DOCSLIB.ORG

BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S IN THIS ISSUE: An interview with BILL TOLE BIG * k Reviews of BOOKS AND RECORDS to consider BAND ★ A SMALL GROUPS JUMP TRIVIA QUIZ NEWSLETTER ★ LETTERS TO THE EDITOR about PAT FRIDAY, LORRAINE ELLIOTT, VIBES, TURNTABLES, BALLROOMS & OTHERS BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE Atlanta, GA 30355 PAID Atlanta, GA Permit No. 2022 % \\ V % BIG BAND JIMP VOLUME LXXIV BIG BAND JUMP NEWSLETTER MAY-J UNE 2001 BILL TOLE INTERVIEW The Background For years we’ve seen the name Bill Tole listed as a member of the trombone section of various bands recorded on the west coast, then we became ac­ quainted with two CDs he had released with a solid band under his own name. Little by little, as information tends to accumulate, we discovered that Bill Tole is the brother of singer Nancy Knorr, who works with the Bill Tole as Bill Tole Jimmy Dorsey orchestra directed by Jim Miller. We also found out that Bill has a brother who is also a trombonist, and also works in the west coast studios. We got to know Bill Tole on a one-to-one basis when he led a Tommy Dorsey style orchestra on a spring BBJ cruise on the S.S. Rembrandt. We didn’t know until then that he’d portrayed Tommy Dorsey in a feature motion picture years earlier, assuming the Dorsey mannerisms, and of course playing the Dorsey music. He is a personable, easy-to-know musician who is fully dedicated to just that.... being the best musician he can be. Bill Tole as Tommy Dorsey Why, you might ask, would a relative unknown such as however. The following is the product of that race. Bill Tole be interviewed for the newsletter? The motion The Interview picture portrayal of Tommy Dorsey is one reason, but more than that, Bill Tole is a logical choice in the future In view of the fact that everyone in the Tole family to lead the official Tommy Dorsey Orchestra if a seems to be involved in music, there was a logical leadership change should occur. There are a couple of j umping offpoint: other Tommy Dorsey tie-ins, too. His sister, Nancy Knorr, owns the rights to the name Pied Pipers and also BBJ: Tell us about your family’s musical background. the rights to the name of the Tommy Dorsey small group, the Clambake Seven. There may just be a Big BT: There are four children in my family, I have two Band dynasty forming! sisters and a brother, and we’re all involved in music. Actually, Mom is a piano player and a vocalist The Scene who sang with master chorales around Western Penn­ sylvania, and played piano. My Dad is a piano player and The interview was conducted in an upper deck cabin on a trombone player and taught school for many years and the ship, and there was a friendly race up the staircase has played professionally all his life; still is playing to see whether Bill Tole or Don Kennedy would reach professionally at the age of 85. I’m the oldest child and the cabin deck first. Bill Tole won with no apparent they tried to get me to play piano, but I never had any effort, but Kennedy wasn’t far behind, breathing heavily, interest in piano. A brass instrument was my love, so VOLUME LXXIV BIG BAND JUMP NEWSLETTER MAY-JUNE 2001 I’ve been playing trombone since I was about 11 or 12 Air Force I moved to New York City, and worked in the years old. My sister is a vocalist named Nancy Knorr studios there for several years. At a point in the mid­ and travels with the Jimmy Dorsey Orchestra with Jim fifties a lot of the work seemed to be going to the west Miller and also is the lead singer and featured vocalist coast. I was working with Billy Byers and Quincy with the Pied Pipers. My younger brother is also a Jones, and quite a few of the composers in New York trombone player and has hisownband in the Los Angeles who were doing a lot of their work in California. They area. We both live out on the west coast and work in the encouraged me to move in July of ’57 and I’ve been in studios. My youngest sister is not interested in playing an Los Angeles ever since. instrument, but she’s probably our biggest fan. BBJ: Are you staying busy? B B J : How old were you when you decided to make music your life’s work? B T : Oh, yeah. The