Guide to the International Sweethearts of Rhythm Collection
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The History of Women in Jazz in Britain
The history of jazz in Britain has been scrutinised in notable publications including Parsonage (2005) The Evolution of Jazz in Britain, 1880-1935 , McKay (2005) Circular Breathing: The Cultural Politics of Jazz in Britain , Simons (2006) Black British Swing and Moore (forthcoming 2007) Inside British Jazz . This body of literature provides a useful basis for specific consideration of the role of women in British jazz. This area is almost completely unresearched but notable exceptions to this trend include Jen Wilson’s work (in her dissertation entitled Syncopated Ladies: British Jazzwomen 1880-1995 and their Influence on Popular Culture ) and George McKay’s chapter ‘From “Male Music” to Feminist Improvising’ in Circular Breathing . Therefore, this chapter will provide a necessarily selective overview of British women in jazz, and offer some limited exploration of the critical issues raised. It is hoped that this will provide a stimulus for more detailed research in the future. Any consideration of this topic must necessarily foreground Ivy Benson 1, who played a fundamental role in encouraging and inspiring female jazz musicians in Britain through her various ‘all-girl’ bands. Benson was born in Yorkshire in 1913 and learned the piano from the age of five. She was something of a child prodigy, performing on Children’s Hour for the British Broadcasting Corporation (BBC) at the age of nine. She also appeared under the name of ‘Baby Benson’ at Working Men’s Clubs (private social clubs founded in the nineteenth century in industrial areas of Great Britain, particularly in the North, with the aim of providing recreation and education for working class men and their families). -
The Influence of Female Jazz Musicians on Music and Society Female Musicians Tend to Go Unrecognized for Their Contributions to Music
Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2016 yS mposium Apr 20th, 3:00 PM - 3:20 PM Swing It Sister: The nflueI nce of Female Jazz Musicians on Music and Society Kirsten Saur Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Musicology Commons, Music Performance Commons, and the Women's Studies Commons Saur, Kirsten, "Swing It Sister: The nflueI nce of Female Jazz Musicians on Music and Society" (2016). The Research and Scholarship Symposium. 15. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2016/podium_presentations/15 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Kirsten Saur, 1 Kirsten Saur Swing It, Sister: The Influence of Female Jazz Musicians on Music and Society Female musicians tend to go unrecognized for their contributions to music. Though this has changed in recent years, the women of the past did not get the fame they deserved until after their deaths. Women have even tried to perform as professional musicians since ancient Greek times. But even then, the recognition did not go far. They were performers but were not seen as influences on music or social standings like male composers and performers were. They were not remembered like male performers and composers until past their time, and the lives of these women are not studied as possible influences in music until far past their times as well. -
Alumnews2007
C o l l e g e o f L e t t e r s & S c i e n c e U n i v e r s i t y D EPARTMENT o f o f C a l i f o r n i a B e r k e l e y MUSIC IN THIS ISSUE Alumni Newsletter S e p t e m b e r 2 0 0 7 1–2 Special Occasions Special Occasions CELEBRATIONS 2–4 Events, Visitors, Alumni n November 8, 2006, the department honored emeritus professor Andrew Imbrie in the year of his 85th birthday 4 Faculty Awards Owith a noon concert in Hertz Hall. Alumna Rae Imamura and world-famous Japanese pianist Aki Takahashi performed pieces by Imbrie, including the world premiere of a solo piano piece that 5–6 Faculty Update he wrote for his son, as well as compositions by former Imbrie Aki Takahashi performss in Hertz Hall student, alumna Hi Kyung Kim (professor of music at UC Santa to honor Andrew Imbrie. 7 Striggio Mass of 1567 Cruz), and composers Toru Takemitsu and Michio Mamiya, with whom Imbrie connected in “his Japan years.” The concert was followed by a lunch in Imbrie’s honor in Hertz Hall’s Green Room. 7–8 Retirements Andrew Imbrie was a distinguished and award-winning member of the Berkeley faculty from 1949 until his retirement in 1991. His works include five string quartets, three symphonies, numerous concerti, many works for chamber ensembles, solo instruments, piano, and chorus. His opera Angle of 8–9 In Memoriam Repose, based on Wallace Stegner’s book, was premeiered by the San Francisco Opera in 1976. -
