78 Tours Jazz

Total Page:16

File Type:pdf, Size:1020Kb

78 Tours Jazz PhV - DISCOTHEQUE JAZZ 78T - CATALOGUE GENERAL - Page 1 / 65 - 15/11/1988 DISCOTHEQUE JAZZ 78 T (257 disques) Pour la petite histoire : Voici une partie de la discothèque du Dr Noyer, médecin du village de Beuzeville en Normandie, décédé dans les années 60. A une époque où il n’y avait pas de télévision et où les disques n’offraient que 3 minutes de musique par face, ce grand amateur de jazz en achetait un par jour chez un disquaire de Caen dont il était certainement le meilleur client. Il recopiait souvent au stylo à plume la critique de Frank Ténot avec sa date de partution dans Jazz Hot sur l’enveloppe en papier kraft typique des 78 tours. Ces commentaires sont très intéressants 50 ou 60 ans plus tard. En 1988 toute la discothèque du Dr. Noyer fut mise en vente soit environ 4.000 disques 78 tours, des centaines de vinyles, des bandes magnétiques, etc… Bien qu’elle n’ait été annoncée que dans Le Pays d’Auge, cette vente aux enchères fit venir tous les cinglés de jazz de France et de Navarre. Vendus par lot de 10 disques, les prix se sont immédiatement envolés et je n’ai plus en acheter qu’environ 250 qui sont rassemblés ici. PhV PhV - DISCOTHEQUE JAZZ 78T - CATALOGUE GENERAL - Page 2 / 65 - 15/11/1988 Ref N° LOUIS ARMSTRONG and the all stars DECCA MU60645 ARMS01 1 {a} 76339 # New Orleans function - Part 1 (Traditional) {b} 76340 # New Orleans function - Part 2 (W.C. Handy) Louis Armstrong [tp & voc] LOUIS ARMSTRONG and his all stars LA VOIX DE SON MAITRE SG280 ARMS02 2 {a} D7 VB 952 # Jack Armstrong blues (Armstrong - Teagarden) {b} D7 VB 1083 # Please stop playing those blues, boys (Demetris - Moore) Louis Armstrong [tp & voc] Jack Teagarden [voc] LOUIS ARMSTRONG and his all stars LA VOIX DE SON MAITRE SG 62 ARMS03 3 {a} D7 VB 1082 # A song was born (Ray - De Paul) {b} D7 VB 1739 # Joseph'n his brudders (Armstrong - Bell) Louis Armstrong [voc] Jack Teagarden [voc] LOUIS ARMSTRONG's Dixieland seven GRAMOPHONE SG47 ARMS04 4 {a} D6 VB 2193 # Where the blues were born in New Orleans (Capleton - Dixon) {b} D6 VB 2194 # Mahogany hall stomp (Williams) Louis Armstrong [tp & voc] LOUIS ARMSTRONG and his Dixieland seven - (A) LA VOIX DE SON MAITRE SG175 ARMS05 5 LOUIS ARMSTRONG and his orchestra - (B) LA VOIX DE SON MAITRE SG175 ARMS05 5 {a} D6VR2192 # Do you know what it means to miss New-Orleans (Lou Alter - Eddy De Lenye) {b} D6VB1740 # Back o'town blues (Armstrong - Russell) George Callender [b] Louis Armstrong [tp & voc] Barney Bigard [cl] Charlie Beal [p] Arthur Bud Scott [g] Edward "Kid" Ory [tb] Minor Hall [dm] LOUIS ARMSTRONG and his Hot Five ODEON 279828 ARMS06 6 {a} 8.446 A # Skid-dat-de-dat (Hardin) {b} 8.446 B # Jazz lips (Hardin) Louis Armstrong [voc] LOUIS ARMSTRONG and his Hot Five ODEON 279827 ARMS07 7 {a} 8.300 A # Heebies jeebies (Arkins) {b} 8.300 B # Muskat ramble (Louis Armstrong) Louis Armstrong [voc] LOUIS ARMSTRONG and his Hot Five COLUMBIA BF309 ARMS08 8 {a} 9538 # Muskat ramble (Edward "Kid" Ory) {b} P.21296 # Cornet shop suey (Louis Armstrong) Louis Armstrong [ct] Edward "Kid" Ory [tb] Johnny Dodds [cl] Lil Armstrong [p] John Saint-Cyr [dm] LOUIS ARMSTRONG