DOCSLIB.ORG

Duke Ellington - Such Sweet Thunder

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Duke Ellington - Such Sweet Thunder JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra jazzové interpretace Trombon Duke Ellington - Such Sweet Thunder Bakalářská Práce Autor práce: Richard Šanda Vedoucí práce: MgA. Vít Křišťan Brno 2019 Bibliografický záznam ŠANDA, Richard. Duke Ellington - Such Sweet Thunder [Duke Ellington - Such Sweet Thunder] Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra Jazzové Interpretace, 2019. Vedoucí práce MgA. Vít Křišťan. Anotace Bakalářská práce Duke Ellington - Such Sweet Thunder pojednává o jazzovém skladateli a pianistovi Duku Ellingtonovi, jeho orchestru a o členech orchestru. Práce se podrobněji zaměřuje na suitu Such Sweet Thunder a její návaznost na dílo Williama Shakespeara, dále pak na okolnosti jejího provedení a analýzu suity. Annotation Bachelor thesis Duke Ellington - Such Sweet Thunder deals with jazz composer and pianist Duke Ellington, about his orchestra and members of orchestra. Detailed attention is paid to suite Such Sweet Thunder and its continuity with work of William Shakespeare, further on circumstances of its performing and on analyze of the suite. Klíčová slova Duke Ellington, Billy Strayhorn, Such Sweet Thunder, suita, jazz, bigband, William Shakespeare Keywords Duke Ellington, Billy Strayhorn, Such Sweet Thunder, suite, jazz, bigband, William Shakespeare Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. V Praze, dne 12. května 2019 Richard Šanda Obsah Předmluva………………………………………………………………………………………….7 Úvod…………………………………………………………………………….….….….…..….…8 Stav bádání……………………………………………………….……………..………………… 9 1. Duke Ellington ………………………………………………………………………………….10 1.1. Stručný životopis Duka Ellingtona…………………………………………………….10 1.2. Historie orchestru Duka Ellingtona…………………………………………………….11 1.3. Významní členové orchestru Duka Ellingtona……..………………………………….11 1.3.1. Irving Mills…………………………………………………………………..12 1.3.2. Billy Strayhorn……………………………………………………………….12 1.3.3. Kontrabasisté……..…………………………………………………………..12 1.3.4. Bubeníci……………….……………………………………………………..14 1.3.5. Saxofonisté…………….……………………………………………………..14 1.3.6. Trombonisté…………….…………..………………………………………..16 1.3.7. Trumpetisté…………….……………………………………………………..17 1.3.8. Django Reinhardt…………………………………………………………….18 2. Such Sweet Thunder……………………………………………………………………………19 2.1. Části Such Sweet Thunder a jejich návaznost na Shakespeara………………………..20 2.1.1. Tématické uspořádání dle Jacka Chamberse…………………………………20 2.2. Nahrávání a obsazení orchestru………………………………………………………..21 2.2.1. Obsazení orchestru…………………………………….……………………..22 2.2.2. Nahrávací studio……………………………………………….……………..22 2.2.3. Up and Down, Up and Down - Clark Terry a Pukova citace…………………23 2.3. Stratford Shakespearen Festival 1956 …………………………………………………23 2.3.1. Stratford Shakespearen Festival ……………………………………………..23 2.3.2. Stratford Shakespearen Festival 1956 - Ellington …………………………..24 2.4. Premiéry a provedení……………………………………………….………………….25 2.4.1. New York City Town Hall……………………………….….