Prescribed Works for AS Music H142 Unit G353
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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. -
Gennett Sound Recording Collection, Date (Inclusive): 1917-1930 Collection Number: 253-M Creator: Starr Piano Company
http://oac.cdlib.org/findaid/ark:/13030/kt700026k4 No online items Finding Aid for the Gennett Sound Recording Collection 1917-1930 Processed by Performing Arts Special Collections Staff. Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm ©2009 The Regents of the University of California. All rights reserved. Finding Aid for the Gennett 253-M 1 Sound Recording Collection 1917-1930 Descriptive Summary Title: Gennett Sound Recording Collection, Date (inclusive): 1917-1930 Collection number: 253-M Creator: Starr Piano Company. Gennett Record Division 1917-1932 Extent: 2,142 sound discs Repository: University of California, Los Angeles. Library. Performing Arts Special Collections Los Angeles, California 90095-1490 Abstract: The collection consists of 78 rpm. sound recordings published by the Gennett Record Company. Physical location: SRLF Language of Material: Collection materials in English Access The collection is open for research. Advance notification is required for use. Publication Rights Property rights in the physical objects belong to the UCLA Music Library. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish if the Music Library does not hold the copyright. Preferred Citation [Identification of item], Gennett Sound Recording Collection, 253-M, Performing Arts Special Collections , University of California, Los Angeles. -
![Jazz Music (Chicago)]](https://docslib.b-cdn.net/cover/3510/jazz-music-chicago-2063510.webp)
Jazz Music (Chicago)]
Library of Congress [Jazz Music (Chicago)] [W366?] Forms to be Filled out for Each Interview CHICAGO FOLKSTUFF FORM A Circumstances of interview FOLKLORE CHICAGO No. Words STATE Illinois NAME OF WORKER Sam Ross ADDRESS 713 Rush Street DATE May 18, 1939 SUBJECT Jazz music (Chicago) 1. Date and time of interview - April 28th - May 4-9 2. Place of interview - [Jazz Music (Chicago)] http://www.loc.gov/resource/wpalh0.08030313 Library of Congress Town Room - Hotel Sherman Panther Room - Hotel Sherman 3. Name and address of informant - Muggsy Spanier - hotel Sherman 4. Name and address of person, if any, who put you in touch with informant. - None 5. Name and address of person, if any, accompanying you - None 6. Description of room, house, surroundings, etc. - Night club surroundings (Use as many additional sheets as necessary, for any of the forms, each bearing the proper heading and the number to which the material refers.) FORM B Personal History of Informant CHICAGO FOLKSTUFF FOLKLORE CHICAGO STATE Illinois NAME OF WORKER Sam Ross [Jazz Music (Chicago)] http://www.loc.gov/resource/wpalh0.08030313 Library of Congress ADDRESS 723 Bush Street DATE May 18, 1939 SUBJECT Jazz music (Chicago) NAME OF INFORMANT Muggsy Spanier 1. Ancestry Irish 2. Place and date of birth, - November 9, 1906 - Chicago 3. Family - Irish 4. Places lived in, with dates - Practically all over the country (stated in part in Form D) 5. Education, with dates - Parochial grade school 6. Occupations and accomplishments, with dates - Musician 7. Special skills and interests - [Jazz Music (Chicago)] http://www.loc.gov/resource/wpalh0.08030313 Library of Congress Musician, baseball 8. -
A Researcher's View on New Orleans Jazz History
2 TABLE OF CONTENTS Introduction 6 Format 6 New Orleans Jazz 7 Brass & String Bands 8 Ragtime 11 Combining Influences 12 Party Atmosphere 12 Dance Music 13 History-Jazz Museum 15 Index of Jazz Museum 17 Instruments First Room 19 Mural - First Room 20 People and Places 21 Cigar maker, Fireman 21 Physician, Blacksmith 21 New Orleans City Map 22 The People Uptown, Downtown, 23 Lakefront, Carrollton 23 The Places: 24 Advertisement 25 Music on the Lake 26 Bandstand at Spanish Fort 26 Smokey Mary 26 Milneburg 27 Spanish Fort Amusement Park 28 Superior Orchestra 28 Rhythm Kings 28 "Sharkey" Bonano 30 Fate Marable's Orchestra 31 Louis Armstrong 31 Buddy Bolden 32 Jack Laine's Band 32 Jelly Roll Morton's Band 33 Music In The Streets 33 Black Influences 35 Congo Square 36 Spirituals 38 Spasm Bands 40 Minstrels 42 Dance Orchestras 49 Dance Halls 50 Dance and Jazz 51 3 Musical Melting Pot-Cotton CentennialExposition 53 Mexican Band 54 Louisiana Day-Exposition 55 Spanish American War 55 Edison Phonograph 57 Jazz Chart Text 58 Jazz Research 60 Jazz Chart (between 56-57) Gottschalk 61 Opera 63 French Opera House 64 Rag 68 Stomps 71 Marching Bands 72 Robichaux, John 77 Laine, "Papa" Jack 80 Storyville 82 Morton, Jelly Roll 86 Bolden, Buddy 88 What is Jazz? 91 Jazz Interpretation 92 Jazz Improvising 93 Syncopation 97 What is Jazz Chart 97 Keeping the Rhythm 99 Banjo 100 Violin 100 Time Keepers 101 String Bass 101 Heartbeat of the Band 102 Voice of Band (trb.,cornet) 104 Filling In Front Line (cl. -
