King Kolax Drops Ork to Join Billyeckstine
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From King Records Month 2018
King Records Month 2018 = Unedited Tweets from Zero to 180 Aug. 3, 2018 Zero to 180 is honored to be part of this year's celebration of 75 Years of King Records in Cincinnati and will once again be tweeting fun facts and little known stories about King Records throughout King Records Month in September. Zero to 180 would like to kick off things early with a tribute to King session drummer Philip Paul (who you've heard on Freddy King's "Hideaway") that is PACKED with streaming audio links, images of 45s & LPs from around the world, auction prices, Billboard chart listings and tons of cool history culled from all the important music historians who have written about King Records: “Philip Paul: The Pulse of King” https://www.zeroto180.org/?p=32149 Aug. 22, 2018 King Records Month is just around the corner - get ready! Zero to 180 will be posting a new King history piece every 3 days during September as well as October. There will also be tweeting lots of cool King trivia on behalf of Xavier University's 'King Studios' historic preservation collaborative - a music history explosion that continues with this baseball-themed celebration of a novelty hit that dominated the year 1951: LINK to “Chew Tobacco Rag” Done R&B (by Lucky Millinder Orchestra) https://www.zeroto180.org/?p=27158 Aug. 24, 2018 King Records helped pioneer the practice of producing R&B versions of country hits and vice versa - "Chew Tobacco Rag" (1951) and "Why Don't You Haul Off and Love Me" (1949) being two examples of such 'crossover' marketing. -
Paper for B(&N
International Journal of Humanities and Social Science Vol. 9 • No. 9 • September 2019 doi:10.30845/ijhss.v9n9p4 Biographies of Two African American Women in Religious Music: Clara Ward and Rosetta Tharpe Nana A. Amoah-Ramey Ph.D. Indiana University Department of African American and African Diaspora Studies College of Arts and Sciences Ballantine Hall 678 Bloomington IN, 47405, USA Abstract This paper‟s focus is to compare the lives, times and musical professions of two prominent African American women— Clara Ward and Rosetta Thorpe — in religious music. The study addresses the musical careers of both women and shows challenges that they worked hard to overcome, and how their relationship with other musicians and the public helped to steer their careers by making them important figures in African American gospel and religious music. In pursuing this objective, I relied on manuscripts, narratives, newspaper clippings, and published source materials. Results of the study points to commonalities or similarities between them. In particular, their lives go a long way to confirm the important contributions they made to religious music of their day and even today. Keywords: African American Gospel and Religious Music, Women, Gender, Liberation, Empowerment Overview This paper is structured as follows: It begins with a brief discussion of the historical background of gospel and sacred music. This is followed by an examination of the musical careers of Clara Ward and Rosetta Thorpe with particular attention to the challenges they faced and the strategies they employed to overcome such challenges; and by so doing becoming major figures performing this genre (gospel and sacred music) of music. -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz. -
MONEY JOHNSON: Duke's New Trumpet by Stanley Dance Book to Study
MONEY JOHNSON: Duke's New Trumpet By Stanley Dance book to study. He progressed so rapidly Lips Cole was one of the trumpet*, that within a few months, he began to we had a fine drummer too. We used to play in Eddie and Sugar Lou's professional call him Pretty Daddy." group. Eddie Fennell sang and played gui• Johnson was with Calhoun's band at tar, and Sugar Lou Morgan played piano. least two years and says that it was with They rehearsed and played afterhours him that he thinks he first used a plunger parties at the house of Johnson's aunt, mute, something occasioned by Calhoun's around the corner from his mother's. He'd copying Ellington's jungle-sound arrange• go there on weekends or after school and ments. He left to play with John White, a remembers how "they'd dance at the par• trumpeter, who had a band about the size ties and have food, and the tunes would if Calhoun's. White could play all of be like You Rascal, You; Shine; Peanut .Armstrong's solos "and play them well, not Vendor; and Chinatown. My family used louse them up," Johnson said. White had a to buy Louis Armstri'P.g's records of those strong lip, he said, and "he'd play them numbers, and a next-door neighbor used to three or four times a night. It was amaz• let me borrow other records to study. ing. His mother was a schoolteacher and "Eddie and Sugar Lou's band played by he never wanted to go no place. -
