Louis Armstrong ~ Blues Listening Reflection
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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. -
The Great Migration and Women in Jazz
BORDER CROSSINGS: THE GREAT MIGRATION AND WOMEN IN JAZZ Dinah Washington – Circa 1952 Birth name Ruth Lee Jones Also known as Queen of the Blues, Queen of the Jukebox, Queen of Jam Sessions Influenced by Mahalia Jackson Origin/Grew Up - Chicago, Illinois, U.S. Genres - Jazz, blues, R&B, gospel, traditional pop music Instruments - Vocals, piano, vibraphone Associated acts - Lionel Hampton, Brook Benton 1924 - Born August 29 - Tuscaloosa, Alabama, U.S. 1939 - Won an amateur contest at Chicago's Regal Theater where she sang "I Can't Face the Music". After winning a talent contest at the age of 15, she began performing in clubs. 1941-42 Performing in such Chicago clubs as Dave's Rhumboogie and the Downbeat Room of the Sherman Hotel (with Fats Waller). She was playing at the Three Deuces, a jazz club, when a friend took her to hear Billie Holiday at the Garrick Stage Bar. Joe Sherman[who?] 1944 - Recording debut for the Keynote label that December with "Evil Gal Blues", written by Leonard Feather and backed by Hampton and musicians from his band, including Joe Morris (trumpet) and Milt Buckner (piano).[1][6][7] Both that record and its follow-up, "Salty Papa Blues", made Billboard's "Harlem Hit Parade". 1946 - Signed with Mercury Records as a solo singer. Her first solo recording for Mercury, a version of Fats Waller's "Ain't Misbehavin'", was another hit, starting a long string of success. 1948 – 1955 27 R&B top ten hits, making her one of the most popular and successful singers of the period. -
Jazz Standards Arranged for Classical Guitar in the Style of Art Tatum
JAZZ STANDARDS ARRANGED FOR CLASSICAL GUITAR IN THE STYLE OF ART TATUM by Stephen S. Brew Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Luke Gillespie, Research Director ______________________________________ Ernesto Bitetti, Chair ______________________________________ Andrew Mead ______________________________________ Elzbieta Szmyt February 20, 2018 ii Copyright © 2018 Stephen S. Brew iii To my wife, Rachel And my parents, Steve and Marge iv Acknowledgements This document would not have been possible without the guidance and mentorship of many creative, intelligent, and thoughtful musicians. Maestro Bitetti, your wisdom has given me the confidence and understanding to embrace this ambitious project. It would not have been possible without you. Dr. Strand, you are an incredible mentor who has made me a better teacher, performer, and person; thank you! Thank you to Luke Gillespie, Elzbieta Szmyt, and Andrew Mead for your support throughout my coursework at IU, and for serving on my research committee. Your insight has been invaluable. Thank you to Heather Perry and the staff at Stonehill College’s MacPhaidin Library for doggedly tracking down resources. Thank you James Piorkowski for your mentorship and encouragement, and Ken Meyer for challenging me to reach new heights. Your teaching and artistry inspire me daily. To my parents, Steve and Marge, I cannot express enough thanks for your love and support. And to my sisters, Lisa, Karen, Steph, and Amanda, thank you. -
STEVE INSKEEP, Host: Our Series 50 Great Voices Continues Today With
STEVE INSKEEP, host: Our series 50 Great Voices continues today with one of the most distinctive voices of all time. (Soundbite of song, "All of Me") Ms. BILLIE HOLIDAY (Musician): (Singing) All of me, why not take all of me? Can't... INSKEEP: Billie Holiday's very personal style continues to inspire singers some five decades after her death. And in the same way, Holiday was herself inspired by great musicians she heard growing up. Tom Vitale reports from New York. TOM VITALE: Billie Holiday became famous after she recorded a 1939 protest song about lynchings of African-Americans. It was called "Strange Fruit." (Soundbite of song, "Strange Fruit") Ms. HOLIDAY: (Singing) Southern trees bear a strange fruit, blood on the leaves and blood at the root. Black bodies swinging in the Southern breeze, strange fruit hanging from the poplar trees. VITALE: The haunting vocal offers a stark illustration of Billie Holiday's greatest gift: the ability to convey emotion. Phil Schaap is curator of Jazz at Lincoln Center. Mr. PHIL SCHAAP (Curator of Jazz, Lincoln Center): She speaks to your heart. She catches your ear. She reaches your mind, and she does this with an emotional power that, of course, is genius and is beyond words. (Soundbite of song, "God Bless the Child") Ms. HOLIDAY: (Singing) Mamma may have. Papa may have. But God bless the child that's got his own, that's got his own. VITALE: The emotional power of Billie Holiday's vocals comes from the way she sings the melodies. It's about rhythm and phrasing that Holiday learned from listening to the best. -
