DOCSLIB.ORG

KID ORY Vol. 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
KID ORY Vol. 2 120769bk Kid Ory2 9/6/05 11:51 AM Page 2 1. Maryland, My Maryland 2:41 9. The World’s Jazz Crazy, Lawdy So Am I 16. South Rampart Street Parade 3:25 19. Creole Love Call 3:21 (Traditional) 3:18 (Bob Haggart–Ray Bauduc) (Duke Ellington–Bubber Miley–Rudy Jackson) Crescent 3, mx CRE 1014 (Trixie Smith) Good Time Jazz L-21, mx LKL 61 Good Time Jazz L-21, mx LKL 62 Recorded 8 September 1945 Columbia 37277, mx HCO 2108 Recorded 17 July 1953 Recorded 1 December 1953 2. Down Home Rag 2:51 Recorded 21 October 1946 17. St. James Infirmary 3:15 20. Milenburg Joys 3:12 (Wilbur Sweatman) 10. Creole Bo Bo 2:44 (Joe Primrose) (Jelly Roll Morton) Crescent 4, mx CRE 1015 (Cecile Ory–Edward Ory) Good Time Jazz L-21, mx LKL 61 Good Time Jazz L-21, mx LKL 62 Recorded 8 September 1945 Kid Ory, vocal Recorded 17 July 1953 Recorded 1 December 1953 Columbia 37276, mx HCO 2109-2 3. 1919 Rag 3:04 18. Aunt Hagar’s Blues 2:56 Kid Ory’s Creole Jazz Band Recorded 21 October 1946 (Traditional) (W. C. Handy) All selections recorded in Los Angeles Crescent 4, mx CRE 1013 11. At a Georgia Camp Meeting 3:01 Good Time Jazz L-21, mx LKL 62 Transfers & Production: David Lennick Recorded 8 September 1945 (Kerry Mills) Recorded 1 December 1953 Digital Restoration: Graham Newton 4. Original Dixieland One-Step 2:56 Columbia 38957, mx RHCO 4111 Recorded 27 June 1950 Discographical information courtesy of The Jazz (O. J. LaRocca) Discography by Tom Lord (www.lordisco.com) Crescent 6, mx CRE 1022 12. The Glory of Love 2:38 Recorded 3 November 1945 (Billy Hill) 5. Ory’s Creole Trombone 3:06 Lee Sapphire, vocal Also available in the Naxos Jazz Legends series ... (Edward Ory) Columbia 38955, mx RHCO 4109 Crescent 6, mx CRE 1025 Recorded 27 June 1950 Recorded 3 November 1945 13. Mahogany Hall Stomp 2:55 6. Maple Leaf Rag 3:05 (Spencer Williams) (Scott Joplin) Columbia 38956, mx RHCO 4111 Crescent 8, mx CRE 1023 Recorded 27 June 1950 Recorded 3 November 1945 14. Go Back Where You Stayed Last Night 7. Weary Blues 3:16 3:19 (Artie Matthews) (Ethel Waters–Sidney Easton) Crescent 8, mx CRE 1024 Lee Sapphire & Joe Darensbourg, vocal Recorded 3 November 1945 Columbia 38958, mx RHCO 4127-1 Recorded 6 July 1950 8. Joshua Fit the Battle of Jericho 2:55 8.120587 8.120666 8.120735 15. Yaaka Hula Hickey Dula 3:06 (Traditional) These titles are not for retail sale in the USA Helen Andrews & Bud Scott, vocal (E. Ray Goetz–Joe Young–Pete Wendling) Columbia 37275, mx HCO 2088-2 Columbia 38958, mx RHCO 4129-1 Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia Recorded 15 October 1946 Recorded 6 July 1950 NAXOS RADIO www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120769 6 8.120769 120769bk Kid Ory2 9/6/05 11:51 AM Page 1 KID ORY wanted to feature an authentic sounding New repertoire of the Original Dixieland Jazz Band Joe Darensbourg was in Bigard and Howard’s section and was arguably the band’s finest Vol. 2 Orleans band during a five-minute slot in each and Ory’s Creole Trombone was one of the two place (filling a similar role) and Ory always soloist. These standards are all given the Kid ‘Ory’s Creole Trombone’ Original Recordings 1945-1953 program. Kid Ory’s name was suggested and numbers recorded by Ory in 1922 and was also played in his own unique style. The band, driven Ory treatment and even though South Rampart since he had regained his former form during a previously recorded by the trombonist with Louis by Buckner, performs joyous versions of At A Street Parade, St. James Infirmary, Aunt