………………..25 2.4.2 Stratford Shakespearen Festival 1957…………………………………………27 2.5. Rozbor jednotlivých částí suity Such Sweet Thunder…………………………………27 2.5.1. Sonety………………………………………………………………………..27 2.5.2. Such Sweet Thunder…………………………………………………………29 2.5.3. Sonnet for Caesar ……………………………………………………………29 2.5.4. Sonnet for Hank Cinq………………………………………………………..30 2.5.5. Lady Mac…………………………………………………………………….30 2.5.6. Sonnet In Search of a Moor………………………………………………….31 2.5.7. The Telecasters……………………………………………………………….31 2.5.8. Up and Down, Up and Down (I Will Lead Them Up and Down)……………31 2.5.9. Sonnet for Sister Kate………………………………………………………..32 2.5.10. The Star-Crossed Lovers……………………………………………………32 2.5.11. Madness In Great Ones……………………………………………………..32 2.5.12. Half the Fun…………………………………………………………………33 2.5.13. Circle of Fourths……………………………………………………………33 2.6. Odkaz suity Such Sweet Thunder………………………………………………………33 Závěr………………………………………………………………………………………………..36 Použité informační zdroje ………………………………………..…………….…………………37 Předmluva Téma mé bakalářské práce vzniklo celkem spontánně. Na jednom z bakalářských seminářů vedených Mgr. Janem Přibilem, DiS., jsem se zamyslel jaké hudební téma mě v poslední době oslovilo. V tu dobu jsme měli po jednom ze dvou koncertů s Jazz Dock Orchestra. Na programu pro měsíc březen a duben byla i suita Duka Ellingtona - Such Sweet Thunder. Pamatuji si jak na mne hudba zapůsobila. Proto mne zajímalo jaké události vedli Ellingtona se Strayhornem k napsání této suity. Co se ve skutečnosti odehrává v celé partituře a ne jen v mém trombonovém partu. Jak probíhalo její napsání a jaká byla návaznost na Williama Shakespeara. S bigbandovou hudbou se pravidelně setkávám již od mládí, kdy jsme v 10 letech poprvé usedl do bigbandu, až do dnes, kdy jsem členem předních českých bigbandů. Proto mám k této hudbě velmi blízko. Hudba a orchestr Duka Ellingtona je mi velmi blízká a dovolím si tvrdit, že její znalost a interpretace by měla být základem každého bigbandového hráče. Pro tyto důvody a skutečnosti jsem se rozhodl napsat svoji bakalářskou práci na téma: Duke Ellington - Such Sweet Thunder. -7 Úvod Práce se zab)vá suitou Such Sweet Thunder. Tu napsal Duke Ellington spole(n* s Billym Strayhornem mezi lety 1956 - 1957. Cílem práce je dohledat ve&keré mo+né informace, a' u+ se t)kají okolností napsání suity, návaznosti na Shakespearovo dílo, premiéry a jejího odkazu. Suitu následn* analyzovat. K anal)ze suity jsem pou+il originální nahrávku a partituru suity. Dále se v práci v*nuji historii, v)voji orchestru a d,le+it)m spoluhrá(,m Duka Ellingtona. -8 Stav bádání V (eském jazyce jsem nena&el +ádné informace, které by se t)kali suity Such Sweet Thunder. Proto jsem ve&keré informace musel získat z jazyka anglického. K vyhledání faktografick)ch údaj, jsem pou+íval webovou stránku The Duke - Where and When /http://www.dukeellington.org.uk/tdwaw/TDWAW.html/ na této stránce jsou chronologicky zanesena v&echna data t)kající se +ivota Duka Ellingtona. M,+eme tedy zjistit, kde se Ellington nacházel v ur(it) den. Pokud jsou známé vedlej&í skute(nosti t)kající se ur(itého data nebo události, jsou zde zaneseny také. !asto zde b)vá zve$ejn*n program koncert, v(etn* obsazení orchestru. Pokud n*jaká publikace pojednává o dané události, je zde citována s odkazem na originální publikaci. Tak jsem se dostal k v*t&in* zdroj, mé práce. Díky této stránce jsem narazil na bulletin, kter) vydává The International Duke Ellington Music Society. http://depanorama.net/dems/. V této do roku 2012 pravideln* vycházející publikaci, nalezneme velké mno+ství (lánk, t)kající se osoby Duka Ellingtona. Informace o hudebních albech jsem hledal na stránce: www.discogs.com Hlavním zdrojem mi byla originální nahrávka vydaná v roce 1957 pod zna(kou CL 1033 