BC with Henri Chaix and His Orchestra
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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 -
The Historic Recordings of the Song Desafinado: Bossa Nova Development and Change in the International Scene1
The historic recordings of the song Desafinado: Bossa Nova development and change in the international scene1 Liliana Harb Bollos Universidade Federal de Goiás, Brasil [email protected] Fernando A. de A. Corrêa Faculdade Santa Marcelina, Brasil [email protected] Carlos Henrique Costa Universidade Federal de Goiás, Brasil [email protected] 1. Introduction Considered the “turning point” (Medaglia, 1960, p. 79) in modern popular Brazi- lian music due to the representativeness and importance it reached in the Brazi- lian music scene in the subsequent years, João Gilberto’s LP, Chega de saudade (1959, Odeon, 3073), was released in 1959 and after only a short time received critical and public acclaim. The musicologist Brasil Rocha Brito published an im- portant study on Bossa Nova in 1960 affirming that “never before had a happe- ning in the scope of our popular music scene brought about such an incitement of controversy and polemic” (Brito, 1993, p. 17). Before the Chega de Saudade recording, however, in February of 1958, João Gilberto participated on the LP Can- ção do Amor Demais (Festa, FT 1801), featuring the singer Elizete Cardoso. The recording was considered a sort of presentation recording for Bossa Nova (Bollos, 2010), featuring pieces by Vinicius de Moraes and Antônio Carlos Jobim, including arrangements by Jobim. On the recording, João Gilberto interpreted two tracks on guitar: “Chega de Saudade” (Jobim/Moraes) and “Outra vez” (Jobim). The groove that would symbolize Bossa Nova was recorded for the first time on this LP with ¹ The first version of this article was published in the Anais do V Simpósio Internacional de Musicologia (Bollos, 2015), in which two versions of “Desafinado” were discussed. -
Jazz Lines Publications Fall Catalog 2009
Jazz lines PubLications faLL CataLog 2009 Vocal and Instrumental Big Band and Small Group Arrangements from Original Manuscripts & Accurate Transcriptions Jazz Lines Publications PO Box 1236 Saratoga Springs NY 12866 USA www.ejazzlines.com [email protected] 518-587-1102 518-587-2325 (Fax) KEY: I=Instrumental; FV=Female Vocal; MV=Male Vocal; FVQ=Female Vocal Quartet; FVT= Femal Vocal Trio PERFORMER / TITLE CAT # DESCRIPTION STYLE PRICE FORMAT ARRANGER Here is the extended version of I've Got a Gal in Kalamazoo, made famous by the Glenn Miller Orchestra in the film Orchestra Wives. This chart differs significantly from the studio recorded version, and has a full chorus band intro, an interlude leading to the vocals, an extra band bridge into a vocal reprise, plus an added 24 bar band section to close. At five and a half minutes long, it's a (I'VE GOT A GAL IN) VOCAL / SWING - LL-2100 showstopper. The arrangement is scored for male vocalist plus a backing group of 5 - ideally girl, 3 tenors and baritone, and in the GLENN MILLER $ 65.00 MV/FVQ DIFF KALAMAZOO Saxes Alto 2 and Tenor 1 both double Clarinets. The Tenor solo is written on the 2nd Tenor part and also cross-cued on the male vocal part. The vocal whistling in the interlude is cued on the piano part, and we have written out the opening Trumpet solo in full. Trumpets 1-4: Eb6, Bb5, Bb5, Bb5; Trombones 1-4: Bb4, Ab4, Ab4, F4; Male Vocal: Db3 - Db4 (8 steps): Vocal key: Db to Gb. -
Pops Prevails