Rhythm & Blues Rhythm & Blues S E U L B & M H T Y
64 RHYTHM & BLUES RHYTHM & BLUES ARTHUR ALEXANDER JESSE BELVIN THE MONU MENT YEARS CD CHD 805 € 17.75 GUESS WHO? THE RCA VICTOR (Baby) For You- The Other Woman (In My Life)- Stay By Me- Me And RECORD INGS (2-CD) CD CH2 1020 € 23.25 Mine- Show Me The Road- Turn Around (And Try Me)- Baby This CD-1:- Secret Love- Love Is Here To Stay- Ol’Man River- Now You Baby That- Baby I Love You- In My Sorrow- I Want To Marry You- In Know- Zing! Went The My Baby’s Eyes- Love’s Where Life Begins- Miles And Miles From Strings Of My Heart- Home- You Don’t Love Me (You Don’t Care)- I Need You Baby- Guess Who- Witch craft- We’re Gonna Hate Ourselves In The Morn ing- Spanish Harlem- My Funny Valen tine- Concerte Jungle- Talk ing Care Of A Woman- Set Me Free- Bye Bye Funny- Take Me Back To Love- Another Time, Another Place- Cry Like A Baby- Glory Road- The Island- (I’m Afraid) The Call Me Honey- The Migrant- Lover Please- In The Middle Of It All Masquer ade Is Over- · (1965-72 ‘Monument’) (77:39/28) In den Jahren 1965-72 Alright, Okay, You Win- entstandene Aufnahmen in seinem eigenwilligen Stil, einer Ever Since We Met- Pledg- Mischung aus Soul und Country Music / his songs were covered ing My Love- My Girl Is Just by the Stones and Beatles. Unique country-soul music. Enough Woman For Me- SIL AUSTIN Volare (Nel Blu Dipinto Di SWINGSATION CD 547 876 € 16.75 Blu)- Old MacDonald (The Dogwood Junc tion- Wildwood- Slow Walk- Pink Shade Of Blue- Charg ers)- Dandilyon Walkin’ And Talkin’- Fine (The Charg ers)- CD-2:- Brown Frame- Train Whis- Give Me Love- I’ll Never -
Big Ears: Listening for Gender in Jazz Studies*
Big Ears: Listening for Gender in Jazz Studies* By Sherrie Tucker His wife Lil often played piano. Ken Burns's Jazz, on Lil Hardin Armstrong. are they his third or fourth wives, or two new members of the brass section?" Cartoon caption, Down Beat, August 15, 1943. My ears were like antennae and my brain was like a sponge. Clora Bryant, trumpet player, on her first encounters with bebop. Injazz, the term "big ears" refers to the ability to hear and make mean ing out of complex music. One needs "big ears" to make sense of impro visatory negotiations of tricky changes and multiple simultaneous lines and rhythms. "Big ears" are needed to hear dissonances and silences. They are needed to follow nuanced conversations between soloists; between soloists and rhythm sections; between music and other social realms; be tween multiply situated performers and audiences and institutions; and between the jazz at hand and jazz in history. If jazz was just about hitting the right notes, surviving the chord changes, and letting out the stops,jazz scholars, listeners, and even musicians would not need "big ears." Yet, jazz historiography has historically suffered from a reliance on pre dictable riffs. Great-man epics, sudden genre changes timed by decade, and colorful anecdotes about eccentric individuals mark the comfortable beats. Jazz-quite undeservedly, and all too often-has been subjected to easy listening histories. The familiar construction of jazz history as a logi cal sequence in which one style folds into another, one eccentric genius passes the torch to the next-what Scott DeVeaux (1991) calls "the jazz tradition"-has dominated popular and critical writing about jazz, even the ways our "Survey of Jazz" classes are taught in universities. -
Syllabus, Mujz 100 Spring 2013
MUJZ 100 1 MUJZ 100xm, Jazz: A History of America’s Music Professor Thomas and teaching assistant Gary Wicks Course Description and Objectives: This course will provide a diverse perspective on the evolution of contemporary culture in America by bringing a new awareness on racial prejudices, women’s issues, myths and stereotypes. The content of the text and videos is filled with both historical facts on jazz, as well as the social context during the lives of significant jazz artists. Through African American artists we will witness the racial conditions of the Northern and Southern United States from the turn of the 20th century until the present, and will see that the acceptance of the African American Jazz musician influenced the breakdown of racial walls in society. We will also follow the careers of female musicians who played instruments traditionally dominated by men, ie.: trumpet, trombone, drums, bass