u vydavatelství Columbia. Z vlastního v)zkumu jsem zjistil +e na dané téma není v !eské republice ani v zahrani(í publikována +ádná v*decká práce. -9 1. Duke Ellington 1.1. Stručný životopis Duka Ellingtona Edward Kennedy “Duke” Ellington (29. duben 1899 Washington – 25. kv*ten 1974 New York) Ellington poprvé usedl k pianu v sedmi letech. Svoji první skladbu slo+il v patnácti letech s názvem Soda Fountain Rag1. Ve sv)ch 18 letech, ovlivn*n pianisty jeho doby hlav* ve stylu ragtime, za(íná svojí kariéru hudebníka. V roce 1917 zakládá sv,j první orchestr s názvem The Duke Serenaders. V roce 1923 se spole(n* s p*ti(len)m bandem Elmera Snowdena st*huje do New Yorku za anga+má v Hollywood Clubu. Pozd*ji p$evezme kapelnictví a postupn* m*ní názvy orchestru dle sídla jeho rezidence. Ellington zárove. postupn* roz&i$uje sv,j orchestr. V roce 1931 je poprvé p$edstaven jako Duke Ellington and His Orchestra. Tento název u+ívá a+ do své smrti. V této dob* vznikají první velké hity jako: It Don't Mean a Thing (If It Ain't Got That Swing), Mood Indigo, Sophisticated Lady, Solitude nebo In a Sentimental Mood. V roce 1933 podniká první cestu do Evropy2. V roce 1939 se k orchestru p$ipojuje mlad) Billy Strayhorn, ten se stane tzv. pravou rukou Ellingtona3. Umírá v roce 1967. Strayhorn se svou písní Take The A Train vládne swingové é$e 40. let4. Koncem 40. let a za(átku let 50. za(íná Ellingtonovo slab&í období jeho kariéry. D,le+itá jména jako Johnny Hodges odcházejí z orchestru bu/ za vlastními projekty nebo ke konkurenci. Newport Jazz Festival v roce 1956 v&ak znovu nastartuje Ellingtonovu dráhu. V)kon orchestru vynesl Ellingtona na titulní stránky novin a (asopis,. A záznam z festivalu je prvním vydan)m albem od podepsání nového kontraktu s nahrávací spole(ností Columbia. V roce 1957 napí&e spole(n* se Strayhornem suitu Such Sweet Thunder, v pr,b*hu n*kolika let jích spole(n* vytvo$í je&t* n*kolik nap$íklad: The Queen's Suite, Nutcracker Suite nebo The Far East Suite5. Od úsp*chu na Newportu se Ellington s orchestrem tak$ka nezastaví a koncertují po celé Americe, Evrop* a zbytku sv*ta. V 60. letech pak spolupracuje s Countem Basiem, Johnem Coltranem nebo 1 Lawrence, A.H., Duke Ellington and His World, str. 338. 2 Lawrence, A.H., Duke Ellington and His World, str. 343. 3 Lawrence, A.H., Duke Ellington and His World, str. 346. 4 Lawrence, A.H., Duke Ellington and His World, str. 347. 5 Lawrence, A.H., Duke Ellington and His World, str. 349. -10 Charlesem Mingusem. B*hem svého +ivota získal 13 cen Grammy a za sv,j +ivot napsal p$es 3000 skladeb. Ellington umírá t)den po sv)ch 75 narozeninách na rakovinu plic6. Na jeho poh$eb v New Yorku se dostavilo p$es 12000 lidí7. 1.2. Historie Orchestru Duka Ellingtona V roce 1923 byl Ellington (lenem kapely, kterou vedl banjista Elmer Snowden. Jmenovala se Washington Black Sox Orchestra. V tu dobu dostali p,l ro(ní anga+má v Hollywood Clubu na newyorském Manhattanu. Po t$ech m*sících v&ak kv,li neshodám ohledn* honorá$, odchází a vedení p$edává Ellingtonovi. Ten zkrátil název kapely na The Washingtonians. V Hollywood Clubu vystupují a+ do jeho rekonstrukce v roce 1925. Po znovu otev$ení se klub p$ejmenoval na The Kentucky Club a stejn* tak p$ejmenoval sv,j band i Ellington, a to na Duke Ellington and his Kentucky Club Orchestra. V Kentucky Clubu se Ellington seznámí s Irvingem Millsem, kter) se pozd*ji stane jeho mana+erem.
