The Lawrence Welk Show 16Th Cycle Program Descriptions – Encore Season
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Brian Casserly, Who Also Goes by the Name "Big B" Plays Trumpet, Trombone and Is Also a Vocalist with the Band
Cornet Chop Suey – Biographies The Cornet Chop Suey Jazz Band has enjoyed a meteoric rise in popularity since its arrival on the jazz scene in 2001. The band's unique front line with Brian Casserly on trumpet, Tom Tucker on cornet, Jerry Epperson on reeds and Brett Stamps on trombone is driven by a powerful rhythm section consisting of Paul Reid on piano, Al Sherman on bass and John Gillick on drums. Best known for a wide variety of styles, Cornet Chop Suey applies its own exciting style to traditional jazz, swing, blues and "big production" numbers. Every performance by Cornet Chop Suey is a high-energy presentation and is always a memorable experience for the audience. Named after a somewhat obscure Louis Armstrong composition, Cornet Chop Suey now has six CD's available. The "St. Louis Armstrong" CD includes many of the tunes performed in the special Louis Armstrong show. The band is in great demand at jazz festivals, jazz cruises, conventions and concerts around the country. Brian Casserly, who also goes by the name "Big B" plays trumpet, trombone and is also a vocalist with the band. A professional musician since the age of 14, Brian has played for many greats in the music business, including Tony Bennett,Tex Beneke, Stan Kenton, Chuck Berry and even Tiny Tim. He has also played the prestigious Monterey Pops Festival for several years. An in-demand session musician, Brian has performed in many commercials, recordings and musicals in the U.S. and Canada and is the past musical director for the S.S. -
[Cost?] of Lessons. His Father Told Him He Played French 2 EDMOND SOUCHON, M.D
EDMOND SOUCHON, M.D. 1 I E of 3]\--Digest--Retyped February^17, 1962 Also present:William Russell Dr. Edmond Soucl-ion II, grandson of Edmond Souchon I, son of Marion Sims Souchon, was born October 25, 1897^ in New Orleans, s, on St. Charles Street at First Street. He can remember as far back as wl-ien he was four years old, as he pointed out in an article he recently wrote about xToe Oliver [in the Jazz Review.RBA]. Discussion about memory. His first memory of music was of the singing of two cooks, who followed [succeeded?-] each other at fhe Souchon residence; they were Aumontine [spelling?] and Adele; both had fine contralto voices, and both sang hymns in the same style of Mahalia Jackson. ES remembers funeral parades [i.e., funeral £ processions]7 the cook would take him to see them; they started at the Bulls Club and always passed Terrell's Grocery (wbere ES and cook jtoined second line) on First Street, on their way to a cemetery on Washington Avenue. ES was impressed by the young Joe Oliver, who played in those parades; ES says Oliver worked in the neiglrborhood, on Magazine at First or Third? WR says it was at Second, that he took pictures of all four corners there, that Bunk Johnson showed him one that it was not, but that Louis Keppard, who worked with Oliver in those days [identified the correct house?]. ES admired Oliver's white teeth; Oliver always chewed a hunk of tar. ES's mother played piano a little; once s1'ie played a waltz and a mazurka for liim and told him that was tTne sum total of $5,000 [cost?] of lessons. -
Frank Scott Photo Coll
Photograph Collections Home Finding Aid to the Frank Scott Photograph Collection Scott, Frank Frank Scott Photograph Collection, 1930s-1990s 91 photographic prints Collection number: Photo 2058 Biography Scope and Content Folder List OVERVIEW Links: Finding Aid to the Frank and Audrey Scott Papers Finding aid to the Frank Scott Musical Arrangements View collection in Digital Horizons Access: The collection is open under the rules and regulations of the Institute. Provenance: Donated by Audrey Roseland Scott, 1997 (Acc. 2535). Property rights: The Institute for Regional Studies owns the property rights to this collection. Copyrights: Copyright to images in this collection remains with the creators. Citation: Institute