Journal of Jazz Studies vol. 8, no. 1, pp. 93-99 (Spring 2012) Pops Prevails Edward Berger What a Wonderful World: The Magic of Louis Armstrong’s Later Years. By Ricky Riccardi. New York: Pantheon, 2011. 369 pp. $28.95. Louis Armstrong’s later work is a far more controversial subject than one would expect, given his universal recognition as jazz’s seminal creator and, at one time, arguably the world’s most recognizable figure. But it is precisely his success in these two disparate and, to many, incompatible roles that led some critics to ignore his later artistic achievements and to bemoan what many viewed as his abandonment of his genius in pursuit of popular acceptance. Add to that the uneasiness engendered in some circles by Armstrong’s complex stage persona, and the controversy becomes more understandable. Ricky Riccardi makes abundantly clear in this new and valuable work that, although Armstrong may have devoted his entire life to entertaining his audience, it did not preclude serious artistic achievement at all stages of his career. Most writers, Riccardi included, use the transition from Armstrong’s leadership of his big band to the formation of the All Stars in 1947 as the demarcation between early and late Armstrong. Since Armstrong recorded from 1923 to 1971, his “late” period spanned some 24 years—exactly half of his entire recording career. Moreover, some critics felt that Armstrong’s contributions as a creative improviser ended even earlier, essentially dismissing much of his output after the Hot Fives and Hot Sevens. It is interesting to note how our concept of age has changed over the decades. -
Victory and Sorrow: the Music & Life of Booker Little
ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA 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 & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P. -
Ellington-Lambert-Richards) 3
1. The Stevedore’s Serenade (Edelstein-Gordon-Ellington) 2. La Dee Doody Doo (Ellington-Lambert-Richards) 3. A Blues Serenade (Parish-Signorelli-Grande-Lytell) 4. Love In Swingtime (Lambert-Richards-Mills) 5. Please Forgive Me (Ellington-Gordon-Mills) 6. Lambeth Walk (Furber-Gay) 7. Prelude To A Kiss (Mills-Gordon-Ellington) 8. Hip Chic (Ellington) 9. Buffet Flat (Ellington) 10. Prelude To A Kiss (Mills-Gordon-Ellington) 11. There’s Something About An Old Love (Mills-Fien-Hudson) 12. The Jeep Is Jumpin’ (Ellington-Hodges) 13. Krum Elbow Blues (Ellington-Hodges) 14. Twits And Twerps (Ellington-Stewart) 15. Mighty Like The Blues (Feather) 16. Jazz Potpourri (Ellington) 17. T. T. On Toast lEllington-Mills) 18. Battle Of Swing (Ellington) 19. Portrait Of The Lion (Ellington) 20. (I Want) Something To Live For (Ellington-Strayhorn) 21. Solid Old Man (Ellington) 22. Cotton Club Stomp (Carney-Hodges-Ellington) 23. Doin’The Voom Voom (Miley-Ellington) 24. Way Low (Ellington) 25. Serenade To Sweden (Ellington) 26. In A Mizz (Johnson-Barnet) 27. I’m Checkin’ Out, Goo’m Bye (Ellington) 28. A Lonely Co-Ed (Ellington) 29. You Can Count On Me (Maxwell-Myrow) 30. Bouncing Buoyancy (Ellington) 31. The Sergeant Was Shy (Ellington) 32. Grievin’ (Strayhorn-Ellington) 33. Little Posey (Ellington) 34. I Never Felt This Way Before (Ellington) 35. Grievin’ (Strayhorn-Ellington) 36. Tootin Through The Roof (Ellington) 37. Weely (A Portrait Of Billy Strayhorn) (Ellington) 38. Killin’ Myself (Ellington) 39. Your Love Has Faded (Ellington) 40. Country Gal (Ellington) 41. Solitude (Ellington-De Lange-Mills) 42. Stormy Weather (Arlen-Köhler) 43. -
Prohibido Full Score
Jazz Lines Publications Presents the jeffrey sultanof master edition prohibido As recorded by benny carter Arranged by benny carter edited by jeffrey sultanof full score from the original manuscript jlp-8230 Music by Benny Carter © 1967 (Renewed 1995) BEE CEE MUSIC CO. All Rights Reserved Including Public Performance for Profit Used by Permission Layout, Design, and Logos © 2010 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM This Arrangement has been Published with the Authorization of the Estate of Benny Carter. Jazz Lines Publications PO Box 1236 Saratoga Springs NY 12866 USA benny carter series prohibido At long last, Benny Carter’s arrangements for saxophone ensembles are now available, authorized by Hilma Carter and the Benny Carter Estate. Carter himself is