Beneke Book, Properties a Collection Later, the Trust Fund Teagarden Were Among the Many I Missing from the Ellington for Peewee Ran Upwards of $1,500

Total Page:16

File Type:pdf, Size:1020Kb

Beneke Book, Properties a Collection Later, the Trust Fund Teagarden Were Among the Many I Missing from the Ellington for Peewee Ran Upwards of $1,500 By MICHAEL LEVIN >«*w York—Duke entered his 14th year of roncertixing in is town last month when the Ellington band played a benefit icrrt for the NAACP ut the Metropolitan Opera House Jan. During 88 minutes of music, the shortest concert EKE's ‘ thr audience^ ■■ “ .---- Proceeds From CHICAGO, FEBRUARY 23. 1951 Muhv of the musical faults of (Copyright. Itti, Daws Boot, Im.I levious concerts were not heard, L'Affaire Duke ten <1. balance, attack und intona on were all better than they have «n. Clarinetist Jimmy Hamilton ayt.l brilliantly, perhaps the Go To NAACP Frisco Holds Huge Benefit >st of his career. The Carney New York—Duke Ellington’s tritone nnd Brown’s trombone usual, excellent Johnny concert at the Metropolitan Opera House Jan. 21 was a tradition­ lodge» played with less sac- more force than he has in shattering triumph, For Critically-lll PeeWee he last five years. Tenor man Pau) Ellington’s the first Lons*'res, despite rather strained ganized jazz orchestra ever to play * San Francisco—PeeWee Russell may never leave the San iforts to emulate Hawkins, is still the Met (only other jazz concert he best resident of that chair sine« given there wrs the Esquire all­ Goodman Six Francisco county hospital. As this is being written. PeeWee ken Webster left the band. star lineup in January, 1944) is still on the critical list at the hospital where he has been Duke attracted a capacity crowd Twit Drummer«, Bn-w*- since Dec. 31. Blood transfusion after blood transfusion has of 3,600, including 250 standees, been given ihe wiry clarinetist in* I Duke used two drummers, Sonny for a gross of roughly $16,000. To Go On Road •in attempi ti save h)« life. The 1condition was not generally known tree- for special effects Bill Clark Net profits were turned over to the docs literally did not know al presa. He had* been working at Coffee m beat, while Wendell Marshall National Association tor the Ad­ Hollywood—Benny Goodman is time if PeeWee would make it. Dan’s in an afterhours group here nd Joe Benjamin manned two vancement of Colored People. reorganizing a sextet and will open But if he does, he will have the for several weeks prior to New- Basis. This second return to an Event was attended by many Feb. 14 at the El Rancho Vegas, Year’s, but that job folded. Then Id Ellington device had rather memory of one of the greatest trib­ celebrities both in and out of the Las Vegas swankspot, for two utes to a jazzman this country he was for a time in anothei local eculiar results in Ring Dtm Bells. music world, notably Mayor Vin­ has ever seen. hospital, was relensed, and planned lllington and the two bass men cent Impellitteri, NAACP chief He’ll get $7,000 a week for the to leave for Chicago but collapse'! «re playing cut time in unison, Walter White, Dr. Ralph Bunche, date. His appearances elsewhere On Monday night, Jan. 22, at and was taken to the S. F. hos­ rith the resultant sound boosted Alfred Baker l«ewis, Morris Ernst, be limited, as few Doc Dougherty’s Hungover club, pital. will a monster benefit for PeeWee va« o high by the mikes that the flat Arthur Spingarn, Mrs. Ruth spots can afford that money and There the medics found him suf­ our played by Greer and Clark held. Led by Ixiuis Armstrong’s Bryan Rohde, and such show it’s reported Benny won’t work for fering from acute malnutrition idn’t com«1 through. business notables as Ethel Waters, much less. All-Stars, Marty Marsala’s I «ind und ii bad ca«e of cirrhosi« of the Despite moment« of studied mu- W. C. Handy, Jack Robbins, and Sidemen were not yet set at and dozens local liver. ieal excellence, however, at no Lena Horne. writing. played to a nardine-can-packt'd oint did the band or the evening house till the wse hours. By mid­ After the »tories in the papers, Brief speeches were madi by the the idea for a benefit just sort of eally catch fire. All the tried und Uutvh for ihe Jack Teagarden evening the Standing Room Only mayor, Walter White, and Mrs. sign was out, and Doc had to keep grew, with Dougherty the logical rue devices were pulled out, done Rohde. •lory in the Mim h 9 issue. lith more attention to detail und people on the sidewalk until some­ guy to handle it. Armstrong, in a resentation than they have in th«1 one left. And few left. typically generous gesture, offered to stay