Teacher Literary and Curriculum Guide Ain't
TEACHER LITERARY AND CURRICULUM GUIDE AIN’T MISBEHAVIN’ Orchestrations & Arrangements by Luther Henderson Vocal & Musical Concepts by Jeffrey Gutcheon Vocal Arrangements by Jeffrey Gutcheon & William Elliot Based on an idea by Murray Horwitz & Richard Maltby, Jr. STAFF This Teacher Literary and Curriculum Guide was prepared for the Huntington Theatre Company by Marisa Jones, Education and Community Associate Linda Murphy, Associate Director of Education Michael Walczak, Teacher Advisory Council Member, Brooks School With contributions by Ilana Brownstein, Literary Associate Donna Glick, Director of Education Linda Murphy, Associate Director of Education Heather Rogers, Education Intern, Boston University TABLE OF CONTENTS The Story of Ain’t Misbehavin’ Keeping Fats Young – The Production History Never Boresome The Life of Fats Waller That Stride Piano Sound Interview with the Collaborators of Ain’t Misbehavin’ Let the Good Times Roll The Harlem Rent Party Audience Etiquette Background/Objectives Preparation Mastery Assessment For Further Exploration Questions for After the Performance Open Response and Writing Media Assessment Lesson Plan Handout: Analyzing the Elements of Musical Theatre Handout 2: Vocabulary Handout 3: Shopping Quiz Audience Etiquette Because many students have not had the opportunity to view live theatre, we are including an audience etiquette section with each literary/curriculum guide. Teachers, please spend time on this subject since it will greatly enhance your students’ experience at the theatre. 1. How does one respond to a live performance of a play, as opposed to when seeing a film at a local cinema? What is the best way o approach viewing a live performance of a play? What things should you look and listen for? 2. -
The Top 7000+ Pop Songs of All-Time 1900-2017
The Top 7000+ Pop Songs of All-Time 1900-2017 Researched, compiled, and calculated by Lance Mangham Contents • Sources • The Top 100 of All-Time • The Top 100 of Each Year (2017-1956) • The Top 50 of 1955 • The Top 40 of 1954 • The Top 20 of Each Year (1953-1930) • The Top 10 of Each Year (1929-1900) SOURCES FOR YEARLY RANKINGS iHeart Radio Top 50 2018 AT 40 (Vince revision) 1989-1970 Billboard AC 2018 Record World/Music Vendor Billboard Adult Pop Songs 2018 (Barry Kowal) 1981-1955 AT 40 (Barry Kowal) 2018-2009 WABC 1981-1961 Hits 1 2018-2017 Randy Price (Billboard/Cashbox) 1979-1970 Billboard Pop Songs 2018-2008 Ranking the 70s 1979-1970 Billboard Radio Songs 2018-2006 Record World 1979-1970 Mediabase Hot AC 2018-2006 Billboard Top 40 (Barry Kowal) 1969-1955 Mediabase AC 2018-2006 Ranking the 60s 1969-1960 Pop Radio Top 20 HAC 2018-2005 Great American Songbook 1969-1968, Mediabase Top 40 2018-2000 1961-1940 American Top 40 2018-1998 The Elvis Era 1963-1956 Rock On The Net 2018-1980 Gilbert & Theroux 1963-1956 Pop Radio Top 20 2018-1941 Hit Parade 1955-1954 Mediabase Powerplay 2017-2016 Billboard Disc Jockey 1953-1950, Apple Top Selling Songs 2017-2016 1948-1947 Mediabase Big Picture 2017-2015 Billboard Jukebox 1953-1949 Radio & Records (Barry Kowal) 2008-1974 Billboard Sales 1953-1946 TSort 2008-1900 Cashbox (Barry Kowal) 1953-1945 Radio & Records CHR/T40/Pop 2007-2001, Hit Parade (Barry Kowal) 1953-1935 1995-1974 Billboard Disc Jockey (BK) 1949, Radio & Records Hot AC 2005-1996 1946-1945 Radio & Records AC 2005-1996 Billboard Jukebox -
UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive Permalink https://escholarship.org/uc/item/79v6m6c0 Author Singleton, Tyfahra Danielle Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive By Tyfahra Danielle Singleton A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Judith Butler, Chair Professor Chana Kronfeld Professor Linda Williams Fall 2011 Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive Copyright © 2011 by Tyfahra Danielle Singleton Abstract Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive by Tyfahra Danielle Singleton Doctor of Philosophy in Comparative Literature University of California, Berkeley Professor Judith Butler, Chair ―Facing Jazz, Facing Trauma‖ posits American jazz music as a historical archive of an American history of trauma. By reading texts by Gayl Jones, Ralph Ellison, Franz Kafka; music and performances by Louis Armstrong and Billie Holiday; the life, art and films of Josephine Baker, and the film The Jazz Singer (1927), my goal is to give African American experiences of trauma a place within American trauma studies and to offer jazz as an extensive archive of testimony for witnessing and for study. Initially, I explore the pivotal historical moment where trauma and jazz converge on a groundbreaking scale, when Billie Holiday sings ―Strange Fruit‖ in 1939. -
West End Blues / Mark Scheme Area of Study D / Jazz
WEST END BLUES / MARK SCHEME AREA OF STUDY D / JAZZ 3. You will hear two extracts of music, both performed by jazz ensembles. You may wish to place a tick in the box each time you hear the extract. EXTRACT EXTRACT EXTRACT EXTRACT 5 EXTRACT EXTRACT 1 1 2 2 MINS 1 2 Answer questions (a-f) in relation to extract 1 only. Question (g) is a comparison of extract 1 with extract 2. Each extract will be played 3 times with a 30 second pause between each playing, a 5 minute pause after the second playing of extract 2 and a 7 minute silence after the last playing for you to complete your answer. You now have 30 seconds to read the questions. 20 WEST END BLUES PG. 1 WEST END BLUES / MARK SCHEME AREA OF STUDY D / JAZZ First, you will hear an extract taken from a piece recorded by Louis Armstrong and his hot five in 1928. An outline of the structure of the extract is printed below. Introduction First chorus Second chorus Third chorus Fourth chorus (cadenza) Trumpet only Trumpet and Solo Clarinet Piano solo band Improvisation and voice with band improvisation with band a. Describe the music played by the trumpet in the introduction [ 3 ] AO4 (cadenza) of the extract. • Improvisatory • Wide range of the instrument • Arpeggios • Some scalic movement • Use of ‘blue’ notes • Chromatic • Syncopation • Monophonic (apart from last chord) • Virtuoso playing • Vibrato WEST END BLUES PG. 2 WEST END BLUES / MARK SCHEME AREA OF STUDY D / JAZZ b. Identify the solo instrument that improvises during the second [ 1 ] AO3 chorus. -
“Ain't Misbehavin'”--Thomas “Fats” Waller (1929)
“Ain’t Misbehavin’”--Thomas “Fats” Waller (1929) Added to the National Registry: 2004 Essay by Stephen Budiansky (guest post)* Fats Waller Fats Waller's rise to lasting fame as an entertaining singer with a witty twist on the popular songs of his day was still several years off when he arrived at the Camden, New Jersey, studios of the Victor Talking Machine Company for a recording session in the summer of 1929. Victor, like other major record companies, had only recently discovered that there could be big business in what in those days were called “race” records, and Waller was one of a number of African American jazz musicians the company was eager to put on disc. It was the tenth visit that Thomas “Fats” Waller had made to the Camden studios, but the first time—and the last—that one of his sessions would be devoted exclusively to recording a series of his own inventive piano solos. Waller was then 25 years old and already one of the masters of the distinctive style of jazz piano playing known as “stride” that had grown up in the New York City area in the 1920s. A descendant of ragtime, stride took its name from the long back and forth leaps the pianist’s left hand made to mark out a propulsive rhythm, alternating between low bass notes and bluesy chords in the middle of the keyboard. Stride pianists were a staple of the Harlem scene, playing at nightclubs and all-night dance parties, where they drew on a repertoire of improvisational techniques to provide a continuous flow of music for hours on end. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor Saxophone Musical Vocabulary