Kid Ory was a New Orleans jazz pioneer who was some top New Orleans players with him and stint with clarinettist Barney Bigard’s group, Ory Armstrong’s Hot Five. Maple Leaf Rag was the Georgia Camp Meeting and Mahogany Hall Hagar’s Blues, Duke Ellington’s Creole Love Call considered the most important trombonist in helping to introduce freewheeling jazz to San was enlisted to put together a band. As it turned greatest hit of the ragtime era (and nearly the Stomp, and even tears into the pop song The and Milenburg Joys were recorded many times 1915. As with some of the more fortunate of the Francisco, Los Angeles and Oakland. With Mutt out, the radio show was the perfect launching only rag to become a standard) and Weary Blues Glory Of Love which has a highly expressive through the years, the Ory band made them early New Orleans legends, he survived into the Carey on cornet, Ory recorded two numbers in band for Kid Ory’s Creole Jazz Band for their had been immortalized by Louis Armstrong’s Hot vocal by Lee Sapphire. Later in the year, the sound lively, fresh and just a little unpredictable. 1920s, moved up North and appeared on some 1922 as the leader of a band called Spike’s Seven weekly feature was considered the highlight of Seven, a band that Ory missed playing with. contrast and blend between Buckner and Ory Kid Ory’s Creole Jazz Band continued famous recordings. Unlike most of his Pods Of Pepper Orchestra; these are considered the show. Soon Ory was playing regularly in Los The same edition of the Creole Jazz Band in (who really sings through his horn) during the making enjoyable records into 1961 and the contemporaries, Ory had a very busy later career, the earliest recordings by a black New Orleans Angeles clubs and appearing on records again. 1946 with Barney Bigard succeeding Howard first chorus of Go Back Where You Stayed Last trombonist did not officially retire until he making a full comeback during 1944-45 and jazz band. In 1925 he relocated to Chicago and ‘Ory’s Creole Trombone’ has twenty of Kid performs some unusual material. Joshua Fit The Night before another winning Lee Sapphire vocal moved to Hawaii in 1966. He passed away on leading one of the most popular New Orleans during the remainder of the decade appeared on Ory’s finest recordings of the 1945-53 period. Battle Of Jericho has a very familiar melody is memorable while Yaaka Hula Hickey Dula has 23 January 1973 at the age of 86, one of the jazz groups of the next fifteen years. an impressive assortment of classic recordings in This is very easy music to enjoy, filled with though it has rarely been played in a jazz setting; some percussive slap tongue clarinet by most beloved of the New Orleans jazz pioneers Edward ‘Kid’ Ory was born 25 December such bands as Louis Armstrong’s Hot Five, King colorful ensembles and personable solos. It Helen Andrews and banjoist Bud Scott have the Darensbourg. and one whose music still sounds very much 1886 in La Place, Louisiana. He first started Oliver’s Dixie Syncopators, Johnny Dodds and could be called dixieland, New Orleans jazz or vocals. Blues singer Trixie Smith’s The World’s The final five selections feature the 1953 alive today. playing music on banjo when he was ten, soon Jelly Roll Morton’s Red Hot Peppers. Even after just plain happy high quality music. Jazz Crazy, Lawdy So Am I will sound familiar to version of Ory’s band, with Buckner and clarinet- began doubling on valve trombone and the rise of more modern trombonists, most The first ten selections have Mutt Carey, who dixieland fans for it is the same