DOCSLIB.ORG

Northwest Enterprise-January 31, 1941

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Northwest Enterprise-January 31, 1941 Portland State University PDXScholar Northwest Enterprise Historic Black Newspapers of Portland 1-31-1941 Northwest Enterprise-January 31, 1941 Follow this and additional works at: https://pdxscholar.library.pdx.edu/northwestenterprise Let us know how access to this document benefits ou.y Recommended Citation "Northwest Enterprise-January 31, 1941" (1941). Northwest Enterprise. 9. https://pdxscholar.library.pdx.edu/northwestenterprise/9 This Book is brought to you for free and open access. It has been accepted for inclusion in Northwest Enterprise by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Under Special Dispensation Puget Sound Lodge Elks No. 109 will receive new members at $3.50 each. Former mell!bers may rein­ state for $2.50 each. This dispensation will expire March 1, 1941. Be an Elk and join the March of Progress. ---:; E. R. Chainey, Ex• . Ruler W. E. Vrooman, Sec. SEATTLE, WASIITNGTON, FRIDAY, JANUARY 31, 1941 PRICE: 5c Per Copy !.,__-----------~ Andy 1\ir~ Plays To Packed 23 States Protest Japan Has Rights Tennessee Protest NAACP Rushes Congressional Probe House At Comet Theatre Jim Crow Defense (Washington Afro-American) Wired Washington jOf Discrimination In National Defense According to news reports, Ja­ Andy Kirk and his famous , pan expects this year or· next to New York-Mass meetings pro­ Chattanooga, Tenn.-Scores of New York-Plans for obtaining Clouds of Joy took over the mam-1 take over the Dutch East Indies. I testing government-sponsored dis­ telegrams and letters, representing a Congressional investigation of moth stage of the Comet theater Since Holland is now in German crimination against Negro citizens the united expression of Negro cit­ the treatment of Negro citizens Wednesday and proved to the man­ hands and Holland's protector, under the national defense pro­ izens in every walk of life here, under the national defense program agement that real name bands England, is having great difficulty gram will be held in twenty-three were sent this week to President will be ironed out in Washington will pay dividends in this city. in keeping out of Hitler's clutches states on Sunday, January 26, ac­ Roosevelt and Congressional Rep­ early next week when Walter Featuring the talents of three Japan is not expected to have carding to r eports received here at resentatives from Tennessee, pro­ White arrives in the Capital Mon­ St. Louis products, Edward Inge, much opposition except from the Harold Baker and Floyd Sfith, the the office of the National Asso­ testing the discrimination against day, January 28 for a three-day ciation for the United States. aggregation thrilled the packed Advancement of Negroes who have been denied stay, the National Association for Colored People What this opposition amounts to house with hit after hit. jobs in defense industry. the Advancement of Colored Peo- The nation-wide protest cam­ can be understood from avowals of ple announced today. Though the voice of Pha Terrill, both Willkie and Roosevelt that According to Mrs. Daisy E. the lad whose rendition of "Until paign which is sponsored by the Lampkin, field secretary The association seeks to have in­ we ar e not ready or willing to of the th~ Real Thing Comes Along" NAACP through its branches, will National Association .for troduced in Congress a resolution fight unless this country is attack- the Ad- made the band famous seasons ago find outlets in the following cities ed. vancement of Colored People, who calling for a Senate investigation in Kansas City, was missing, the according to a preliminary survey: is here conducting a membership of discrimination practiced against aggregation relied upon torrid vo- New York City, Brooklyn, The If Japan marches into these drive, Negro citizens here are tired Negro citizens in every phase of Bronx, Jamaica and Peekskill, N. Dutch Islands close to the Phil- of being turned away from factory the Government's defense program. Y.; Detroit, Mich.; Wilmington, ippines, w e s ee no re;u;on to shed gates in defense industries located The investigation will cover the de­ tears. Del.; Monroe, La.; Charlotte ~d in and near Chattanooga, and want nial of jobs to Negroes in defense Rocky Mount, N. C.; Montclaire, We believe in America for Arne­ the President to take action in the industry, particularly those holding Elizabeth, Newark and Jersey Ci- ricans. Why not Asia for the Asia- matter. Government defense contracts; dis­ June Richmond ty, N. J .; Springfield, Mass.; Hart- l tics? We have no more right to re- The telegrams have come