for Regional Studies, NDSU, Fargo (item number) BIOGRAPHY The youngest of three sons of Frank Roy Scott, Sr. and Alice Wilson Scott, Frank Roy Scott, Jr. was born in Fargo on June 21, 1921. Educated in the Fargo school system, he graduated from Central High School in 1939. He entered the engineering program at North Dakota Agricultural College (NDAC) that fall, but left school in 1940. Music, not engineering, had been Frank’s calling from the time he was very young. He began taking piano lessons when he was eight years old, and he led a band and composed and arranged Photo 2058 Frank Scott Photograph Collection Page 2 of 4 his first songs at age 12. He also learned to play the guitar, banjo, ukulele, and harpsichord. When Frank left NDAC, he moved with his new wife, Jeanette Daniels Scott, to Cleveland, Ohio, and joined the orchestra of Paul Simms. While in Ohio Frank and Jeanette had their first child, Douglas. -
Bob Havens Musicians “Parade of Bands”
Newsletter of the Sacramento Traditional Jazz Society STJS is a non-profit organization dedicated to the preservation and promotion of traditional jazz music. 106 K Street, Suite #1 • Sacramento, CA 95814 • (916) 444-2004 • www.sacjazz.org VOLUME 44 • NO. 7 AUGUST 2012 Ad rates ............................................................2 Dante Club – info/directions ........................2 Dante Club Notes The Cricket ....................8-10 Dave Robinson’s CFJB Letter to Editor .............4 Future Festivals ............................................12 In Loving Memory ..........................................6 In the Months Ahead .....................................2 Jazz Ed. Graduates Felicia Weatherly ..............4 Jazz Notes ......................................................12 Sept. 9: “Hot Tram Tooter & Membership application .............................16 Music Here & There .......................................13 Bubble Blower” Bob Havens Musicians “Parade of Bands” ......................11 Notes from the Office Vivian Abraham .........2 ob Havens, the great jazz trombon- It began in 1938 at the age of eight. Patron Members ............................................3 Bist, is known to his many loyal fans Trombone lessons started that year. I President’s Message Tom Duff .......................3 from his appearances at jazz festivals, listened intently at home to recorded Raffle Cents Kathy Becker .............................12 STJS Fundraiser on Sept. 28 .........................5 and from his 22 years on the Lawrence music: Swing bands, Dixieland, sym- Sponsorships needed Ken McMurray .............7 Welk Show. Now, he has taken time phonic, you name it. My heros then Thankful for Volunteers ...............................6 to write a personal message to STJS were Tommy Dorsey and Jack Tea- members for whom he will perform at garden—all the while feeding an urge “Jazz Sunday” info ➤ pg. 2 the Sept. 9 Jazz Sunday. This will be a to become a master trombonist such rare appearance for Bob these days, so as they were. -
Texas Polka News - May 2020 Volume 32 | Isssue 15 INSIDE THIS ISSUE
Texas Polka News - May 2020 Volume 32 | Isssue 15 INSIDE THIS ISSUE Texas Covering Polka Dance Hall Music Since 1987News 2 Bohemian Princess Diary eresa Cernoch Parker e New Polka Normal ALL QUIET ON THE SOCIAL 3 Editor’s Log Gary E. McKee DANCING FRONT Lawrence Welk Was Cool! By Gary E. McKee Story on Page 4 3 From our readers 4-6 Featured Story Social Dancing Hostyn Picnic 2019 6 PoLK of A Report 8 Music Review & DJ Profi le Darrel Appelt 9 Wunnerful Welk Cont'd. 10-13 Dances, Festivals, Live Music 13 Boerne Village Band 14 Village Band & Welk Cont'd. 15 Band ads 16 Polka Smiles Sponsored by Slovacek's 2 Texas Polka News - May 2020 Bohemian Princess canceled and rescheduled. When Texas Polka News Staff in doubt please call the venue or eresa Cernoch Parker, Publisher Diary organization to make sure events Gary E. McKee, Editor/Photo Journalist are still taking place. Je Brosch, Artist/Graphic Designer As for TPN, which relies heavily Contributors: Louise Barcak Mark Hiebert John Roberts on ad revenue from events and Justin