studio work isn’t what it was. In the ’60s and ’70s it was really swinging.... a BT: Right away. By the time I got into high school lot of TV, a lot of movie work, a lot of recordings. It’s I knew what I wanted to do for the rest of my changed somewhat, but I’m doing other things. I’m life. My Dad had played a job in Wisconsin for the probably busier now than I was then just doing a variety whole summer with the Bob Rhodes Band, and the of things. I’m fronting my own band, I tour in Australia band featured two pianists and Dad was one of the and New Zealand every year fronting a band and I teach piano players.... but only one trombone, and evidently private students several days a week, so I really don’t the trombone player became ill and had to leave the have any days off. I’m finding there’s something to do engagement early, so Dad finished the job on trombone. every day. I’m either busier than I ever was, or now that When he came back at the end of the summer the I’m a little older I do everything slower and it just takes trombone went into the closet and Dad went back to more time! teaching school. I guess I found the trombone in the closet and started playing it, and they right away sent B B J: You played Tommy Dorsey in the movies. me to take private lessons. B T : Right. About 1975 or ’761 got a call from my We always had records playing in the house, especially friend Orrin Tucker who told me they were Tommy Dorsey records and I think right from the very looking for someone to play the role of Tommy Dorsey beginning I fell in love with trombone and knew from in the motion picture NEW YORK, NEW YORK, and that point on what I wanted to do for the rest of my life, he suggested I should go down and take a screen test. and I’ve been trying to do that ever since! (Laughs) That would be something I never tried before. I never did want to become an actor, but I thought it might be fun B B J : You played for the Pittsburgh symphony. to try. He suggested I look for some glasses and try to look like Tommy Dorsey, which he thought I did. At the BT: I did a few engagements with them. At the time I didn’t think so at all. When I took the screen test time I didn’t perform the symphonic works. on video tape, I got the part, and it surprised me. When they did a light pops orchestra or when they featured a jazz group, I was in the jazz portion. I thought I’d take a shot at it. I explained to Martin Scorcese, the director of the show, that I had a band the BBJ: What took you to the west coast? same size as Tommy Dorsey’s that worked around Los Angeles and we did a lot of Dorsey-type songs. I asked BT: After four years of school I left Duquesne if he’d be interested in hiring the whole band. He said University, went on the road with the Tommy that would probably be a good idea, but the only thing that Dorsey Orchestra directed by Warren Covington and we require is that I have somebody that looked like toured with them for about fifteen or sixteen months, Buddy Rich, someone like Charlie Shavers and some­ ended up in the Airmen of Note Jazz Band in Washing­ one to look like Buddy DeFranco. That was the era of ton, D.C. with the Air Force, and after four years in the the Tommy Dorsey band they wanted to portray. As it 2 VOLUME LXXIV BIG BAND JUMP NEWSLETTER MAY-JUNE 2001 turned out they didn ’ t want a Buddy Rich look alike, and all the particulars they wanted didn ’ t really materialize, LETTERS TO THE EDITOR so I ended up having most of my band do it. Letters to BIG BAND JUMP or the BBJ NEWS­ B B J: Is the movie available on VCR? LETTER may be sent to the address below, or e­ mailed to: [email protected]. All letters BT: Yes, it is. are answered, but the volume of mail sometimes delays a timely response. B B J: What’s in the future for you? BBJ NEWSLETTER B T : Well, I’m gonna’ keep doing this until I get it Box 52252 right, I guess. I’m still fronting the band and Atlanta, GA 30355 doing a lot of work in and out of the L.A. area. I’m just going to keep active. I’ve got two CDs with my band, The published letters have been edited for space ON THE MOVE and BIG BAND MEMORIES, and considerations, but the meaning has been preserved.