T^Xcelsior Point That Is Embarrassing
J»ck Pettis, tenor saxophone; Elmer Schoebel, Armstrong remains a top-flight expres. piano; Lew Black, banjo; Steve Brown, bass; Ben EXCELSIOR PROFILE SERIES Pollack, drums. Track 9: Glen Scoville for Pettis; sionist in jazz singing. He is appealing Charlie Pierce for Schoebel. Tracks 10-12: Mares; when he sings, and occasionally he and Rappolo; Brunis; Mel Stitzel, piano; Frank Snyder, drums. Crosby hit a groove. Then the result is Rating: it it it it most rewarding, as on the reflective Jazz has never known another clarinetist Mountain Moon, which also displays Arm. who played with the pure beauty that strong to good advantage in a calm, mid Rappolo produced. Combined with this dle-register trumpet solo. was an exciting sense of the dramatic. So Brother Bill is delightful and humor little of his work was recorded before he ous, and the two singers handle it with was committed to a sanitarium in 1925 flexibility and ease. Another arresting that a collection such as this is to be take is Sugar, which they project with treasured. These 1922 and 1923 recordings conviction and understanding. have all the limitations of the acoustic So this is not a completely unpleasant, system, but Rappolo's clarinet cuts clean session. But there must be a better way ly through the fuzz and sludge to shine as to showcase these two, sans corn, sans brilliantly as though an electrical process ham, and sans choral groups. (B.G.) had been used. His solos and breaks on these pieces remain, after all these years, Champion Jack Dupree absolute gems. -
The Genesis of King Oliver's Creole Jazz Band Gene H
University of Richmond UR Scholarship Repository Music Faculty Publications Music Fall 1994 The Genesis of King Oliver's Creole Jazz Band Gene H. Anderson University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/music-faculty-publications Part of the African American Studies Commons, and the Musicology Commons Recommended Citation Anderson, Gene H. "The Genesis of King Oliver's Creole Jazz Band." American Music 12, no. 3 (Fall 1994): 283-303. doi:10.2307/ 3052275. This Article is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. GENE ANDERSON The Genesis of King Oliver's Creole Jazz Band On Thursday, April 5, 1923, the Creole Jazz Band stopped off in Rich- mond, Indiana, to make jazz history. The group included Joe Oliver and Louis Armstrong (comets), Johnny Dodds (clarinet), Honor4 Dutrey (trombone), Bill Johnson (banjo), Lil Hardin (piano), and Warren"Baby" Dodds (drums) (fig. 1). For the rest of that day and part of the next, the band cut nine portentous sides, in sessions periodically interrupted by the passage of trains running on tracks near the Gennett studios where the recording took place. By year's end, sessions at OKeh and Columbia Records expanded the number of sides the band made to thirty-nine, creating the first recordings of substance by an African American band--the most significant corpus of early recorded jazz - surpassing those of such white predecessors as the Original Dixieland Jazz Band and the New Orleans Rhythm Kings. -
MCA 1300 Jazz Heritage Series
MCA 1300 Series Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan MCA 1300 Jazz Heritage Series: Note: This series features reissues of old jazz material, most of which predates stereo. Most of these releases before 1365 (and some after) are mono or rechanneled stereo. MCA 1300 - Louis and the Good Book - Louis Armstrong & His All-Stars with The Sy Oliver Choir [1980] Reissue of Decca DL 8741. Nobody Knows the Trouble I’ve Seen/Shadrack/Go Down Moses/Rock My Soul/Ezekiel Saw De Wheel/On My Way//Down By The Riverside/Swing Low, Sweet Chariot/Sometimes I Feel Like A Motherless Child/Jonah And The Whale/Didn’t It Rain/This Train MCA 1301 - Young Louis “The Side Man” (1924-1927) - Louis Armstrong in Various Bands [1980] Reissue of Decca DL 9233. Words - Fletcher Henderson And His Orchestra/When You Do What You Do - Fletcher Henderson And His Orchestra/Lucy Long - Perry Bradford’s Jazz Phools/I Ain't Gonna Play No Second Fiddle - Perry Bradford’s Jazz Phools/Static Strut - Erskine Tate's Vendome Orchestra/Stomp Off And Let's Go - Erskine Tate's Vendome Orchestra/Georgia Bo Bo - Lil’s Hot Shots/Drop That Sack - Lil’s Hot Shots//Easy Come, Easy Go Blues - Jimmy Bertrand's Washboard Wizards/Blues Stampede - Jimmy Bertrand's Washboard Wizards/I'm Goin' Huntin' - Jimmy Bertrand's Washboard Wizards/If You Wanna Be My Sugar Poppa - Jimmy Bertrand's Washboard Wizards/Weary Blues - Johnny Dodds Black Bottom Stompers/New Orleans Stomp - Johnny Dodds Black Bottom Stompers/Wild Man Blues - Johnny Dodds Black Bottom Stompers/Melancholy - Johnny Dodds Black Bottom Stompers MCA 1302 - Rhythm is our Business 1934-1935 - Jimmie Lunceford and His Orchestra [1980] Reissue of Decca DL 9237. -