song as “Ballin’ tist Bob McCracken being strong assets. The Scott Yanow – author of nine jazz books including Jazz eventually settled on the slide trombone. Ory notably Miff Mole and Jack Teagarden, Ory’s was like Ory had come out of retirement, joining his The Jack.” Creole Bo Bo is a childlike tune biggest addition was the great stride pianist Don On Film, Swing, Classic Jazz (on the 1920s), Trumpet visited nearby New Orleans several times early considered the definitive New Orleans style. old boss in the front line. With former Jelly Roll written by Kid Ory and his wife Cecile that has a Ewell, who added a powerful lift to the rhythm Kings and Jazz On Record 1917-76 on, moving to the Crescent City in 1912 when he With the rise of the Depression and the coll- Morton clarinettist Darnell Howard aboard for resemblance to “Mary Had A Little Lamb” but was already 25. He quickly established himself as apse of the recording industry, job opportunities the first seven numbers, the well-integrated band with some extensions and a vocal by Ory in Personnel one of the city’s top bandleaders, heading a began to become scarce after 1930. Ory moved swings hard on Maryland, My Maryland, Wilbur French. Tracks 1-7: Mutt Carey, trumpet; Kid Ory, Tracks 14-15: Teddy Buckner, trumpet; Kid series of groups during the next seven years that back to Los Angeles, freelanced for a bit and then Sweatman’s Down Home Rag and 1919 Rag (a Although the Kid Ory group only had one trombone; Darnell Howard, clarinet; Buster Ory, trombone; Joe Darensbourg, clarinet; featured many of the major players in town in 1933 dropped out of music altogether to help song that they successfully revived) on the 8 record date during 1947-49, its popularity Wilson, piano; Bud Scott, banjo; Ed Garland, Lloyd Glenn, piano; Ed Shrivanek, guitar; including cornetist King Oliver, his successor his brother run a chicken farm.
Load more

Recommended publications
  • 2 Tansas Gazette - North East Louisiana
    . 2 Tansas Gazette - North East Louisiana ======= Map of North Eastern Louisiana Waterproof, La is in the Southern portion of Tansas Parish, La. It is 199 miles from New Orleans. During the era of the cotton plantations the population of the parish was 90% slaves. There were many dances in the parish's leading cities - Waterproof, Newellton and St. Joseph. There were few concerts given and few organized brass or string bands. Jazz music was first mentioned in the newspaper in 1921. 1881 May 7 - The Ball, Wednesday Night In response to an invitation sent us, we attended the ball given by the Tensas "rifles, at Masonic Hall, on the evening of the 4th. As we predicted last week, everyone who attended had an ice time, and to say that it was a success but faintly expressed it. The band - Kaisers, from Natchez - came on the Rebstock, about 6:30 and about 9 p.m. the ladies and their escorts began to arrive, and despite the warmth of the evening, number of them were soon whirling in the dizzy mazes of the waltz. "From that time until the hour appointed for supper, the dancers held the floor, and "chased the giddy hours with flying fee" to the music of quadrille, heel and toe, the waltz and the Lancers. The assemblage was the largest, we learn, of any that has attended a ball here during the season. 1882 November 4 - Brass Band We learn that the Waterproof Brass Band has organized a series of open-air concerts, in the form of night serenades to their friends in the several neighborhoods in the vicinity of the town.
    [Show full text]
  • 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.