from Mrs. A. B. Butler crimination against Negro youth Floyd Smith, the Mound City's ford, C~nn.; Chicago, Ill.; Newport sist Japanese control of Asia than organized church groups, minis­ Mrs. A. B. Butler, a resident of seeking vocational training, segre­ favorite son, gave a solid almost-! R. I.; Plttsburg and Parsons, Ka~.; Japan has to rese~t our. policy of ters, union workers, women and Seattle continuously for the past gation in the Army, Navy, Army talking guitar interpretation of To~edo, N~wark and Akron, Ohw ; the Monroe Doctnne wh1ch keeps young people. One letter sent to 30 years. She is a charter member Air Corps, Army medical reserve, "Moon Glow" followed by his "Gui- Ph1ladelph1a, Pa.; Tulsa, Okla.; Pa- foreigners out of Canada, Mexico Representative Estes Kefauver, of the Veterans of Foreign Wars, and in the operation of the draft tar Blues" that all but had the ducah, Ky.; vVaterloo, Ia.; Shef- , and North America. whose home is located here was Lady's Auxiliary, Lewis Ford Post law under local draft boards. The mob hanging from the lights. field, Ala.; Nashville and Chatta- We think Japan will do far bet- signed by 204 Negro citizens in­ 289 and at present is serving her resolution will call for holding pub- nooga, Tenn.; Denver, Colo. ; Cairo ter by the East Indies than the I cluding twenty-five ministers. The third consecutive term as presi- lie hearings. Mary Lou swung mightily forth Ga.; Omaha, Nebr.; Bakersfield, Dutch have done. letter said in part: dent. She was three times presi- Mr. White will confer with Sena­ on "The Girl That Swings the and San Diego, Calif. Under Dutch rule, the rich is- Band," and June's best was her "We are protesting against the dent Ladies Auxiliary John Tan- tors who are favorable to the in­ lands are exploited for oil, rice and N 5 Sp · hAm · w vestigatipn in an effort to get the "Dark Town Strutter's Ball." discrimination being shown Negro ner 0 • • ams encan ar, Italy Calls Youth · minerals._ Holland has repeatedly Veterans and 30 years a member resolution introduced as quickly as The band is swinging as strong­ workers in this area, in the na- refused reforms and publicly an- and deacon ss of F'rst1 A M E possible, the announcement said. ly and as evenly as before with tiona! defense program. As our e · · · Milan, Italy-Things have been nounced tha t even in war times Church. "We are particularly anxious,'' ' the tall, lanky maestro doing the · b dl Representative, we are insisting gomg so a Y with Italy in Africa there is no danger in refusing to Mrs. Butler has · m· ed County the NAACP secretary said, "to fronting. that you use your office to bring 10 that Mussolini dispatched to the grant concessio:t~s. Auditor Earl Millikin in his cam- get bonafide cases of discrimina­ f t th · presure on the industries which Tommie James, genial owner of ron IS week 20 thousand boy Of the 40,000 islands military paign for ·mayor. Joined with I have been awarded contracts in tion backed up by signed affidavits Andy Kirk the Comet, promises to give St. voluteers, all of whom are under forces, only 2,000 are natives, and George Moore they will feature the national defense program. We from those who have sought jobs cals by hefty June Richmond and Louisianas more of this type of 21 , . to h e I P. fill the rapidly dimin- ~ these are "handkerchief heads, •• Mr. Millikin in a rally at Ma- . have the list of these industries in defense industries, in order that the swingy ivory tickling of Mary stage show throughout the year. 1shmg Italian ranks. The youn- chosen with great care to keep na- sonic Hall 21st and E. Jefferson. we may produce accurately the Lo" ~filliam-" tb kP-ep things in t h 1 be a,nd we are sure that you have the It is the .on""-n.:~us of opinion s "rs ave on Y en trt..ined for tiv~s frOJl. i:!uc.l ''fUH.iity mfec- Friday, February i at' 8 p. m. volume of information that we' the groove. f ths · a,. same. If you want more informa- that the residents of this city want ew mon m camps in northern tion. All kinds of refreshments, liquid know is available on this subject." It I tion along this line, we shall be Henry "Dicky" Wells, trombon- and appreciate hearing name bands a Y· · (Continued on Pa:-e Four} and otherwise will adorn the ta- glad to send it. ist, is now filling the vacancy left from the comfortable seats of their As a citizen of Chattanooga we are sure that you bles which Mrs. Butler is prepar­ by Terrill but his voice falls short neighborhood theater. are well aware of the <Conditions ing for the big feast following the W. E. Vrooman Ends of the smooth, free deliverance of Andy Kirk and his famous EDITORIAL confronting the Negro here. We roily.