Load more

Recommended publications
  • How Democratic Is Jazz?
    Accepted Manuscript Version Version of Record Published in Finding Democracy in Music, ed. Robert Adlington and Esteban Buch (New York: Routledge, 2021), 58–79 How Democratic Is Jazz? BENJAMIN GIVAN uring his 2016 election campaign and early months in office, U.S. President Donald J. Trump was occasionally compared to a jazz musician. 1 His Dnotorious tendency to act without forethought reminded some press commentators of the celebrated African American art form’s characteristic spontaneity.2 This was more than a little odd. Trump? Could this corrupt, capricious, megalomaniacal racist really be the Coltrane of contemporary American politics?3 True, the leader of the free world, if no jazz lover himself, fully appreciated music’s enormous global appeal,4 and had even been known in his youth to express his musical opinions in a manner redolent of great jazz musicians such as Charles Mingus and Miles Davis—with his fists. 5 But didn’t his reckless administration I owe many thanks to Robert Adlington, Ben Bierman, and Dana Gooley for their advice, and to the staffs of the National Museum of American History’s Smithsonian Archives Center and the New York Public Library’s Schomburg Center for Research in Black Culture. Copyright © 2020 by Benjamin Givan. 1 David Hajdu, “Trump the Improviser? This Candidate Operates in a Jazz-Like Fashion, But All He Makes is Unexpected Noise,” The Nation, January 21, 2016 (https://www.thenation.com/article/tr ump-the-improviser/ [accessed May 14, 2019]). 2 Lawrence Rosenthal, “Trump: The Roots of Improvisation,” Huffington Post, September 9, 2016 (https://www.huffpost.com/entry/trump-the-roots-of-improv_b_11739016 [accessed May 14, 2019]); Michael D.
    [Show full text]
  • The Journal of the Duke Ellington Society Uk Volume 23 Number 3 Autumn 2016
    THE JOURNAL OF THE DUKE ELLINGTON SOCIETY UK VOLUME 23 NUMBER 3 AUTUMN 2016 nil significat nisi pulsatur DUKE ELLINGTON SOCIETY UK http://dukeellington.org.uk DESUK COMMITTEE HONORARY MEMBERS OF DESUK Art Baron CHAIRMAN: Geoff Smith John Lamb Vincent Prudente VICE CHAIRMAN: Mike Coates Monsignor John Sanders SECRETARY: Quentin Bryar Tel: 0208 998 2761 Email: [email protected] HONORARY MEMBERS SADLY NO LONGER WITH US TREASURER: Grant Elliot Tel: 01284 753825 Bill Berry (13 October 2002) Email: [email protected] Harold Ashby (13 June 2003) Jimmy Woode (23 April 2005) MEMBERSHIP SECRETARY: Mike Coates Tel: 0114 234 8927 Humphrey Lyttelton (25 April 2008) Email: [email protected] Louie Bellson (14 February 2009) Joya Sherrill (28 June 2010) PUBLICITY: Chris Addison Tel:01642-274740 Alice Babs (11 February, 2014) Email: [email protected] Herb Jeffries (25 May 2014) MEETINGS: Antony Pepper Tel: 01342-314053 Derek Else (16 July 2014) Email: [email protected] Clark Terry (21 February 2015) Joe Temperley (11 May, 2016) COMMITTEE MEMBERS: Roger Boyes, Ian Buster Cooper (13 May 2016) Bradley, George Duncan, Frank Griffith, Frank Harvey Membership of Duke Ellington Society UK costs £25 SOCIETY NOTICES per year. Members receive quarterly a copy of the Society’s journal Blue Light. DESUK London Social Meetings: Civil Service Club, 13-15 Great Scotland Yard, London nd Payment may be made by: SW1A 2HJ; off Whitehall, Trafalgar Square end. 2 Saturday of the month, 2pm. Cheque, payable to DESUK drawn on a Sterling bank Antony Pepper, contact details as above. account and sent to The Treasurer, 55 Home Farm Lane, Bury St.
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]
  • Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
    1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures.