Load more

Recommended publications
  • NSBA Convention Performances.Xlsx
    NSBA Performances 1 Title Composer/ Arranger Publisher Grade Performing Group Director(s) Year Russian Christmas Music Alfred Reed, arr. James Curnow Hal Leonard 3.5 Ashland-Greenwood Senior High Band Jonathan Jaworski 2015 December Sky Erik Morales FJH Music 1.5 Ashland-Greenwood Senior High Band Jonathan Jaworski 2015 But for the Love of Ireland James Swearingen C.L. Barnhouse Company 3 Ashland-Greenwood Senior High Band Jonathan Jaworski 2015 Burma Patrol Karl King, ed. James Swearingen C.L. Barnhouse Company 3 Ashland-Greenwood Senior High Band Jonathan Jaworski 2015 Torrents of Fire Larry Neeck C.L. Barnhouse Company 3 Ashland-Greenwood Senior High Band Jonathan Jaworski 2015 Pandora Randall Strandridge Grand Mesa Music 2 Ashland-Greenwood Senior High Band Jonathan Jaworski 2015 An Irish Jig for Young Feet Travis J. Weller FJH Music 2 Ashland-Greenwood Senior High Band Jonathan Jaworski 2015 Girl from Ipanema Antonio Carlos Jobim/arr. Roger Holmes Hal Leonard Kearney High School Jazz Ensemble Nathan LeFeber 2015 Old Black Magic Arlene and Mercer/arr. Jerry Dotson Unpublished Kearney High School Jazz Ensemble Nathan LeFeber 2015 Pick up the Pieces arr. Victor Lopez Alfred Music Kearney High School Jazz Ensemble Nathan LeFeber 2015 Misty Burke and Garner/arr. Mike Lewis Alfred Music Kearney High School Jazz Ensemble Nathan LeFeber 2015 Blue Hue Dominic Spera C.L. Barnhouse Company Kearney High School Jazz Ensemble Nathan LeFeber 2015 Everlasting Gordon Goodwin Belwin Kearney High School Jazz Ensemble Nathan LeFeber 2015 Bottom Line Blues Jon Phelps Kendor Music Publications Kearney High School Jazz Ensemble Nathan LeFeber 2015 All of Me Marks and Simon/arr.
    [Show full text]
  • The Twenty Greatest Music Concerts I've Ever Seen
    THE TWENTY GREATEST MUSIC CONCERTS I'VE EVER SEEN Whew, I'm done. Let me remind everyone how this worked. I would go through my Ipod in that weird Ipod alphabetical order and when I would come upon an artist that I have seen live, I would replay that concert in my head. (BTW, since this segment started I no longer even have an ipod. All my music is on my laptop and phone now.) The number you see at the end of the concert description is the number of times I have seen that artist live. If it was multiple times, I would do my best to describe the one concert that I considered to be their best. If no number appears, it means I only saw that artist once. Mind you, I have seen many artists live that I do not have a song by on my Ipod. That artist is not represented here. So although the final number of concerts I have seen came to 828 concerts (wow, 828!), the number is actually higher. And there are "bar" bands and artists (like LeCompt and Sam Butera, for example) where I have seen them perform hundreds of sets, but I counted those as "one," although I have seen Lecompt in "concert" also. Any show you see with the four stars (****) means they came damn close to being one of the Top Twenty, but they fell just short. So here's the Twenty. Enjoy and thanks so much for all of your input. And don't sue me if I have a date wrong here and there.