over the night after his ut, yet the cumulative result Other Collections ras a pleasant but not striking Club 150 job ended to “play one At $1.50 each at the door, plus for PeeWee,” and he and Jack lusica) evening. a collection later, the trust fund Something important and vital Beneke Book, Properties Teagarden were among the many i missing from the Ellington for PeeWee ran upwards of $1,500. who milde the trip out to see Rus­ and. Exactly what, it is hard to Disc jockeys and tecord stores, sell in the hospital. ay The trumpet section, despite which have been taking up collec­ tions, will swell that total. Brwii<kn»i a five high-note exptrts, at times Grabbed By Ex-Manager idfBC, which normally ha» u Dougherty donated thi club, Mme to lack body. The two buss wire Sunday night out of the ben were playing into a mike sys- Hollywood—The morning idler Tex Beneke'» Itand closed which is normally closed Mondays, em hampered by an off-center ind for 36 percent of the door to de­ Hangover, carried a half-hour of Mping speaker cone. Even tak- al the Palladium here, a moving van hired by his ex-manager, fray operating expenses. The mu­ the benefit Monday night, with og this int< account, the Elling- Don Hayne«, pulled up at the dancery and huuled off music sicians gave their time and talent. Jimmy Lyons as emcee. Life, which I>n rhythm didn’t seem to be boot- rucks, a portion of the library, and various props. The equip- Pat Patton, local two-beat bass had snot numerous pix of PeeWee at the hospital being visited by ng th* men as it should have. nirnt was Mid I«» hr the property•« n tist with whom PeeWee h'ld been Probably the most successful and Heller, the firm which also living prior to his sickness, is serv­ musicians, covered the benefit like of Master Music, firm a blanket. rork« of the evening were the two which was jointly owned by Haynes handles Frankie Laine, Skitch ing with Doc as trustee of the mg tom positions, Harlem and and Tex iM-forc their split. Henderson, Lawrence Welk, the fund raised by the benefit. Idea is Nappy Lamaiv’s band, which lonologue-Duet-Three«ome. It was said that Haynes has se­ Trenier Twins, Liberace, and to have enough te send PeeWee to closed a six-wees engagement at Pastel Picture* cured a court order to attach the Bobby Sherwood. a rest home when and if he gets the club the night before the bene­ out of the hospital. fit, had to leave for L. A. for Harltm is a recurrent Ellington property, but it was unnecessary for him to show it, as Beneke The whole idea caught on like Nappy’s show, but Brad ttempt to paint pastel pictures in wildfire rnd received tremendous Gowans, who does not play the iusic. This particular one opens offend no objections. Hodges Cuts First show, stay« d behind for the Lash rith a muted trumpet figure voiced Said a spokesman for Tex: impetus from disc jockeys and “Tex had just as much right to newspapers. Fred Wyatt, a local for his old stand-mate at Nick’s. gainst jug-toned reeds in a theme Sides For Mercury Many other mjsician? wen ininiscent of the work theme this stuff as Haynes, but he didn’t newspaperman, was originally re­ care to make any trouble about it New York— Longtime Duke El­ sponsible for th* publicity on Pee­ there, u few of whom included art of Black, Brown, and Beige. Meade Lux Lewis, Mary Ann Mc­ rs the central phrase of the piece, He wants the whole thing settled lington saxist Johnny Hodges ha? Wee’s condition. Having discovered a» peaceably as possible.” signed a contract with Mercury the hospital needed blood donors, Call, the Walter Mitchi ■ trio, Tut ecurs several times. Follows a Soper, Smoky Stover, Pat Patton, retty clary bit by Hamilton, then It was understood Haynes also records and cut his first sides for for Russell, Wyatt planted yams had seized othei jointly-owned them here last month. in all the local shee*? on Peewee’s Dorothy Bennett, Albert Nicholas, tie theme on Brown’s trombone, and Julian Laine. hen into Ellington’s well known property in New York. Men on the date included Ray plight and the blood flowed. ut still delightful stunt of figures Tex ha? signed « personal man­ Nance, Lawrence Brown, and Son­ Up to that time, Russell’s critical -Ralph J. Gleason »Bed lietween b>ass and reeds, agement pact with Gabbe, Lutz, ny Greer. rith Carney working the theme ter. The piece progresses through luban influences, then into blues Cab Re-Forms Big Ork t * jump tempo. An abrupt con- lerson finds Larry Brown stating be theme as a hymn, with Pro- For Trip To Uruguay FPe’s clarinet and Harold Baker’s rumpet taking it up for a full New York—Reassembling his big band fur a trip to Uru­ iatement.
