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Whicl-I Band-Probably Sam; Cf
A VERY "KID" HOWARD SUMMARY Reel I--refcyped December 22, 1958 Interviewer: William Russell Also present: Howard's mother, Howard's daughter, parakeets Howard was born April 22, 1908, on Bourbon Street, now renamed Pauger Street. His motTier, Mary Eliza Howard, named him Avery, after his father w'ho di^d in 1944* She sang in church choir/ but not professionally. She says Kid used to beat drum on a box with sticks, when he was about twelve years old. When he was sixteen/ he was a drummer. They lived at 922 St. Philip Street When Kid was young. He has lived around tliere all of his life . Kid's father didn't play a regular instrument, but he used to play on^ a comb, "make-like a. trombone," and he used to dance. Howard's parents went to dances and Tiis mother remembers hearing Sam Morgan's band when she was young, and Manuel Perez and [John] Robichaux . The earliest band Kid remembers is Sam Morgan's. After Sam died, he joined the Morgan band/ witli Isaiah Morgan. He played second trumpet. Then he had his own band » The first instrument he.started on was drums . Before his first marriage, when he got his first drums/ he didn't know how to put them up. He had boughtfhem at Werlein's. He and his first wife had a time trying to put them together * Story about }iis first attempt at the drums (see S . B» Charters): Sam Morgan had the original Sam Morgan Band; Isaiah Morgan had l:J^^i', the Young Morgan Band. -
ISSUE 22 ° May 2011
Ne w s L E T T e R Editor: Dave Gelly ISSUE 22 ° May 2011 Ready for the Second Round We have now success- packs on the theme ‘The fully completed the devel- Story of British Jazz’, empha- opment phase of the sising the people and places Simon Spillett Talkin’ (and Access Development involved, and also the wider Playin’) Tubby Project for the Heritage social and cultural aspect of A celebration of the Music, Life Lottery Fund bid. Working the times. Some of these are NATIONAL JAZZ ARCHIVE JAZZ NATIONAL and times of the late, great British with Essex Record Office touched on in the Archive’s and Flow Associates, our exhibition at the Barbican jazz legend Tubby Hayes education and outreach Music Library (see below). With John Critchinson (piano), consultants, we have Alec Dankworth (bass) and developed our plans to Clark Tracey (drums) apply for the second NJA Exhibition Saturday 23 July 2011 round – funding of £388,000 opens at Barbican 1.30 - 4.30pm, at Loughton Methodist Church for a three-year delivery Music Library project. Tickets £10 from David Nathan at The Archive’s exhibition the Archive (cheques payable to This will involve building at the Barbican Music Library National Jazz Archive) on what we have so far is set to open on Tuesday 3rd See also Pages 5 & 6 achieved in increasing access May. It presents the people, to our collections during the places, bands and great jazz development phase - con- events, portrayed in rare serving, cataloguing, digitis- photos, posters, books, ing, developing outreach magazines and ephemera facilities, and collaborating from our fast-growing on projects with those who collection. -
At Last We Are Able to Offer the 5 Missing Jazz Oracle Titles Again!
They’re back!!! At last we are able to offer the 5 missing Jazz Oracle titles again! RE-PRESSED! ROGER WOLFE KAHN – Recorded in New York 1925-1928 BDW8013 1 CD £12.99 A selection of the most jazz-oriented recordings by this fine dance orchestra made for Victor, Perfect, Brunswick and Columbia. Features Miff Mole, Arthur Schutt, Joe Venuti, Eddie Lang, Artie Shaw, and Charlie Teagarden. Also includes a previously unissued performance of Rhythm of the Day. RE-PRESSED! DALLAS RHYTHM – Recorded in Dallas and St Louis 1924-1929 BDW8021 1 CD £12.99 Includes the complete recordings of Dallas-based bandleader Jack Gardner, as well as selected recordings by Randolph McCurtain, Phil Baxter and Herman Waldman. The 32-page booklet includes extensive liner notes by researcher Dick Raichelson, as well as previously unpublished information and newly-found details of the activities of these territory bandleaders. RE-PRESSED! DIME STORE HOT DANCE 1927-1930 BDW8023 1 CD £12.99 A selection of hot dance recordings from 1927 to 1930 made for release on the Plaza and Compo stable of labels. Features hot solo work by Tommy Gott, Bob Effros, Tommy Dorsey, Jimmy Dorsey, Arthur Schutt and others. Exhaustive booklet with full band personnel and recording dates. RE-PRESSED! ARCADIA SHUFFLE 1924-1925 BDW8027 1 CD £12.99 The complete recordings of the Arcadian Serenaders and the Original Crescent City Jazzers, and selected recordings by the Arcadia Peacock Orchestra of St. Louis. Includes extensive notes by James K. Williams and many recently- discovered photographs. Plus full recording details, personnel and dates. -
