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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. -
Cash Box Disk Jockey Poll in Which They Were Named the Top Vocal Group
VOLUME XV JUNE 26, 1954 NUMBER 40 *r > The Four Aces follow up their string of Decca hits with still another smash, “Three Coins In The Fountain”. The boys, who in a period of a couple of years, have turned out one great record after another, have made their waxing of this theme from the Twentieth Century-Fox film their newest best-seller. And adding to the laurels which the group has won is the latest Cash Box disk jockey poll in which they were named the top vocal group. www.americanradiohistory.com STRIKES A TERRIFIC CHORD WITH o MORE MONEY Location patrons have put their More and better music for the approval on the Wurlitzer public. More and more earn- 1700HF by putting more nickels, ings for the operator. That climes and quarters in the just about sums up why the coin boxes of these high eye- Wurlitzer 1 700HF, whether meas- appeal, high fidelity phono- ured by its output of music or graphs than any juke box its intake of money, is the great- ever est Wurlitzer of all time. -HEAR IT— BUY IT RLITZER DISTRIBUTOR NG, HIGH FIDELITY 1700HF TAKES THE MASK OFF THE MUSIC The Rudolph Wurlitzer Company • North Tonawanda, New York Established 1856 www.americanradiohistory.com The Cask Box FOUNDED BY BILL GERSH June 26, 1954 (Music Editorial) Volume XV Number 40 Publishers BILL GERSH JOE ORLECK The Cash Box Publishing Co., Inc. 26 West 47th Street, New York 36, N. Y. (All Phones: JUdson 6-2640) JOE ORLECK • CHICAGO OFFICE 32 West Randolph St., Chicago 1, 111. -
MARCHING BAND AFFAIRS CRAIG CRILLY Decorah’S Haugen to MMEA “Hall of Fame”
Iowa Bandmaster Magazine Deadlines Winter Issue ................................ January 6, 2012 Conference Issue ............................ March 2, 2012 Magazine Staff Editor Advertising Dick Redman Chad Allard 1408 W. 3rd St. 3060 24th Avenue Pella, Iowa 50219 Marion, IA 52302 641-628-9380 (H) 319-550-6109 (H) [email protected] 319-377-9891 [email protected] Festival Results Denise Graettinger District News 1307 Country Meadows Dr. Elaine Menke Waverly, IA 50677 1130 Rolling Hills Ct. 319-352-4003 (H) Norwalk, Iowa 50211 319-352-2087 (S) 515-953-6214 (H) [email protected] 515-685-3330 (S) [email protected] H Do you recognize the five IBA Hall of Fame members on the front cover? Go to the IBA web site for their names. H The Iowa Bandmaster 1 Iowa Bandmasters Association, Inc. World’s Finest Bandmasters Organization www.bandmasters.org PAST PRESIDENT PRESIDENT PRESIDENT-ELECT SECRETARY ROBERT MEDD TONY GARMOE PATRICK KEARNEY STEVEN COOK 4701 STONEBRIDGE ROAD 4821 TWANA DRIVE COMMITTEE CHAIRS MAGAZINE EDITOR W. DES MOINES, IA 50265 DES MOINES, IA 50310-2916 TREASURER MAJOR LANDERS DICK REDMAN AARON NUSS JIM DAVIS ELECTIONS IBA MAGAZINE-OFFICIAL PUBLICATION OF THE IOWA BANDMASTERS ASSOCIATION JERRY BERTRAND vol. 70 published by Pella Printing Co., Inc., Pella, Iowa 50219 NO. 2 PUBLIC RELATIONS MARY ANDERSEN CONTENTS HISTORIAN President’s Message . 4, 6 MARY CRANDELL-GARRELS President-Elect’s Thoughts . 5-6 PARLIAMENTARIAN FRED STARK Meet the IBA District Presidents . 8-11 WEBMASTER Barnhouse Publishing – Part I . 12-15 ELIZABETH FRITZ In the Spotlight – Lewis Central Community Schools . 17-22 CONFERENCE EXHIBITS DAN STECKER Band Talk with Brian Stevens . -