one of the legendary soloists and composer/arrangers in the history of American music. Born in 1905, he studied piano with his mother, but wanted to play the trumpet. Saving up to buy one, he realized it was a harder instrument that he’d imagined, so he exchanged it for a C-melody saxophone. By the age of fifteen, he was already playing professionally. Carter was already a veteran of such bands as Earl Hines and Charlie Johnson by his twenties. He became chief arranger of the Fletcher Henderson Orchestra when Don Redman left, and brought an entirely new style to the orchestra which was widely imitated by other arrangers and bands. In 1931, he became the musical director of McKinney’s Cotton Pickers, one of the top bands of the era, and once again picked up the trumpet. -
Bobby Hutcherson, Vibraphonist with Coloristic Range of Sound, Dies at 75
Bobby Hutcherson, Vibraphonist With Coloristic Range of Soun... http://www.nytimes.com/2016/08/17/arts/music/bobby-hutchers... http://nyti.ms/2bdO8F9 MUSIC Bobby Hutcherson, Vibraphonist With Coloristic Range of Sound, Dies at 75 By NATE CHINEN AUG. 16, 2016 Bobby Hutcherson, one of the most admired and accomplished vibraphonists in jazz, died on Monday at his home in Montara, Calif. He was 75. Marshall Lamm, a spokesman for Mr. Hutcherson’s family, confirmed the death, saying Mr. Hutcherson had long been treated for emphysema. Mr. Hutcherson’s career took flight in the early 1960s, as jazz was slipping free of the complex harmonic and rhythmic designs of bebop. He was fluent in that language, but he was also one of the first to adapt his instrument to a freer postbop language, often playing chords with a pair of mallets in each hand. He released more than 40 albums and appeared on many more, including some regarded as classics, like “Out to Lunch,” by the alto saxophonist, flutist and bass clarinetist Eric Dolphy, and “Mode for Joe,” by the tenor saxophonist Joe Henderson. Both of those albums were a byproduct of Mr. Hutcherson’s close affiliation with Blue Note Records, from 1963 to 1977. He was part of a wave of young artists who defined the label’s forays into experimentalism, including the pianist Andrew Hill and the alto saxophonist Jackie McLean. But he also worked with hard-bop stalwarts like the tenor saxophonist Dexter Gordon, and he later delved into jazz-funk and Afro-Latin grooves. Mr. Hutcherson had a clear, ringing sound, but his style was luminescent and 1 of 4 8/17/16, 2:43 PM Bobby Hutcherson, Vibraphonist With Coloristic Range of Soun.. -
Seconded By~+--~· \ Gq '
PUBUC WORKS &GANG REDUCTiO. -. MOTION Gerald Wilson played for more than 75 years, a musician who delighted millions, all over the world, with his music. Wilson later served in the US Navy and while there he played with musicians like Clark Terry, Willie Smith and Jimmy Nottingham which would later be reunited as "The Great Lakes Experience Big Band." In the 1940s, Gerald made his way out to Los Angeles and began working the club circuit along the famous South Central Avenue corridor, including famous musical venues like and the Dunbar Hotel. It was along Central that Gerald solidified his musical career, providing guidance and assistance to a number of up and coming jazz musicians like Bobby Bryant, Harold Land Jr., Jack Wilkins and many others and helping to make Los Angeles the epicenter of Jazz on the west coast. Over more than seven decades, Gerald played and arranged for a tremendous number of jazz legends including Duke Ellington, Dizzy Gillespie, Nancy Wilson, Sarah Vaughan, Ray Charles, Julie London, Ella Fitzgerald and Dinah Washington, among many others. But Gerald was driven to do more for his community. So he spent several years as a professor at California State University Los Angeles, California State University Northridge, Cal Arts and the University of California at Los Angeles, helping to train a new generation of jazz aficionados and musicians and where he was recognized several times by students and faculty as "teacher ofthe year." I THEREFORE MOVE that the intersection of 42nd Place and S. Central Avenue be named as "Gerald Wilson Square" and that the Department of Transportation be directed to fabricate and install permanent ceremonial signs to this effect at this location, in consultation with Council District 9, in recognition of Gerald Wilson dedication to bringing music education to the Greater Los Angeles Community. -