    [Show full text]
  • Johnny Hodges: an Analysis and Study of His Improvisational Style Through Selected Transcriptions
    HILL, AARON D., D.M.A. Johnny Hodges: An Analysis and Study of His Improvisational Style Through Selected Transcriptions. (2021) Directed by Dr. Steven Stusek. 82 pp This document investigates the improvisational style of Johnny Hodges based on improvised solos selected from a broad swath of his recording career. Hodges is widely considered one of the foundational voices of the alto saxophone, and yet there are no comprehensive studies of his style. This study includes the analysis of four solos recorded between 1928 and 1962 which have been divided into the categories of blues, swing, and ballads, and his harmonic, rhythmic, and affective tendencies will be discussed. Hodges’ harmonic approach regularly balanced diatonicism with the accentuation of locally significant non-diatonic tones, and his improvisations frequently relied on ornamentation of the melody. He demonstrated considerable rhythmic fluidity in terms of swing, polyrhythmic, and double time feel. The most individually identifiable quality of his style was his frequent and often exaggerated use of affectations, such as scoops, sighs, and glissandi. The resulting body of research highlights the identifiable characteristics of Hodges’ style, and it provides both musical and historical contributions to the scholarship. JOHNNY HODGES: AN ANALYSIS AND STUDY OF HIS IMPROVISATIONAL STYLE THROUGH SELECTED TRANSCRIPTIONS by Aaron D. Hill A Dissertation Submitted to The Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2021 Approved by __________________________________ Committee Chair 2 APPROVAL PAGE This dissertation written by AARON D. HILL has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro.
    [Show full text]
  • March 1980 the PRESIDENT's CORNER TAILGATE RAMBLINGS VOLUME 10, NUMBER 3 March 1980 This Month's Board Meeting Was Held at the Bratwur Sthaus, As Usual
    RaaBuHCS 'J March 1980 THE PRESIDENT'S CORNER TAILGATE RAMBLINGS VOLUME 10, NUMBER 3 March 1980 This month's Board Meeting was held at the Bratwur sthaus, as usual. A nice custom was inaugurated: inscribing the PRJC presidential Editor: Ken Kramer gavel with the p resid en t's name and year of service. The gavel may well prove superfluous Contributing Editors: since committee reports seem very favorable. Mary Doyle Harold Gray Memberships are at all-tim e high — about Joe Godfrey Dick Baker 1,300 members. Financially we are in good George Kay Floyd Levin shape, even after purchasing new sound Vivienne Brownfield equipment, although we have no big source of revenue until the June Boatride. We hope to PRJC President: Mary Doyle break even on PRJC events up to then. (703) 280-2373 Our experts report in glowing terms of Vice President: Ken Kramer great sounds to come from the PRJC's new sound (703) 354-7844 equipment. If you haven't already heard the new system at the Jazzathon, you can hear it TAILGATE RAMBLINGS is the monthly publication with your own ears at the BIX BIRTHDAY PARTY o f the Potomac River Jazz Club. The Club on March 8. Its purchase is due to your past stands for the preservation, encouragement, participation, so enjoy! Good music deserves and advancement o f tra d ition a l ja zz. This good sound. means jazz from 1900 to 1930 in the New Orleans, Chicago, and Dixieland styles, Before adjourning at the unusually early including their various revivals, as well as hour of 9:40, the board made a couple of blues and ra gtim e.
    [Show full text]
  • Edward “Kid” Ory
    Edward “Kid” Ory Mr. Edward “Kid” Ory was born in Woodland Plantation near La Place, Louisiana on December 25, 1886. As a child he started playing music on his own homemade instruments. He played the banjo during his youth but his love was playing the trombone. However, the banjo helped him develop “tailgate” a particular style of playing the trombone. By the time he was a teenager, Ory was the leader of a well-regarded band in southeast Louisiana. In his early twenty’s, he moved to New Orleans with his band where he became one of the most talented trombonists of early jazz from 1912 to 1919. In 1919, Ory relocated to Los Angeles, California for health reasons. He assembled a new group of New Orleans musicians on the West Coast and played regularly under the name of Kid Ory’s Creole Orchestra. There, he recorded the 1920s classics “Shine,” “Tiger Rag,” “Muskrat Ramble,” and “Maryland, My Maryland.” In 1922, he became the first African American jazz bank from New Orleans to record a studio album. In 1925, Ory moved to Chicago and took interest in working on radio broadcasts and recording with names such musicians as Louis Armstrong, Jelly Roll Morton, Johnny Dodds, and many others. During the Great Depression, Ory left music but returned in 1943 to lead one of the top New Orleans style bands of the period until 1961. It was about 1966 when Ory retired and spent his last years in Hawaii. He did, however, play occasionally for special events. One of his last performances was in 1971 when he surprised everyone by coming back to the New Orleans Jazz and Heritage Festival.