Recommended publications
  • JAMU 20160316-1 – DUKE ELLINGTON 2 (Výběr Z Nahrávek)
    JAMU 20160316-1 – DUKE ELLINGTON 2 (výběr z nahrávek) C D 2 – 1 9 4 0 – 1 9 6 9 12. Take the ‘A’ Train (Billy Strayhorn) 2:55 Duke Ellington and his Orchestra: Wallace Jones-tp; Ray Nance-tp, vio; Rex Stewart-co; Joe Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Barney Bigard-cl; Johnny Hodges-cl, ss, as; Otto Hardwick-as, bsx; Harry Carney-cl, as, bs; Ben Webster-ts; Billy Strayhorn-p; Fred Guy-g; Jimmy Blanton-b; Sonny Greer-dr. Hollywood, February 15, 1941. Victor 27380/055283-1. CD Giants of Jazz 53046. 11. Pitter Panther Patter (Duke Ellington) 3:01 Duke Ellington-p; Jimmy Blanton-b. Chicago, October 1, 1940. Victor 27221/053504-2. CD Giants of Jazz 53048. 13. I Got It Bad (And That Ain’t Good) (Duke Ellington-Paul Francis Webster) 3:21 Duke Ellington and his Orchestra (same personnel); Ivie Anderson-voc. Hollywood, June 26, 1941. Victor 17531 /061319-1. CD Giants of Jazz 53046. 14. The Star Spangled Banner (Francis Scott Key) 1:16 15. Black [from Black, Brown and Beige] (Duke Ellington) 3:57 Duke Ellington and his Orchestra: Rex Stewart, Harold Baker, Wallace Jones-tp; Ray Nance-tp, vio; Tricky Sam Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Johnny Hodges, Ben Webster, Harry Carney, Otto Hardwicke, Chauncey Haughton-reeds; Duke Ellington-p; Fred Guy-g; Junior Raglin-b; Sonny Greer-dr. Carnegie Hall, NY, January 23, 1943. LP Prestige P 34004/CD Prestige 2PCD-34004-2. Black, Brown and Beige [four selections] (Duke Ellington) 16. Work Song 4:35 17.
    [Show full text]
  • Producer Spotlight: Kurt Ballou
    Producer Spotlight: Kurt Ballou An analysis of the chosen producer or production style. This will include a discussion of the historical/musical/cultural/technological context of the production style, as evidenced in existing literature; at least three case studies that identify the musical/sonic/aesthetic concerns of specific recorded works through a combination of original analysis/scholarship and reference to existing literature; and a discussion of your findings. Table of Contents Introduction .................................................................................................................................. 3 Literature Review.......................................................................................................................... 3 Methodology ................................................................................................................................ 5 Case Studies .................................................................................................................................. 6 Interview – Kurt Ballou ................................................................................................................. 9 Conclusions ................................................................................................................................... 9 Appendix A – Timelines............................................................................................................... 12 Appendix B.................................................................................................................................
    [Show full text]
  • Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
    Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect.