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 -
Dr. Michael White: Biography
DR. MICHAEL WHITE: BIOGRAPHY Dr. Michael White is among the most visible and important New Orleans musicians today. He is one of only a few of today’s native New Orleans born artists to continue the authentic traditional jazz style. Dr. White is noted for his classic New Orleans jazz clarinet sound, for leading several popular bands, and for his many efforts to preserve and extend the early jazz tradition. Dr. White is a relative of early generation jazz musicians, including bassist Papa John Joseph, clarinetist Willie Joseph, and saxophonist and clarinetist Earl Fouche. White played in St Augustine High School’s acclaimed Marching 100 and Symphonic bands and had several years of private clarinet lessons from the band’s director, Edwin Hampton. He finished magna cum laude from Xavier University of Louisiana with a degree in foreign language education. He received a masters and a doctorate in Spanish from Tulane University. White began teaching Spanish at Xavier University in 1980 and also African American Music History since 1987. Since 2001 he has held the Charles and Rosa Keller Endowed Chair in the Humanities at Xavier. He is the founding director of Xavier’s Culture of New Orleans Series, which highlights the city’s unique culture in programs that combine scholars, authentic practitioners, and live performances. White is also a jazz historian, producer, lecturer, and consultant. He has developed and performed many jazz history themed programs. He has written and published numerous essays in books, journals, and other publications. For the last several years he has been a guest coach at the Juilliard Music School (Juilliard Jazz). -
17.4.1930 – 2.3.2021
CHRIS BARBER - 17.4.1930 – 2.3.2021 A very sad message has reached us! On March 2nd, 2021 Chris Barber died at the age of 90years. Thus, one of the best known, most interesting and versatile jazz musicians in Europe, has left the world’s musical stage. Having been born into a middle-class family in Welwyn Garden City on 17th April 1930, Chris showed a special aptitude for numbers and calculation and began studies in mathematics and statistics, however, as jazz records began to filter into post-war Britain, he changed direction and entered the Guildhall School Of Music in London to study trombone and double bass. He formed his first band in 1949 and the following year changed to a 2-cornet frontline based on the classic King Oliver Creole Jazz Band of 1923. It was on 31st May 1954 when Chris Barber took over leadership of the Ken Colyer Jazz Band due to Ken being dismissed because of “artistic differences” , that the CB success story really began. Ken was replaced by Pat Halcox from the Albemarle Jazz Band and he stayed with Chris Barber for over 54 years, making it the longest partnership in jazz history!! Chris was not only a pioneer of European traditional jazz from 1950 till 2019 but also a significant promoter and developer of the European jazz, blues and R&B scene. Although his music was based on traditional jazz, he experimented with new styles and different musicians from all over the world and incorporated them into his repertoire at an early stage. -
Trad Jazz in 1950S Britain—Protest, Pleasure, Politics— Interviews with Some of Those Involved
Trad jazz in 1950s Britain—protest, pleasure, politics— interviews with some of those involved George McKay These are transcriptions of interviews and correspondence undertaken as part of an Arts and Humanities Research Board (now Council)-funded project exploring the cultures and politics of traditional jazz in Britain in the 1950s. The project ran through 2001-2002 and was entitled American Pleasures, Anti- American Protest: 1950s Traditional Jazz in Britain. I edited responses, and structured them here according to the main issues I asked about and to key points that seemed to recur from different interviewees. There is a short-ish introduction to give a sense of context to readers unfamiliar with that period of Britain’s cultural history. I hugely enjoyed meeting and talking with these people, whose cultural and political autobiographies were full of energy, rebellion, fun, with music at the heart. Thank you. Some—Jeff Nuttall, George Melly—are, sadly, now dead. Material from these interviews, and a second set I undertook with modern jazzers and