(Fyno Lived in Her Shoes . Norman's
FRIDAY, APRIL 3, 1953 ARIZONA SUN PAGE FIVE Despite Radio, TV, Newspapers Here Student' To Slay; Special Role For Negro Press Recruitment By OLIVE A. ADAMS j sort; of a campaign to the atten- NEW YORK (Global) Last tion of any group in America, J Program needs to brought to atten- week, John P. O’Connell, com- be the The Personnel Department com- tion of our Negro citizenry. Only | mander of the New York District, pleted the first of a series of tests a job to do. We - we have two-fold 'felt L 7 Veteransh of Foreign Wars, issued to be given this year to students to must read the daily papers to keep VTyfc' i»'C'>»f u^,r«v n proclamation the 600 posts in the high schools for the re- of local _ . up under his command urging mem- with the fast-moving events cruitment of first level clerks, ner at the is im- By LARRY DOUGLAS and Dizzy Gillespie Broad- bers to read their newspapers. The world. But it equally typists and stenographers. Fifty- Birdland . MGM keep with the NEW YORK—(Global)—Tommy way’s record- eamp'aiggn, he said, was an "en- portant that we up two of the 68 students taking the Eekstine opens too. "Dr. Jive” Smalls has come into ing artist, Billy lightened public approach to the events of the “Negro world” est were successful in passing the his own as one of the nation’s top April 3 at Broadway’s Bandbox . momentous decisions we now face.” The reason for this is simple . -
FREDDIE WEBSTER (Tp) 1916-1947
“the trumpeter with the most beautiful sound ever” FREDDIE WEBSTER (tp) 1916-1947 by Mario Schneeberger first issue. 2003/02/05 last update: 2014/02/15 Preface Having learned of Freddie Webster’s fame as the trumpeter with the most beautiful sound ever, my appetite was whetted. I started to collect his records and presented him at the Jazz Circle Basel in 1992. Meanwhile more material has become available to me. This documentation is based on Ernie Edwards’ disco-/solography of Freddie Webster, established some decades ago. All updates with new material and new understanding are included. Some months ago Jan Evensmo has published a solography of Freddie Webster which contains private recordings by Newman at Monroe’s with Freddie’s participation, as well as interesting new attributions for trumpet solos with Earl Hines. Acknowledgements Albert Balzer, François Blank, Otto Flückiger, Yvan Fournier, Anna Galvani, Dieter Hartmann, Pierre Jaquier, Walter Manser, Theo Zwicky Personality Freddie Webster was much in demand for his great sound, praised by Dizzy Gillespie, Miles Davis, Idrees Sulieman,Benny Bailey and others to be the best they had ever heard. He was regarded as a key figure in the early Be-Bop movement. Miles Davis was among his admirers who followed his musical conception. Charles Mingus composed in 1965 “The Arts Of Tatum And Freddie Webster”. Legacy Freddie Webster has only rarely been recorded. Less than 60 solos have survived. He can be heard at his best on his feature YESTERDAYS with Jimmie Lunceford, on I FELL FOR YOU with Miss Rhapsody, on SEPTEMBER IN THE RAIN with Frank Socolow and on MY KINDA LOVE with Sarah Vaughan. -
Count Basie and His Bands
NEW YORKJAZZ MUSEUM , . (:OU~T 13A,I~ and 171,13A~u, _.......-- · ' - . -~•,.,. - (:OU~T 13Ail~ and I-iii 13A~l)i Edited by Dan Morgenstern and Jack Bradley Biographies by Bill Esposito Dan Morgenstern Arnold J. Smith © Copyright 1975 by New York Jazz Museum Cover photo/Phil Stern Cover design/ Fran Greenberg WILLIAM "COUNT" BASIE A PROFILE OF HIS LI FE & MUSIC 1904 Born , August 21, at Red Bank, N.J. 1917 Starts as a drummer, switches to piano. 1919-20 Plays in local bands and stage shows in N. Y. and N.J. Takes lessons from Fats Waller. 1925-27 Tours theaters accompanying variety acts: Kate Crippen and Her Kids, Sonny Thompson Band, Gonzelle White. Vaudevillians ; first hears Kansas City style music in Tulsa, Walter Page Blue Devils; Gonzelle White Show folds in Kansas City; Accompanies Whitman Sisters in Kansas City . 