dollars, dehghted millions of people with compositions hke Mama Don't Allow No Piano Platjing Here and ill Be Glad When YOu're Dead You Rascal You. To all observers, his success as a musician was permanently assured. But Cow Cow, whose most recent claim to fame is that he wrote the late song hit Cow Cow Boogie, today lives in obscurity in one of Cleveland's worst slum tenements. His apartment, a drafty three rooms, is in a sagging frame building just off a garbage- littered alley. -
Blues and Boogie Woogie Style
ELI H. NEWBERGER ARCHETYPES AND ANTECEDENTS OF PIANO BLUES AND BOOGIE WOOGIE STYLE Jazz is essentially an improvised music; it is simultaneously composed and performed. "Style" in jazz implies qualities of both composition and performance. "Idiom," "structure," "phrasing," and "tech- nique" are aspects of style, and a study of various jazz styles contrasts musical " personalities" in the fullest sense. The jazz piano is as old as jazz, and there have been as many jazz piano styles as there have been jazz pianists. Some , however , seem to show particular originality and imagination, and their work has been of influence. The piano blues stylists to whom one can look as archetypes for the piano blues and boogie-woogie school share these attributes. In general, the performers represented here exhibit an impressive technical command of the piano. This is not a prime requisite for the effective use of the instrument in jazz , however. For that reason , Cripple Clarence Lofton is present, while, for instance, Jose Iturbi is not. To capture a sense of style, and to demonstrate the characteristic features of this school of jazz pianism , each of the artists discussed in this article is represented by a typical 12-bar blues improvisation. Principal conceptual and methodologic issues pertaining to the tran- scription and notation of these choruses are reviewed in a previous study. 1 As did ragtime, piano blues and boogie-woogie derived from many sources. But where ragtime shows in its notated music and its mannered style the manifest influence of nineteenth century European and Ameri- Eli H. Newberger is writing several articles as part of a larger study on the evolution of jazz piano styles. -
Piano Bass (Upright And/Or Electric)
January 2017 VOLUME 84 / NUMBER 1 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 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 Tolleson; Philadelphia: David Adler, Shaun Brady, Eric Fine; San Francisco: Mars Breslow, Forrest Bryant, Clayton Call, Yoshi Kato; Seattle: Paul de Barros; Tampa Bay: Philip Booth; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Belgium: Jos Knaepen; Canada: Greg Buium, James Hale, Diane Moon; Denmark: Jan Persson; France: Jean Szlamowicz; Germany: Detlev Schilke, Hyou Vielz; Great Britain: Brian Priestley; Japan: Kiyoshi Koyama; Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
19. Traditional Jazz
19. Traditional Jazz uring the far-ranging jazz style experiments in the 1960s, jazz became more complex, more D fragmented and in some ways more exclusive. Some longtime jazz fans, who were turned off by such artists as Albert Ayler and Cecil Taylor, said the new forms ofjazz were creating an esoteric art reserved for only a few hip insiders, not the popular art form they had known in earlier years. Buddy DeFranco, who was leading the Glenn Miller ghost band at the time, and was a highly regarded bop clarinetist, said, "The more harmonically developed you get, the further away from the audience you're going to get and then, all ofa sudden, you have just a select few." But there were some musicians and listeners who Louisiana State Museum related the appreciation of jazz to the appreciation of Bunk Johnson (in back row with comet) posing classical music. They believed good music is timeless with the Superior Orchestra in 1910 regardless of the latest fads. The experiments of the the raucous Original Dixieland Jazz Band recordings, 1960s prompted some longtime jazz fans to revert to the were released September 17 by Delta Records in an roots ofthe music, just as others had done in the 1940s album of four 78 rpm records that sold for $6. The when the great popularity of the swing bands had records caused a sensation and triggered new interest in transformed jazz from an off-beat novelty into a serious earlyjazz and prompted further searches for the origins art form and research into the history ofjazz began. -
50! See Page 11
Nomination Meeting: Officer Elections: Installation Meeting: October 2013 Tuesday, October 1st, 2013 Sunday, November 10th, 2013 Tuesday, December 10th, 2013 Vol. 73 No. 9 @1:00 pm 12:00 Noon to 6:00 pm @ 1:00 pm * Due to the Election, there is NO November Membership Meeting 50! See Page 11 Local 10-208 of AFM AFL-CIO CHICAGO FEDERATION OF MUSICIANS OFFICERS – DELEGATES 2011-2013 Absentee Ballot Request Gary Matts President Terryl Jares Vice-President Spencer Aloisio Secretary-Treasurer To: Prof. Paul Grant, Election Chairman CHICAGO FEDERATION OF MUSICIANS BOARD OF DIRECTORS Chicago Federation of Musicians, Local 10-208 Robert Bauchens Bob Lizik LOCAL NO. 10-208, A.F. of M. Rich Daniels Janice MacDonald P.O. Box 481024 Frank Donaldson Leo Murphy Niles, IL 60714 B.J. Levy ELECTION OF CONTRACT DEPARTMENT Terryl Jares – Vice-President Dear Sir: OFFICERS AND DELEGATES Nancy Van Aacken ASSISTANTS TO THE PRESIDENT - JURISDICTIONS I, ___________________________, hereby request an Absentee Ballot TO BE HELD ON Terryl Jares - Vice-President Supervisor - Entire jurisdiction including theaters for the Local 10-208 election to be held on November 10, 2013. Sunday, November 10, 2013 (Cell Phone: 312-310-4100) Dean Rolando Recordings, Transcriptions, Local 10-208 Account Number _____________________________ 12:00 Noon – 6:00 PM Documentaries, Etc. (Cell Phone: 708-380-6219) At Union Headquarters DELEGATES TO CONVENTIONS OF THE ILLINOIS STATE FEDERATION OF LABOR 656 W. Randolph, Suite 2W AND CONGRESS OF INDUSTRIAL ___________________________________________________________ -
Great Escape Vol. 30
THE GREAT ESCAPE!* ♪ *“Anything that is good jazz is a great escape. When you’re involved in playing or listening to great jazz, no one can get to you.” -Woody Herman Issue No 30 Presented by: www.dixieswing.com Our 30th Issue! The Story of Three Trumpet Players By Browser Joe Carlton Here are thumbnail sketches of three lesser known In his later years, Jimmy picked up the bagpipes and often trumpet players. This is not about the likes of Harry James, appeared playing them in New York City's St. Patrick's Day's Charlie Spivak or Louis Armstrong. It's about some of the parade. So, this was the life of a skilled trumpeter who had guys who paid their dues mostly in section work, two of an appealing tone but who lost his way as he aged. whom later becoming better known but of one who Harry Aaron Finkelman is the second of these three didn't. Thanks to Google and Wikipedia, I am able to tell you trumpet players. He picked up a catchy first name and at least, part of their stories. One of them made it and then shortened his last name, all of which gave him the stage faded away, never to return and another of who made it and name of Ziggy Elman. Born in 1914, at an early age he then disappeared only to return and one of them was really played for Jewish weddings and in their clubs. He joined great but got little acclaim. Benny Goodman at the age of 22 in 1936. -
What's in Cuesheet?