Everett Karen Williams Kurtz Will Seegers dance venues, I have made the Lauren Haase Julie Matus Rose Vrazel dicult decision to change the Walt Harfmann Earline Berger Okruhlik George Weber Joe Cool Pavlicek Harvey Wise publishing schedule from monthly to every other month. I don't know Contact how long this will last, possibly By Theresa Cernoch Parker until the end of the year. eresa Parker, Texas Polka News [email protected] 118 Vintage Park Blvd, Suite 443 • Houston, TX 77070 281-836-5362 PRINT SCHEDULE & AD [email protected] | Gary: [email protected] With the onset of the COVID-19 DEADLINES pandemic in our country, I thought No June issue Ads/Media last month's column was hard to July issue, deadline for ads, June 1 Articles, ads, letters to the editor deadline: 1st of the month for the next month write, until I sat down to pen this No August issue Ad Rates 1/3 page: $185 1/8: $65 one. -
1 TROMBONE EMBOUCHURE TYPE SELF-ASSESSMENT by DANIEL K
TROMBONE EMBOUCHURE TYPE SELF-ASSESSMENT Daniel Twentey TMUS 8249 Pedagogy Practicum TROMBONE EMBOUCHURE TYPE SELF-ASSESSMENT by DANIEL K. TWENTEY B.A., Virginia Polytechnic Institute and State University, 2010 M.A., Pennsylvania State University, 2012 A dissertation project submitted to the University of Colorado Boulder in partial fulfillment of the requirements for the degree of Doctor of Musical Arts College of Music 2020 Committee Members: Dr. William Stanley Dr. David Rickels Dr. Ryan Gardner Prof. Michael Dunn Dr. Donald McKinney 1 TROMBONE EMBOUCHURE TYPE SELF-ASSESSMENT Daniel Twentey TMUS 8249 Pedagogy Practicum ABSTRACT Twentey, Daniel K. (DMA, Music) Trombone Embouchure Type Self-Assessment Thesis directed by Dr. William Stanley The focus of this study is to create a self-assessment tool with which the user may identify their own embouchure type. The assessment criteria and embouchure types are derived from the embouchure pedagogy of Donald Reinhardt as revised and clarified by Doug Elliott and David Wilken. Three possible embouchure types include Very High Placement, Medium High Placement, and Low Placement. This study utilizes audio/video recordings, user-recorded musical examples, pre-recorded musical examples, self-observation analysis questions, external observation questions, and comparative analysis questions for assessment. The resulting study complements my other dissertation study, Selected Published Literature Concerning Trombone Embouchure: An Evaluation and Reference (2020), which provides accessible information about embouchure-related content in trombone pedagogical literature. In conjunction, these two studies allow trombonists and teachers to filter the reviewed texts according to their compatibility with each of the specified embouchure types. 2 TROMBONE EMBOUCHURE TYPE SELF-ASSESSMENT Daniel Twentey TMUS 8249 Pedagogy Practicum Outline of Assessment Contents I. -
Here at the Beginning
Dixieland Monterey Presents SCHEDULE & VENUE MAP MONTEREY, CALIFORNIA INSIDE 1 Bands 4th Street Five Jazz Band Cow Bop 20th Century Jazz Band Cornet Chop Suey Gremoli Monterey Bay Classic Specs 101st Army Dixieland Band Cocuzzi All-Star Quintet G-Whiz Boogie Band Jass Band Spirit of ‘29 Allan Vaché’s Big Four Cocuzzi/Vaché Swing All-Stars Hal’s Angels Natural Gas Jazz Band State Street with Marsha K Au Brothers Jazz Band Commander’s Jazz Ensemble Hangtown Jazz Band New Reformation Band Steve Lucky & the Rhumba Avalon Swing Crescent Katz High Sierra Jazz Band Night Blooming Jazzmen Bums Banjo Buddies Dixieland Band Crazy Rhythm Hogin’s Heroes Nuclear Whales Saxophone Stumptown Jazz Band Barehanded Wolfchokers Creole Jazz Kings Holland-Coots Jazz Quintet Orchestra Sweet Thursday Jazz Band Barnhart-Midiri Quartet Creole Syncopators Holy Crow Old Friends Swinging Gate Jazz Band Beale Street Jazz Band Crown Syncopators Hot Cotton Jazz Band Olive Street Stompers Swing City! BED Ragtime Trio Hot Frogs Jumping Jazz Band Original Wildcat Jass Band Swing Design Beverly Hills Unlisted Custer’s Last Band Howard Alden Trio Pacific Brass Taking Stock with Jackson Big Mama Sue & Friends Desert City Six Igor’s Jazz Cowboys Parlor Jam Tenth Avenue Jazz Band Big Tiny Little Desolation Jazz Ensemble Illuminati Pat Yankee & Her Gentlemen Titan Hot Seven Bill Allred’s Classic Jazz Band Devil Mountain Jazz Band The International Sextet of Jazz Titanic Jazz Band Black Diamond Jazz Band Dick Johnson’s Mardi Gras Ivory&Gold® Pieter Meijers Quartet Tom Rigney & Flambeau Black Dog Jazz Band Jazz Band Jake Stock & the Abalone Polly’s Hot Paupers Tom Saunders’ Midwest Black Swan Classic Jazz Band Dixieland Express Stompers Port City Jazz Band All-Stars Blue Street Jazz Band Dixieland Inc. -