and his Hot Five - (Rec. 23/11/26) ODEON 279787 - Serie A.F.C.D.J. ARMS09 9 {a} 9980 # You made me love you (Venable) {b} 9981 # Irish Black bottom (Venable) Louis Armstrong [tp] Johnny Dodds [cl] John Thomas [tb] Lil Harding [p] John Saint-Cyr [dm] LOUIS ARMSTRONG and his Hot Five ODEON 165578 ARMS10 10 {a} 400961 # Skip the gutter (Spencer Williams) {b} 400991 # Knee drops (Hardin) Louis Armstrong [tp & voc] LOUIS ARMSTRONG and his Hot Five ODEON 279827 ARMS11 11 {a} 8.396 A # The king of the zullu's (Hardin) {b} 8.396 B # Lonesome blues (Hardin) Clarence Babcock [voc] Louis Armstrong [voc] PhV - DISCOTHEQUE JAZZ 78T - CATALOGUE GENERAL - Page 3 / 65 - 15/11/1988 Ref N° LOUIS ARMSTRONG and his Hot Seven ODEON 279829 ARMS12 12 {a} W 80862 A # Melancholy Blues (x) {b} W 80876 B # Keyhole blues (x) Louis Armstrong [tp & voc] LOUIS ARMSTRONG and his Hot Seven - Rec. Hollywood 1946 SWING SW223 ARMS13 13 {a} VB2149 # I want a little girl (Moll - Mencher) {b} VB2551 # Blues for yesterday (Less Carr) Louis Armstrong [tp & voc] Vic Dickenson [tb] Barney Bigard [cl] Charlie Beal [p] Allan Reuss [g] Red Callender [b] Zutty Singleton [dm] LOUIS ARMSTRONG and his orchestra POLYDOR 580002 ARMS14 14 {a} 1479 # Tiger rag (La Rocca) {b} 1483 # Saint-Louis blues (W.C. Handy) Louis Armstrong [tp & voc] LOUIS ARMSTRONG and his orchestra DECCA MU30558 ARMS15 15 {a} 67819 # Down in the honky tong town (Smith - MacCarron) {b} 67880 # Coal coat blues (Armstrong - Hardin) Louis Armstrong [voc] LOUIS ARMSTRONG and his orchestra (Live) JAZZ SOCIETY AA549 ARMS16 16 {a} SOF 1510 # Panama rag (Arman Miron) {b} SOF 1511 # I can't give you anything but love (Fields - McHugh) Louis Armstrong [tp & voc] LOUIS ARMSTRONG and his orchestra DECCA MU60496 ARMS17 17 {a} DLA 1134 # Struttin' with some babecue (Louis Armstrong) {b} DLA 1135 # The trumpet player's lament (Monaco - Burke) Louis Armstrong [tp & voc] LOUIS ARMSTRONG and his orchestra POLYDOR 580041 ARMS18 18 {a} 1.480 # Will you won't be my baby (Armstrong - Wesbill) {b} 1.484 # Song of the vipers (Louis Armstrong) Louis Armstrong [tp & voc] LOUIS ARMSTRONG and his orchestra DECCA MU60665 ARMS19 19 {a} 63778 # When the saints go marchin' in (Traditional) {b} 66987 # Bye and bye (x) Louis Armstrong [tp & voc] LOUIS ARMSTRONG and his orchestra ODEON 279777 New Rythm Style Series n° 111 & 112) ARMS20 20 {a} 405058 # Lasy river (Carmichael - Arodin) {b} 405003 # Georgia on my mind (Gorrel - Carmichael) Louis Armstrong [tp & voc] LOUIS ARMSTRONG and his orchestra DECCA MU60503 ARMS21 21 {a} 68997 # Hey landy mama (Easton) {b} 68998 # I'll get mine cye and bye (Jimmie Davis) Louis Armstrong [tp & voc] LOUIS ARMSTRONG et son orchestre ODEON 279485 ARMS22 22 {a} 403494 # Dallas blues (Garrett - Ward) {b} 403714 # Bessie couldn't help it (Warner - Richmond - Bayhn) Louis Armstrong [tp & voc] LOUIS ARMSTRONG with orchestra DECCA MU60683 ARMS23 23 {a} W 81307 # A kiss to build a dream on (Kalmar - Ruby - Hammersmith) {b} W 81308 # I get ideas (Sanders - Cochran) Louis Armstrong [tp & voc] LOUIS ARMSTRONG with orchestra DECCA MU60683 ARMS24 24 {a} 63809 # On the sentimental side (Monaco - Burke) {b} 63810 # It's wonderfull (Wells - Parish - Smith) Louis Armstrong [tp & voc] LOUIS ARMSTRONG & his new Cotton Club orch. ODEON 238404 ARMS25 25 {a} 404418 # You're driving me crazy (Danalson) {b} 404419 # The peanut vendor (Simons - Sunshine) Louis Armstrong [tp & voc] PhV - DISCOTHEQUE JAZZ 78T - CATALOGUE GENERAL - Page 4 / 65 - 15/11/1988 Ref N° LOUIS ARMSTRONG with Velma Middletone DECCA MU60721 ARMS26 26 {a} L 6048 # Big butter and egg man (Percy Venable) {b} L 6249 # You are the apple of my eye (Ben Lewis - Bob Hart - Leo Fox) Louis Armstrong [tp & voc] Velma Middleton [voc] LOUIS ARMSTRONG and his orchestra (A) PARLOPHONE R 520 - N.R.S.S. N° 11 ARMS27 27 JOE VENUTI'S BLUES FOUR (B) PARLOPHONE R 520 - N.R.S.S. N° 12 ARMS27 27 {a} 402943 A # Some of these days (Brooks) {b} 400179 A # The wild dog (Venuti - Lang) Louis Armstrong [tp & voc] Joe Venuti (b) [v] LOUIS ARMSTRONG and his all stars LA VOIX DE SON MAITRE SG162 ARMS28 28 {a} D7 VB 1084 # Before long (Sid Carlett - Karl Sigmann) {b} D7 VB 954 # Some Day (Louis Armstrong) Louis Armstrong [tp & voc] LOUIS ARMSTRONG et son orchestre ODEON 250512 ARMS29 29 {a} 405061 # Star Dust (Carmichael - Parish) {b} 405060 # Wrap your troubles in New Orleans (Barris - Kechler - Moll) Louis Armstrong [tp & voc] LOUIS ARMSTRONG and his orchestra BRUNSWICK 505265 - Antologie du H.C.F. N°1 & 2 ARMS30 30 {a} 60.161 # Old man mose (Armstrong - Randolph) {b} 61.110 # Red nose (Bonnie & Marion Lake) Louis Armstrong [tp & voc] LOUIS ARMSTRONG et son orchestre ODEON 279485 ARMS31 31 {a} 403714 # Betsie couldn' Help It (Warner - Richmond - Bayhn) {b} 403484 # Dallas blues (Garett - Ward) Louis Armstrong [tp & voc] LOUIS ARMSTRONG and his Orchestra DECCA MU60492 ARMS33 32 {a} W 76529 # C'est si bon (Seclen - Hornes - Betsi) {b} W 76528 # La vie en rose (Mack David - Louiguy) Louis Armstrong [tp & voc] LOUIS ARMSTRONG and his Dallas Dandies POLYDOR 580003 ARMS34 33 {a} M 12034 # Melancholy (Bloom - Malrose) {b} E 22725 # Wild man blues (Armstrong - Norton) Johnny Doods [cl] Earl Hines [p] Louis Armstrong [tp & voc] LOUIS ARMSTRONG and his Orchestra ODEON 238287 ARMS35 34 {b} 409897 # I can't beleive that you are in love with me (Gaskill - McHugh) {a} 409496 # My sweet (Carmichael - Gorell) Louis Armstrong [tp & voc] LOUIS ARMSTRONG et son Orchestre ODEON 279711 ARMS36 35 {a} 400960 # Fireworks (Williams) {b} 402225 # Saint James informary (Redman) Louis Armstrong [tp] LOUIS BACON et son orchestre - (A) SWING SW222 BACO01 36 {a} OSW 94 # Rythm is our buiseness (Lunceford - Cahn - Caplan) Louis Bacon (a) [tp] E. Brunner (a) [as & cl] Al Ferreri (a) [ts] Freddie Johnson (a) [p] J. Mitchell (a) [g] Wilson Myers [b] Tommy Benford [dm] FRANK "BIG BOY" GOODIE et son orchestre - (B) SWING SW222 BACO01 36 {b} OSW.81 # Who's sorry now (Ted Sayder) Jack Butler (b) [tp] André Ekyan (b) [as & cl] Frank "Big Boy" Goodie (b) [ts] Joe Turner (b) [p] Norman Langlois (b) [g] Wilson Myers [b] Tommy Benford [dm] PhV - DISCOTHEQUE JAZZ 78T - CATALOGUE GENERAL - Page 5 / 65 - 15/11/1988 Ref N° EDDIE BARCLAY and his orchestra BLUE STAR BS N°1 BARCL01 37 {a} St 1276 # You belong to me (Eddy Barclay) {b} St 1277 # Body and soul (Herman - Sour - Eyton - Green) Bobby N.
