WDR 3 Jazz & World, 15.01.2018

Total Page:16

File Type:pdf, Size:1020Kb

WDR 3 Jazz & World, 15.01.2018 WDR 3 Jazz & World, 15.01.2018 Er war immer „way out“ - Der Klarinettist Pee Wee Russell 22:04-24:00 Stand: 12.01.2018 E-Mail: [email protected] | Web: jazz.wdr.de Moderation: Hans-Jürgen Schaal Redaktion: Bernd Hoffmann Laufplan 1. Pee Wee’s Blues K.: Pee Wee Russell 4:22 PEE WEE RUSSELL Avid Jazz AMSC 1056; LC: 12869 QUARTET CD: Four Classic Albums Plus 2. Cryin’ All Day K: Frank Trumbauer-Chauncey Morehous 3:08 FRANK TRUMBAUER Phoenix Records 131535; LC: 99999 ORCHESTRA CD: Bix Beiderbecke – In A Mist 3. Jig Walk K: Duke Ellington-Jo Trent 2:41 THE THREE DEUCES Commodore CMD-404; LC: 00094 CD: Pee Wee Russell – Jazz Original 4. The Lady In Red K: Allie Wrubel 2:59 LOUIS PRIMA SEXTET Prism Leisure PLATCD 517; LC: 14243 CD: The Very Best Of Louis Prima 5. Deuces Wild K: Zutty Singleton 2:55 THE THREE DEUCES Commodore CMD-404; LC: 00094 CD: Pee Wee Russell – Jazz Original 6. Wailin’ D.A. Blues K: Pee Wee Russell 3:59 PEE WEE RUSSELL Commodore CMD-404; LC: 00094 QUARTET CD: Pee Wee Russell – Jazz Original 7. Sentimental Journey K: Bud Green-Les Brown-Ben Homer 8:03 RUSSELL-BRAFF Avid Jazz AMSC 1056; LC: 12869 SEXTET CD: Four Classic Albums Plus 8. Over The Rainbow K: Harold Arlen-Yip Harburg 5:32 PEE WEE RUSSELL Rockin’ Chair / Jazz Workshop (o. Nr.); LC: 07725 QUARTET CD: Pee Wee’s Combos 9. I Would Do Anything K: Claude Hopkins-Bob Williams-Alex Hill 1:56 For You Rockin’ Chair / Jazz Workshop; LC: 07725 PEE WEE RUSSELL QUARTET CD: Pee Wee’s Combos Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 1 WDR 3 Jazz & World, 15.01.2018 Er war immer „way out“ - Der Klarinettist Pee Wee Russell 22:04-24:00 Stand: 12.01.2018 E-Mail: [email protected] | Web: jazz.wdr.de 10. Exactly Like You K: Jimmy McHugh-Dorothy Fields 3:02 PEE WEE RUSSELL Rockin’ Chair / Jazz Workshop; LC: 07725 QUARTET CD: Pee Wee’s Combos 11. Pee Wee’s Song K: Pee Wee Russell 4:14 PEE WEE RUSSELL Avid Jazz AMSC 1056; LC: 12869 OCTET CD: Four Classic Albums Plus 12. Muskegee Blues K: Pee Wee Russell 2:25 PEE WEE RUSSELL Avid Jazz AMSC 1056; LC: 12869 QUARTET CD: Four Classic Albums Plus 13. Mariooch K: Pee Wee Russell 7:19 PEE WEE RUSSELL Candid CCD 79020; LC: 00585 QUARTET CD: Jazz Reunion 14. 28th And 8th K: Pee Wee Russell 7:25 PEE WEE RUSSELL Candid CCD 79020; LC: 00585 SEPTET CD: Jazz Reunion 15. Good Bait K: Tadd Dameron 4:10 PEE WEE RUSSELL Collectables COL-CD-6893 QUARTET CD: New Groove 16. Red Planet K: John Coltrane 4:49 PEE WEE RUSSELL Collectables COL-CD-6893 QUARTET CD: New Groove 17. Nutty K: Thelonious Monk 13:51 THELONIOUS MONK Sony 88697995802; LC: 00162 QUINTET CD: Complete Columbia Live Albums Collection 18. Ask Me Now K: Thelonious Monk 2:28 PEE WEE RUSSELL Impulse MVCJ-19114; LC: 00236 QUARTET CD: Ask Me Now 19. Hackensack K: Thelonious Monk 3:34 PEE WEE RUSSELL Impulse MVCJ-19114; LC: 00236 QUARTET CD: Ask Me Now 20. I’m Coming Virginia K: Donald Heywood-Will Marion Cook 4:20 PEE WEE RUSSELL + Impulse MVCJ-19137; LC: 00236 OLIVER NELSON ORCH. CD: The Spirit Of ‘67 Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 2 WDR 3 Jazz & World, 15.01.2018 Er war immer „way out“ - Der Klarinettist Pee Wee Russell 22:04-24:00 Stand: 12.01.2018 E-Mail: [email protected] | Web: jazz.wdr.de 21. Six And Four K: Oliver Nelson 3:39 PEE WEE RUSSELL + Impulse MVCJ-19137; LC 00236 OLIVER NELSON ORCH. CD: The Spirit Of ‘67 22. All Too Soon K: Duke Ellington-Carl Sigman 7:32 PEE WEE RUSSELL Candid CCD 79020; LC 00585 SEPTET CD: Jazz Reunion Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 3 .
