Oakland Public Library March 2019
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Robert GADEN: Slim GAILLARD
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN -
Wallace Roney Joe Fiedler Christopher
feBrUARY 2019—ISSUe 202 YOUr FREE GUide TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BILLY HART ENCHANCING wallace joe christopher eddie roney fiedler hollyday costa Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East feBrUARY 2019—ISSUe 202 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 new york@niGht 4 Laurence Donohue-Greene: interview : wallace roney 6 by anders griffen [email protected] Andrey Henkin: artist featUre : joe fiedler 7 by steven loewy [email protected] General Inquiries: on the cover : Billy hart 8 by jim motavalli [email protected] Advertising: encore : christopher hollyday 10 by robert bush [email protected] Calendar: lest we forGet : eddie costa 10 by mark keresman [email protected] VOXNews: LAbel spotliGht : astral spirits 11 by george grella [email protected] VOXNEWS by suzanne lorge US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or oBitUaries 12 by andrey henkin money order to the address above or email [email protected] FESTIVAL REPORT 13 Staff Writers Duck Baker, Stuart Broomer, Robert Bush, Kevin Canfield, CD reviews 14 Marco Cangiano, Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Miscellany Tom Greenland, George Grella, 31 Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, event calendar Matthew Kassel, Mark Keresman, 32 Marilyn Lester, Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Contributing Writers Brian Charette, Steven Loewy, As unpredictable as the flow of a jazz improvisation is the path that musicians ‘take’ (the verb Francesco Martinelli, Annie Murnighan, implies agency, which is sometimes not the case) during the course of a career. -
NYJO Jazz Messengers: THAMES
NYJO Jazz Messengers: THAMES Welcome! We are really pleased that you are taking part in the NYJO Jazz Messengers project. The band, as well as coming to your school, will be visiting schools all across the country to spread to jazz message. In this pack you’ll find out more information about the music and the players, listen to some more jazz and, most importantly, find out how you can get involved in learning jazz in your area. The NYJO Jazz Messengers is part of the National Youth Jazz Orchestra’s learning programme. The National Youth Jazz Orchestra has been running for over 50 years and includes some of the best young jazz musicians in the country so it’s very exciting that they’re coming into your school to play for you. Before NYJO existed, there wasn’t much around for young people wanting to play jazz. You couldn’t study jazz in school or university and there certainly weren’t any concerts happening like the one you’re in now. Now, with NYJO, young people can gain experience performing live at some of the most famous jazz venues across the UK and around the world. Some of the most famous musicians of our time have come through NYJO. For example, Amy Winehouse started off as a vocalist in NYJO. Also, almost all of the band on the BBC show ‘Strictly Come Dancing’ have been NYJO members. Our mission at NYJO is to make sure everyone gets the chance to learn about jazz and develop their performance skills. It doesn’t matter if you’re still learning on your instrument – the great thing about jazz is that you are in charge of the music! -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor Saxophone Musical Vocabulary