Discography of the Mainstream Label
Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet -
Edward “Kid” Ory
Edward “Kid” Ory Mr. Edward “Kid” Ory was born in Woodland Plantation near La Place, Louisiana on December 25, 1886. As a child he started playing music on his own homemade instruments. He played the banjo during his youth but his love was playing the trombone. However, the banjo helped him develop “tailgate” a particular style of playing the trombone. By the time he was a teenager, Ory was the leader of a well-regarded band in southeast Louisiana. In his early twenty’s, he moved to New Orleans with his band where he became one of the most talented trombonists of early jazz from 1912 to 1919. In 1919, Ory relocated to Los Angeles, California for health reasons. He assembled a new group of New Orleans musicians on the West Coast and played regularly under the name of Kid Ory’s Creole Orchestra. There, he recorded the 1920s classics “Shine,” “Tiger Rag,” “Muskrat Ramble,” and “Maryland, My Maryland.” In 1922, he became the first African American jazz bank from New Orleans to record a studio album. In 1925, Ory moved to Chicago and took interest in working on radio broadcasts and recording with names such musicians as Louis Armstrong, Jelly Roll Morton, Johnny Dodds, and many others. During the Great Depression, Ory left music but returned in 1943 to lead one of the top New Orleans style bands of the period until 1961. It was about 1966 when Ory retired and spent his last years in Hawaii. He did, however, play occasionally for special events. One of his last performances was in 1971 when he surprised everyone by coming back to the New Orleans Jazz and Heritage Festival. -
Big Band Arrangers of the Swing Era Selected List
Big Band Arrangers of the Swing Era Selected list Band leader Arrangers Tex Beneke Henry Mancini Jimmy Dorsey Tutti Camarata Sonny Burke Tommy Dorsey Paul Weston Sy Oliver Axel Stordahl Benny Goodman Eddie Sauter Buster Harding Fletcher Henderson Horace Heidt Frank DeVol Woody Herman Heil Hefti Ralph Burns Igor Stravinsky Harry James Leroy Holmes Dave Mathews Isham Jones Gordon Jenkins Hal Kemp John Scott Trotter Elliot Lawrence Gerry Mulligan Ray McKinley Eddie Sauter Red Norvo Eddie Sauter Artie Shaw Ray Conniff Johnny Mandel Buster Harding Charlie Spivak Nelson Riddle Claude Thornhill Gil Evans Leader/Arranger Arranger Count Basie Buster Smith Jimmy Mundy Andy Gibson Herschel Evans Cab Calloway Foots Thomas Harry White Duke Ellington Billy Strayhorn Earl Hines Jimmy Mundy Budd Johnson Stan Kenton Pete Rugolo Bill Holman Andy Kirk Mary Lou Williams Earl Thompson Glen Miller Bill Finegan Billy May Claude Thornhill Gil Evans Bill Borden Gerry Mulligan Chick Webb Edgar Sampson Charlie Dixon Andy Gibson Herschel Evans Leader/Arranger Les Brown Benny Carter Larry Clinton Will Hudson Elliot Lawrence Russ Morgan Ray Noble Boyd Raeburn Raymond Scott Musicians in Bands that were Important Arrangers Leader Arranger Instrument Bob Crosby Bob Haggart bass Matty Matlock saxophone Deane Kincaide saxophone Jimmy Dorsey Tutti Camarata trumpet Joe Lipman piano Woody Herman Heil Hefti trumpet Ralph Burns piano Hal Kemp John Scott Trotter piano Gene Krupa Gerry Mulligan saxophone Jimmy Lunceford Sy Oliver trumpet Glen Miller Henry Mancini piano Artie Shaw Ray Conniff trombone Johnny Mandel trombone Charlie Spivak Nelson Riddle trombone .