Load more

Recommended publications
  • Oral History T-0001 Interviewees: Chick Finney and Martin Luther Mackay Interviewer: Irene Cortinovis Jazzman Project April 6, 1971
    ORAL HISTORY T-0001 INTERVIEWEES: CHICK FINNEY AND MARTIN LUTHER MACKAY INTERVIEWER: IRENE CORTINOVIS JAZZMAN PROJECT APRIL 6, 1971 This transcript is a part of the Oral History Collection (S0829), available at The State Historical Society of Missouri. If you would like more information, please contact us at [email protected]. Today is April 6, 1971 and this is Irene Cortinovis of the Archives of the University of Missouri. I have with me today Mr. Chick Finney and Mr. Martin L. MacKay who have agreed to make a tape recording with me for our Oral History Section. They are musicians from St. Louis of long standing and we are going to talk today about their early lives and also about their experiences on the music scene in St. Louis. CORTINOVIS: First, I'll ask you a few questions, gentlemen. Did you ever play on any of the Mississippi riverboats, the J.S, The St. Paul or the President? FINNEY: I never did play on any of those name boats, any of those that you just named, Mrs. Cortinovis, but I was a member of the St. Louis Crackerjacks and we played on kind of an unknown boat that went down the river to Cincinnati and parts of Kentucky. But I just can't think of the name of the boat, because it was a small boat. Do you need the name of the boat? CORTINOVIS: No. I don't need the name of the boat. FINNEY: Mrs. Cortinovis, this is Martin McKay who is a name drummer who played with all the big bands from Count Basie to Duke Ellington.
    [Show full text]
  • Charlie Christian
    Prof. Jeff Campbell Trevor de Clercq 03/05/07 CHARLIE CHRISTIAN CHRONOLOGICAL BIOGRAPHY (based on Broadbent 2003) July 29, 1916: Charlie Christian (hereafter CC) born in Bonham, TX Father is a compressor operator in cotton mill; Mother is a hotel maid c.1918 (age 2): Father loses eyesight; Family moves to Oklahoma City, OK; Father works as a busker on the streets of the city as a guitar player 1926 (age 10): Father dies; CC inherits his father's two guitars 1928 (age 12): CC begins high school; Takes classes with Zelia N. Breaux Oil discovered in Oklahoma City 1930's (teenager): Oklahoma City is a major stopover for bands traveling east and west Deep Deuce area of Oklahoma City becomes a popular jazz neighborhood Older brother Edward becomes an established band leader Western Swing bands feature electric guitar with single-note solos 1932 (age 16): CC meets and jams with Lester Young 1933 (age 17): T-Bone Walker returns to Oklahoma City and jams with CC CC takes bass lessons with Chuck Hamilton 1934 (age 18): CC amplifies his acoustic guitar during gigs with brother Edward 1935 (age 19): CC jams with Cootie Williams as Duke Ellington comes through town CC has a regular gig with Leslie Sheffield and the Rhythmaires 1936 (age 20): CC begins touring the Plains States with various ensembles 1937 (age 21): CC acquires his first electric guitar and amp (Gibson ES150) 1938 (age 22): First recordings of jazz on an electric guitar are made Charlie Parker sees CC play in Kansas City 1939 (age 23): CC returns to Oklahoma City and fronts his own small group Benny Goodman begins recording with various electric guitarists Benny Goodman offers guitar-player Floyd Smith a contract, which is turned down by Smith's manager John Hammond, Goodman's manager, offers CC the job Aug.