    [Show full text]
  • Wavelength (November 1984)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 11-1984 Wavelength (November 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (November 1984) 49 https://scholarworks.uno.edu/wavelength/49 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. I I ~N0 . 49 n N<MMBER · 1984 ...) ;.~ ·........ , 'I ~- . '· .... ,, . ----' . ~ ~'.J ··~... ..... 1be First Song • t "•·..· ofRock W, Roll • The Singer .: ~~-4 • The Songwriter The Band ,. · ... r tucp c .once,.ts PROUDLY PR·ESENTS ••••••••• • • • • • • • •• • • • • • • • • • • • • • • ••••••••• • • • • • • • •• • • • • • • • • • • • • • •• • • • • • • • • • • • ••••••••••• • •• • • • • • • • ••• •• • • • • • •• •• • •• • • • •• ••• •• • • •• •••• ••• •• ••••••••••• •••••••••••• • • • •••• • ••••••••••••••• • • • • • ••• • •••••••••••••••• •••••• •••••••• •••••• •• ••••••••••••••• •••••••• •••• .• .••••••••••••••••••:·.···············•·····•••·• ·!'··············:·••• •••••••••••• • • • • • • • ...........• • ••••••••••••• .....•••••••••••••••·.········:· • ·.·········· .....·.·········· ..............••••••••••••••••·.·········· ............ '!.·······•.:..• ... :-=~=···· ····:·:·• • •• • •• • • • •• • • • • • •••••• • • • •• •
    [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]
  • Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JON HENDRICKS NEA Jazz Master (1993) Interviewee: Jon Hendricks (September 16, 1921 - ) and, on August 18, his wife Judith Interviewer: James Zimmerman with recording engineer Ken Kimery Date: August 17-18, 1995 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 95 pp. Zimmerman: Today is August 17th. We’re in Washington, D.C., at the National Portrait Galley. Today we’re interviewing Mr. Jon Hendricks, composer, lyricist, playwright, singer: the poet laureate of jazz. Jon. Hendricks: Yes. Zimmerman: Would you give us your full name, the birth place, and share with us your familial history. Hendricks: My name is John – J-o-h-n – Carl Hendricks. I was born September 16th, 1921, in Newark, Ohio, the ninth child and the seventh son of Reverend and Mrs. Willie Hendricks. My father was a minister in the African Methodist Episcopal Church, the AME Church. Zimmerman: Who were your brothers and sisters? Hendricks: My brothers and sisters chronologically: Norman Stanley was the oldest. We call him Stanley. William Brooks, WB, was next. My sister, the oldest girl, Florence Hendricks – Florence Missouri Hendricks – whom we called Zuttie, for reasons I never For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 really found out – was next. Then Charles Lancel Hendricks, who is surviving, came next. Stuart Devon Hendricks was next. Then my second sister, Vivian Christina Hendricks, was next. Then Edward Alan Hendricks came next.
    [Show full text]
  • What We've Made of Louis Prima John J
    Marquette University e-Publications@Marquette College of Communication Faculty Research and Communication, College of Publications 1-1-2005 Taming the Wildest: What We've Made of Louis Prima John J. Pauly Marquette University, [email protected] Published version. "Taming the Wildest: What We've Made of Louis Prima," in Afterlife as Afterimage: Understanding Posthumous Fame. Eds. Steve Jones and Joli Jensen. New York: Peter Lang International Academic Publishers, 2005: 191-208. Publisher Link. © 2005 Peter Lang International Academic Publishers. Used with permission. chapter 1 O Taming the Wildest What We've Made of Louis Prima jOHN j. PAULY For over forty years, Louis Prima had survived one change after another in the pop~ ular music business. He was, in succession, a trumpet section player in his home~ town ofNew Orleans, the front man for a popular New York City jazz quintet, and the leader of a touring big band. In the 1950s, with his career flagging, he reinvent~ ed himself as a spectacular Las Vegas lounge act, then nudged his career through the 1960s with help from his old friend, Walt Disney. He explored many forms of popular music along the way, but aspired only, in his own words, to "play pretty for the people." The same man who wrote the jazz classic "Sing, Sing, Sing," would also record easy listening instrumental music, Disney movie soundtracks, and ltalian~American novelty songs. In all these reincamations, he performed with an exuberance that inspired his Vegas nickname, "the wildest." Prima's career would end in deafening silence, however. He spent the last thirty~five months of his life in a coma, following a 197 5 operation in which doctors partially removed a benign tumor from his brain stem.