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. SLIDE HAMPTON NEA Jazz Master (2005) Interviewee: Slide Hampton (April 21, 1932 - ) Interviewer: William A. Brower with recording engineer Ken Kimery Date: April 20-21, 2006 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 117 pp. Brower: My name is William A. Brower. It is Thursday, April 20, 2006. I’m in Carmichael Auditorium, Smithsonian Institution, National Museum of American History, conducting an interview with Slide Hampton. Recording the interview is Ken Kimery. Would you start off, Mr. Hampton, by giving us your full name and date of birth? Hampton: My name is Locksley Wellington “Slide” Hampton. I was born in Jeannette, Pennsylvania, April 21, 1932. Brower: That means tomorrow you are seventy- Hampton: -four. Brower: Let’s start in Jeannette, Pennsylvania. Can you give us a little information about the town and what you recollect of being born there, and your early years? Hampton: I didn’t live there very long, but I do remember very strongly that in Jeannette, for some reason I got the impression that all of America was integrated, because we lived in a family – we shared a house with a white family and our family. I thought that it was that way everywhere until we left Jeannette. Then immediately it changed. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Brower: So you were living in a duplex, two-family home? Hampton: Yes, two-family home. -
Title Format Released & His Orchestra South Pacific 12" 1958 Abdo
Title Format Released & His Orchestra South Pacific 12" 1958 Abdo, George & The Flames of Araby Orchestra Joy of Belly Dancing 12" 1975 Abdo, Geroge & The Flames of Araby Orchestra Art of Belly Dancing 12" 1973 Abney, Don, Jimmy Raney, Oscar Pettiford Music Minus One: A Rhythm Background Record For Any Musician Or Vocalist 12" 19NA Abrams, Muhal Richard Duet 12" 1981 Adderley, Cannonball The Cannonball Adderley Collection - Vol. 7: Cannonball in Europe 12" 1986 Somethin' Else 12" 1984 Domination 12" 1964 Cannonball Adderley Quintet In Chicago 12" 1959 African Waltz 12" 1961 Cannonball Takes Charge 12" 1959 Adderley, Cannonball Quintet Mercy, Mercy, Mercy! Live at 'The Club' 12" 19NA Ade, King Sunny Synchro System 12" 1983 Adelade Robbins Trio, Barbara Carroll Trio Lookin' for a Boy 12" 1958 Akiyosh, Toshiko-Lew Tabackin Big Band Road Time 12" 2 LPs 1976 Akiyoshi, Toshiko Lew Tabackin Big Band Tales of a Courtesan (Oirantan) 12" 1976 Albam, Manny Jazz Heritage: Jazz Greats of Our Time, Vol. 2 12" 1958 Alexander, Monty Alexander The Great 12" 1965 Facets 12" 1980 Monty Strikes Again: Monty Alexander Live In Germany 12" 1976 Duke Ellington Songbook 12" 1984 Spunky 12" 1965 Alexander, Monty & Ernest Ranglin Just Friends 12" 1981 Alexandria, Lorez The Band Swings Lorez Sings 12" 1988 Alexandria the Great 12" 1964 Lorez Sings Pres: A Tribute to Lester Young 12" 1987 For Swingers Only 12" 1963 Page 1 of 67 Title Format Released Alexandria, Lorez This Is Lorez 12" 1958 More Of The Great Lorez Alexandria 12" 1964 Allen, "Red" With Jack Teagarden And Kid Ory At Newport 12" 1982 Allen, Henry "Red" Giants Of Jazz 3 LP Box Set 1981 Ride, Red, Ride in Hi-Fi 12" 1957 Ridin' With Red 10" 1955 Allison, Mose V-8 Ford Blues 12" 1961 Back Country Suite 12" 1957 Western Man 12" 1971 Young Man Mose 12" 1958 Almeida, Laurindo with Bud Shank Brazilliance, Vol. -
Benny Carter
Benny Carter Bennett Lester Carter (August 8, 1907 – July 12, 2003) was an American jazz alto saxophonist, trumpeter, composer, arranger, and bandleader. He was a major figure in jazz from the 1930s to the 1990s, and was recognised as such by other jazz musicians who called him King. As a youth, Carter lived in Harlem around the corner from Bubber Miley who was Duke Ellington's star trumpeter. Carter was inspired by Miley and bought a trumpet, but when he found he couldn't play like Miley he traded the trumpet in for a saxophone. Carter began playing professionally at 15. He first recorded in 1928 and formed his first big band the following year. He played with Fletcher Henderson in 1930 and 1931, then briefly led McKinney's