Great Instrumental
I grew up during the heyday of pop instrumental music in the 1950s and the 1960s (there were 30 instrumental hits in the Top 40 in 1961), and I would listen to the radio faithfully for the 30 seconds before the hourly news when they would play instrumentals (however the first 45’s I bought were vocals: Bimbo by Jim Reeves in 1954, The Ballad of Davy Crockett with the flip side Farewell by Fess Parker in 1955, and Sixteen Tons by Tennessee Ernie Ford in 1956). I also listened to my Dad’s 78s, and my favorite song of those was Raymond Scott’s Powerhouse from 1937 (which was often heard in Warner Bros. cartoons). and to records that my friends had, and that their parents had - artists such as: (This is not meant to be a complete or definitive list of the music of these artists, or a definitive list of instrumental artists – rather it is just a list of many of the instrumental songs I heard and loved when I was growing up - therefore this list just goes up to the early 1970s): Floyd Cramer (Last Date and On the Rebound and Let’s Go and Hot Pepper and Flip Flop & Bob and The First Hurt and Fancy Pants and Shrum and All Keyed Up and San Antonio Rose and [These Are] The Young Years and What’d I Say and Java and How High the Moon), The Ventures (Walk Don't Run and Walk Don’t Run ‘64 and Perfidia and Ram-Bunk-Shush and Diamond Head and The Cruel Sea and Hawaii Five-O and Oh Pretty Woman and Go and Pedal Pusher and Tall Cool One and Slaughter on Tenth Avenue), Booker T. -
Big Band Jump
BIG BAND JUMP NEWSLETTER BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE Atlanta, GA 30355 PAID Atlanta, GA Permit No. 2022 BIG BAND JUMP NEWSLETTER VOLUME XLVII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1996 our impression of Jo Stafford is that’s she’s a business JO STAFFORD INTERVIEW like person with no pretensions. Down-to-earth might be another way to describe our reaction to the conversation. The Background Her voice seems deeper than it was during her singing years; she admits to having Jo Stafford has been in the mu been a “dedicated smoker”until sic business since the ’30s, when just ten years ago. Our first she began her professional ca question concerned Jo’s life be reer with two older sisters. fore she became one of the Pied Pauline and Christine, as one of Pipers. a trio at a time when sister acts (the Andrews Sisters, the The Interview Boswell Sisters) were popular. How did you get into The Stafford Sisters worked in southern California on radio and music? in movie musicals until 1938 I had two older sis when Jo became the only girl ters, quite a bit older, singer with a group of seven 11 and 14 years older than I. men who called themselves the They were already in local ra Pied Pipers. dio in Long Beach, California and finally came up to Holly Jo is a native of California, where her Tennessee bom wood, doing radio in and around Los Angeles. When I parents moved just before she was bom in 1917. -
TELEVISION Part I of a Survey, by Leonard Feather