    [Show full text]
  • In Consideration of the Performers and Other Members of the Audience, Please Enter Or Leave a Performance at the End of a Composition
    In consideration of the performers and other members of the audience, please enter or leave a performance at the end of a composition. Cameras and recording equipment are not permitted. Please turn off all electronic devices, and be sure that all emergency contact cell phones and pagers are set to silent or vibrate. This event is free to all UNI students, courtesy of the Panther Pass Program. Performances like this are made possible through private support from patrons like you! Please consider contributing to School of Music scholarships or guest artist programs. Call 319-273-3915 or visit www.uni.edu/music to make your gift. Friday, October 9, 2015 at 7:30 pm Bengtson Auditorium, Russell Hall JAZZ PANTHERS JAZZ BAND ONE JAZZ PANTHERS Saxophones Saxophones/woodwinds Heads Up* . .Alex Pershounin, arr: Bob Washut Gerardo Gomez Sam Stranz Lexi Forstrom Sam Bills Alex Pershounin+, bass Josh Carlo Sean Koga Infant Eyes . .Wayne Shorter, arr: Paul McKee Abe Miller Mark Northup Brian Crew, trombone soloist Gage Schmitt Thomas Sparks Black Nile . Wayne Shorter, arr: Ben Patterson The Trombone Section Trumpets Trumpets Kyle Marlin Dan Meier Colton Whetstone Rishi Kolusu Sam Anderson Ryan Garmoe Walkin' Tiptoe . Bert Joris Rachel Bearinger Jordan Boehm Darn That Dream . .Jimmy Van Heusen/arr: Bob Washut Kevin Boehnke Ben Feuerhelm Body and Soul . Johnny Green/arr: Herb Phillips Trombones Trombones Bobby Shew, guest soloist Brian Crew Paul LIchty Seth Nordin Brent Mead Michael Stow Nathaniel Welschons Craig Goettle Tom Rauch Josh Piering Rhythm Rhythm Elvis Phillips, guitar Tanner O’Connor, guitar Andrew Teutsch, piano JAZZ BAND ONE Taylor Kobberdahl, piano Andy Braught, bass Sam Nau, bass Josh Hakanson, drums Just in Time .
    [Show full text]
  • 1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
    GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement.
    [Show full text]
  • Irving Townsend
    pla. ing artist I know who can do an original ccntly. “It's quite a jump," he noted, die Con­ piece in a studio and play it better than “from recording a 17-year-old kid sing­ oid < on- it'll ever be done in club ” Moreover, ing rock and roll to Sandburg, who's h-quality MEET 4 IA the a&r man said. Davis usually prefers 83.” With typically quiet New England to do a number in just one take. “And,” humor, he added, “You can't exactly an S500 Townsend added, “even if there are a make an 83-year-old man change his einforce- few clams in it. we'll accept it if the style.” be heard T-MAN over-all feeling is good." Townsend's approach to his work is ot 11 in- As an example of what Townsend highly personal in terms ot his relation­ amphfier called "the sheer inventive ability” of ships with artists. “There's not an artist fand berg IRVING TOWNSEND Miles and the men in his group, he in the world who doesn't have his own nncro- cited the session that produced the peculiarities,” he explained “Every­ 'ice 636 An artists and repertoire man who album, Kinda Blue. body’s different. Some like to be let limits himself to recording jazz is not "For one tune—I forget which one alone: some need to be pampered, to be are hung only being deprived of a better liveli­ just now—Miles came to the studio guided so as to bring out the best in in t ronl hood.
    [Show full text]
  • Making America's Music: Jazz History and the Jazz Preservation
    Making America’s Music: Jazz History and the Jazz Preservation Act Jeff Farley Department of American Studies University of Glasgow A thesis submitted for the degree of Doctor of Philosophy July 2, 2008 c Jeff Farley 2008 Abstract The aim of this thesis is to investigate some significant examples of the process by which jazz has been shaped by the music industry and government and their ideas of the place of jazz within American culture and society. The examples demonstrate that the history and traditions of jazz are not fixed entities, but rather constructions used to understand and utilise issues of race, national identity, cultural value, and musical authenticity and innovation. Engagement with such issues has been central to identifying jazz as America’s music, as it earned this status from its worldwide popularity and its identity as an inno- vative black American art form. Recognition for jazz as American music, in conjunction with its improvisational nature, consequently led to the identification of jazz as ‘demo- cratic’ music through its role in racial integration in America and in its representation of American democracy in government propaganda programmes. The different histories of jazz and its status as democratic, American music have all been especially important to the development of House Concurrent Resolution 57 in 1987, referred to as the Jazz Preservation Act (JPA). Authored by Congressman John Conyers, Jr. of Michigan, the JPA defined jazz as a ‘national treasure’ that deserved public support and inclusion in the education system. Few in the industry have criticised the recognition and public subsidy of jazz, but many have found fault with the JPA’s definitions of jazz and its history that have dictated this support.