Cotton Pickers before returning to lead his own band in 1932. He also arranged for Henderson and Duke Ellington during these years and wrote two hits, "Blues in My Heart" and "When Lights are Low." By the early 1930s he and Johnny Hodges were considered the leading alto players of the day. Carter also quickly became a leading trumpet soloist, having rediscovered the instrument. He recorded extensively on trumpet in the 1930s. In 1935 he moved to Europe, where he became staff arranger for the British Broadcasting Corporation dance orchestra and made several records. He returned to the United States in 1938 and led a big band and sextet before moving to Los Angeles in 1943 to write for movie studios. Carter continued writing and performing into his 90s. He arranged for Louis Armstrong, Ray Charles, Ella Fitzgerald, Peggy Lee, and Sarah Vaughan, among many others. -
Concerts from the Library of Congress: Season 94, 2018-2019
CONCERTS FROM THE LIBRARY OF CONGRESS SEASON 94 2018-2019 when you’re here, you hear . Get ready. Take the time. Listen. THE 2018-19CONCERTS FROM THE What expanses might open to us when we take the time to listen to what music tells us, about our lives and the world around us— SEASON past, present and future? With an astonishing roster of artists and speakers leading the 2018-2019 season of Fall Concerts 4 Concerts from the Library of Congress, Counterpoints 28 the Library offers a place of respite, Spring Concerts 38 renewal and challenge. Support 68 This season you will have the chance Season at a Glance and Ticketing 70 to peek under the hood, to see what drives creators in their work. You will hear why these artists, films and thinkers are so engaging. You will be able to augment your reality with new perspectives derived from one-of-a-kind experiences. Take your time. Listen. What will you discover? When you’re here, you hear. loc.g o v/co nce rts TRULS MØRK BEHZOD ABDURAIMOV TRULS MØRK, cello BEHZOD ABDURAIMOV, piano SATURDAY, OCTOBER 6, 2018 | 8PM | COOLIDGE AUDITORIUM A cellist of consummate gifts, Truls Mørk returns to Washington after a 13-year absence, appearing with a young Uzbek pianist who has rapidly established himself as one of the leading pianists of his generation. Mørk and Abduraimov are an exceptional duo: master musicians and superbly matched partners; their frequent recitals Photo Credits: TRULS MØRK by John Boe; BEHZOD ABDURAIMOV by Nissor Abduraimov by Nissor Abduraimov Boe; BEHZOD ABDURAIMOV TRULS MØRK by John Credits: Photo demonstrate a breathtaking palette of tonal colors and the elegant TRULS MØRK BEHZOD ABDURAIMOV grace of a long collaboration. -
Woody Shaw: Development of Style in Three Versions
WOODY SHAW: DEVELOPMENT OF STYLE IN THREE VERSIONS OF “THE MOONTRANE” Keith T. Karns Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Mike Steinel, Major Professor John Murphy, Committee Member and Chair of the Division of Jazz Studies Tony Baker, Committee Member Benjamin Brand, Director of Graduate Studies, College of Music Warren Henry, Interim Dean, College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Karns, Keith T. Woody Shaw: Development of Style in Three Versions of “The Moontrane.” Doctor of Musical Arts (Performance-Jazz Studies), May 2016, 68 pp., 16 figures, references, 29 titles. Woody Shaw is one of the most influential jazz trumpet players of the past fifty years. Despite his importance, very few models exist that contextualize Shaw’s improvisatory approach inside modern jazz pedagogy. Writers such as Rex Richardson, Eric O’Donnell, and Gavin Franklin have identified key elements of Shaw’s style, and have begun a critical examination of Shaw’s music. While extensive, these approaches do not take into consideration the impact free jazz had on Shaw’s technique, nor do they provide a model for