    [Show full text]
  • Mi M®, 7273 the FUNCTION of ORAL TRADITION in MARY LOU's MASS by MARY LOU WILLIAMS THESIS Presented to the Graduate Counci
    37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 Fledderus, France. The Function of Oral Tradition in Mary Lou's Mass by Mary Lou Williams. Master of Music (Musicology), August, 1996,141 pp., 44 titles. The musical and spiritual life of Mary Lou Williams (1910 - 1981) came together in her later years in the writing of Mary Lou's Mass. Being both Roman Catholic and a jazz pianist and composer, it was inevitable that Williams would be the first jazz composer to write a setting of the mass. The degree of success resulting from the combination of jazz and the traditional forms of Western art music has always been controversial. Because of Williams's personal faith and aesthetics of music, however, she had little choice but to attempt the union of jazz and liturgical worship. After a biography of Williams, discussed in the context of her musical aesthetics, this thesis investigates the elements of conventional mass settings and oral tradition found in Mary Lou's Mass.
    [Show full text]
  • Wild Bill Davis
    BULLETIN NR 1, FEBRUARI 2019, ÅRGÅNG 27 Wild Bill Davis Duke’s Organ Grinder I detta nummer – In this issue Ledare 2 Monsignor John Sanders Cootie Williams i ord, bild och ton 2 in memoriam 13 Wild Bill Davis – A real gone organist 4 Harlem Air Shaft 14 Wild Bill Davis Biography 7 Bensonality och Jam With Sam 17 Wild Bill Davis (by Steve Voce) 9 Duke Ellingtons textförfattare 18 Johnny Hodges interviewed 10 Kallelse 20 1-2019 Gott Nytt År! Nu går vi in i ett nytt DESS-år. Det 25:e I min ledare i vår förra Bulletin gick I sammanhanget är det intressant att året i DESS verksamhet. Kanske värt att jag ut med ett upprop och efterlyste notera att procenten utländska medlem- celebrera vid något tillfälle under året. medlemmar som kunde tänka sig att på mar sakta ökar. Anledningen torde vare Vår första Bulletin kom ut hösten 1994 något sätt delta i styrelsens arbete. An- att dessa medlemmar finner Bulletinens och har sedan rullat på. I början bestod tingen som formell styrelseledamot eller engelskspråkiga artiklar intressanta och medlemstidningen av enbart 12 sidor. adjungerad dylik. Dessvärre har ingen läsvärda och motiverar medlemsavgif- 2010 ökade sidantalet till 16 sidor och i hört av sig. Det är tråkigt. Vi kan behöva ten. och med sista numret 2012 ökades sidan- nytt blod och nya idéer i styrelsen, men Avslutningsvis vill jag hälsa alla talet till 20. Även om det funnits material nu får vi tydligen rulla på i de gamla medlemmar välkomna till årsmötet den tillgängligt för att fylla fler än 20 sidor hjulspåren.
    [Show full text]
  • NPRC) VIP List, 2009
    Description of document: National Archives National Personnel Records Center (NPRC) VIP list, 2009 Requested date: December 2007 Released date: March 2008 Posted date: 04-January-2010 Source of document: National Personnel Records Center Military Personnel Records 9700 Page Avenue St. Louis, MO 63132-5100 Note: NPRC staff has compiled a list of prominent persons whose military records files they hold. They call this their VIP Listing. You can ask for a copy of any of these files simply by submitting a Freedom of Information Act request to the address above. The governmentattic.org web site (“the site”) is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website.
    [Show full text]
  • Charlie Christian
    Charlie Christian Charles Henry “Charlie” Christian (July 29, 1916 – In a 1978 interview with Charlie Christian biographer March 2, 1942) was an American swing and jazz guitarist. Craig McKinney, Clarence Christian said that in the 1920s and '30s Edward Christian led a band in Oklahoma Christian was an important early performer on the electric guitar, and a key figure in the development of bebop and City as a pianist and had a shaky relationship with trum- peter James Simpson. Around 1931, he took guitarist cool jazz. He gained national exposure as a member of the Benny Goodman Sextet and Orchestra from August “Bigfoot” Ralph Hamilton and began secretly schooling the younger Charles on jazz. They taught him to solo on 1939 to June 1941. His single-string technique, com- bined with amplification, helped bring the guitar out of three songs, "Rose Room", "Tea for Two", and "Sweet the rhythm section and into the forefront as a solo instru- Georgia Brown". When the time was right they took him ment. John Hammond[1] and George T. Simon[2] called out to one of the many after-hours jam sessions along Christian the best improvisational talent of the swing era. "Deep Deuce", Northeast Second Street in Oklahoma In the liner notes to the 1972 Columbia album Solo Flight: City. The Genius of Charlie Christian, Gene Lees writes that, “Let Charles play one,” they told Edward. “Ah, nobody “Many critics and musicians consider that Christian was wants to hear them old blues,” Edward replied. After one of the founding fathers of bebop, or if not that, at some encouragement, he allowed Charles to play.
