Guide to the Floyd Levin Jazz Reference Collection
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THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography………………………………………………………………………………. -
Earnest 1 the Current State of Economic Development in South
Earnest 1 The Current State of Economic Development in South Los Angeles: A Post-Redevelopment Snapshot of the City’s 9th District Gregory Earnest Senior Comprehensive Project, Urban Environmental Policy Professor Matsuoka and Shamasunder March 21, 2014 Earnest 2 Table of Contents Abstract:…………………………………………………………………………………..4 Introduction……………………………………………………………………………….5 Literature Review What is Economic Development …………………………………………………………5 Urban Renewal: Housing Act of 1949 Area Redevelopment Act of 1961 Community Economic Development…………………………………………...…………12 Dudley Street Initiative Gaps in Literature………………………………………………………………………….14 Methodology………………………………………………………………………………15 The 9th Council District of Los Angeles…………………………………………………..17 Demographics……………………………………………………………………..17 Geography……………………………………………………………………….…..19 9th District Politics and Redistricting…………………………………………………23 California’s Community Development Agency……………………………………………24 Tax Increment Financing……………………………………………………………. 27 ABX1 26: The End of Redevelopment Agencies……………………………………..29 The Community Redevelopment Agency in South Los Angeles……………………………32 Political Leadership……………………………………………………………34 Case Study: Goodyear Industrial Tract Redevelopment…………………………………36 Case Study: The Juanita Tate Marketplace in South LA………………………………39 Case Study: Dunbar Hotel………………………………………………………………46 Challenges to Development……………………………………………………………56 Loss of Community Redevelopment Agencies………………………………..56 Negative Perception of South Los Angeles……………………………………57 Earnest 3 Misdirected Investments -
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. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Friday, Aug. 31 Saturday, Sept. 1 Sunday, Sept. 2 Monday, Sept. 3
2018 DETROIT JAZZ FESTIVAL presented by Quicken Loans 2018 DETROIT JAZZ FESTIVAL presented by Quicken Loans SCHEDULE SCHEDULE FRIDAY, AUG. 31 SATURDAY, SEPT. 1 SUNDAY, SEPT. 2 MONDAY, SEPT. 3 JPMorgan 6:30 p.m. Dr. Valade’s Brass Band 1:45–3:00 p.m. 2018 Curtis Fuller National Jazz Trombone NOON–1:15 p.m. Michigan State University Jazz Orchestra I 12:45–2:00 p.m. University of Michigan Jazz Chase Main led by New Orleans legend, Competition Winner 2:00–3:15 p.m. Karriem Riggins with the Detroit Jazz Fest Alumni Band Ensemble: A Tribute to Geri Allen Shannon Powell with special guest Regina Carter Stage 4:00–5:15 p.m. Tia Fuller and guests 7:00–8:15 p.m. Resident Ensemble: Terri Lyne 6:00–7:15 p.m. Ravi Coltrane’s Universal Consciousness: 4:00–5:15 p.m. Hubtones: Freddie Hubbard 80th Birthday Celebration – 3:00–4:15 p.m. The Brecker Brothers Band Reunion (Campus Martius) Carrington and Esperanza Melodic Meditations of Alice Coltrane Featuring: Nicholas Payton, Randy Brecker, David Weiss, and 5:00–6:15 p.m. Resident Ensemble: Terri Lyne Spalding – Tribute to Geri 8:00–9:15 p.m. Nicholas Payton – Afro-Caribbean Dwight Adams Carrington and Esperanza Allen “Open On All Sides” Mixtape Project 6:00–7:15 p.m. Chris Dave and the Drumhedz Spalding – Tribute to Geri Allen 8:20–8:40 p.m. Monsieur Periné “Flying Toward the Sound” 8:00–9:15 p.m. Resident Ensemble: Terri Lyne Carrington and Esperanza Spalding 9:00–10:15 p.m. -
The Dunbar Hotel and the Golden Age of L.A.’S ‘Little Harlem’
SOURCE C Meares, Hadley (2015). When Central Avenue Swung: The Dunbar Hotel and the Golden Age of L.A.’s ‘Little Harlem’. Dr. John Somerville was raised in Jamaica. DEFINITIONS When he arrived in California in 1902, he was internal: people, actions, and shocked by the lack of accommodations for institutions from or established by people of color on the West Coast. Black community members travelers usually stayed with friends or relatives. Regardless of income, unlucky travelers usually external: people, actions, and had to room in "colored boarding houses" that institutions not from or established by were often dirty and unsafe. "In those places, community members we didn't compare niceness. We compared badness," Somerville's colleague, Dr. H. Claude Hudson remembered. "The bedbugs ate you up." Undeterred by the segregation and racism that surrounded him, Somerville