Cool Trombone Lover
NOVEMBER 2013 - ISSUE 139 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM ROSWELL RUDD COOL TROMBONE LOVER MICHEL • DAVE • GEORGE • RELATIVE • EVENT CAMILO KING FREEMAN PITCH CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm RESIDENCIES / 7:00, 9:00 & 10:30pm Fri & Sat, Nov 1 & 2 Wed, Nov 6 Sundays, Nov 3 & 17 GARY BARTZ QUARTET PLUS MICHAEL RODRIGUEZ QUINTET Michael Rodriguez (tp) ● Chris Cheek (ts) SaRon Crenshaw Band SPECIAL GUEST VINCENT HERRING Jeb Patton (p) ● Kiyoshi Kitagawa (b) Sundays, Nov 10 & 24 Gary Bartz (as) ● Vincent Herring (as) Obed Calvaire (d) Vivian Sessoms Sullivan Fortner (p) ● James King (b) ● Greg Bandy (d) Wed, Nov 13 Mondays, Nov 4 & 18 Fri & Sat, Nov 8 & 9 JACK WALRATH QUINTET Jason Marshall Big Band BILL STEWART QUARTET Jack Walrath (tp) ● Alex Foster (ts) Mondays, Nov 11 & 25 Chris Cheek (ts) ● Kevin Hays (p) George Burton (p) ● tba (b) ● Donald Edwards (d) Captain Black Big Band Doug Weiss (b) ● Bill Stewart (d) Wed, Nov 20 Tuesdays, Nov 5, 12, 19, & 26 Fri & Sat, Nov 15 & 16 BOB SANDS QUARTET Mike LeDonne’s Groover Quartet “OUT AND ABOUT” CD RELEASE LOUIS HAYES Bob Sands (ts) ● Joel Weiskopf (p) Thursdays, Nov 7, 14, 21 & 28 & THE JAZZ COMMUNICATORS Gregg August (b) ● Donald Edwards (d) Gregory Generet Abraham Burton (ts) ● Steve Nelson (vibes) Kris Bowers (p) ● Dezron Douglas (b) ● Louis Hayes (d) Wed, Nov 27 RAY MARCHICA QUARTET LATE NIGHT RESIDENCIES / 11:30 - Fri & Sat, Nov 22 & 23 FEATURING RODNEY JONES Mon The Smoke Jam Session Chase Baird (ts) ● Rodney Jones (guitar) CYRUS CHESTNUT TRIO Tue Cyrus Chestnut (p) ● Curtis Lundy (b) ● Victor Lewis (d) Mike LeDonne (organ) ● Ray Marchica (d) Milton Suggs Quartet Wed Brianna Thomas Quartet Fri & Sat, Nov 29 & 30 STEVE DAVIS SEXTET JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm Thu Nickel and Dime OPS “THE MUSIC OF J.J. -
CASH BOX 26 WEST 47Th STREET
VOLUME XIV FEBRUARY 1, 1953 NUMBER 20 tars in the folk field in recent months whose “Indian Love Call” on the Iin- it not only in the folk hut also in the shown with Lew Chudd (center) presi- . K. Makela (right), his manager. His in 1 Tell” backed with “All That I Ask Is Sympathy”. www.americanradiohistory.com Here’s How Wurlitzer’s Low Pressure Tone Arm Plus the 2 Mil Zenith Cohra Stylus 2 MIL STYLUS RIDES FREELY ON SHOULDER OF 45 RPM FINE GROOVE RECORD en Hundreds The Rudolph Wurlitzer Company • North Tonawanda, N. Y. www.americanradiohistory.com FIRST CLASS PERMIT No. 43309 (Sec. 34.9, P. L. & R.) NEW YORK, N. Y. BUSINESS REPLY CARD NO POSTAGE STAMP NECESSARY IF MAILED IN THE UNITED STATES 4c—POSTAGE WILL BE PAID BY— THE CASH BOX 26 WEST 47th STREET NEW YORK (19). N. Y. www.americanradiohistory.com OPERATORS: FOR YOUR CONTINUED PROFITS — MAIL THIS POSTCARD NOW! O nO OO *vj Ui Ui K) — ADDRESS ^ > ^I— £ C» NAME OE RECORD HERE CDM CD Co £ > « ? ARTIST ^ o> OR P CD > CA ^ BAND I a S c/> » mX 73 CD HERE CD CD < > www.americanradiohistory.com The CashBox February 7, 1953 Volume XIV Number 20 • PUBLISHED EVERY WEEK BY Speediest Wav To Bigger The Cash Box Puhlishing Co., Inc. 26 West 47th Street, New York 36, N. Y. (All Phones: JUdson 6-2640) JOE ORLECK • And Better Profits: CHICAGO OFFICE 32 West Randolph St., Chicago 1, III. (All Phones: DEarborn 2-0045) BILL GERSH • LOS ANGELES OFFICE 6363 Wilshire Blvd., Los Angeles, Cal. -