    [Show full text]
  • Louis Armstrong
    A+ LOUIS ARMSTRONG 1. Chimes Blues (Joe “King” Oliver) 2:56 King Oliver’s Creole Jazz Band: King Oliver, Louis Armstrong-co; Honore Dutrey-tb; Johnny Dodds-cl; Lil Hardin-p, arr; Arthur “Bud” Scott-bjo; ?Bill Johnson-b; Warren “Baby” Dodds-dr. Richmond, Indiana, April 5, 1923. first issue Gennett 5135/matrix number 11387-A. CD reissue Masters of Jazz MJCD 1. 2. Weather Bird Rag (Louis Armstrong) 2:45 same personnel. Richmond, Indiana, April 6, 1923. Gennett 5132/11388. Masters of Jazz MJCD 1. 3. Everybody Loves My Baby (Spencer Williams-Jack Palmer) 3:03 Fletcher Henderson and his Orchestra: Elmer Chambers, Howard Scott-tp; Louis Armstrong-co, vocal breaks; Charlie Green-tb; Buster Bailey, Don Redman, Coleman Hawkins-reeds; Fletcher Henderson-p; Charlie Dixon- bjo; Ralph Escudero-tu; Kaiser Marshall-dr. New York City, November 22-25, 1924. Domino 3444/5748-1. Masters of Jazz MJCD 21. 4. Big Butter and Egg Man from the West (Armstrong-Venable) 3:01 Louis Armstrong and his Hot Five: Louis Armstrong-co, voc; Edward “Kid” Ory-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; May Alix-voc. Chicago, November 16, 1926. Okeh 8423/9892-A. Maze 0034. 5. Potato Head Blues (Armstrong) 2:59 Louis Armstrong and his Hot Seven: Louis Armstrong-co; John Thomas-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; Pete Briggs-tu; Warren “Baby” Dodds-dr. Chicago, May 10, 1927. Okeh 8503/80855-C. Maze 0034. 6. Struttin’ with Some Barbecue (Armstrong) 3:05 Louis Armstrong and his Hot Five.
    [Show full text]
  • Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
    1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N.
    [Show full text]
  • ¶7櫥«Q }欻' / * #376;扎 #732;†
    120825bk Teagarden2 REV 29/3/06 8:46 PM Page 8 Track 14: John Fallstitch, Pokey Carriere, Sid Jack Lantz, trombones; Merton Smith, Vic Rosi, Feller, trumpets; Jack Teagarden, Jose Bob Derry, Bert Noah, Dave Jolley, saxes; Guttierez, Seymour Goldfinger, Joe Ferrall, Norma Teagarden, piano; Charles Gilruth, trombones; Danny Polo, clarinet, alto sax; Tony guitar; Lloyd Springer, bass; Frank Horrington, Antonelli, Joe Ferdinando, alto sax; Art Moore, drums Art Beck, tenor sax; Ernie Hughes, piano; Track 19: Charlie Teagarden, trumpet; Jack Arnold Fishkin, bass; Paul Collins, drums Teagarden, Moe Schneider, trombones; Matty Track 15: John Fallstitch, Pokey Carriere, Matlock, clarinet, tenor sax; Ray Sherman, Truman Quigley, trumpets; Jack Teagarden, piano; Bill Newman, guitar, banjo; Morty Corb, Jose Guttierez, Seymour Goldfinger, Joe Ferrall, bass; Ben Pollack, drums trombones; Danny Polo, clarinet, alto sax; Tony Track 20: Charlie Teagarden, trumpet; Jack Antonelli, Joe Ferdinando, alto sax; Art Moore, Teagarden, trombone; Jay St. John, clarinet; Art Beck, tenor sax; Ernie Hughes, piano; Norma Teagarden, piano; Kass Malone, bass; Arnold Fishkin, bass; Paul Collins, drums Ray Bauduc, drums Track 16: John Fallstitch, Pokey Carriere, Truman Quigley, trumpets; Jack Teagarden, Also available ... Jose Guttierez, Seymour Goldfinger, Joe Ferrall, trombones; Danny Polo, clarinet, alto sax; Tony Antonelli, Joe Ferdinando, alto sax; Art Moore, Art Beck, tenor sax; Ernie Hughes, piano; Perry Botkin, guitar; Arnold Fishkin, bass; Paul Collins, drums Track
    [Show full text]
  • GIVING a JAZZ RECORD AS a GIFT by Eric Myers National Times, December 7, 1980 ______