    [Show full text]
  • Black Metal and Brews
    Review: Roadburn Friday 20th April 2018 By Daniel Pietersen Day Two at Roadburn ‘18 and already Never wandering off into too-loose the bar is raised pretty high, with sets jam-band territory, the quartet unleash from Black Decades, Kælan Mikla and some of the best heads-down psych- Servants of the Apocalyptic Goat Rave rock I’ve seen and the crowd absolutely being my personal highlights from the lap it up over the set’s two-hour (two day before. We’ve a lot to get through, hours!) duration. though, and these bands won’t watch themselves. The Ruins of Beverast unleash a black metal stormcloud, all martial drums and lightning-strike guitars sweeping scythe-like over the field of nodding heads in a packed Green Room. It’s a ferocious, scathing display made all the more intense by the devastatingly tight musicianship. An immense start to the Panopticon (Paul Verhagen) day and that’s Roadburn in a nutshell; What Jeremy Bentham, the 18th even the first band on one of the century English philosopher who smaller stages are world class. developed the concept of the Panopticon, would think of his creation’s musical namesake is, sadly, impossible to know. I like to think that, even if the music were beyond him, the passionate social reformer would appreciate the politically relevant sentiments of the band, something which is made most obvious on their opening selection of country- influenced tracks. Banjo and mandolin Motorpsycho (Paul Verhagen) blend with mournful voices, singing of Next door, on the Main Stage, lost families and failing factories, into Motorpsycho are working up their songs that wouldn’t be out of place on groove and creating the kind of sounds, a Steve Earle record.
    [Show full text]
  • Jazzfest 2012 Is Here!
    Volume 40 • Issue 6 June 2012 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Clockwise: Louis Armstrong, Louis Prima Jazzfest 2012 and Louis Jordan. Publicity is here! photos courtesy Featuring Tribute CTSIMAGES. to Three Louies by Swingadelic …among many other delights! Saturday, June 16. Details on page 5 and at www.njjs.org Get tix today! New JerseyJazzSociety in this issue: NEW JERSEY JAZZ SOCIETY Prez Sez . 2 Bulletin Board . 2 NJJS Calendar . 3 Jazz Trivia . 4 Editor’s Pick/Deadlines/NJJS Info . 6 Prez Sez April Jazz Social: Roseanna Vitro . 44 Crow’s Nest . 46 By Frank Mulvaney President, NJJS New/Renewed Members . 46 Change of Address/Support NJJS/Volunteer/JOIN NJJS . 47 ell, Jazzfest is just a couple of weeks marketing and public relations experience. STORIES Waway and I hope you will be able to get He has authored numerous articles on jazz Jazzfest 2012 Preview. cover tickets, if you have not ordered them already. and many were compiled and published in Jazz in July Moves to Budd Lake . 4 Big Band in the Sky. 8 The lineup is fabulous and we are expecting a book form in Jazz Notes: Interviews Across the Talking Jazz: Sachal Vasandani . 16 sellout. Last year’s Jazzfest was very successful Generations (Praeger, 2009). Sandy also writes Vince Giordano at Mayo PAC . 21 despite the rain and we learned a lot from Jersey Jazz’s “Big Band In the Sky” obituary Remembering Sonny Igoe . 22 column. We still have a vacancy on the board Les Paul Birthday at Ramapo .
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • Fwofeffim I- BUIIETIN NUMMER 1 1996
    ,TheDufteE@ FWofeffiM I- BUIIETIN NUMMER 1 1996 Ordföranden har ordet: Kära Ellingtonvänner! Just som lag skall börja skriva denna artikel nås jag av ett telefonsamtal från Willie Cook som säger att Mercer Ellington har avlidit. Mycket sorgligt, det är bara att be- klaga sorgen inom Ellingtonfamiljen och de av oss som alltid har beundrat det som har skett inom Ellingtonfa- miljen. Nu är det bara Ruth Ellington, syster till Duke, som är kvar av den äldre generationen. Mercer är nu begravd i Köpenhamn där han hade sitt hem och sin danska fru Lena. Vi träffades en gång i Väs- om Ellington för oss men hans besök i Stockholm gäller terås den 3 december 1977 med Mercer och hans orkes- egentligen Charlie Mingus och Berwaldhallen den 28 ter. Vad som nu händer med Duke Ellington Orchestra mars med Radiojazzgruppen. är ovisst eftersom det inte finns någon given ledare för För övrigt såg vi i Solna centrum's bibliotek en foto- orkestern enligt Willie Cook. Senast vi såg och lyssnade utställning kring Duke Ellington av Christer Landegren. till Mercer Ellington och hans orkester var på Skepps- Det var samma utställning som visades i Musikmuseet holmen sommaren 1994. Alexandre Rado kände Mercer 1994. Vi hoppas att f lera bibliotek vill ställa ut. som en vän och hans tecknar för oss sin minnesbild av Vi inom styrelsen hoppas att våra svenska medlem- Mercer. mar finner det OK med vissa artiklar på engelska språ- Under iuni 1996 blir det Toronto som har årets El- ket. Eftersom vi böriar få ett flertal utländska medlem- lingtonkonferens. Vi hoppas att flera av oss kan åka dit mar måste vi ju se till att de får något utbyte av sin med- och vi kommer att presentera närmare detaljer under lemsavgift.