enthusiasts (I acknowledge that the distinction between trad and modern doesn’t always bear scrutiny) was included in my book Circular Breathing: The Cultural Politics of Jazz in Britain (Duke University Press, 2005). Do contact me if you have any queries. George McKay University of Salford, UK [email protected] April 2002; revised (with extra images) September 2002; revised introduction January 2010 (little has change except the point that I now know that the David Boulton jazz historian and the David Boulton of CND were one and the same person) Most of the archive photographs here are either from Jeff Nuttall’s photo album, which he gave me at the end of our interview in Abergavenny—I’d like to pass it on to a family member, please—or © and courtesy of the Ken Colyer Trust: www.kencolyertrust.org 1 Introduction British jazz has arrived, in Britain at any rate. -
William Russell: Jazz Lover, Collector, and Musicologist an Annotated Bibliography
William Russell: Jazz Lover, Collector, Musicologist An Annotated Bibliography Ben Wagner Born Russell William Wagner in 1905, William (Bill) Russell was a violinist; an avant-garde composer deeply interested in percussion; accompanist to a touring puppet troupe; a meticulous musical-instrument repairman; a jazz-record producer; an archivist; a writer; and, above all, a New Orleans jazz collector of extraordinary breadth. More than anything else, he simply loved classic New Orleans–style jazz, which he called the “best music I’d ever heard.”1 He sought out obscure, old-time jazz players and was instrumental in the revival of the career of Bunk Johnson. Russell privately showed many kindnesses to jazz musicians down on their luck, encouraging their careers. In an age of segregation, Russell had many close associations with African Americans, organizing recording sessions in houses and rented halls because blacks were not allowed in New Orleans recording studios, nor could they play openly with white musicians. He did much to document and advocate New Orleans as the true birthplace of jazz. Although there were some inaccuracies in his early writings—and the debate continues about the many-faceted origins of American jazz—Russell’s overall analysis has stood up well against later scholarship. He certainly was one of the first to note the importance of place in the development of jazz. From the early 1930s to the end of his life, Russell acquired and documented anything he could find related to jazz: oral-history recordings and transcripts, jam-session recordings, musical instruments, photographs, programs, postcards, ads, city guidebooks, correspondence, sheet music, magazines. -
King LP Inventory
Oberlin Conservatory Library Special Collections Stanley King Jazz Collection LP Inventory Page | 1 Item Number Title Name Record Label Record Number CSC_SKJC_LP_001 King Oliver and His Orchestra Oliver, King Epic LA 16003 CSC_SKJC_LP_002 Young Man with a Horn James, Harry Columbia CL 582 CSC_SKJC_LP_003 A Backward Glance Dorsey, Tommy Riverside RLP 12-834 CSC_SKJC_LP_004 Piano, Brass & Blues: classic blues accompaniments Riverside RLP 153 CSC_SKJC_LP_005 Harlem Banjo! Elmer Snowden Quartet Riverside RLP 348 CSC_SKJC_LP_006 Little Brother Montgomery Montgomery, Little Brother Riverside RLP 9410 CSC_SKJC_LP_007 Gut-Bucket Trombones Palmer, Roy Riverside RLP 150 CSC_SKJC_LP_008 Over & Over Again De Paris, Wilbur Atlantic SD 1552 CSC_SKJC_LP_009 Wilbur De Paris Plays Something Old, New, Gay, Blue De Paris, Wilbur Atlantic 1300 CSC_SKJC_LP_010 Billie and Dede Pierce: blues in the classic tradition Pierce, Bille Riverside RLP 370 CSC_SKJC_LP_011 Sweet Emma, "The bell gal," and her Dixieland Boys Barrett, Sweet Emma Riverside RLP 9364 CSC_SKJC_LP_012 Jim Robinson plays spirituals and blues Jim Robinson's New Orleans Riverside RLP 393 Band CSC_SKJC_LP_013 Jim Robinson's New Orleans Band Jim Robinson's New Orleans Riverside RLP 9369 Band CSC_SKJC_LP_014 Percy Humphrey's Crescent City Joymakers Humphrey, Percy Riverside RLP 378 CSC_SKJC_LP_015 Economy Hall Breakdown Robinson, Jim Pearl Records PS 5 CSC_SKJC_LP_016 Oscar "Papa" Celestin Celestin, Oscar "Papa" Imperial LP-9149 CSC_SKJC_LP_017 Father of the Blues Handy, W C Audio Archives LP A-1200 -
A Feminist Perspective on New Orleans Jazzwomen