how to duplicate Shaw’s style. This project examines four elements of Shaw’s style as seen in three improvised solos on “The Moontrane.” These solos are taken from early, middle, and late stages of Shaw’s career. By studying scale choice, sequences and the sequential treatment of motifs, pentatonic approaches to harmonic sequence, and atypical rhythmic phrasing, this study is able to show (1) how these elements developed over the totality of Shaw’s career, (2) provide a better understanding of Shaw’s improvisational style, and (3) provide a basis for implementing these procedures in modern music. -
RECOMMENDED JAZZ RECORDINGS (Compiled by Paul Mckee)
RECOMMENDED JAZZ RECORDINGS (compiled by Paul McKee) Big Band Count Basie Complete Atomic Basie (Blue Note/Roulette) Chairman of the Board (Roulette) Sinatra at the Sands (w/Frank Sinatra) (Reprise) April in Paris (Verve) Duke EllinGton Blanton/Webster Band 1939-1942 (BMG RCA) And His Mother Called Him Bill (Bluebird) Jazz Party (Sony/Columbia) Such Sweet Thunder (Columbia) EllinGton at Newport (Columbia) Three Suites (Columbia) Far East Suite (Blue Bird) Basie/Ellington First Time! The Count Meets The Duke (Columbia) Gil Evans Miles Ahead (w/Miles Davis) (Columbia) Out of the Cool (Impulse) Old Bottle, New Wine (Blue Note/EMI) Great Jazz Standards (Blue Note/EMI) The Individualism of Gil Evans (Verve) Maria Schneider Evanescence (Enja) Concert in the Garden (Artistshare) Bob Brookmeyer New Works (Challenge) Get Well Soon (Challenge) VillaGe VanGuard Orchestra The Way (Music of Slide Hampton) Up from the Skies (Music of Jim McNeeley) Stan Kenton West Side Story (Capitol) New Concepts in Artistry and Rhythm (Capitol) Live at Redlands ( Creative World) Cuban Fire (Capitol) Thad Jones/Mel Lewis Live at the Village Vanguard (Solid State) Consummation (Blue Note) Suite for Pops (A&M Horizon) Terry Gibbs Dream Band Volume 1 (OJC/Contemporary) (BIG BAND CONTINUED) Bill Holman In a Jazz Orbit (VSOP) Maynard Ferguson Live at Jimmy’s (Columbia) Birdland Dream Band (RCA) Woody Herman Woody’s Winners (Columbia) Keeper Of The Flame: Complete Capitol RecordinGs (Capitol) Dizzy Gillespie Birk’s Works: Verve Big Band Sessions (Verve) Buddy Rich Big Swing Face (Blue Note/Pacific Jazz) Swingin’ New Band (Blue Note/Pacific Jazz) Charles MinGus Let My Children Hear Music (Columbia) Gerry Mulligan Concert Jazz Band Live at the VillaGe VanGuard (Verve) Clayton/Hamilton Shout Me Out! (Lightyear) Heart and Soul (Capri) Explosive! (Warner Brothers) SMALL GROUP J.J. -
Dexter Gordon' S Tenor Sax: Style
6 Dexter Gordon' s tenor sax: style The first musical foundation, learning theory. Dexter Gordon about Lloyd Reese: "He plays trumpet - all brasses - piano, sax. A lot of people out mere studied with him. I got a musical inte grity from him that has been invaluable to me." l O When Dexter joined The Lionel Hampton Big Band in 1940 he was still attending )efferson High School in Los Angeles. For a young boy, only 17 years of age, to be joining the band of one of the most exposed and popular musicians of that time, Dexter certainly must have had solid instrumental skilIs and knowledge of ele mentary theory already at that time. He had started out at the age of 13 on darinet. The darinet, being a difficult instrument to master, was - and is - generally regarded as a good place to start for laying down a good technical foundation for saxophone players. The father, who was a doctor with dose connections to the jazz community, was undoubtly responsibIe for supplying Dexter with one of the best teachers in the L.A. area at the time, John Sturdevant from New arleans, who gave the young boy a solid embouchure and tone control: "He was one of the local guys in L.A. and a vety nice cat who had that big fat clarinet sound like Bigard's. I remember asking him about that which knocked him out. I said "How ya get mat sound, man?" Il When shifting to alto sax at the age of 15, and tenor at 17, the young Dexter would probably already have overcome the most elementary technical obstacles, by the time he started imitating his main teenage idol, Lester Young. -