Recommended publications
  • UNION ELECTRIC COMPANY Ing the Letters, Boetic Prepar­ Ed to L>Egin His Nationwide in Welcoming the Faculty and Students DURHAM, NORTH CAROLINA Auditions
    "Baby, Dou'f“ You Cry," “J eys, whv kave been ipiniuag it CAKaiwA niga SATURDAY. SEPT. 10th. 1949 Don’t Care Who Knows” aud aloiost daily ever siiice ite re­ PAOEWOim Jacqyef To “ Did You See Jackie Robinson lease • couple of months Appear In Hit That Ballf”, appears to uemonstratlog oace more the' have come up with a real smaah power of the disc jockey. Atlanta in “ Lovely In Her Evening Uown,” His Decca record of Dinah Tempted Billie Holiday Wows ATLANTA, Gu — The com­ the ballad, which ia sung by the ing one-night stand of lUiuois Johnson’s band’s romantic bal- By Religious Jacquet and his high-fyling ladier, Arthur Prysock, is sched­ Sextete at the Memorial Audi­ uled for release on September Music Again torium in Atlanta will be mark­ 15 and tremendous interest al­ NEW YORK — Diash Wash- Harlem, Broadway ed by an assembly of this city’s ready has been aroused on the top diiiC-Jockeys, who will turn ington, currently holdiug down strength of that one Mutual the top spot in most recohl pop­ By FLOYD SMELSOH Also appearing the same night out to greet the mighty mile of Network airing. ularity ratings, has for the se­ NLW-VORK — Billie HoUi- as gai'st artist of the Art Ford the saxophone iu hi*', first local program uver W.IM.X., New appearance. cond time in a year been the re­ <U>-, ag«iii provf* iHJUvinciofly cipient of a serious offer to en­ concluai\'ely her right to the York l>aily Ne«s Television.
    [Show full text]
  • John Pizzarelli and Freddy Cole: Celebrating the Centenary of Nat
    TD Jazz Concerts John Pizzarelli and Freddy Cole: Celebrating the centenary of Nat King Cole @ 100 Thursday, February 14, 2019 at 8:00pm Pre-concert Talk at 7:00pm This is the 913th concert in Koerner Hall John Pizzarelli, vocals & guitar Mike Karn, bass Konrad Paszkudzki, piano Freddy Cole, piano & vocals Elias Bailey, bass Randy Napoleon, guitar Quentin Baxtor, drums John Pizzarelli World-renowned guitarist and singer John Pizzarelli, established as one of the prime contemporary interpreters of the Great American Songbook, has expanded that repertoire by including the music of Paul McCartney, Joni Mitchell, Neil Young, Tom Waits, Antônio Carlos Jobim, and The Beatles. Having concentrated on the music of Paul McCartney, Johnny Mercer, and Frank Sinatra over the last two years, Pizzarelli has returned to the bossa nova of Jobim with his 2017 release Sinatra & Jobim @ 50. With co- vocalist Daniel Jobim, grandson of the legendary Brazilian composer, the two explore songs Sinatra and Jobim recorded, as well as add new songs flavoured with the spirit of the classic Francis Albert Sinatra and Antonio Carlos Jobim album. Pizzarelli has toured North America, South America, Asia, and Europe, performing shows centered on Frank Sinatra’s centennial, the songs of Johnny Mercer, and a McCartney program, in which his quartet is joined by strings and a horn section. He also tours on a double bill with pianist Ramsey Lewis. While plenty of jazz greats influenced his work, Nat King Cole has been Pizzarelli’s hero and foundation over the last 25 years. He devoted two albums to his music, Dear Mr.
    [Show full text]
  • Selected Observations from the Harlem Jazz Scene By
    SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan.