    [Show full text]
  • June-July 1980
    VOL. 4 NO. 3 FEATURES: CARL PALMER As a youngster, Carl Palmer exhibited tremendous drumming ability to audiences in his native England. Years later, he ex- hibited his ability to audiences world wide as one third of the legendary Emerson, Lake and Palmer. With the breakup of E.L.P., Palmer has expanded in new directions with the forma- tion of his own band, P.M. 12 BILL GOODWIN Bill Goodwin has played with a variety of musicians over the years, including Art Pepper, George Shearing, Mose Allison and currently with Phil Woods. Goodwin discusses the styles and demands of the various musicians he worked with. And though Goodwin is a renowned sideman, he is determined to branch out with some solo projects of his own. 22 DEREK PELLICCI Derek Pellicci of the successful Little River Band, speaks candidly about his responsibilities with the band versus his other love, session work. Pellicci is happiest creating under studio session pressure. The drummer also discusses the impor- tance of sound in regards to the drums and the care that must go into achieving the right sound. 28 THE GREAT JAZZ DRUMMERS: SHOP HOPPIN' AT DRUMS PART I 16 UNLIMITED 30 MD'S SECOND ANNUAL READERS POLL RESULTS 24 COLUMNS: EDITOR'S OVERVIEW 2 DRIVER'S SEAT Controlling the Band READER'S PLATFORM 5 by Mel Lewis 42 ASK A PRO 6 SHOP TALK Different Cymbals for Different Drummers IT'S QUESTIONABLE 8 by Bob Saydlowski, Jr 46 ROCK PERSPECTIVES SLIGHTLY OFFBEAT Odd Rock, Part 2 Pioneering Progressive Percussion by David Garibaldi 32 by Cheech Iero 50 JAZZ DRUMMER'S WORKSHOP DRUM
    [Show full text]
  • 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.
    [Show full text]
  • Inside Facts of Stage and Screen (February 28, 1931)
    1! A STAGE PRICE 10 CENTS RADIO SCREEN MUSIC Only Theatrical Newspaper on the Pacific Coast EDITED BY JACK JOSEPHS ESTABLISHED 1924 Entered as Second Class Matter, April 29, 1927, at Published Every Saturday at 6253 Hollywood Boulevard, Vol. XIII ’ office, Los Angeles, Calif., under Act of March 3. Saturday, February 28, 1931 Hollywood, Calif. •No. 8 BIGGER STAGE SHOWSTO MEET H-F PRICE SLASH Tie-Up Of Plunkett Coin Hits On Coast Production For Meet “The only studio departments San Francisco, Feb. 27.— •working at anything like full swing meeting here between Joseph at present are the publicity depart- Plunkett and execuive chiefs on the west coast for R-K-O ments—and they’re working over- decided to continue stage time alibying for the slump in pro- shows in all R-K-O coast duction.” houses, and to build them up This statement was made confi- . to a more elaborate scale. dentially this week by a big picture Lines of girls will be added, exec., who was addressing a group and there will also be orches- of exhibitors’ representatives who tral pit shows, with both men were in town to find out what’s and women entertainers work- what for the coming year. ing in them. The exhibs, the stock market and Entry into the exhibition field of the inhabitants of Hollywood are the new Hughes-Franklin combina- | being fed with big stories regarding tion is not going to be taken ly- production, making one judge by ing down by the already establish- these stories that the town is even ed circuits.
    [Show full text]
  • 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.
    [Show full text]
  • The Rita Williams Popular Song Collection a Handlist
    The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy
    [Show full text]