Dexter Gordon
Dexter Gordon Dexter Gordon, sommo stilista dello strumento principe del jazz, il sax tenore, ha sviluppato la sua carriera tra gli Stati Uniti e l’Europa, dove ha soggiornato per lunghi anni e ha raggiunto i risultati più alti negli anni ’60, portando ai massimi livelli la jam session e la improvvisazione con gruppi sempre diversi, che hanno visto suonare con lui altri grandi jazzisti itineranti dell’epoca, come i trombettisti Donald Byrd o Freddie Hubbard, il vibrafonista Bobby Hutcherson, e con diverse formidabili sezioni ritmiche, formate dai bassisti Bobby Cranshaw, Paul Chambers, Niel-Henning Orsted Pedersen, i batteristi Philly Joe Jones e Billy Higgins, i pianisti Kenny Drew, Sonny Clark, Horace Parlan e Bud Powell. Anno Titolo Ospiti Label 1945 Move Spotlite 1945 Long Tall Dexter Savoy 1945 New Trends in Modern Jazz, Vol. 3 Savoy 1945 Master Takes: The Savoy Recordings Savoy 1945 Dexter Rides Again Savoy Jazz 1947 The Chase! Prestige 1947 The Hunt Savoy 1947 The Duel Dial 1947 Dexter Gordon Quintet Dial 1955 Daddy Plays the Horn Bethlehem 1955 Dexter Blows Hot and Cool Boplicity 1960 The Resurgence of Dexter Gordon Jazzland 1961 Dexter Gordon Blue Note 1961 Doin' Alright Blue Note 1961 Landslide Blue Note 1961 Dexter Calling.... Blue Note 1962 Go! Blue Note 1962 A Swingin' Affair Blue Note 1962 Cry Me a River Steeple Chase 1963 Our Man in Paris Blue Note 1964 One Flight Up Donald Byrd Blue Note 1964 Cheesecake [live] Steeple Chase 1964 King Neptune [live] Steeple Chase 1964 I Want More [live] Steeple Chase 1964 Love for Sale [live] -
Eric Nemeyer's
Eric Nemeyer’s WWW.JAZZINSIDEMAGAZINE.COM August-September 2018 JAZZ HISTORY FEATURE ArtArt Blakey,Blakey, PartPart 88 Interviews SteveSteve WilsonWilson Jazz Standard, September 6--9 RufusRufus ReidReid Jazz Standard, September 13--1616 Comprehensive DirectoryDirectory of NY ClubS, ConcertS MikeMike SternStern Spectacular Jazz Gifts - Go To www.JazzMusicDeals.com To Advertise CALL: 215-887-8880 December 2015 Jazz Inside Magazine www.JazzInsideMagazine.com 1 COVER-2-JI-15-12.pub Wednesday, December 09, 2015 15:43 page 1 MagentaYellowBlacCyank ORDER THIS 200+ Page Book + CD - Only $19.95 Call 215-887-8880 To Advertise CALL: 215-887-8880 August-September 2018 Jazz Inside Magazine www.JazzInsideMagazine.com 1 Eric Nemeyer’s Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) August-September 2018 – Volume 9, Number 6 Cover Photo and photo at right of Mike Stern By Ken Weiss Publisher: Eric Nemeyer Editor: Wendi Li Marketing Director: Cheryl Powers Advertising Sales & Marketing: Eric Nemeyer Circulation: Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Gail Gentry Contributing Artists: Shelly Rhodes Contributing Photographers: Eric Nemeyer, Ken Weiss Contributing Writers: John Alexander, John R. Barrett, Curtis Daven- port; Alex Henderson; Joe Patitucci; Ken Weiss. ADVERTISING SALES 215-887-8880 Eric Nemeyer – [email protected] ADVERTISING in Jazz Inside™ Magazine (print and online) Jazz Inside™ Magazine provides its advertisers with a unique opportunity to reach a highly specialized and committed jazz readership. Call our Advertising Sales Depart- ment at 215-887-8880 for media kit, rates and information. SUBSCRIPTION INFORMATION SUBMITTING PRODUCTS FOR REVIEW Jazz Inside™ (published monthly). To order a subscription, call 215-887-8880 or visit Companies or individuals seeking reviews of their recordings, books, videos, software Jazz Inside on the Internet at www.jazzinsidemagazine.com.