    [Show full text]
  • Extra Special Supplement to the Great R&B Files Includes Updated
    The Great R&B Pioneers Extra Special Supplement to the Great R&B Files 2020 The R&B Pioneers Series edited by Claus Röhnisch Extra Special Supplement to the Great R&B Files - page 1 The Great R&B Pioneers Is this the Top Ten ”Super Chart” of R&B Hits? Ranking decesions based on information from Big Al Pavlow’s, Joel Whitburn’s, and Bill Daniels’ popularity R&B Charts from the time of their original release, and the editor’s (of this work) studies of the songs’ capabilities to ”hold” in quality, to endure the test of time, and have ”improved” to became ”classic representatives” of the era (you sure may have your own thoughts about this, but take it as some kind of subjective opinion - with a serious try of objectivity). Note: Songs listed in order of issue date, not in ranking order. Host: Roy Brown - ”Good Rocking Tonight” (DeLuxe) 1947 (youtube links) 1943 Don’t Cry, Baby (Bluebird) - Erskine Hawkins and his Orchestra Vocal refrain by Jimmy Mitchell (sic) Written by Saul Bernie, James P. Johnson and Stella Unger (sometimes listed as by Erskine Hawkins or Jmmy Mitchelle with arranger Sammy Lowe). Originally recorded by Bessie Smith in 1929. Jimmy 1. Mitchell actually was named Mitchelle and was Hawkins’ alto sax player. Brothers Paul (tenorsax) and Dud Bascomb (trumpet) played with Hawkins on this. A relaxed piano gives extra smoothness to it. Erskine was a very successful Hawkins was born in Birmingham, Alabama. Savoy Ballroom ”resident” bandleader and played trumpet. in New York for many years.
    [Show full text]
  • Richard Wilson “Dick”
    1 The TENORSAX of RICHARD WILSON “DICK” Solographer: Jan Evensmo Last update: Jan. 16, 2016 2 Born: Mount Vernon, Illinois, Nov. 11, 1911 Died: New York, Nov. 24, 1941 Introduction: Dick Wilson was one of the best tenorsaxophone artists of the swing era but was confined to the Andy Kirk orchestra, and we just don’t know his real capabilities. He also died so early, just after his 30th birthday, what a loss! His music was treated in Vol. 7 (1976) of my Jazz Solography Series, reprinted below. There has been no new discoveries since then. History: Both parents were musicians, his father played guitar and violin, his mother piano and guitar. The family moved to Seattle, Washington (ca. 1916). Dick started on piano and vocals, then after leaving high school in Los Angeles, returned to Seattle and began taking alto sax lessons from Joe Darensbourg. Switched to tenor and joined Don Anderson's Band in Portland, Oregon (c. 1929), returned home the following year and played briefly in Joe Darensbourg's Band. Then joined Gene Coy's Band on the West Coast, took sax lessons from Franz Roth in Denver, Colorado. Played in Zack Whyte's Band, then joined Andy Kirk in Kansas City (early 1936). Except for a spell in hospital (summer 1939) he remained with Kirk until shortly before his death. He died of tuberculosis. (ref. John Chilton). 3 DICK WILSON SOLOGRAPHY ANDY KIRK AND HIS TWELVE CLOUDS OF JOY NYC. March 2, 1936 Harry Lawson, Paul King (tp), Earl Thomson (tp, arr), Ted Donnelly, Henry Wells (tb), John Harrington (cl, as, bar), John Williams (as, bar), Dick Wilson (ts), Andy Kirk (bsx, dir), Claude Williams (vln), Mary Lou Williams (p, arr), Ted Robinson (g), Booker Collins (b), Ben Thigpen (dm, vo), Pha Terrell (vo).