Jelly Roll Morton and the Melrose Brothers
Further notes on Jelly Roll Morton: Jelly Roll and the Melrose Brothers by Björn Englund with additional material by Mark Berresford about bandleader Charlie Davis states that Morton made the arrangement of Copenhagen for Melrose based on the Wolverines’ Gennett recording; however bandleader and avid stock arrangement collector Vince Giordano points out that this is incorrect - the two 1920s orchestral arrangements are by Joe Jordan (but based on the Wolverines’ recording), and there is a vocal arrangement by Elmer Schoebel. Vince also suggests that although Morton is not credited on any Melrose arrangements, he may have had some form of editorial control over the work of others. Without the support of Walter Melrose we surely would never have had Morton's 1923 Gennett piano solo sessions nor the 1926-1927 Victor orchestral masterpieces. Melrose even paid for rehearsals to make sure the records turned out as perfect as possible. (Omer Simeon once remarked that this was the only time he was paid for rehearsing.) In the 1920s, the Melrose brothers set up many recording sessions not only for Victor but also for Brunswick/Vocalion and Gennett/Champion. In April 1925 Walter Melrose bought out Lester’s share of the business; Lester Melrose went on to dominate Chicago blues record sessions in the 1930s, both for Victor's Bluebird and ARC's Vocalion and OKeh labels. In August 1939 Walter Melrose sold his publishing company to Edwin H. Morris and Co. of New York, and moved to Tucson, Arizona where he formed the Walter Melrose Music Company. In the 1940s this company organised recording sessions with, among others, Earl Hines Much credit must be given to the Melrose Music Company and Blind John Davis, but Walter didn't run a record label and who have done more than any other agency in the country to the masters were sold to MGM, who were the first to issue put our musicians and writers to the front. -
Bechet, Noone, Goodman and the Efflorescence of Jazz Clarinet and the Improvised Solo
On the shoulders of giants: Bechet, Noone, Goodman and the efflorescence of jazz clarinet and the improvised solo A dissertation comprising four CD recordings and exegesis Jonathan Robert Hunt Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide December 2014 TABLE OF CONTENTS CD RECORDINGS .................................................................................................................. iii! LIST OF FIGURES ................................................................................................................. vii! ABSTRACT .............................................................................................................................. ix! DECLARATION ........................................................................................................................ x! ACKNOWLEDGEMENTS ...................................................................................................... xi! INTRODUCTION .................................................................................................................... 1! 1 SIDNEY BECHET ................................................................................................................ 7! 1.1 Background ....................................................................................................................... 7! 1.2 Techniques for Improvisation: Vibrato, Glissando and Growl Tone .............................. -
Bix Beiderbecke Leon Bismark Beiderbecke Was an American Jazz
