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Seeing (For) Miles: Jazz, Race, and Objects of Performance
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College -
Finding Aid for the Sheldon Harris Collection (MUM00682)
University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr. -
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
Red Hot Songs
Red Hot Songs 1 2 4 5 A B C D E F G H I J K L M N O P Q R S T U V W Y Z Red Hot Songs - ['] Song Title Artist/Group or Commentary 'Lasses Candy Original Dixieland Jass Band 'Round My Heart Coon Sanders Nighthawks Orchestra 'S Wonderful 'Tain't Clean Boyd Senter Trio http://cij-assoc.com/jazzpages/alphasonglist.html [2003-02-19 00:49:52] The Red Hot Jazz Archive - Songs Red Hot Songs - [1] Song Title Artist/Group or Commentary 1-2-1944 (intro, song - "Valencia") 12-24-1944 (intro, Bing, Pops & The King's Men) 12-28-1938 (intro) 12th Street Blues Anthony Parenti's Famous Melody Boys 12th Street Blues Anthony Parenti's Famous Melody Boys 12th Street Rag Richard M. Jones 18th Street Stomp Fats Waller 18th Street Strut The Five Musical Blackbirds 18th Street Strut The Bennie Moten's Kansas City Orchestra http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/1.html (1 of 2) [2003-02-19 00:50:48] The Red Hot Jazz Archive - Songs 1919 Rag Kid Ory's Creole Orchestra 1943 (Gracie's "Concerto for Scales and Clinker") 19th Street Blues Dodds And Parham http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/1.html (2 of 2) [2003-02-19 00:50:48] The Red Hot Jazz Archive - Songs Red Hot Songs - [2] Song Title Artist/Group or Commentary 29th And Dearborn Johnny Dodds and his Chicago Boys 29th And Dearborn Richard M. Jones' Three Jazz Wizards http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/2.html [2003-02-19 00:51:05] The Red Hot Jazz Archive - Songs Red Hot Songs - [4] Song Title Artist/Group or Commentary 47th Street Stomp Jimmy Bertrand's -
Louis Armstrong
A+ LOUIS ARMSTRONG 1. Chimes Blues (Joe “King” Oliver) 2:56 King Oliver’s Creole Jazz Band: King Oliver, Louis Armstrong-co; Honore Dutrey-tb; Johnny Dodds-cl; Lil Hardin-p, arr; Arthur “Bud” Scott-bjo; ?Bill Johnson-b; Warren “Baby” Dodds-dr. Richmond, Indiana, April 5, 1923. first issue Gennett 5135/matrix number 11387-A. CD reissue Masters of Jazz MJCD 1. 2. Weather Bird Rag (Louis Armstrong) 2:45 same personnel. Richmond, Indiana, April 6, 1923. Gennett 5132/11388. Masters of Jazz MJCD 1. 3. Everybody Loves My Baby (Spencer Williams-Jack Palmer) 3:03 Fletcher Henderson and his Orchestra: Elmer Chambers, Howard Scott-tp; Louis Armstrong-co, vocal breaks; Charlie Green-tb; Buster Bailey, Don Redman, Coleman Hawkins-reeds; Fletcher Henderson-p; Charlie Dixon- bjo; Ralph Escudero-tu; Kaiser Marshall-dr. New York City, November 22-25, 1924. Domino 3444/5748-1. Masters of Jazz MJCD 21. 4. Big Butter and Egg Man from the West (Armstrong-Venable) 3:01 Louis Armstrong and his Hot Five: Louis Armstrong-co, voc; Edward “Kid” Ory-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; May Alix-voc. Chicago, November 16, 1926. Okeh 8423/9892-A. Maze 0034. 5. Potato Head Blues (Armstrong) 2:59 Louis Armstrong and his Hot Seven: Louis Armstrong-co; John Thomas-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; Pete Briggs-tu; Warren “Baby” Dodds-dr. Chicago, May 10, 1927. Okeh 8503/80855-C. Maze 0034. 6. Struttin’ with Some Barbecue (Armstrong) 3:05 Louis Armstrong and his Hot Five. -
Ernest Elliott
THE RECORDINGS OF ERNEST ELLIOTT An Annotated Tentative Name - Discography ELLIOTT, ‘Sticky’ Ernest: Born Booneville, Missouri, February 1893. Worked with Hank Duncan´s Band in Detroit (1919), moved to New York, worked with Johnny Dunn (1921), etc. Various recordings in the 1920s, including two sessions with Bessie Smith. With Cliff Jackson´s Trio at the Cabin Club, Astoria, New York (1940), with Sammy Stewart´s Band at Joyce´s Manor, New York (1944), in Willie ‘The Lion’ Smith´s Band (1947). Has retired from music, but continues to live in New York.” (J. Chilton, Who´s Who of Jazz) STYLISTICS Ernest Elliott seems to be a relict out of archaic jazz times. But he did not spend these early years in New Orleans or touring the South, but he became known playing in Detroit, changing over to New York in the very early 1920s. Thus, his stylistic background is completely different