WELCOME TO CUESHEET, one of a series of performance guides published by the Education Department of the John F. Kennedy Center for the Performing Arts, Washington, D.C. This Cuesheet is designed to be used before and after attending the performances of The Billy Taylor Trio and the Turtle Island String Quartet. What’s in Cuesheet? What is Jazz? page 2 Jazz—An Overview, page 3 Building Blocks of Music, page 4 Improvisation, page 5 Development of Jazz, page 6 Glossary, page 7 Billy Taylor Trio, page 8 Turtle Island String Quartet, page 10 Bibliography and Discography, page 12 Dr. Billy Taylor and the Billy Taylor Trio demonstrate the characteristics of jazz and perform works that show how various styles of jazz developed over the years. The Turtle Island String Quartet play jazz arrangements and original compo- sitions and discuss the performance techniques used for jazz and related contemporary musical forms. 2 It has been said that there is a style of jazz that sounds like European classical music, a style of jazz that sounds like country and western music, a style of jazz that sounds like Latin music, a style of jazz that sounds like rock music, and styles that sound like various other kinds of music heard in this country and elsewhere in the world. Dr.What Billy Taylor, the renowned isjazz artist/educa-JAZZ?“Comparing styles is the best tor/composer/author answered this question by way to discover that stating that, Jazz is America’s there is no one way of classical“ music. It is an playing jazz, for there are American way of playing as many different ways of music.” playing the music as there are musicians playing it.” Jazz has developed as a musical language from Dr. -
SEPTEMBER 1987 I'm Happy to Announce the Availability of Mod- Poll
VOLUME 11, NUMBER 9, ISSUE 95 Features Columns Cover Photo by Leslie Burke EDUCATION JAZZ DRUMMERS' WORKSHOP Burke The Ride Cymbal by Peter Erskine 66 Leslie SHOW DRUMMERS' SEMINAR by Subbing A Broadway Show by Larry Spivack 68 Photo TEACHERS' FORUM Child Drummers by Brooke Sheffield Comer 70 DRUM SOLOIST Roy Haynes: "Snap Crackle" by Karl Sterling 80 ROCK PERSPECTIVES Recreating Beats by Kenny Aronoff 82 THE MACHINE SHOP Heavy Rock From Light Plastic by Clive Brooks 84 ROCK 'N' JAZZ CLINIC Styles are Related: Part 2 by Rod Morgenstein 92 TAKING CARE OF BUSINESS Consumer Rights And Options by Clifford J. Sherry, Ph.D. 94 CONCEPTS Showmanship Features by Roy Burns 110 RICK MAROTTA EQUIPMENT He didn't start playing drums until he was 19, but within a few SETUP UPDATE months, Rick Marotta was being asked to do sessions in New Marc Droubay and Mike Clark 108 York. He talks about his work with such artists as Steely Dan, PRODUCT CLOSE-UP Jackson Browne, and Larry Carlton, and explains what is Joe Montineri Custom Snare Drums behind his personal style. by Bob Saydlowski, Jr. 112 by Robyn Flans 16 ELECTRONIC REVIEW Headset Microphones GARY BURKE by Rick Van Horn 114 JUST DRUMS 122 Currently working with Joe Jackson, Gary Burke's credits also include such diverse artists as Bob Dylan and Steve Reich. He discusses his training and experiences, and gives examples of the charts he had to play for Jackson's Will Power album. PROFILES by Jeff Potter 22 UP AND COMING The Smithereens' Dennis Diken by Brooke Sheffield Comer 36 STEVE WHITE PORTRAITS After studying with no less than Bill Bruford, Steve White was Ralph Pace invited to join The Style Council at the age of 17. -
Ernesto Caceres “Ernie”
1 The BARITONESAX of ERNESTO CACERES “ERNIE” Solographers: Jan Evensmo with Arne Bryn and Ola Rønnow Last update: Oct. 7, 2020 2 Born: Rockport, Texas, Nov. 22, 1911 Died: San Antonio, Texas, Jan. 10, 1971 Introduction: The day I heard Ernie Caceres play “Body And Soul” with Eddie Condon, I realized that he was one of the best baritonesax players ever in the swing tradition , regardless of colour. Incredible how such a good musician can be almost forgotten! During the year 1944 he made more beautiful soli on his instrument than most challengers do in a lifetime! Early history: Clarinet from an early age, also studied guitar and saxophone. Worked with local bands from 1928, then worked with the “family” trio. Long spell with brother Emilio’s small band including residencies in Detroit and New York. Joined Bobby Hackett in summer of 1938, played tenorsax in Jack Teagarden’s band from February 1939. Briefly in big band led by Bob Zurke, then with Glenn Miller from February 1940 until summer of 1942. With Johnny Long’s band from March 1943, with Benny Goodman in October 1943. Joined Tommy Dorsey in December 1943. Worked with Benny Goodman and Woody Herman in 1944, U.S. Army service from spring 1945. Took part in many recordings with Eddie Condon alumni during the 1940s and 1950s (ref. John Chilton). Message: I am very sorry I did not realize how fine a clarinet player EC was! When you below find reference to ‘have EC’ it means baritonesax only. However, he may play beautiful clarinet soli, not noted.