Bix Beiderbecke Leon Bismark Beiderbecke was an American jazz cornetist, jazz pianist, and composer. Born March 10, 1903 Davenport, Iowa, US Died August 6, 1931 (aged 28) Years active 1924–1931 Labels Columbia/SME Records With Louis Armstrong and Muggsy Spanier, Beiderbecke was one of the most influential jazz soloists of the 1920s. His turns on "Singin' the Blues" and "I'm Coming, Virginia" (both 1927), in particular, demonstrated an unusual purity of tone and a gift for improvisation. With these two recordings, especially, he helped to invent the jazz ballad style and hinted at what, in the 1950s, would become cool jazz. "In a Mist" (1927), one of a handful of his piano compositions and one of only two he recorded, mixed classical (Impressionist) influences with jazz syncopation. A native of Davenport, Iowa, Beiderbecke taught himself to play cornet largely by ear, leading him to adopt a non-standard fingering some critics have connected to his original sound. He first recorded with Midwestern jazz ensembles, The Wolverines and The Bucktown Five in 1924, after which he played briefly for the Detroit- based Jean Goldkette Orchestra before joining Frankie "Tram" Trumbauer for an extended gig at the Arcadia Ballroom in St. Louis. Beiderbecke and Trumbauer joined Goldkette in 1926. The band toured widely and famously played a set opposite Fletcher Henderson at the Roseland Ballroom in New York City in October 1926. In 1928, Trumbauer and Beiderbecke left Detroit to join the best-known and most prestigious dance orchestra in the country: the New-York-based Paul Whiteman Orchestra. Beiderbecke's most influential recordings date from his time with Goldkette and Whiteman, although they were generally recorded under his own name or Trumbauer's. -
Vamping Tailgatlng
Vamping given a strong rhythmic profile to provide thrust to a close to the rear of another vehicle. The trombone song, as in the Beatles' 'All My Loving' or 'This Boy' or accompaniment consisted of 'tailgating' the melodic at the heginning of the Amboy Dukes' 'Journey to the lead of the trumpet or clarinet by quickly coming up Center of the Mind.' close from behind, overlapping and pushing ahead to The strumming motion of the right hand may be the next chordal or harmonic change. Functionally, simple up-and-down movements of the wrist or larger 'tailgating' involved a mix of leading tones, counter mel- arcs of the forearm moving from the elbow, while some odies and marching rhythm bass figures, often delivered more spectacular displays of showmanship involve the with glissando slide rips, slurs, falloffs, smears and other entire arm outstretched, pivoting from the shoulder, as vocal effects. Other major exemplars of the tradition practised by Elvis Presley and Pete Townshend. were Jim Robinson, who recorded with the bands of Sam Strumming also embraces power chords - that is, two- Morgan and Bunk Johnson, and Georg Brunis, who or three-note chords built of fifths and octaves, often recorded with the New Orleans Rhythm Kings and with played as riffs, as in the Kinks' 'You Really Got Me' and Bix Beiderbecke. 'All Day and All of the Night.' The staccato 'chops' of Both as a term and as a technique, 'tailgating' virtually the mandolin in bluegrass music can also be classed as disappeared in the eras dominated by swing, big band strumming. -
Jazz Discography Sixth Edition Upgraded 08/2010
C.W.U. MUSIC LIBRARY JAZZ DISCOGRAPHY SIXTH EDITION UPGRADED 08/2010 FIRST EDITION: JENNIFER GOOKIN SECOND EDITION: STACIE KUDAMATSU THIRD EDITION: CYNTHIA MORS, ANGELA SCHUTT, KRISTINE BRYAN FOURTH EDITION: MELANIE TEBAY, CHRISTINE JOLLEY FIFTH EDITION: CARYN WRZESINSKI SIXTH EDITION: JONI HERBERT ADDENDUM TO SIXTH EDITION: CHRIS THOMAS SEVENTH EDITION: ANDREA PAINE EIGHTH EDITION: SEAN LA SHIER ALL RECORDINGS LISTED IN THE FOUR PARTS OF THE JAZZ DISCOGRAPHY ARE LOCATED IN THE LISTENING AREA OF THE C.W.U. MUSIC LIBRARY, ROOM 401, OF THE MAIN LIBRARY. JAZZ: GENERAL COLLECTIONS A) GENERAL COLLECTIONS, ETC: CD-2146 ANTHOLOGY OF AMERICAN FOLK MUSIC (Jazz, Blues, and Folk) Volume 1 (2 cd‟s) Ballads Volume 2 (2 cd‟s) Social Music Volume 3 (2 cd‟s) Songs CD-2333 BEST OF DIXIELAND Loveless Love – Kid Ory‟s Creole Jazz Band, Beale Street Blues – George Lewis and his Band, Someday You‟ll Be Sorry – Louis Armstrong and His All Stars, Canal Street Blues – Henry Red Allen Orchestra, Eccentric Rag – Maz Kamindk and his All Star Dixieland Band, St. Louis Blues – Eddie Condon and his Boys, Basin Street Blues – Jack Teagarden and his Sextett, Eh-La-Bas – The Original Tuxedo “Jass” Band, Over in the Glory Land – Dejan‟s Original Olympia Brass Band, Ken Coyler – Ballin‟ the Jack, Hindustan – Alex Welsh and his Jazz Band, Saturday Night Function – Monty Sunshine‟s Jazz Band, Perdido Street Blues – Mr. Acker Bilk and his Paramount Jazz Band, Savoy Blues – Terry Lightfoot, Stevedore Stomp – Chris Barber‟s Jazz Band, Christopher Columbus – Humphrey Lyttelton and his Band. RD-4856 THE DIZZY GILLESPIE BIG BAND; CARNEGIE HALL CONCERT Manteca, This is the way, Ool ya koo, Kush, Tunisian Fantasy.