    [Show full text]
  • Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK
    [Show full text]
  • SU SIGNS NAME BAND EARL BOSTIC to PLAY at 1955 JUNIOR PROM by JIM PLASTINO Earl Bostic's Background Has News Editor Been Quite Unsual, for a Popular Musician
    Seattle nivU ersity ScholarWorks @ SeattleU The peS ctator 3-3-1955 Spectator 1955-03-03 Editors of The pS ectator Follow this and additional works at: http://scholarworks.seattleu.edu/spectator Recommended Citation Editors of The peS ctator, "Spectator 1955-03-03" (1955). The Spectator. 526. http://scholarworks.seattleu.edu/spectator/526 This Newspaper is brought to you for free and open access by ScholarWorks @ SeattleU. It has been accepted for inclusion in The peS ctator by an authorized administrator of ScholarWorks @ SeattleU. Remember Remember Movie SEATTLE UNIVERSITY Your Sunday Night Spectator Mite Cans Vol. XXII SEATTLE, WASHINGTON, THURSDAY, MARCH 3, 1955 No. 19 SU SIGNS NAME BAND EARL BOSTIC TO PLAY AT 1955 JUNIOR PROM By JIM PLASTINO Earl Bostic's background has News Editor been quite unsual, for a popular musician. Born in Tulsa, Okla- Oneof the nation's foremost homa, he attended Creighton Uni- music-makers, Earl Bostic, versity in Omaha for one year and will be the man on the band- then went to Xavier University in stand for Seattle U's Junior New Orleans, La., wherehe gradu- Prom, May ated with a BA degree. Both uni- 27. versities are Catholic, and a nunat Prom Chairman Mike Weber an- Xavier University is credited with nounced yesterday that the con- giving Bostic most of his musical tracts had been signed, after sev- knowledge. eral weeks of negotiations with Earl's life and work have been booking agents in Hollywood. described by some critics as "a Weber and Tom Holt, business fabulous musical career." He has manager, said that Bostic will carry eight pieces withhim for the Seattle U stopover.
    [Show full text]
  • French Stewardship of Jazz: the Case of France Musique and France Culture
    ABSTRACT Title: FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE Roscoe Seldon Suddarth, Master of Arts, 2008 Directed By: Richard G. King, Associate Professor, Musicology, School of Music The French treat jazz as “high art,” as their state radio stations France Musique and France Culture demonstrate. Jazz came to France in World War I with the US army, and became fashionable in the 1920s—treated as exotic African- American folklore. However, when France developed its own jazz players, notably Django Reinhardt and Stéphane Grappelli, jazz became accepted as a universal art. Two well-born Frenchmen, Hugues Panassié and Charles Delaunay, embraced jazz and propagated it through the Hot Club de France. After World War II, several highly educated commentators insured that jazz was taken seriously. French radio jazz gradually acquired the support of the French government. This thesis describes the major jazz programs of France Musique and France Culture, particularly the daily programs of Alain Gerber and Arnaud Merlin, and demonstrates how these programs display connoisseurship, erudition, thoroughness, critical insight, and dedication. France takes its “stewardship” of jazz seriously. FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE By Roscoe Seldon Suddarth Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Associate Professor Richard King, Musicology Division, Chair Professor Robert Gibson, Director of the School of Music Professor Christopher Vadala, Director, Jazz Studies Program © Copyright by Roscoe Seldon Suddarth 2008 Foreword This thesis is the result of many years of listening to the jazz broadcasts of France Musique, the French national classical music station, and, to a lesser extent, France Culture, the national station for literary, historical, and artistic programs.
    [Show full text]
  • Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
    Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297).