was the first black man to graduate from the USC dental school. In 1912, he married Vada Watson, the first black woman to graduate from USC's dental school. By 1928, the Somervilles were a power couple — successful dentists, developers, tireless advocates for black Angelenos, and the founders of the L.A. chapter of the NAACP. As the Great Migration brought more black people to L.A., the city cordoned them off into the neighborhood surrounding Central Avenue. Despite boasting a large population of middle and upper class black families, there were still no first class hotels in Los Angeles that would accept blacks. In 1928, the Somervilles and other civic leaders sought to change all that. Somerville "entered a quarter million dollar indebtedness" and bought a corner lot at 42nd and Central. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
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. -
Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history. -
JREV3.8FULL.Pdf
JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc. -
American Jazz Museum
AMERICAN JAZZ MUSEUM ANNUAL REPORT | FISCAL YEAR 2014 OUR MISSION To celebrate and exhibit the experience of jazz as an original American art form through performance, exhibitions, education, and research at one of the country’s jazz crossroads: 18th & Vine. OUR VISION To become a premier destination that will expand the in!uence and knowledge of jazz throughout greater Kansas City and the world. OUR HISTORY Many years ago, 18th & Vine buzzed with the culture and commerce of Kansas City’s African-American community. The infectious energy of the people gave life to a new kind of music… and the music gave it right back to the people. Over the years the area languished, but the music and the musicians became legends! In 1989, the City of Kansas City, Missouri committed $26 million to a revitalization of 18th & Vine, led by the visionary and tireless efforts of then City Councilman and now Congressman Emanuel Cleaver II (former Kansas City Mayor.) By 1997, the city had a vibrant new complex housing the Kansas City Jazz Museum and the Negro Leagues Baseball Museum, as well as the Horace M. Peterson III Visitor Center, with a newly refurbished Gem Theater across the street. Soon after, the Museum and its board and staff determined that the Kansas City Jazz Museum’s name should be changed to the American Jazz Museum to re!ect that the museum is the only museum in the world that is totally devoted to America’s true classical music -- jazz. The American Jazz Museum continues to ful"ll its mission by serving as a good caretaker of its collections and artifacts, as well as managing the Blue Room jazz club, the Gem Theater, the Changing Gallery, and the public spaces of the Museums at 18th & Vine. -
Upcoming Events
Newsletter of the Sacramento Traditional Jazz Society STJS is a non-profit organization dedicated to the preservation and promotion of traditional jazz music. Address: 2521 Port Street, West Sacramento, CA 95691•(916)444-2004•www.sacjazz.org VOLUME49•NO.7 August 2017 Jazz Sunday, August 6 (FIRST Sunday!) Note from The President …..……...2 Week Two STJS Jazz Campers Concert and ElksLodge#6–info/directions ....... 2 The Professors The Professors …………………………..3 Raffle Cent$.................................8 Race for the Art Pictures…………….8 Membership Application…….……13 Upcoming Events: July 23-29 Week 1 STJS Teagarden EEachy E Youth Jazz Camp Each year when the jazz camps conclude, we are treated to a special July 29 Week 1 STJS Jazz Campers Concert and The Counselors Jazz Jazz Sunday that features not only The Professors both youth Band campers and counselors as well. August Jazz Sunday is one of the July 31–Aug 6 Week 2 - STJS best STJS events of the year. The place is buzzing with excitement Teagarden Youth Camp from a productive and fun-filled week at Jazz Camp amid the scenic Aug 6 (First Sun) Week 2 STJS Jazz beauty of Pollock Pines. Campers have been making new friends Campers Concert and The Professors while counselors (former campers) are having a blast reuniting with their musician friends. Sept 10 – Skin ‘n Bones (Gonsoulin) Oct 8 – Pub Crawlers Our Jazz Camp Faculty is loaded with all-star talent, and we are Nov 12 – Youth Jazz Day incredibly fortunate to have them all here together as our guest Dec 10 – Gold Society Jazz band.