and saxophone, particularly during and after World War II. Fulfilling the Diversity Requirement: This course fulfills the Diversity Requirements by focusing on two different forms of difference: race and to a lesser extent, gender. Students will learn about race and racism in several ways, including housing regulations, the racialized nature of the economy, and how institutional racism works, and the perils of women working in a traditionally all male jazz world, and how learning about and living in a diverse society can function as a form of enrichment. Diversity Concentration: The diversity dimensions for this course will be Race and Gender. Improvisation, the main ingredient of jazz, allows the performer to create in the moment, bringing about an exciting and unpredictable adventure for the performer and listener. -
Storyville Films 60003
Part 2 of a survey: Content of all Storyville Films DVD series Storyville Films 60003. “Harlem Roots, Vol. 1” - The Big Bands. Duke Ellington Orch. I Got It Bad And That Ain’t Good (2:54)/Bli Blip (2:50)/Flamingo (3:01)/Hot Chocolate (Cottontail) (3:06)/Jam Session (C Jam Blues) (2:50). Cab Calloway Orch.: Foo A Little Ballyhoo (2:48)/Walkin’ With My Honey (2:35)/Blow Top Blues (2:36)/I Was There When You Left Me (2:43)/We The Cats Shall Hep Ya (2:36)/Blues In The Night (3:12)/The Skunk Song (2:59)/Minnie The Moocher (3:01)/Virginia, Georgia And Caroline (2:57). Count Basie Orch.: Take Me Back Baby (2:39)/Air Mail Special (2:51). Lucky Millinder Orch.: Hello Bill (2:56)/I Want A Big Fat Mama (3:01)/Four Or Five Times (2:33)/Shout Sister, Shout 2:40). All are Soundies. DVD produced in 2004. TT: 0.57. Storyville Films 60013. “Harlem Roots, Vol. 2” - The Headliners. Fats Waller Rhythm: Honeysuckle Rose (2:52)/Your Feet’s Too Big /Ain’t Misbehavin’ (2:59)/The Joint Is Jumpin’ (2:46). Louis Armstrong Orch.: When It’s Sleepy Time Down South (3:07)/Shine (2:52)/I’ll Be Glad When You’re Dead You Rascal You (2:45)/Swinging On Nothing (2:53). Louis Jordan Tympany Five: Five Guys Named Mo (2:44)/Honey Chile (2:41)/GI Jive (2:36)/If You Can‘t Smile And Say Yes (2:45)/Fuzzy Wuzzy (2:49)/Tillie (2:26)/Caldonia (2:50)/Buzz Me (2:48)/Down, Down, Down (3:01)/Jumpin’ At The Jubilee (2:34). -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz. -
Finding Aid to the Historymakers ® Video Oral History with Helen Jones Woods
Finding Aid to The HistoryMakers ® Video Oral History with Helen Jones Woods Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Woods, Helen Jones, 1923- Title: The HistoryMakers® Video Oral History Interview with Helen Jones Woods, Dates: October 6, 2007 Bulk Dates: 2007 Physical 4 Betacame SP videocasettes (1:41:47). Description: Abstract: Trombonist Helen Jones Woods ( - ) was the original trombonist of The International Sweethearts of Rhythm. She was part of the first group of African American women to tour with the USO during World War II. Woods was interviewed by The HistoryMakers® on October 6, 2007, in Omaha, Nebraska. This collection is comprised of the original video footage of the interview. Identification: A2007_281 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Licensed practical nurse and trombonist Helen Elizabeth Jones Woods was born in 1923 in Meridian, Mississippi. Woods began her life in a Mississippi orphanage for white children. When it became obvious that she was not white, Woods was adopted by Professor Laurence Clifton Jones, the founder and director of Piney Woods Country Life School, and his wife. After the sudden death of Jones’ wife, Woods, at the age of four, became part of the general population of the school where she enjoyed music and special programs. Helen Keller, George Washington Carver and other luminaries visited the Piney Woods campus. Woods was a Carver and other luminaries visited the Piney Woods campus. Woods was a member of the school’s traveling and fundraising band, Cotton Blossom Singers, which was directed by Consuela Carter. -
Dr. Martin Luther King, Jr. Day Chapel
Taylor University Pillars at Taylor University Martin Luther King Jr. Day Campus Events 1-19-2009 Dr. Martin Luther King, Jr. Day Chapel Taylor University Follow this and additional works at: https://pillars.taylor.edu/mlk Part of the Higher Education Commons, Race and Ethnicity Commons, and the United States History Commons Recommended Citation Taylor University, "Dr. Martin Luther King, Jr. Day Chapel" (2009). Martin Luther King Jr. Day. 40. https://pillars.taylor.edu/mlk/40 This Brochure is brought to you for free and open access by the Campus Events at Pillars at Taylor University. It has been accepted for inclusion in Martin Luther King Jr. Day by an authorized administrator of Pillars at Taylor University. For more information, please contact [email protected]. Dr. Martin Luther King, !r. Day Ghapel January 19, 2009 - l0 a.m. Rediger Chapel Auditorium Prelude. ....1^o Combo Mr. Jeff Anderson, Director Sinqinq.o o . Uniry Mr. Celby Hadley'09, Song Leader Welcome. Dr. Eugene Habecker President Special Music. .Taylo{Indiana Wesley. Univ. Gospel Choirs Mr. Celby Hadley'09, Director Solo. Ms. Chestemique Rolle 'l I withJazz Combo Announcements. Ms. Marissa Rosado '11 Introduction... ....Mrs. FeliciaCase Graduate Student Address. Pastor Bryan Loritts Lead Pastor, Fellowship Bible Church, Memphis, TN Reminders Pastor Randall Gruendyke Campus Pastor Closi r..... .... Ms.ElizabethChans'11 KING DAY 2OO9 SCHEDULE Afternoon Workshops 1:30 and 3:00 P.lv{. - CONCURRENT SESSIONS o Ms. Michelle D. Deardo{f: BIac* Powt, Wltite Ptiuilege and trte Hope forReconciliation -Negotiating rte Bades (Smith-Hennanson Recital H"ll) r Dr. Steve Messer: Reconsdttction and rte Long Road to rte Election of2OO8 (Modelle Metcalf Visual Arm Center 005) o Mr. -
Nebraska Traditional Music and Dance Forms
Folk Arts • Traditional Arts • Folklife Curriculum Unit • Grades 6–8 nebraskafolklife.org A Sampling of Nebraska Traditional Music and Dance Forms African and African American Traditional Music and Dance African Music and Dance Nebraska has gained a substantial number of immigrants from several African countries in the past few years. Sizeable communities of Sudanese live in Omaha and Lincoln, for example. Below are just two examples of African music and dance forms present in the state. Charles Ahovissi of Lincoln, Nebraska is originally from Benin. He performs traditional African dances from his homeland Michael Opoku and Ashanti – Michael Opoku of Lincoln Nebraska is a native of Accra, Ghana in West Africa. He is a multi-instrumentalist and band leader and his group Ashanti plays both traditional Ghanaian music and more contemporary numbers. Ashanti also features traditional dances from Ghana and other areas of Africa. Michael is an artist in schools for the Nebraska Arts Council, and teaches classes on African drumming and cultural traditions. African American Blues The blues is a distinctive traditional style of music that uses “blue notes” (sung or played at a lower pitch than those of the major scale) to emphasize the sadness of its subject matter. The most classic form of the blues has three lines of lyrics and is and played with a 12 bar chord progression. Eight bar blues songs are also common. The blues was created by African American musicians in the rural south in the latter half of the 19 th century. Many of Nebraska’s African Americans moved to the state from southern states and larger northern cities such as Chicago and Kansas City to find jobs in meat packing and other industries between the turn of the 20 th century and the 1940s. -
Març 2021 - Número 4
BATECS Butlletí de notícies internes - març 2021 - Número 4 PRESENTACIÓ Arribar al Batecs n. 4, un més si comptem el número 0, és tota una fita i una mostra que la idea inicial es va consolidant i que el cor continua bategant amb força. De mica en mica, s’incorporen noves redactores i estrenem noves seccions. I encara tenim les portes obertes per a tothom que hi vulgui dir la seva. En aquest número podreu veure que la majoria de seccions recu- llen textos relacionats d’una manera o d’una altra amb la dona. No hauríem de celebrar el dia 8 de març com un fet extraordinari sinó que cadascun dels 365 dies de l’any hauria de ser el dia de la CONTINGUTS: dona i el de l’home; en resum, el de les persones. En aquesta oca- Portada/Presentació 1 sió, però, volem fer un homenatge especial a tantes dones obli- Notes breus 2 dades o poc valorades en el món de la música i de l’art en gene- Racó dels sentiments 3 ral. Música i músiques 4-5-6 Les dones i el jazz clàssic 7-8 També volem reconèixer públicament la gran tasca que estan Esdeveniments i notícies fent l’Elisenda i l’Eva al capdavant d’EL COR CANTA i lògicament culturals 9-10 també la d’en Jordi. I que el cor no existiria sense aquest més del Que passa pel mon? 10-11 65% de participants femenines. Fina Miralles 11 Relat 12-13 Contraportada 14 Gràcies a totes, les que van ser pioneres en el passat, les que avui continuen lluitant per fer un món més igualitari i a les que vin- dran, que esperem que trobin ja molt feina feta.