1928 Join s Blue Devils in Dallas, Texas in July. 1929 Plays briefly with Elmer Payne and his Ten Royal Americans (summer). 1930 Basie and members of the Blue Devils join Benny Mote.n's band. 1934 Leaves Moten early in year to lead own band (under Mote.n's auspices) in Little Rock, Arkansas, then rejoins Moten. 1935 Death of Moten breaks up the famous Kansas City unit, after working a short time under Mote.n's brother Buster's leadership; returning to Kansas City, · works as a single, then with own trio before jointly leading "Barons of Rhythm" with altoist, Buster Smith. 1936 Broadcasts over Station WIXBY and is heard by John Hammond, famed jazz buff and sponsor, who initiates the band's first national tour; plays at Grand Terrace in Chicago - not a rousing success - then the Vendome Hotel in Buffalo, N.Y. -
Marie and Rosetta
Study Guide: Students & Educators MARIE AND ROSETTA Heather Baird Director of Education Tyler Easter Education Associate Fran Tarr Education Coordinator 1 SECTION I | THE PLAY Synopsis Characters Setting Themes SECTION II | CAST & CREATIVE SECTION III | YOUR STUDENTS AS AUDIENCE Theater Vocabulary Relating Themes to Our Own Lives: The First Bad-ass Female Guitarist: Meet Sister Rosetta Tharpe, the Godmother of Rock ‘n’ Roll Fictive Kinship in Marie & Rosetta Webbing & Discussion Triggers SECTION IV | YOUR STUDENTS AS ACTORS Reading a Scene for Understanding Practical Aesthetics Exercise Mini-Lesson Vocabulary Scene Analysis Worksheet SECTION V | YOUR STUDENTS AS ARTISTS Post Theater Creative Response Activity Post Theater Creative Writing Activity Common Core & DOE Theater Blueprint SECTION VI | THE ATLANTIC LEGACY 2 Section I: PLAY The Play PLAY Synopsis Characters Setting Themes 3 SYNOPSIS SETTING A huge influence on Elvis Presley, Johnny Cash, Ray Charles 1946. A showroom in a modest and Jimi Hendrix, Sister Rosetta Tharpe was a legend in her funeral home. time, bringing fierce guitar playing and swing to gospel music. Tharpe was the queen of ‘race records’ in the 30’s and 40’s, who performed mornings at churches and evenings at the Cotton Club, who was a big enough star to fill a baseball stadium for her third wedding, but ended up buried in an unmarked grave in Philadelphia. Marie and Rosetta chronicles her first rehearsal with a young protégée, Marie Knight, as they prepare to embark on a tour that would establish them as one of the great duet teams in musical history. THEMES SISTER ROSETTA THARPE, Transformation an African-American woman in her early 30’s. -
Frank Wellington Wess
1 The TENORSAX of FRANK WELLINGTON WESS Solographer: Jan Evensmo Last update: Sept. 9, 2020 2 Born: Kansas City, Missouri, Jan. 4, 1922 Died: Oct. 30, 2013 Introduction: Oslo Jazz Circle always loved the Basie orchestra, no matter what time, and of course we became familiar with Frank Wess’ fine tenorsax playing. My own real ear opener however was the Joe Turner session on Atlantic from 1956. Early history: First instrument altosax which he played in local band in Oklahoma. On tenor in Washington with Bill Baldwin and in the house band at Howard Theatre. On tour with Blanche Calloway and army service 1941-44. After discharge, with Billy Eckstine. Then with Eddie Heywood and Lucky Millinder. One year with Bull Moose Jackson. Back to Washington and studies on flute 1949. From June 1953 to August 1964 he was a member of Count Basie’s orchestra. Message: I have had to simplify the presentation of Count Basie sessions, it seemed to serve no purpose of going through all Chris Sheridan. However this means that many sessions with FW must have been omitted, and it is not unlikely that some of these will or have already appeared on CD. Also,I admit that it is not always easy to hear the difference between Frank Wess and Frank Foster, at least for my modest ears. Thus please report any discrepancies between your and my opinions without delay! 3 FRANK WESS TENORSAX SOLOGRAPHY BILLY ECKSTINE ORCHESTRA NYC. June/July, 1946 Hobart Dotson, King Kolax, Leonard Hawkins, possibly Rostelle Reese (tp), Billy Eckstine (vtb, vo), Alfred "Chippy" Outcalt, Gerald Valentine, Howard Scott, unknown (tb), Porter Kilbert, possibly Robert "Junion" Williams (as), Gene Ammons, Frank Wess (ts), unknown (bar), possibly Linton Garner or Jimmy Golden (p), Connie Wainwright (g), Bill McMahon (b), Art Blakey (dm), Ann Baker (vo). -
Steve Lucky & the Rhumba Bums