from all those New Orleans players, and has to be estimated in a different way. Bushell in his book “Jazz from the Beginning” says about him: “Those guys had a style of clarinet playing that´s been forgotten. Ernest Elliott had it, Jimmy O´Bryant had it, and Johnny Dodds had it.” TONE Elliott owns a strong, rather sharp, tone on the clarinet. There are instances where I feel tempted to hear Bechet-like qualities in his playing, probably mainly because of the tone. This quality might have caused Clarence Williams to use Elliott when Bechet was not available? He does not hit his notes head-on, but he approaches them with a fast upward slur or smear, and even finishes them mostly with a little downward slur/smear, making his notes to sound sour. -
Britt Woodman, En Av Duke Ellingtons Legendariska Trombonister På 5 O-Talet
BULIETIN NUnIMER t, MARs 2000. Åna. z Britt Woodman, en av Duke Ellingtons legendariska trombonister på 5 O-talet qp,- Photo Ray Avery, Los Angeles, California Duke Ellington Society of Sweden, DESS ISSN 1400-8831 DESS c/o Göran Wall€n Redaktionsgrupp: Postgiro 11 63 75 - 7 Skogstorpsvägen 39, l9l 39 Sollentuna. Bo Holmqvist, Alf Lav€r, Göran Wallön Telefon/fax bostad: 08-96 52 34 DESS medlemsavgift Pay to: Accountno: 284O83 992 Vid köp av Azure-kassetter och CD fu per kalenderår: Svenska Handelsbanken Clearing no:6917 anviind vårt Postgiro eller Bankgiro Inom Norden 150 kr SWIFT: hand se ss Postgiroru. för prenumeration Membership outside Scan- for onward transmission av DEMS från Belgien är Pg 433 27 36-0 dinavia $ 25 pro annum. to DESS Ordföranden tar till orda: Första numretpå nyaårtusendet, kul !! Så vandrar vi vidare mot nya upplevelser. Nästa stora Ellingtonhän- Postgiro vid sina inbetalningar. Vi har därför beslutat att sluta använ- delse blir konferensen i maj månad i Holl;'wood, närmare bestämt da Bankgiro, vilket innebär att vi sparar 2000 kr i fast avgift per år, 24 - 2A maj på Holly'wood Roosevelt Hotel, fax:001-213-462-8156. det belopp som Handelsbanken kräver för att vi skall få använda För anmälan till konferensen vänd er till The Duke Ellington Society Bankgirotjänsten. Det får räcka med Postgiro. of So. Calif., fax: 001-323-933-2676 och cmail: [email protected] |lera kända ansikten kommer att finnas på plats. Bill Berry med stor- I övrigt så finns det Ellington musik lite här och där. I kyrkor, på band, Kenny Burrell m.fl. -
Howard Scott
THE RECORDINGS OF HOWARD SCOTT An Annotated Tentative Discography SCOTT, Howard born: c. 1900 Played with Shrimp Jones (late 1923); recorded with Fletcher Hendserson starting with Edison session (Nov. 1923), and played with Henderson from Jan. 1924 till Apr. 1925. With Bill Brown (fall 1925); Allie Ross (spring 1926); Joe? Wynne (Aug. 1927); Alex Jackson (early 1929); Lew Leslie show (1929-30); Kaiser Marshall (early 1932); possibly with Chick Webb (c. 1932); Benny Carter (late 1932); recorded with Spike Hughes (May 1933); James P. Johnson (1934). Frank Driggs met him first in fall of 1971; the last surviving member of Fl. Henderson´s first regular band, he is retired from a Civil Service job, reportedly is executive of the New Amsterdam Musical Association in Harlem, and still well and hearty! (W.C. Allen, Hendersonia, 1973) SCOTT, HOWARD STYLE Howard Scott has a habit of dropping pitch at the end of his notes and bending his notes downward to the consecutive notes, very similar to Louis Metcalf. Stylistically, he is a follower of Johnny Dunn´s kind of playing. Because of sufficient technical ability and expertize he is able to turn his style in the direction of his stronger colleagues in the Henderson band, Joe Smith and Louis Armstrong. This may have been the cause for Henderson to engage him from the Shrimp Jones band. It is interesting to recognize how Scott develops into a sincere hot soloist, beginning with some awkward old-fashioned 6/8 phrasing in session 001 to a respectable hot blues accompanist at later sessions. It really seems to be a blow of fate that he had to retain when Armastrong joined the band. -
2009–Senior Seminar, Ives, Blues, Porter