    [Show full text]
  • The Newsletter of the Duke Ellington Society Uk Volume 21 Number 3 Autumn 2014
    THE NEWSLETTER OF THE DUKE ELLINGTON SOCIETY UK VOLUME 21 NUMBER 3 AUTUMN 2014 Nil Significat Nisi PulsatuR DUKE ELLINGTON SOCIETY UK http://dukeellington.org.uk HONORARY MEMBERS OF DESUK DESUK COMMITTEE Art Baron Buster Cooper CHAIRMAN: Peter Caswell Tel:01942-671938 Email: [email protected] John Lamb VICE CHAIRMAN: Geoff Smith Tel:01483-769051 Email: [email protected] Vincent Prudente Monsignor John Sanders SECRETARY: Catherine Coates Tel: 0114-2348927 Email: [email protected] Joe Temperley Clark Terry TREASURER: Victor Lawrance Tel 0208 368 2133 Email: [email protected] HONORARY MEMBERS SADLY NO MEMBERSHIP SECRETARY: Vacant LONGER WITH US PUBLICITY: Chris Addison Tel:01642-274740 Email: [email protected] Bill Berry (13 October 2002) Harold Ashby (13 June 2003) MEETINGS: Antony Pepper Tel: 01342-314053 Email: [email protected] Jimmy Woode (23 April 2005) Humphrey Lyttelton (25 April 2008) COMMITTEE MEMBERS: Ian Bradley, Quentin Bryar, Frank Harvey, Phil Mead Louie Bellson (14 February 2009) Joya Sherrill (28 June 2010) Alice Babs (11 February, 2014) Herb Jeffries (25 May 2014) Derek Else (16 July 2014) SOCIETY NOTICES DESUK London Social Meetings: Membership of Duke Ellington Civil Service Club, 13-15 Great Scotland Yard, London SW1; off Whitehall, Society UK costs £20 per year. nd Members receive quarterly a Trafalgar Square end. 2 Saturdays of the month, 2pm. copy of the Society’s journal Tel.: 01342 314053; email: [email protected] Blue Light. Manchester Jazz Society: Payment may be made by: Meets Thursdays 7:45 pm for 8:00 pm at the Unicorn, Church Street, off Oldham Cheque, payable to DESUK Street, M4 1PW drawn on a Sterling bank Contact: Eddie Little: 0161 881 3995 account and sent to The Email: [email protected] Treasurer, 38 Thurlestone Avenue, London, N12 0LP, UK Sheffield Jazz Society: Standing Order or Bank Meets fortnightly at 1.45 pm on Mondays at Meersbrook Park United Reformed Transfer to DESUK at Church, Chesterfield Road/Beeton Road corner Santander Sort Code 09-01-55 Account number 15478709 Contact.