Steve Lucky & the Rhumba Bums Complete Song List Song Composer/Lyricist Made Popular By: Style Tempo Adam's Rib Wynonie Harris Wynonie Harris Jump Blues/Swing Med Swing All of Me S. Simons/G. Marks Many, Billie Holiday Jazz Standard Med. Swing/Foxtrot Ain’t Gonna Quit You Helen Humes Swinging blues Slow-Med Blues Alimony Blues Aaron (T Bone) Walker T Bone Walker Medium swing Andy of Mayberry (tv theme song) TV theme Fast swing Angelos Dick Siegel Swing Med. Swing At Last Harry Warren, Mack gordon Etta James Ballad Beat Girl John Barry plus Steve Lucky (early '60s movie theme) Bennie’s From Heaven Eddie Jefferson Eddie Jefferson Swing Med Blues After Hours Avery Parrish Swinging blues/jazz slow classic Boogie Blues Gene Krupa, Ray Biondi & James Anita O'Day with Gene Krupa Big Band Medium swing Noble Boogus Interruptus Steve Lucky Steve Lucky Boogie woogie Bowlin' with Jones Steve Lucky Jump blues But Not For Me Gershwin Jazz Standard Slow swinging ballad Bye Bye Baby Aaron (T Bone) Walker T Bone Walker Jump Blues Medium swing Bye Bye Blackbird Mort Dixon Ray Henderson many Medium swing Can I Steal a Little Love? Phil Tuminello Sinatra Jazz Standard Foxtrot Centerpiece John Hendricks, Sweets Edison Lambert, Hendricks & Ross Jazz Standard med-slow swimg Chartreuse Leslie McFarland/Jessie Moore Louis Jordan Med Swing Cherry Red Joe Turner and Pete Johnson Big Joe Turner Blues Classic Slow-Med Blues Chattanooga Choo Choo Mack Gordon & Harry Warren Glenn Miller Choo Choo Ch’ Boogie Louis Jordan Louis Jordan Medium swing Comes Love Brown, Stept & Tobias Billie Holiday Jazz Standard med swing ballad Cotton Tail Duke Ellington Duke Ellington Fast swing Cool it Baby Eddie Fontaine? From the '50s film The Girl Can't Help It (Hey) Daddy Bobby Troup Many: Della Reese, Julie London Cha-cha-cha Daddy Daddy Rudolph Toombs Ruth Brown Rhumba Daddy-o Gene DePaul/Don Raye Louis Jordan med swing Do Nothin’ Til you Hear From Me Ellington/Strayhorn Many Jazz Standard Ballad Do the Pup Steve Lucky Med Western Swing Dog Patch our sax player S. -
Guide to the Ernie Smith Jazz Film Collection
Guide to the Ernie Smith Jazz Film Collection NMAH.AC.0491 Ben Pubols, Franklin A. Robinson, Jr., and Wendy Shay America's Jazz Heritage: A Partnership of the The Lila Wallace- Reader's Digest Fund and the Smithsonian Institution provided the funding to produce many of the video master and reference copies. 2001 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical...................................................................................................................... 2 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Ernie Smith Presentation Reels................................................................ 4 Series 2: Additional Titles..................................................................................... -
JOE GUY (Tp) 1920-1962
The man who invented the be-bop virtuoso break with false fingerings JOE GUY (tp) 1920-1962 by Mario Schneeberger first version 1993/04 last update 2017/11/13 last update: Recordings with Jack Sneed; Miles Davis (in chapters “Quotes” and “KEROUAC”), tune descriptions Preface Back in 1973 I heard Joe Guy soloing on EPISTROPHY with the Cootie Williams orchestra. I was impressed by his inspiration and his masterly negotiation of the tricky chords. That’s why I decided to analyse his output and write this essay. Acknowledgements François Blank, Urs Buchmann, Jan Evensmo, Fabian Grob, Dieter Hartmann, Martin Meyer, George Ricci, Werner Rudin, Dieter Salemann, Loren Schoenberg, Tom from <themusicofmiles> Contents 1 Personality 2 Life and career 3 Legacy 4 Style 5 Quotes 6 Remarkable recordings 7 EPISTROPHY – the first recorded Be-Bop tune 8 Recordings with Jack Sneed 9 KEROUAC 10 Sources of information 11 Discography / Solography 12 Title index 1 Personality Joe Guy was a most promising figure in the upcoming Be-Bop movement. At his best he played excellent and inspired solos and obbligatos. He invented the virtuoso break with false fingerings, later to become a Be-Bop cliché. 2 Life and career 1920/09/20 JOSEPH LUKE GUY is born in Birmingham, Alabama. He grows up in New York 1) 1939 with Fats Waller 2) 1939 with Teddy Hill 3) Dizzy Gillespie, lead trumpeter in the band: "Joe Guy was with the band and couldn't read 4) well. I used to teach him his parts." 1940 with Coleman Hawkins 2) 1941 with Kenny Clarke at Minton's 3) "Teddy Hill got out of the business.