    [Show full text]
  • ELECTRIC BLUES the DEFINITIVE COLLECTION Ebenfalls Erhältlich Mit Englischen Begleittexten: BCD 16921 CP • BCD 16922 CP • BCD 16923 CP • BCD 16924 CP
    BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] PLUG IT IN! TURN IT UP! ELECTRICELECTRIC BBLUESLUES DAS STANDARDWERK G Die bislang umfassendste Geschichte des elektrischen Blues auf insgesamt 12 CDs. G Annähernd fünfzehneinhalb Stunden elektrisch verstärkte Bluessounds aus annähernd siebzig Jahren von den Anfängen bis in die Gegenwart. G Zusammengestellt und kommentiert vom anerkannten Bluesexeperten Bill Dahl. G Jede 3-CD-Ausgabe kommt mit einem ca. 160-seitigen Booklet mit Musikerbiografien, Illustrationen und seltenen Fotos. G Die Aufnahmen stammen aus den Archiven der bedeutendsten Plattenfirmen und sind nicht auf den Katalog eines bestimmten Label beschränkt. G VonT-Bone Walker, Muddy Waters, Howlin' Wolf, Ray Charles und Freddie, B.B. und Albert King bis zu Jeff Beck, Fleetwood Mac, Charlie Musselwhite, Ronnie Earl und Stevie Ray Vaughan. INFORMATIONEN Mit insgesamt annähernd dreihundert Einzeltiteln beschreibt der Blueshistoriker und Musikwissenschaftler Bill Dahl aus Chicago die bislang umfassendste Geschichte des elektrischen Blues von seinen Anfängen in den späten 1930er Jahren bis in das aktuelle Jahrtausend. Bevor in den Dreißigerjahren Tonabnehmersysteme, erste primitive Verstärker und Beschallungssysteme und schließ- lich mit Gibsons ES-150 ein elektrisches Gitarren-Serienmodell entwickelt wurde, spielte die erste Generation der Gitarrenpioniere im Blues in den beiden Jahrzehnten vor Ausbruch des Zweiten Weltkriegs auf akustischen Instrumenten. Doch erst mit Hilfe der elektrischen Verstärkung konnten sich Gitarristen und Mundharmonikaspielern gegenüber den Pianisten, Schlagzeugern und Bläsern in ihrer Band behaupten, wenn sie für ihre musikalischen Höhenflüge bei einem Solo abheben wollten. Auf zwölf randvollen CDs, jeweils in einem Dreier-Set in geschmackvollen und vielfach aufklappbaren Digipacks, hat Bill Dahl die wichtigsten und etliche nahezu in Vergessenheit geratene Beispiele für die bedeutendste Epoche in der Geschichte des Blues zusammengestellt.
    [Show full text]
  • JAZZGESCHIEDENIS 643 = ZA 17.07.93 = VPRO R 4 = 22.30-+23.D0 Bandno. S5a I J ^ L \O Tijd. L Ö ' . I L Plont. 08.06.93 Mdr, Jazz
    JAZZGESCHIEDENIS 643 = ZA 17.07.93 = VPRO R 4 = 22.30-+23.D0 Bandno. s5A iJ^L \O Tijd. lö'. il Plont. 08.06.93 MdR, Jazzgeschiedenis 643. Tijdvak 1953-1958, hoofdstuk 29, 't Hammong-orgel, deel 2 van 3. Sarah ClcLawler is kennelijk te ueel entertainer voor de critici, ze komt in geen enkele jazz-ecnyclopedie voor. Ze is in Louisville, Kentucky, geboren, naar ik denk rond 1920, begon haar carrière in Chicago, begin jaren veertig. U hoort haar live in Jazzbo Collins' Pythian Temple in NYC voor Brunswick op 13 april 1953 met Georgië Auld- tenorsaxofoon, Mundell Lowe-gltaar, Specs Powell-drums. Be zingt ook, in de traditional "Red Light". plaat 1 Sarah McLawler: Red Light (Trad.) I/H - 3:35 - MCA Coral CDMSP 806 "Red Light", Sarah HcLawler met tenorsaxofonist George Auld voor Brunswick, Pythian Temple, NYC, 13 april 1953. Shirley Scott hoorden we al eerder met Eddie 'Lockjaw' Davis, nu twee trio-stukken en nog een met Davis. Ze is geboren in Philadelphia, 14 maart 1934, speelde in haar jeugd trompet en natuurlijk piano. In '55 ging ze Hammond orgel spelen, werd de bekendste van de vrouwen op 't instrument, maar weldegelijk ook de meest geacheveerde. George Duvivier-bas, Arthur Edgehill-drums speelden bij haar voor Roulette in NYC in maart 1958 - dit is in ongebruikelijk snel tempo Claude Thornhill's "Snowfall". plaat 2 Shirley Scott: Snowfall (Claude Thornhill) 1/5 - 2:16 - Roulette R-52019 "Snowfall". Nu van Jones en Symes "There is no greater love". zelfde Shiley Scott: There is no greater love (Jones, Symes) 2/4 - 2:49 - idem "There is no greater love".