    GIVING A JAZZ RECORD AS A GIFT by Eric Myers National Times, December 7, 1980 ______________________________________________________________ The National Times opera critic JOHN CARMODY, Sydney Morning Herald jazz critic ERIC MYERS and rock writer SHANE NICHOLS prepared this guide to records most likely to be gratefully received. They cover a range of tastes and should be available. ______________________________________________________________ f you are buying a jazz record as a gift, you should determine the style preferred. There are so many different, although related, idioms I congregating under the banner of "jazz" that it is rarely possible, these days, to buy a "jazz" album that suits all tastes. Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). If the recipient likes big band jazz, you could do no better than the three-record set Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). This was a performance at the Crystal Ballroom, Fargo, North Dakota, on 1 November 7, 1940. Many critics believe, with some justice, that this particular line-up of musicians was the greatest that Ellington ever assembled. This was a special performance - the first night Ray Nance played in the trumpet section, having just replaced Cootie Williams, who had left to join Benny Goodman. Rex Stewart is also in the section. The saxophones include Barney Bigard (clarinet), Johnny Hodges (alto) and Ben Webster (tenor) among others; Tricky Sam Nanton and Lawrence Brown are among the trombones; and the great Jimmy Blanton is on bass. It is a distinguished line-up, and the band roars through the Ellington repertoire with all the qualities that made it the greatest big band in jazz.
    [Show full text]
  • John Cornelius Hodges “Johnny” “Rabbit”
    1 The ALTOSAX and SOPRANOSAX of JOHN CORNELIUS HODGES “JOHNNY” “RABBIT” Solographers: Jan Evensmo & Ulf Renberg Last update: Aug. 1, 2014, June 5, 2021 2 Born: Cambridge, Massachusetts, July 25, 1906 Died: NYC. May 11, 1970 Introduction: When I joined the Oslo Jazz Circle back in 1950s, there were in fact only three altosaxophonists who really mattered: Benny Carter, Johnny Hodges and Charlie Parker (in alphabetical order). JH’s playing with Duke Ellington, as well as numerous swing recording sessions made an unforgettable impression on me and my friends. It is time to go through his works and organize a solography! Early history: Played drums and piano, then sax at the age of 14; through his sister, he got to know Sidney Bechet, who gave him lessons. He followed Bechet in Willie ‘The Lion’ Smith’s quartet at the Rhythm Club (ca. 1924), then played with Bechet at the Club Basha (1925). Continued to live in Boston during the mid -1920s, travelling to New York for week-end ‘gigs’. Played with Bobby Sawyer (ca. 1925) and Lloyd Scott (ca. 1926), then from late 1926 worked regularly with Chick webb at Paddock Club, Savoy Ballroom, etc. Briefly with Luckey Roberts’ orchestra, then joined Duke Ellington in May 1928. With Duke until March 1951 when formed own small band (ref. John Chilton). Message: No jazz topic has been studied by more people and more systematically than Duke Ellington. So much has been written, culminating with Luciano Massagli & Giovanni M. Volonte: “The New Desor – An updated edition of Duke Ellington’s Story on Records 1924 – 1974”.
    [Show full text]
  • Jack Dejohnette's Drum Solo On
    NOVEMBER 2019 VOLUME 86 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
    [Show full text]
  • 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.
    [Show full text]