James Hepokoski Spring 2009 Music 458: Ives, Blues, Porter Visions of America: Competing concepts of musical style and purpose in the United States in the first half of the twentieth century. We examine some stylistic and cultural bases of both “art” and “popular” music and their often uneasy interrelationships. This is neither a survey course nor one concerned with mastering a body of facts. Nor is it preoccupied with coming to aesthetic value judgments. Instead, it is a course in applying critical thinking and analysis to some familiar musical styles basic to the American experience: asking hard questions of differing early- and mid-twentieth-century repertories. Areas to be examined include: 1) Ives (selected songs, Concord Sonata, Second Symphony); 2) early blues (Bessie Smith, Charley Patton, Robert Johnson, and others), including samples of African-American recorded precedents and related genres; 3) Broadway and popular song—including a brief look at Jerome Kern (selected numbers from Show Boat) followed by a closer study of Cole Porter (Anything Goes). Some main questions to be faced are: What aesthetic/contextual/analytical tools do we need to think more deeply about differing pieces of music that spring from or respond to markedly differing/diverse American subcultures? What are our presuppositions in listening to any of these musics, and to what extent might we profit by examining these presuppositions critically? The course will also make use of resources in Yale’s music collection—most notably the Charles Ives Papers and The Cole Porter Collection. We shall also be concerned with original recordings from the 1920s and 1930s. -
BLUES UNLIMITED Number Four (August 1963)
BLUES UN LI Ml TED THE JOURNAL OF “THE BLUES APPRECIATION SOCIETY” EDITED BY SIMON A. NAPIER - Jiiiiffiber Four August 196^ ; purposes of ^'HLues Unlimited* &re several-fold* To find out more about tlse singers is : §1? iiaportant one* T® document th e ir records . equally so,, This applies part!cularly with .postwar "blues ' slmgers and labels. Joho Godrieh m d Boh Dixon ? with the Concert ed help> o f many collectors? record companies imd researchers* .^aTe/v.niide^fHitpastri'Q. p|»©gr;e8Sv, In to l i ‘s.ting. the blues records made ■ parlor to World War IXa fn a comparatively short while 3 - ’with & great deal of effort,.they have brought the esad of hlues discog raphy prewar- in sights Their book?. soon t® be published, w ill be the E?5?st valuable aid. 't o blues lovers yet compiled,, Discography of-;p©:stw£sr ...artists....Is,.In.-■■. a fa r less advanced state* The m&gasine MBlues Research1^ is doing. amagni fieezst- ^ob with : postwar blues;l^bei:s:^j Severd dis^grg^hers are active lis tin g the artists' work* We are publishing Bear-complete discographies xb the hope that you3 the readers^ w ill f i l l In the gaps* A very small proportion o f you &re: helping us in this way0 The Junior Farmer dis&Oc.: in 1 is mow virtu ally complete« Eat sursiy . :s®eb®ciy,:h&s; Bake^;31^;^: 33p? 3^o :dr3SX* Is i t you? We h&veii#t tie&rd from y<&ia£ Simil^Xy: ^heM. -
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 -
Paramount Vol 1 800 Songs, 1.5 Days, 5.35 GB
Page 1 of 23 Paramount Vol 1 800 songs, 1.5 days, 5.35 GB Name Time Album Artist 1 Abounding Sin And Abounding Gr… 2:42 The Rise & Fall of Paramount Re… Rev. J. O. Hanes and Male Choir 2 Ada Jane's Blues (Pm 12232, 188… 3:06 The Rise & Fall of Paramount Re… Trixie Smith 3 Adams Apple (Pm 12376, 2603-1) 2:52 The Rise & Fall of Paramount Re… Jimmy Blythe and His Ragamuffins 4 African Blues (Pm 12229, 1864-) 2:53 The Rise & Fall of Paramount Re… Sam Manning 5 Aggravatin' Papa (Pm 12013, 132… 3:12 The Rise & Fall of Paramount Re… Alberta Hunter 6 Ain't Goin' Marry (Ain't Goin' Settl… 2:59 The Rise & Fall of Paramount Re… Ethel Waters 7 Ain't It A Shame (Pm 12104, P-14… 3:00 The Rise & Fall of Paramount Re… Four Harmony Kings 8 Aint It A Shame (Pm 12032, 1374-1) 3:00 The Rise & Fall of Paramount Re… Norfolk Jazz Quartette 9 Airy Man Blues (Pm 12219, 1851-2) 2:40 The Rise & Fall of Paramount Re… Papa Charlie Jackson 10 Alabamy Bound (Pm 20400, 2147… 2:43 The Rise & Fall of Paramount Re… Jimmy O'Bryant's Washboard Band 11 Alexander, Where's That Band? (… 2:57 The Rise & Fall of Paramount Re… Pickett-Parham Apollo Syncopators 12 All Birds Look Like Chicken To Me… 3:13 The Rise & Fall of Paramount Re… Sweet Papa Stovepipe 13 All I Want Is A Spoonful (Pm 1232… 2:39 The Rise & Fall of Paramount Re… Papa Charlie Jackson 14 All I Want Is That Pure Religion (… 3:12 The Rise & Fall of Paramount Re… Deacon L.