    [Show full text]
  • The Blues / R&B Time-Line
    Page 1 (of 4) THE BLUES / R&B TIME-LINE Page 2 (of 4) THE BLUES / R&B TIME-LINE THE BLUES / R&B TIME-LINE created by Claus Röhnisch with some of the most important, and some special extra selected, recordings. – data selected with inspiration from http://www.rhythm-and-blues.info/ (The Great R&B Files) and ”Blues Music History Timeline” website by Schmoop, ”The History of Rhythm and Blues” website by Nick Duckett, ”The History of the Blues” by Francis Davis (1995), ”The Sound of the City” by Charlie Gillett (1984/1996), the Blues Foundation’s ”Blues Hall of Fame”, ”The History of Rock and Roll” website (timeline) by D.K. Peneny, Big Al Pavlow’s ”The R&B Book” (1983), Joel Whitburn’s ”Hot R&B Songs 1942-2010” (2010), plus ”Jazz – the Golden Era” and ”The Golden Age of the Blues” by Havers and Evans (2009). (records listed appr. chronological in year of issue) – imaged Dinah Washington (”Queen of the Blues”) __________________________________________________________________________________________________ 1619 1923 First slaves to American colony in Virginia. The ”import” Bessie Smith ”Down-Hearted Blues” and Ma Rainey ”Bo-Weavil business ends in January 1808 Blues”. Ralph Peer produces his first regional country field recordings in Atlanta, Georgia 1830 First public minstrel show, soon gaining popularity, later with 1924 the ”Jump Jim Crow” song, and the Al Jolson peak in 1927 in George Gershwin’s ”Rhapsody In Blue”. The first male folk the first sound film ”The Jazz Singer” blues records, featuring singers Papa Charlie Jackson and Daddy Stovepipe, are issued 1866 Formation of Fisk Jubilee Singers 1925 Electrical recording technology introduced.
    [Show full text]
  • Eddie Durham: Forgotten Guitar Pioneer – the Brooklyn Rail We're Sorry, You've Encountered an Error
    3/23/2019 Eddie Durham: Forgotten Guitar Pioneer – The Brooklyn Rail We're sorry, you've encountered an error. MAILINGLIST Music December 1st, 2003 Eddie Durham: Forgotten Guitar Pioneer I discovered Eddie Durham one night not long ago, as I tuned up my radio to the marvelously pedantic Phil Schaap on WKCR-FM. Phil was playing the legendary “Kansas City Six” (and “Five”) sessions from 1938, fourteen small-combo cuts featuring Basie alumni, produced by John Hammond for Milt Gabler’s unprofitable, idealistic Commodore label. Durham, on electric guitar, shone even in the stellar company of Lester Young and Buck Clayton. His playing had the kind of rare originality that makes you sit up and say, WHO THE HELL IS THIS GUY? Which I’ve been investigating since that night. Here are the facts. Durham (of African-American/Native American heritage) was born in San Marcos, Texas, in 1906. His father, who “played the fiddle at square dances,” taught him to both read and notate. By his early teens Eddie was playing trombone and guitar professionally in the Durham Brothers Band, with his brother and two cousins; by about twenty he was a member of perhaps the seminal Southwestern jazz band of the era, Walter Page’s Blue Devils. Durham serves as guitarist/trombonist/arranger not only for the Blue Devils, but also for their next incarnation, Bennie Moten’s orchestra, and their next incarnation, the Count Basie band. Given this pedigree, and the fact that he worked with a constellation of artists that included Cab Calloway, Jimmie Lunceford, Andy Kirk, Artie Shaw, Glenn Miller, Harry James, and Billie Holiday, Durham was, along with Sy Oliver, probably one of the two most important arrangers in all of Southwestern swing.
    [Show full text]