Recommended publications
  • Part 2 of Selected Discography
    Part 2 of Selected Discography Milt Hinton Solos Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. This is a chronological list of representative solos by Hinton as a sideman in a variety of settings throughout his career. Although not definitive, Milt was such a consistent soloist that one could cite many other equally accomplished performances. In some cases, particularly from the 1930s when bass solos were relatively rare, the recordings listed contain prominent bass accompaniment. November 4, 1930, Chicago Tiny Parham “Squeeze Me” (first Hinton recording, on tuba) 78: Recorded for Victor, unissued CD: Timeless CBC1022 (Tiny Parham, 1928–1930) January–March 1933, Hollywood Eddie South “Throw a Little Salt on the Bluebird’s Tail” (vocal) “Goofus” CD: Jazz Oracle BDW8054 (Eddie South and His International Orchestra: The Cheloni Broadcast Transcriptions) May 3, 1933, Chicago Eddie South “Old Man Harlem” (vocal) 78: Victor 24324 CD: Classics 707 (Eddie South, 1923–1937) June 12, 1933, Chicago Eddie South “My, Oh My” (slap bass) 78: Victor 24343 CD: Classics 707 (Eddie South, 1923-1937) March 3, 1937 Cab Calloway “Congo” 78: Variety 593 CD: Classics 554 (Cab Calloway, 1934–1937) January 26, 1938 Cab Calloway “I Like Music” (brief solo, slap bass) 78: Vocalion 3995 CD: Classics 568 (Cab Calloway, 1937–1938) August 30, 1939 Cab Calloway “Pluckin’ the Bass” (solo feature —slap bass) 78: Vocalion 5406 CD: Classics
    [Show full text]
  • The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr.
    [Show full text]
  • Johnny O'neal
    OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson 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 VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society.
    [Show full text]
  • “Way Down Yonder in Florida…”
    Volume 43 • Issue 3 March 2015 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Better known in jazz circles for his swing clarinet playing, Dave Bennett shows off his rockabilly piano chops with his Memphis Speed Kings, augmented by trombonist Bill Allred, and draws a crowd of admiring fans in the wee small hours Sunday morning at the 24th Annual Suncoast Jazz Classic in Clearwater Beach, Florida last November. Photo by Mitchell Seidel. “Way Down Yonder in Florida…” Clearwater’s once all-trad Suncoast Jazz Festival diversifies with rockabilly, country, Texas swing and more…and hits plenty of high notes. Jersey Jazz’s Mitchell Seidel reports. See story on page 26. 46TH Annual Pee Wee Russell Memorial Stomp! March 1 — Details on page 49 JerseyStoriesJazz “classic” is in the eyes (and ears) of the Beholders: The 24th Annual Suncoast Jazz Classic Story and photos by Mitchell Seidel t the Sheraton Sand and major supporters, AKey Resort in Florida, referring to an intense visitors to the lobby bar snowstorm that was might think they were covering northern New caught in some musical York as he spoke. Even time warp. The venue had more to celebrate was the been renamed “Condon’s three-day listing of various Corner” in honor of the bands from across the renowned guitarist while a country that required a roomful of people are three-page grid schedule of singing “When You’re events. “You kind of have Smiling” to a band that to check it like a racing looks like 1920s New form to see where you’re Orleans has conquered 21st going to be” Seymour said.