    [Show full text]
  • Devil Tune Song List- Final
    That Devilin' Tune: A Jazz History, 1900-1951 Volume 1 CD 1 1. Standard Quartette Who Broke The Lock 1895/1896 2. Voss’ 1st Regiment Band Aunt Dinah’s Supper Party Late 1890s 3. Len Spencer Clime De Golden Fence Late 1890s 4. Metropolitan Orchestra Coon Town Capers 1897-1899 5. Sousa Band Whistlin’ Rufus 1899 6. Len Spencer You’ve Been a Good Old Wagon 1900 or 1901 7. Williams and Walker My Little Zulu Babe Nov. 10 1901 8. Arthur Collins Bill Bailey ca. May, 1902 9. Len Spencer On Emancipation Day late 1902 10. Hager’s Orchestra Rooster Dance 1904 11. Vess Ossman Buffalo Rag 1905 12. Prince’s Orchestra St. Louis Tickle Aug., 1905 13. Pryor’s Band St. Louis Rag 1906 14. Orquestra Typicas La Patti Negra 1906 15. Sir Herbert Clarke Bride of the Waves Dec. 21, 1907 16. May Irwin When You Ain’t Got No Money You Needn’t Come Around May 21, 1907 17. Arthur Collins Parson Jones’ Three Reasons ca. 1909 18. Stella Mayhew/Billie Taylor That Beautiful Rag July 5, 1910 19. Sophie Tucker That Lovin’ Rag Jan. 5, 1910 20. Stella Mayhew That Devilin’ Tune Apr. 24, 1911 21. Collins and Harlan Alexander’s Ragtime Band 1911 22. Sophie Tucker Some of These Days Feb. 24, 1911 23. Grupo Bahianainho El Cavito ca. 1911 24. Grupo Bahianainho Bambino ca. 1911 25. Grupo Bahianainho Destimido ca. 1911 26. Prince’s Orchestra Red Pepper Rag May, 1911 27. Gene Greene King of the Bungaloos Feb. 17, 1911 CD 2 1.
    [Show full text]
  • 1 307A Muggsy Spanier and His V-Disk All Stars Riverboat Shuffle 307A Muggsy Spanier and His V-Disk All Stars Shimmy Like My
    1 307A Muggsy Spanier And His V-Disk All Stars Riverboat Shuffle 307A Muggsy Spanier And His V-Disk All Stars Shimmy Like My Sister Kate 307B Charlie Barnett and His Orch. Redskin Rhumba (Cherokee) Summer 1944 307B Charlie Barnett and His Orch. Pompton Turnpike Sept. 11, 1944 1 308u Fats Waller & his Rhythm You're Feets Too Big 308u, Hines & his Orch. Jelly Jelly 308u Fats Waller & his Rhythm All That Meat and No Potatoes 1 309u Raymond Scott Tijuana 309u Stan Kenton & his Orch. And Her Tears Flowed Like Wine 309u Raymond Scott In A Magic Garden 1 311A Bob Crosby & his Bob Cars Summertime 311A Harry James And His Orch. Strictly Instrumental 311B Harry James And His Orch. Flight of the Bumble Bee 311B Bob Crosby & his Bob Cars Shortin Bread 1 312A Perry Como Benny Goodman & Orch. Goodbye Sue July-Aug. 1944 1 315u Duke Ellington And His Orch. Things Ain't What They Used To Be Nov. 9, 1943 315u Duke Ellington And His Orch. Ain't Misbehavin' Nov. 9,1943 1 316A kenbrovin kellette I'm forever blowing bubbles 316A martin blanc the trolley song 316B heyman green out of november 316B robin whiting louise 1 324A Red Norvo All Star Sextet Which Switch Is Witch Aug. 14, 1944 324A Red Norvo All Star Sextet When Dream Comes True Aug. 14, 1944 324B Eddie haywood & His Orchestra Begin the Beguine 324B Red Norvo All Star Sextet The bass on the barroom floor 1 325A eddy howard & his orchestra stormy weather 325B fisher roberts goodwin invitation to the blues 325B raye carter dePaul cow cow boogie 325B freddie slack & his orchestra ella mae morse 1 326B Kay Starr Charlie Barnett and His Orch.
    [Show full text]
  • View Was Provided by the National Endowment for the Arts
    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOOTS THIELEMANS NEA Jazz Master (2009) Interviewee: Toots Thielemans (April 29, 1922 – August 22, 2016) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: August 31 and September 1, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 80 pp. Brown: Today is August 31, 2011. My name is Anthony Brown, and I am conducting the Smithsonian Institution Oral History with NEA Jazz Master, harmonica virtuoso, guitarist and whistler, Toots Thielemans. Hello… Thielemans: Yes, my real name is Jean. Brown: Jean. Thielemans: And in Belgium… I was born in Belgium. Jean-Baptiste Frédéric Isidor. Four first names. And then Thielemans. Brown: That’s funny. Thielemans: And in French-speaking Belgium, they will pronounce it Thielemans. But I was born April 29, 1922. Brown: That’s Duke Ellington’s birthday, as well. Thielemans: Yes. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: All right. Thielemans: Yes, same day. Brown: Yeah, same day. Just a few years later. [laughs] Thielemans: [laughs] Oh, Duke. Okay. Brown: Where in Belgium? What city? Thielemans: In Brussels. Brown: That’s the capitol. Thielemans: In a popular neighborhood of Brussels called Les Marolles. There was… I don’t know, I wouldn’t know which neighborhood to equivalent in New York. Would that be Lower East Side? Or whatever… popular. And my folks, my father and mother, were operating, so to speak, a little beer café—no alcohol but beer, and different beers—in this café on High Street, Rue Haute, on the Marolles.