    [Show full text]
  • Wallace Roney Joe Fiedler Christopher
    feBrUARY 2019—ISSUe 202 YOUr FREE GUide TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BILLY HART ENCHANCING wallace joe christopher eddie roney fiedler hollyday costa Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East feBrUARY 2019—ISSUe 202 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 new york@niGht 4 Laurence Donohue-Greene: interview : wallace roney 6 by anders griffen [email protected] Andrey Henkin: artist featUre : joe fiedler 7 by steven loewy [email protected] General Inquiries: on the cover : Billy hart 8 by jim motavalli [email protected] Advertising: encore : christopher hollyday 10 by robert bush [email protected] Calendar: lest we forGet : eddie costa 10 by mark keresman [email protected] VOXNews: LAbel spotliGht : astral spirits 11 by george grella [email protected] VOXNEWS by suzanne lorge 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 oBitUaries 12 by andrey henkin money order to the address above or email [email protected] FESTIVAL REPORT 13 Staff Writers Duck Baker, Stuart Broomer, Robert Bush, Kevin Canfield, CD reviews 14 Marco Cangiano, Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Miscellany Tom Greenland, George Grella, 31 Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, event calendar Matthew Kassel, Mark Keresman, 32 Marilyn Lester, Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Contributing Writers Brian Charette, Steven Loewy, As unpredictable as the flow of a jazz improvisation is the path that musicians ‘take’ (the verb Francesco Martinelli, Annie Murnighan, implies agency, which is sometimes not the case) during the course of a career.
    [Show full text]
  • Blues in the Blood a M U E S L B M L E O O R D
    March 2011 | No. 107 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com J blues in the blood a m u e s l b m l e o o r d Johnny Mandel • Elliott Sharp • CAP Records • Event Calendar In his play Romeo and Juliet, William Shakespeare wrote, “A rose by any other name would smell as sweet.” It is a lovely sentiment but one with which we agree only partially. So with that introduction, we are pleased to announce that as of this issue, the gazette formerly known as AllAboutJazz-New York will now be called The New York City Jazz Record. It is a change that comes on the heels of our separation New York@Night last summer from the AllAboutJazz.com website. To emphasize that split, we felt 4 it was time to come out, as it were, with our own unique identity. So in that sense, a name is very important. But, echoing Shakespeare’s idea, the change in name Interview: Johnny Mandel will have no impact whatsoever on our continuing mission to explore new worlds 6 by Marcia Hillman and new civilizations...oh wait, wrong mission...to support the New York City and international jazz communities. If anything, the new name will afford us new Artist Feature: Elliott Sharp opportunities to accomplish that goal, whether it be in print or in a soon-to-be- 7 by Martin Longley expanded online presence. We are very excited for our next chapter and appreciate your continued interest and support. On The Cover: James Blood Ulmer But back to the business of jazz.
    [Show full text]
  • Title Arranger / Composer Arranger / Composer
    Title Arranger / Composer Arranger / Composer (Back Home Again In) Indiana FULL Big Band Barduhn+ (I Got You) Under My Skin FULL Big Band Vocal (I Love You) For Sentimental Reasons FULL Big Band Osser (Shes) Sexy + 17 FULL Big Band Lowden Stray Cats (Up A) Lazy River FULL Big Band Sy Zentner (Up A) Lazy River FULL Big Band (Vocal) Wess Bobby Darin 1237 On A Saturday Afternoon FULL Big Band Persons 2 At A Time FULL Big Band Persons 2 Bone BBQ FULL Big Band Cobine 20 Nickles FULL Big Band Beach 21st Century Schizoid Man FULL Big Band 23 Chuckles FULL Big Band Paul Clark 23 Red FULL Big Band Bill Chase Woody Herman Orchestra 23o N 82oW Full Big Band 25 Or 6 To 4 FULL Big Band Blair Chicago+ 25 Or 6 To 4 FULL Big Band Lamm Chicago 42nd Street Medley FULL Big Band Lowden 5 Foot 2 FULL Big Band (Trombone Feature) Amy 50's Medley FULL Big Band Unk 61st & Rich' It FULL Big Band Thad Jones+ 7 Come 11 FULL Big Band Henderson Benny Goodman 720 In The Books FULL Big Band Wolpe 720 In The Books FULL Big Band (Vocal) Mason 88 Basie Street Sammy Nestico 88 Basie Street Full Big Band Nestico 920 Special FULL Big Band Bunton 920 Special FULL Big Band Collins Count Basie+ 920 Special FULL Big Band Murphy A That's Freedom FULL Big Band Thad Jones A Beautiful Friendship FULL Big Band Nestico A Big Band Christmas FULL Big Band Strommen A Big Band Christmas II FULL Big Band Strommen A Brazilian Affair FULL Big Band Mintzer A Change Of Pace FULL Big Band Unk A Child Is Born FULL Big Band Thad Jones A Childrens Song FULL Big Band Mintzer A Cool Shade Of Blue
    [Show full text]
  • 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
    [Show full text]
  • The Two Louis-Es: "Pops" and "The Wildest" - Popmatters
    The Two Louis-es: "Pops" and "The Wildest" - PopMatters // EVENTS The Two Louis: "Pops" and "The Wildest" 20 Aug 2019 BY GEORGE DE STEFANO // Like 5 Twitter Image by WikiImages from Pixabay New Orleans' two great Louis, Armstrong and Prima, were formed by their hometown and its culture; though both left the city, it never left them or their music. They were both artists and entertainers, gifted musicians, and unabashed crowd-pleasers. https://www.popmatters.com/pops-and-the-wildest-2639825643.html?rebelltitem=9#rebelltitem9[8/20/2019 11:18:32 AM] The Two Louis-es: "Pops" and "The Wildest" - PopMatters "Pops is in the house!" exclaimed Shannon Powell during his evening set at Satchmo Summerfest. Powell, one of New Orleans' most prominent drummers, played perhaps the most Satchmo-esque set at the three-day festival (August 2-4), he and his band performing only material that Louis Armstrong recorded during his five-decade career. You couldn't question the veracity of Powell's shout-out to the Crescent City's most famous native son. Louis "Pops" Armstrong was everywhere, on the festival banners, as a statue on the grounds of the New Orleans Jazz Museum, where the event was held, and in the music played by Powell and the other acts that performed on the festival's two outdoor stages. Satchmo Summerfest 2019 presented 37 musical acts comprising more than 100 musicians playing New Orleans classic and contemporary jazz, including brass bands, a venerable New Orleans tradition. Rhythm and blues and funk were in the mix, but no hip-hop or bounce.
    [Show full text]
  • May 2008AAJ-NY.Qxd
    NEW YORK May 2008 | No. 73 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com AHMAD JAMAL IT'S MAGIC Vince Giordano • George Garzone • Les Disques Victo • Dizzy’s Club • Event Calendar NEW YORK May is significant in the history of Miles Davis. Not only is the 26th the late trumpeter’s birthday but many of his most enduring works were New York@Night recorded during this month, including the Charlie Parker All-Stars (1948); the 4 Miles Davis-Tadd Dameron Quintet’s run in Paris (1949), most of the Workin’, Steamin’ and Relaxin’ triumvirate by the quintet with John Coltrane (1956), Miles Interview: Vince Giordano Ahead and At Carnegie Hall, both with the Gil Evans Orchestra (1957 and 1961 6 by Michael Hittman respectively); and the bulk of Miles in the Sky (1968). Now in May 2008, another chapter to the Miles Legacy will be written with an ambitious concert at Town Artist Feature: George Garzone Hall May 9th, “Miles From India”. A companion concert to a just-released album 7 by Matthew Miller of the same name, the concert brings together musicians who played with the legend throughout his career as well as a number of classical Indian musicians for Label Spotlight: Les Disques Victo what is billed as a “cross-cultural summit meeting”. Our Encore this month, 8 by Kurt Gottschalk guitarist Pete Cosey, is participating in what is sure to be a monumental event. But, as is typical for New York, the happenings don’t stop happening there. Club Profile: Dizzy’s Club Pianist Ahmad Jamal (Cover) brings his trio to Blue Note in a pre-release by Laurel Gross celebration of his first new album in three years, It’s Magic (Birdology-Dreyfus), due out in June.
    [Show full text]