    [Show full text]
  • 59Th Annual Critics Poll
    Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • Guide to the Milt Gabler Papers
    Guide to the Milt Gabler Papers NMAH.AC.0849 Paula Larich and Matthew Friedman 2004 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Personal Correspondence, 1945-1993..................................................... 5 Series 2: Writings, 1938 - 1991............................................................................... 7 Series 3: Music Manuscripts and Sheet Music,, 1927-1981.................................. 10 Series 4: Personal Financial and Legal Records, 1947-2000...............................
    [Show full text]
  • STILL STOMPING STRONG New Jersey Jazz Society Marks 50 Years of Annual Pee Wee Russell Memorial Benefit
    Recorder Community Newspapers Out&About GUIDE TO THE ARTS AND LEISURE • THURSDAY, FEBRUARY 28, 2019 STILL STOMPING STRONG New Jersey Jazz Society marks 50 years of annual Pee Wee Russell Memorial benefit By SANFORD JOSEPHSON His legacy will be celebrated at this CONTRIBUTING WRITER year’s Stomp with music by Andy Far- ber and his Orchestra featuring spe- In 1968, Pluckemin resident Jack Stine cial guests, vocalist Catherine Russell, had an idea. One of his favorite musical multi-reedist Adrian Cunningham, and performers, jazz clarinetist Pee Wee Rus- trumpeter Warren Vache. sell, had died on Feb. 15, and Stine want- Vocalist Roseanna Vitro, a resident of ed to honor him with a memorial concert. Warren, will be presented with this year’s The first Pee Wee Russell Memorial Stomp Distinguished Musician Award, and jazz was held that year, and two years later, radio station WBGO 88.3FM will be hon- Stine founded the New Jersey Jazz Society. ored as this year’s jazz advocate. From noon to 5 p.m. on Sunday, April 7, And, as is the tradition, dancing is wel- the 50th annual Pee Wee Russell Memori- come and encouraged, spurred by a group al Stomp will be held at the Hyatt Regency of vintage-clad dancers who annually in Morristown by the Jazz Society. Stine, grace the Pee Wee stage. who died last June at the age of 96, com- bined the first concert with a fundraiser Youth Group and raised more than $3,000 for a scholar- A new feature of this year’s Stomp will ship in Russell’s name at Rutgers Univer- be a performance by the New Jersey Youth sity.
    [Show full text]
  • Dissertation 3.19.2021
    Cultivating the Contemporary Clarinetist: Pedagogical Materials for Extended Clarinet Techniques Caitlin Beare A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2021 Reading Committee: Timothy Salzman, Chair David Rahbee Benjamin Lulich Program Authorized to Offer Degree: Music © Copyright 2021 Caitlin Beare University of Washington Abstract Cultivating the Contemporary Clarinetist: Pedagogical Materials for Extended Clarinet Techniques Caitlin Beare Chair of the Supervisory Committee: Timothy Salzman School of Music The exploration and implementation of new timbral possibilities and techniques over the past century have redefined approaches to clarinet performance and pedagogy. As the body of repertoire involving nontraditional, or “extended,” clarinet techniques has grown, so too has the pedagogical literature on contemporary clarinet performance, yielding method books, dissertations, articles, and online resources. Despite the wealth of resources on extended clarinet techniques, however, few authors offer accessible pedagogical materials that function as a gateway to learning contemporary clarinet techniques and literature. Consequently, many clarinetists may be deterred from learning a significant portion of the repertoire from the past six decades, impeding their musical development. The purpose of this dissertation is to contribute to the pedagogical literature pertaining to extended clarinet techniques. The document consists of two main sections followed by two appendices. The first section (chapters 1-2) contains an introduction and a literature review of extant resources on extended clarinet techniques published between 1965–2020. This literature review forms the basis of the compendium of materials, found in Appendix A of this document, which aims to assist performers and teachers in searching for and selecting pedagogical materials involving extended clarinet techniques.