    [Show full text]
  • 01 Combelle Jazz Story
    Combelle, Jazz Story extraits d’un texte de Pierre Lafargue La dynastie des Combelle a affirmé de bonne heure ses prérogatives sur le développement du jazz en France: - François, le père, saxophoniste alto, - Alix, le fils, saxophoniste ténor - et Philippe, le petit-fils, batteur toujours en exercice. Il est d’ailleurs curieux de constater qu’Alix Combelle démarra dans la musique tout gamin, en jouant de la batterie -dont il avait étudié la technique avec un musicien de la Garde Républicaine, Delfosse, confrère de François - avant de se consacrer au saxophone. Au contraire, son fils Philippe débuta dans l’orchestre paternel aux saxophones (ténor et baryton) et n’adopta qu’ultérieurement la batterie, qu’il travailla sous la tutelle de Félix Passerone, timbalier de l’Opéra. François Combelle (ci-dessus chez Selmer), disparu en 1953, était l’un des plus éminents solistes de la célèbre Musique de la Garde Républicaine, dont il assuma même la direction lors de l’enregistrement de plusieurs disques chez Pathé vers la fin des années vingt. À titre indicatif, mentionnons Mon Paris (one-step) et Savez-Vous (fox-trot) chez Pathé (ref. saphir 6889). Le saxophoniste des Mitchell’s Jazz Kings étant tombé malade, c’est François Combelle qui est chargé de le remplacer au pied levé dans cet orchestre vedette du “Casino de Paris” (Cf. “Le Jazz en France” Vol. I - Pathé 1727251). En dépit de son manque d’expérience du jazz, il est jugé seul capable d’exécuter certaines interprétations ardues. Ce seront les premiers contacts de la famille Combelle avec la “musique populaire des nègres d’Amérique’’, comme on l’écrivait dans les catalogues de disques de l’époque.
    [Show full text]
  • Bio#Orchestre Luter
    CCllaauuddee LLUUTTEERR ffoorreevveerr Claude LUTER Depuis la Libération, la carrière de Claude Luter se confond avec plus de cinquante années d’histoire du très grand jazz français. MMMythiqueMythique St Germain des Près Jean-Paul Sartre, Raymond Queneau, Boris Vian, Simone de Beauvoir ont fait de Saint-Germain-des-Prés un lieu « branché » et le symbole de toute une génération qui voulait vivre intensément. C’est dans ce quartier qu’est née la mode des « caves à jazz ». Le Lorientais était l’une de ces caves Rive Gauche où le mouvement existentialiste a vu le jour, bientôt exporté dans le monde entier. Claude Luter y passait alors, en musicien amateur, le meilleur de son temps. L’enthousiasme de sa musique, et la ferveur qui l’habitait déjà, feront rapidement de lui un clarinettiste professionnel et l’un des acteurs essentiels de Saint-Germain-des-Prés. De cette époque mythique, naîtront des amitiés fortes et durables entre Claude Luter, Pierre et Jacques Prévert, Boris Vian, Juliette Gréco, Yves Montand, Les Frères Jacques, etc. MMMusiqueMusiqueusique………… on tourne !!! Séduit par la folle jeunesse de Saint-Germain-des-Prés, Jacques Becker y tournera « Rendez-vous de Juillet » en 1949, situant de nombreuses séquences de son film culte dans la cave du Lorientais . Aux côtés de Rex Stewart, Claude Luter, sa fougue, son plaisir évident de jazzer symbolisent déjà l’esprit musical du quartier latin. L’âme du jazz parisien vient de naître aux sons de la clarinette de Claude Luter. Dans la foulée de sa participation à ce film, Claude Luter tournera en 1945 avec Viviane Romance « L’Inspecteur connaît la musique ».
    [Show full text]