A FEMINIST PERSPECTIVE ON NEW ORLEANS JAZZWOMEN Sherrie Tucker Principal Investigator Submitted by Center for Research University of Kansas 2385 Irving Hill Road Lawrence, KS 66045-7563 September 30, 2004 In Partial Fulfillment of #P5705010381 Submitted to New Orleans Jazz National Historical Park National Park Service 419 Rue Decatur New Orleans, LA 70130 This is a study of women in New Orleans jazz, contracted by the National Park Service, completed between 2001 and 2004. Women have participated in numerous ways, and in a variety of complex cultural contexts, throughout the history of jazz in New Orleans. While we do see traces of women’s participation in extant New Orleans jazz histories, we seldom see women presented as central to jazz culture. Therefore, they tend to appear to occupy minor or supporting roles, if they appear at all. This Research Study uses a feminist perspective to increase our knowledge of women and gender in New Orleans jazz history, roughly between 1880 and 1980, with an emphasis on the earlier years. A Feminist Perspective on New Orleans Jazzwomen: A NOJNHP Research Study by Sherrie Tucker, University of Kansas New Orleans Jazz National Historical Park Research Study A Feminist Perspective on New Orleans Jazz Women Sherrie Tucker, University of Kansas September 30, 2004 Table of Contents Acknowledgments ................................................................................................ iii Introduction ...........................................................................................................1 -
The Australian Jazz
AUSTRALIAN JAZZ CONVENTIONS 1946-1976 by Dick Hughes* _____________________________________________________ The Australian Jazz Convention is unique for several reasons: The musicians have to pay to play; it moves venue each year; and, most remarkable of all, it was the first national jazz festival or convention in the world. DICK HUGHES looks back on the conventions since 1946 and previews Brisbane, 1976-77. This article appeared in a one-off undated magazine entitled “Jazz Australia” published probably in 1976, as it was an Australian Jazz Convention “special”, and the Convention was held in Balmain, Sydney at the end of 1975. Dick Hughes on piano, performing at the 1958 Convention at the Railway Institute, Sydney… PHOTO COURTESY DADDY’S PRACTISING AGAIN The first year of America's Newport Jazz Festival (1954) was also the year in which the ninth Australian Jazz Convention was held. Write to the Guinness Book of Records now and tell them that Australia was the first country in the world to have an annual jazz festival . or convention. "Little people though we are, etc..." 30 years ago in Melbourne they were in the final stages preparing for the first convention. Today, in Brisbane they're tying up the odds and ends for the 31st the first, incidentally, to be held in Brisbane. The Australian Jazz Convention is unique, unprecedented and unparalleled. Certainly I know of no other jazz festival in which the musicians not only are not paid, but in which they have to pay to play. All musicians playing at Australian jazz conventions have to pay a delegate fee. -
New Orleans Jazz Tour (#2) Ride the Canal Street/Algiers Point Ferry from the French Quarter Across the Mighty Mississppi River To
NEW ORLEANS JAZZ TOUR (#2) RIDE THE CANAL STREET/ALGIERS POINT FERRY FROM THE FRENCH QUARTER ACROSS THE MIGHTY MISSISSPPI RIVER TO HISTORIC ALGIERS, “THE BROOKLYN OF THE SOUTH” TAKE A FREE SELF-GUIDED WALKING TOUR, AND VISIT THE FORMER HOMES OF ALGIERS’ JAZZ MUSICIANS, THE VENUES THEY PLAYED IN, AND THE ROBERT E. NIMS JAZZ WALK OF FAME, AND GET THE BEST VIEW OF NEW ORLEANS’ SKYLINE COPYRIGHT © 2016, KEVIN HERRIDGE www.risingsunbnb.com Jazz musicians of the 1920s referred to Algiers as “over da river” or the “Brooklyn of the South,” the latter for its proximity to New Orleans as compared to New York and Brooklyn, both separated by a river. This tour straddles the Algiers Point and Algiers Riverview neighborhoods, both integral parts of historic Algiers, and both having a long, rich history of African American, French, Spanish, German, Irish, and Italian/Sicilian residents. This was the site of the slave holding areas, newly arrived from Africa, and the powder magazine of the early 18th century. John McDONOGH, the richest man in New Orleans, lived here. The earliest account of music on the West Bank is to be found here. The Riverview area contains many African American churches, and some have over one hundred-year histories, one of which was the scene in days gone by of the fiery sermons of “Black Billy Sunday,” and many Jazz funerals, held for musicians, and benevolent society members. Several of the local musicians are interred in the nearby St. Bartholomew, St. Mary, and McDonogh cemeteries. Some of the earliest brass bands that influenced the birth of Jazz, including the Pickwick, the Excelsior, and the Pacific, employed Algiers’ musicians.