    [Show full text]
  • Pee Wee Russell Jazz Reunion Mp3, Flac, Wma
    Pee Wee Russell Jazz Reunion mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Jazz Reunion Country: UK Released: 1989 MP3 version RAR size: 1245 mb FLAC version RAR size: 1370 mb WMA version RAR size: 1281 mb Rating: 4.7 Votes: 940 Other Formats: AHX AU VOX AUD AIFF DTS AAC Tracklist 1 If I Could Be With You One Hour 6:29 2 Tin Tin Deo 8:57 3 Mariooch 7:19 4 All Too Soon 7:32 5 28th And 8th 7:25 6 What Am I Here For 7:52 Companies, etc. Recorded At – Nola Recording Studios Credits Bass – Milt Hinton Clarinet – Pee Wee Russell Drums – Jo Jones Engineer – Bob D'Orleans Piano – Nat Pierce Recording Supervisor, Liner Notes – Nat Hentoff Tenor Saxophone – Coleman Hawkins (tracks: 1, 2, 4 to 6) Trombone – Bob Brookmeyer (tracks: 1, 2, 4 to 6) Trumpet – Emmett Berry (tracks: 1, 2, 4 to 6) Notes Recorded at Nola Penthouse Studios, New York City, Febuary 23, 1961. ℗ © Candid Productions Ltd. 16, Castelnau, London SW13 9 RU. Barcode and Other Identifiers Barcode: 7 08857 90202 6 Label Code: LC 0585 Matrix / Runout: 3431-CDD7020 C3.2 153442-02 Matrix / Runout (On cd label): CACD79020-2 Other versions Category Artist Title (Format) Label Category Country Year Pee Wee Russell Pee Wee Russell And 8020 And Coleman Coleman Hawkins - Jazz Candid 8020 US 1961 Hawkins Reunion (LP, Album, Mono) Pee Wee Russell / Coleman CACD Pee Wee Russell / CACD Hawkins - Jazz Reunion (CD, Candid Germany 1988 79020-2 Coleman Hawkins 79020-2 Album, RE) Pee Wee Russell Pee Wee Russell And CS 9020 And Coleman Coleman Hawkins - Jazz Candid CS 9020 US 1961 Hawkins
    [Show full text]
  • Holt Atherton Special Collections Ms4: Brubeck Collection
    HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 1: PAPERS SUBSERIES E: CLIPPINGS BOX 3a : REVIEWS, 1940s-1961 1.E.3.1: REVIEWS, 1940s a- “Jazz Does Campus Comeback but in new Guise it’s a ‘Combo,’” Oakland Tribune, 3-24-47 b- Jack Egan. “Egan finds jury…,” Down Beat, 9-10-47 c- “Local boys draw comment,” <n.s.> [Chicago], 12-1-48 d- Edward Arnow. “Brubeck recital is well-received,” Stockton Record, 1-18-49 e- Don Roessner. “Jazz meets J.S. Bach in the Bay Region,” SF Chronicle, 2- 13-49 f- Robert McCary. “Jazz ensemble in first SF appearance,” SF Chronicle, 3-6- 49 g- Clifford Gessler. “Snap, skill mark UC jazz concert,” <n.s.> [Berkeley CA], n.d. [4-49] h- “Record Reviews---DB Trio on Coronet,” Metronome, 9-49, pg. 31 i- Keith Jones. “Exciting and competent, says this critic,” Daily Californian, 12- 6-49 j- Kenneth Wastell. “Letters to the editor,” Daily Californian, 12-8-49 k- Dick Stewart. “Letters to the editor,” Daily Californian, 12-9-49 l- Ken Wales. “Letters to the editor,” Daily Californian, 12-14-49 m- “Record Reviews: The Month’s best [DB Trio on Coronet],” Metronome, Dec. 1949 n- “Brubeck Sounds Good” - 1949 o- Ralph J. Gleason, “Local Units Give Frisco Plenty to Shout About,” Down Beat, [1949?] 1.E.3.2: REVIEWS, 1950 a- “Record Reviews: Dave Brubeck Trio,” Down Beat, 1-27-50 b- Bill Greer, "A Farewell to Measure from Bach to Bop," The Crossroads, January 1950, Pg. 13 c- Keith Jones. “Dave Brubeck,” Bay Bop, [San Francisco] 2-15-50 d- “Poetic License in Jazz: Brubeck drops in on symphony forum, demonstrates style with Bach-flavored bop,” The Daily Californian, 2-27-50 e- Barry Ulanov.