::3 TELEVISION Part I Of A Survey, By Leonard Feather FOR THE RECORD—and in the interests of enlightening Another one-shot special was Duke Ellington Swings posterity and giving credit that is seldom acknowledged— through Japan, a segment of the Columbia Broadcasting it should be said that the last few weeks of 1964 and the System's Twentieth Century series, seen just before Christ• first couple of months of 1965 were a fruitful period for mas. television jazz. In contrast with the Condon show, which could have The skeptic may reply: "Yeah? I didn't see Miles take said in a half-hour all it had to say, this was squeezed into over The Lawrence Welk Show." 30 minutes when it could well have run twice as long. Its But in assessing the manner and extent of the use of brevity was the only thing wrong with it; in almost every jazz in this medium it is reasonable to take certain facts other respect it was one of the best shows of its kind ever into consideration. One is that the prime-time evening screened. television program, for the most part, is aimed at securing Produced by Isaac Kleinerman and admirably written the attention of as many as possible of the 192,000,000 by Jack Beck, this was the story of a band on tour. It potential viewers in the United States. did not purport to be a program of music, though there Another is the inescapable logic of the argument that were enough extended excerpts from concerts to give it music per se is not visual, and that classical music, pop meaning on this level also. -
Tommy Dorsey 1 9
Glenn Miller Archives TOMMY DORSEY 1 9 3 5 Prepared by: DENNIS M. SPRAGG Chronology Part 1 - Chapter 1 Updated February 5, 2021 “I’ll Never Say Never Again” “The Brothers” Jimmy and Tommy Dorsey The Dorsey Brothers’ Orchestra opened at the Glen Island Casino, New Rochelle, New York on May 15, 1935. Many celebrities attended the successful opening night and the band was in top form. All signs pointed to a successful summer season and further sales of more records. In addition, the Glen Island Casino was wired for numerous nationwide radio broadcasts. However, an undercurrent of tension existed between the brothers. May 30, 1935, during the Decoration Day holiday weekend (now known as Memorial Day), the situation came to a head. As Tommy led the band into the tune “I’ll Never Say “Never Again” Again”, the vocal trio of Roc Hillman, Skeets Herfurt and Don Matteson were approaching the microphone. They remembered hearing Jimmy say something like “Hey, Mac, that’s a little fast, isn’t it?” Tommy reportedly replied, “You want to take over? It’s all yours” and he walked off the bandstand before the audience at the Glen Island Casino. By late July Tommy reluctantly returned to finish the engagement with Jimmy and the band at the urging of Tommy Rockwell and a threat by Michael DeZutter, owner of the Glen Island Casino, to nullify the Dorsey Brothers’ Orchestra contract for the remainder of the engagement. Cork O’Keefe unsuccessfully tried to reconcile the brothers. Tommy refused to work with his brother and the Dorsey Brothers’ Orchestra became Jimmy Dorsey and his Orchestra. -
Open to the Public Report of Comments Received by CPB
Open to the Public: 2014 Programming Comments Closed Captioning Issues Received on January 2, 2014 from LA I'm up late and I watch Nova and other shows that come on and enjoy them. The closed captions are either flashed on the screen for a fraction of a second making it impossible to read. When it does stay on longer, often it is a mess of misspellings, sometimes containing random symbols like, &@??#%, or even what looks like plain gibberish. I am not hearing impaired, but sometimes I need help to follow the dialogue. Could you please correct this? I have tried to find a contact with PBS but never could find an email address. So I'm contacting you. Please correct this. Thank you, Michael XXX Programming Complaint Received on January 6, 2014 from MA I am a Harvard affiliated specialist in Endocrinology. I am a long term contributor to my local station WGBH. I am appalled by your granting Dr. Perlmutter an hour for what was effectively an infomercial, worthy of a back channel cable network. There was a mis-statement in virtually every sentence so I cannot catalog them here, but the fact is that there is ample medical verification that eating sugar does not produce diabetes, that neither eating carbohydrates nor sugar itself is associated with dementia, and that diabetics do not have an amplified risk of diabetes. Gluten sensitivity is the disease du jour, and irrelevant to any of the above. How on earth was this material selected for broadcast ? Am I the only physician to call this to your attention ? David XXX , M.D.