Download Transcript
PETER BOCAGE: REEL I -1- Jan. 29, 1959 Retyped Russell: Ready to go. Allen: First thing we usually ask is your name--your full name. Bocage: Peter Edwin Bocage--Bocege in French, you !mow. Allen: Bocage in English. Bocage: In English, yeah. Allen: Uh-huh. And, ah, when were you born, and where? Bocage: Eh---July 31, 1887. Allen: And what street ••• 1 Russell: On this side of the river, or over there? BocageJ Algiers--right here in Algiers, yeah. Allen: Uh-huh. Exactly what part of Al gi ers? You know the pe.'rt? Bocage: Right up here, about 2 or 3 blocks, up there on ah--Brooklyn and ah, I think it was Ptolemy Street, you know. Allen: Uh-huh. Bocage: My grandfather, at that time, had one of those farms, like, you know--truck farms, like, Allen: Uh-huh, I see, Speaking of your grandfather--did he play music? Bocage: No, no. Allen: Anybody ah ••• ? 1 Bocage: My father played. Allen: Your father? Bocage : Yeah, he played for several years when he was living. In those days, they used to use four pieces, you lmow•...abaas violin,a guitar, and a violin and a trumpet -- and play a whole ball, you know? Allen: Uh-huh. Bocage: They didn 1 t , have no big bands like we have today, you lcnow• .Allen: What did- ..instrurnent did he ••• ? Bocai:-e: He was a guitar player--gui t..ar. Allen: He was a guitar player. And, do you remember any of the fellows he played with? Bocage : Well, yeah--t.hey all dead now. -
Britt Woodman, En Av Duke Ellingtons Legendariska Trombonister På 5 O-Talet
BULIETIN NUnIMER t, MARs 2000. Åna. z Britt Woodman, en av Duke Ellingtons legendariska trombonister på 5 O-talet qp,- Photo Ray Avery, Los Angeles, California Duke Ellington Society of Sweden, DESS ISSN 1400-8831 DESS c/o Göran Wall€n Redaktionsgrupp: Postgiro 11 63 75 - 7 Skogstorpsvägen 39, l9l 39 Sollentuna. Bo Holmqvist, Alf Lav€r, Göran Wallön Telefon/fax bostad: 08-96 52 34 DESS medlemsavgift Pay to: Accountno: 284O83 992 Vid köp av Azure-kassetter och CD fu per kalenderår: Svenska Handelsbanken Clearing no:6917 anviind vårt Postgiro eller Bankgiro Inom Norden 150 kr SWIFT: hand se ss Postgiroru. för prenumeration Membership outside Scan- for onward transmission av DEMS från Belgien är Pg 433 27 36-0 dinavia $ 25 pro annum. to DESS Ordföranden tar till orda: Första numretpå nyaårtusendet, kul !! Så vandrar vi vidare mot nya upplevelser. Nästa stora Ellingtonhän- Postgiro vid sina inbetalningar. Vi har därför beslutat att sluta använ- delse blir konferensen i maj månad i Holl;'wood, närmare bestämt da Bankgiro, vilket innebär att vi sparar 2000 kr i fast avgift per år, 24 - 2A maj på Holly'wood Roosevelt Hotel, fax:001-213-462-8156. det belopp som Handelsbanken kräver för att vi skall få använda För anmälan till konferensen vänd er till The Duke Ellington Society Bankgirotjänsten. Det får räcka med Postgiro. of So. Calif., fax: 001-323-933-2676 och cmail: [email protected] |lera kända ansikten kommer att finnas på plats. Bill Berry med stor- I övrigt så finns det Ellington musik lite här och där. I kyrkor, på band, Kenny Burrell m.fl. -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
Sammy Price Fire Mp3, Flac, Wma