    [Show full text]
  • Billie Holiday: a Biography
    Billie Holiday: A Biography Meg Greene Greenwood Press BILLIE HOLIDAY Recent Titles in Greenwood Biographies Jane Goodall: A Biography Meg Greene The Leakeys: A Biography Mary Bowman-Kruhm Arthur Ashe: A Biography Richard Steins Cesar Chavez: A Biography Roger Bruns F. Scott Fitzgerald: A Biography Edward J. Rielly Saddam Hussein: A Biography Shiva Balaghi Tiger Woods: A Biography Lawrence J. Londino Mohandas K. Gandhi: A Biography Patricia Cronin Marcello Muhammad Ali: A Biography Anthony O. Edmonds Martin Luther King, Jr.: A Biography Roger Bruns Wilma Rudolph: A Biography Maureen M. Smith Condoleezza Rice: A Biography Jacqueline Edmondson Arnold Schwarzenegger: A Biography Louise Krasniewicz and Michael Blitz BILLIE HOLIDAY A Biography By Meg Greene GREENWOOD BIOGRAPHIES GREENWOOD PRESS WESTPORT, CONNECTICUT • LONDON Library of Congress Cataloging-in-Publication Data Greene, Meg. Billie Holiday: a biography / By Meg Greene. p. cm. —(Greenwood biographies) Includes bibliographical references and index. ISBN 0–313–33629–6 (alk. paper) 1. Holiday, Billie, 1915–1959. 2. Singers—United States—Biography. I. Title. ML420.H58G68 2007 782.42165092—dc22 [B] 2006025382 British Library Cataloguing in Publication Data is available. Copyright © 2007 by Meg Greene All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2006025382 ISBN 13: 978–0–313–33629–4 ISBN 10: 0–313–33629–6 ISSN: 1540–1900 First published in 2007 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984).
    [Show full text]
  • The Best-Sounding Jazz Lps
    TAS journal The Best-Sounding Jazz LPs Fred Kaplan wenty years into the CD revolution, we find ourselves—at least those Pops and his sextet of Basie’s touch—the among us with a passion for such things—in the midst of an LP renais- blazing through the full percussive snap and sance. Thanks to Classic Records, Analogue Productions, Speakers likes of “St. James harmonic bloom; the sax Corner, and a few other audiophile labels, golden-age jazz albums are Infirmary,” “Frankie & section swoons; the T being reissued on gloriously thick slabs of virgin vinyl. Meanwhile, due Johnny,” and “Jelly horns scream; the to sonic improvements in digital reproduction, prices for original vinyl pressings are Roll Blues” picked up dynamics whisper and plunging. The time seems ripe, then, for a list of the best-sounding jazz LPs. by Telefunken micro- swell. (There’s also a very I stress the phrase “best-sounding.” To make the list, an album must bear phones arrayed in an good digital disc from music that’s at least very good (no Finnish Dixieland here). But the premium is M-S pattern. Satch’s JVC’s XRCD series.) on sonics, and all the choices meet demanding audiophile standards (hence, no brass-blare trumpet, Charlie Parker either). I should also make clear—as Wayne Garcia and Bob Peanuts Hucko’s Bill Berry: For Duke Gendron did a few issues back in their similar “Great and Great-Sounding Rock licorice clarinet, and [M&K RealTime RT-101 LPs” piece—that this is not meant as a comprehensive catalog.
    [Show full text]
  • Johnny Hodges – the Composer -.:: GEOCITIES.Ws
    Johnny Hodges – The Composer Compilation by Sven Eriksson Last updated 8May08 Introduction This catalogue was created to bring to light the creative powers of Johnny Hodges as a composer. In a condensed form you will find the melodies credited solely to him and tunes where he is credited as co-composer. The titles are as registered by ASCAP, the US Copyright Office, or the Smithsonian Institute, or as shown on record labels. They are in alphabetical order, with alternative title or spelling, if any. This is not a discography, so only a few examples of recordings are presented. The catalogue numbers used by The New Desor leads you to details for those recordings where Duke Ellington is present in the session. To find out when a tune was created, it is better to look for first recording date instead of registration date – several years may have passed before registration is made. Abbreviations are used in order to save space, in the hope that the short forms are understood. Months are typed in lower-case for visual clarity. For some tunes, no commercial recording has been found. Any comments or help from readers would be appreciated – please e-mail Sven Eriksson at [email protected]. 25 July 1907 – 11 May 1970 Title Composer Records: / Alternative title JH = The New Desor first entry (DExxxx) (spelling variations occur) Johnny Hodges Examples of other recordings: Issue, session date, DE = location. Personnel. Duke Ellington Abbreviations used for sets a. = listed (RCA24CD) = The Duke Ellington Centennial Edition. ASCAP The complete RCA Victor recordings 0926-63386-2.
    [Show full text]