    [Show full text]
  • Milt Gabler 1993.Pdf
    non-performers milt gabier Suppose a fellow was the principal record producer of own imprint, “The United Hot Clubs of America.” Thus Louis Jordan, Bill Haley and Lionel Hampton — arguably was bred the first real indie record operation. the three major founders of rock & roll — you would At 75$ a copy, the reissues sold modestly, but in quanti­ have to agree that anybody with credits that heavy would ties sufficient to get the attention of the biggies, and be a lock for the R & R H of F. Columbia in particular, under the stewardship of the peer­ But suppose on top of all of that the guy turns out to less John Hammond, began to disgorge specimens from its be the produgigf of Billie Holiday, Peggy Lee, Bing vaults at 50$ per, in effect cutting Milt’s water off. Crosby, Ella Fitzgerald, Pearl Bailey, Jimmie Lunceford, Undaunted, Milt did the next “logical” thing. He assem­ Sister Rosetta Tharpe, the Weavers AND LOUIS ARM­ bled an array of jazz stalwarts under the direction of the STRONG, would you say, hey y’all, what took so long? doughty Eddie Condon and began to produce his own his­ Say hello to Milt Gabler. toric records under the Commodore label. These Reverse the tape to 1926. Young Milton goes to work Commodores were superb then and are great today sub in his dad’s radio shop on East 42nd St. across the way specie aetemitas, not just in my own. skewed opinion, but in from the Commodore Hotel. Also called the Commodore, posterity’s verdict.
    [Show full text]
  • Download the Entire Issue (PDF)
    American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Sprimg 2013 “Live From The East”: Pharoah Sanders in Brooklyn By Jeffrey Taylor, Brooklyn College, CUNY Though for most jazz historians Brooklyn remains in the shadow of Manhattan, two previous articles in this journal have documented a robust tradition that can be traced back as far as performances by The Creole Band at Coney Island in 1915.1 Though often paralleling musical developments across the East River, Brooklyn jazz has also been shaped by the unique dynamic of the borough’s ethnic and racial makeup, as well as the very spe- cial qualities of its many, often insular, neighborhoods.2 The historically black neighborhood of Bedford-Stuyvesant in central Brooklyn, or “Bed-Stuy” as it is more commonly referred to, has long been a center of jazz, with its “Golden Age” of the 1940s and 1950s seeing performances by first-tier jazz musicians, includ- ing Miles Davis, Dizzy Gillespie, Thelonious Monk, and many oth- ers. Though the popular imagination may now see Bed-Stuy primar- ily as a backdrop for Spike Lee movies, it boasts a black presence that goes far back into the 19th century, with the establishment of communities of freedmen in places such as Weeksville—now part of neighboring Crown Heights. With the construction of the A train in the mid-1930s, which connected Bed-Stuy with Harlem, the neigh- borhood became a cultural mecca that rivaled Manhattan’s larger and more famous African American community.
    [Show full text]