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. GEORGE AVAKIAN NEA JAZZ MASTER (2010) Interviewee: George Avakian (March 15, 1919 – November 22, 2017) Interviewer: Ann Sneed with recording engineer Julie Burstein Date: September 28, 1993 Repository: Archives Center, National Museum of American History Description: Transcript, 112 pp. Sneed: I’m Ann Sneed. We are in Riverdale. We’re interviewing George Avakian. There’s so many things to say about you, I’m just going to say George Avakian and ask you first, why jazz? Avakian: I think it happened because I was born abroad, and among the things that came into my consciousness as I was growing up was American popular music, and then it drifted in the direction of jazz through popular dance bands, such as the Casa Loma Orchestra, which I heard about through the guys who were hanging around the home of our neighbor at Greenwood Lake, which is where we went in the summers. We had a house on the lake. Our next-door neighbors had two daughters, one of whom was my age and very pretty, Dorothy Caulfield, who incidentally is responsible for Holden Caulfield’s last name, because J. D. Salinger got to know her and was very fond of her, named Holden after her family name. These boys came from the Teaneck area of New Jersey. So it was a short drive to Greenwood Lake on a straight line between New York and New Jersey. They had a dance band, the usual nine pieces: three brass, three saxophones, three rhythm. -
Ain't Misbehavin' the Fats Waller Musical Show
ASF 2016 Study Materials for Ain'tThe Fats WallerMisbehavin' Musical Show conceived by Murray Horowitz & Richard Maltby Director Set Design Costume Design Lighting Design James Bowen Jesse Dreikosen Jeffrey Todhunter Kendall Smith Contact ASF at: www.asf.net Study materials written by 1.800.841-4273 Susan Willis, ASF Dramaturg [email protected] ASF/ 1 Ain't Misbehavin' The Fats Waller Musical Show conceived by Murray Horowitz & Richard Maltby Welcome to Ain't Misbehavin' and the Music of Fats Waller This joint is about to start jumping! Your toes will tap, your shoulders will jive, your head will bob along with some of the most infectious swing America has ever Characters created, the music of Thomas "Fats" Waller (the "characters" are identified by the names of the five actors in and some others who shaped the feel of the the first Broadway cast) 1920s, '30s, and early '40s. This musical André, a party hound, a flirt, revue is like one big rent party or club show and a bit of a womanizer on stage at ASF—the great stride music of Armelia, a voluptuous and Fats Waller with performers singing and sassy woman, strong-willed dancing his musical tales of love, longing, and not afraid to speak her and the zest for life. mind The pitch for the Broadway show reads Charlaine, a sweet, innocent "A sassy, sultry musical celebration of young lady legendary jazz great, Fats Waller." Sassy, Ken, a jovial, cheerful, loud yes. Sultry, yes. Musical, oh, yes indeed. man, larger than life Legendary, just listen. So there's every Life magazine's portrait of Thomas "Fats" Waller Nell, a confident and charming reason for celebration! woman of the world Song List for Ain't Misbehavin' In his review of the 1988 Broadway Act 1: "Ain't Misbehavin'" (1929) revival, New York Times drama critic Frank "Lookin' Good but Feelin' Bad" Rich proclaimed that the show "conjured "'T Ain't Nobody's Bizness"*• (1923) [a] between-the-wars dream world…. -
Mio Ricky Riccardi Show Playlist
MIO RICKY RICCARDI SHOW PLAYLIST A Monday Date — Live 1951 Pasadena Louis Armstrong & His All-Stars CD: Satchmo — A Musical Autobiography No (Papa, No) Louis Armstrong and His Hot Five CD: Louis Armstrong: The Complete Hot Five and Hot Seven Recordings Piano Theme, Animal Crackers The Marx Brothers & Chico Marx CD: The Marx Brothers Strike Again, Vol. 1 Piano & Violin Duet Charlie Chaplin & Buster Keaton Limelight (Original Motion Picture Soundtrack) Maxi the Taxi Eddie Cantor CD: Eddie Cantor (44 Songs) Basin Street Blues Louis Armstrong & His All-Stars CD: The Glenn Miller Story (Motion Picture Soundtrack) Baby It’s Cold Outside Louis Armstrong & His All-Stars, feat. Velma Middleton CD: What a Wonderful World — Louis Armstrong in Concert All of Me Louis Armstrong & His All-Stars CD: Louis Armstrong: 16 Most Requested Songs Canal Street Blues Louis Armstrong CD: Satchmo — A Musical Autobiography Beau Koo Jack Louis Armstrong and the Hot Five CD: Louis Armstrong: The Complete Hot Five and Hot Seven Recordings Mack the Knife Louis Armstrong & His All-Stars CD: Louis Armstrong: 16 Most Requested Songs Flat Foot Floogie The Mills Brothers & Louis Armstrong CD: The Anthology 1931-1968 Tight Like This Louis Armstrong and His Hot Five CD: Louis Armstrong: The Complete Hot Five and Hot Seven Recordings Who’Sit Louis Armstrong His Hot Five CD: Louis Armstrong: The Complete Hot Five and Hot Seven Recordings West End Blues Louis Armstrong and His Hot Five CD: Louis Armstrong: The Complete Hot Five and Hot Seven Recordings The Real Ambassador