Sammy Price Fire mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Fire Country: US MP3 version RAR size: 1491 mb FLAC version RAR size: 1625 mb WMA version RAR size: 1570 mb Rating: 4.7 Votes: 468 Other Formats: MMF MIDI ASF XM AU WMA ADX Tracklist Hide Credits Back Home Again To France 1 Alto Saxophone – Teddy Buckner Bass – Carl PruittDrums – J.C. HeardPiano – Sammy 2:57 PriceTrombone – Gene "Mighty Flea" ConnersTrumpet – Doc Cheatham Black And Blue Blues 2 Alto Saxophone – Teddy Buckner Bass – Carl PruittDrums – J.C. HeardPiano – Sammy 3:29 PriceTrombone – Gene "Mighty Flea" ConnersTrumpet – Doc Cheatham Walkin' Down Pigalle 3 Alto Saxophone – Teddy Buckner Bass – Carl PruittDrums – J.C. HeardPiano – Sammy 3:00 PriceTrombone – Gene "Mighty Flea" ConnersTrumpet – Doc Cheatham Memories Boogie 4 Alto Saxophone – Teddy Buckner Bass – Carl PruittDrums – J.C. HeardPiano – Sammy 4:10 PriceTrombone – Gene "Mighty Flea" ConnersTrumpet – Doc Cheatham Funky 5 4:28 Bass – Carl PruittDrums – J.C. HeardPiano – Sammy Price Boogie Woogie For Hugues 6 2:54 Bass – Carl PruittDrums – J.C. HeardPiano – Sammy Price West End Blues 7 4:33 Bass – Carl PruittDrums – J.C. HeardPiano – Sammy Price Whodat Blues 8 3:50 Bass – Carl PruittDrums – J.C. HeardPiano – Sammy Price Riffin' Boogie 9 3:55 Bass – Carl PruittDrums – J.C. HeardPiano – Sammy Price Tain't Nobody Business If I Do 10 4:57 Bass – Carl PruittDrums – J.C. HeardPiano – Sammy Price Salute To Basie 11 2:24 Bass – Carl PruittDrums – J.C. HeardPiano – Sammy Price Ain't She Sweet 12 Alto Saxophone – Teddy Buckner Bass – Carl PruittDrums – J.C. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
MUNI 20140929 – Miles Davis 1951-1960 – Vlastní Desky Prestige
MUNI 20141006 – Miles Davis (1949-) 1957-1968 – spolupráce s orchestrem Gila Evanse Miles Davis Nonet: BIRTH OF THE COOL Miles Davis (trumpet) J.J. Johnson (trombone) Sandy Siegelstein (French horn) Bill Barber (tuba) Lee Konitz (alto saxophone) Gerry Mulligan (baritone saxophone, arranger) John Lewis (piano) Nelson Boyd (bass) Kenny Clarke (drums) John Carisi, Gil Evans (arranger) NYC, April 22, 1949 3766-2E Boplicity (Gil Evans) Capitol 57-60011, T 792 Miles Davis With Gil Evans Orchestra: MILES AHEAD Johnny Carisi, Bernie Glow, Taft Jordan, Louis Mucci, Ernie Royal (trumpet) Miles Davis (flugelhorn) Joe Bennett, Jimmy Cleveland, Frank Rehak (trombone) Tom Mitchell (bass trombone) Jim Buffington, Tony Miranda, Willie Ruff (French horn) Bill Barber (tuba) Edwin Caine, Sid Cooper, Romeo Penque (flute, clarinet) Danny Bank (bass clarinet) Lee Konitz (alto saxophone) Paul Chambers (bass) Art Taylor (drums) Gil Evans (arranger, conductor): same personnel Columbia 30th Street Studios, NYC, May 10, 1957 CO57933 A04 My Ship (Kurt Weill) Columbia CL 1041 Miles Davis With Gil Evans Orchestra: MILES AHEAD Johnny Carisi, Bernie Glow, Taft Jordan, Louis Mucci, Ernie Royal (trumpet) Miles Davis (flugelhorn) Joe Bennett, Jimmy Cleveland, Frank Rehak (trombone) Tom Mitchell (bass trombone) Jim Buffington, Tony Miranda, Willie Ruff (French horn) Bill Barber (tuba) Edwin Caine, Sid Cooper, Romeo Penque (flute, clarinet) Danny Bank (bass clarinet) Lee Konitz (alto saxophone) Paul Chambers (bass) Art Taylor (drums) Gil Evans (arranger, conductor): same -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz.