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Alshire Records Discography
Alshire Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Alshire International Records Discography Alshire was located at P.O. Box 7107, Burbank, CA 91505 (Street address: 2818 West Pico Boulevard, Los Angeles, CA 90006). Founded by Al Sherman in 1964, who bought the Somerset catalog from Dick L. Miller. Arlen, Grit and Oscar were subsidiaries. Alshire was a grocery store rack budget label whose main staple was the “101 Strings Orchestra,” which was several different orchestras over the years, more of a franchise than a single organization. Alshire M/S 3000 Series: M/S 3001 –“Oh Yeah!” A Polka Party – Coal Diggers with Happy Tony [1967] Reissue of Somerset SF 30100. Oh Yeah!/Don't Throw Beer Bottles At The Band/Yak To Na Wojence (Fortunes Of War)/Piwo Polka (Beer Polka)/Wanda And Stash/Moja Marish (My Mary)/Zosia (Sophie)/Ragman Polka/From Ungvara/Disc Jocky Polka/Nie Puki Jashiu (Don't Knock Johnny) Alshire M/ST 5000 Series M/ST 5000 - Stephen Foster - 101 Strings [1964] Beautiful Dreamer/Camptown Races/Jeannie With The Light Brown Hair/Oh Susanna/Old Folks At Home/Steamboat 'Round The Bend/My Old Kentucky Home/Ring Ring De Bango/Come, Where My Love Lies Dreaming/Tribute To Foster Medley/Old Black Joe M/ST 5001 - Victor Herbert - 101 Strings [1964] Ah! Sweet Mystery Of Life/Kiss Me Again/March Of The Toys, Toyland/Indian Summer/Gypsy Love Song/Red Mill Overture/Because You're You/Moonbeams/Every Day Is Ladies' Day To Me/In Old New York/Isle Of Our Dreams M/S 5002 - John Philip Sousa, George M. -
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis 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 Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney. -
Downbeat.Com December 2014 U.K. £3.50
£3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JON HENDRICKS NEA Jazz Master (1993) Interviewee: Jon Hendricks (September 16, 1921 - ) and, on August 18, his wife Judith Interviewer: James Zimmerman with recording engineer Ken Kimery Date: August 17-18, 1995 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 95 pp. Zimmerman: Today is August 17th. We’re in Washington, D.C., at the National Portrait Galley. Today we’re interviewing Mr. Jon Hendricks, composer, lyricist, playwright, singer: the poet laureate of jazz. Jon. Hendricks: Yes. Zimmerman: Would you give us your full name, the birth place, and share with us your familial history. Hendricks: My name is John – J-o-h-n – Carl Hendricks. I was born September 16th, 1921, in Newark, Ohio, the ninth child and the seventh son of Reverend and Mrs. Willie Hendricks. My father was a minister in the African Methodist Episcopal Church, the AME Church. Zimmerman: Who were your brothers and sisters? Hendricks: My brothers and sisters chronologically: Norman Stanley was the oldest. We call him Stanley. William Brooks, WB, was next. My sister, the oldest girl, Florence Hendricks – Florence Missouri Hendricks – whom we called Zuttie, for reasons I never For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 really found out – was next. Then Charles Lancel Hendricks, who is surviving, came next. Stuart Devon Hendricks was next. Then my second sister, Vivian Christina Hendricks, was next. Then Edward Alan Hendricks came next. -
Chico Hamilton Peregrinations Mp3, Flac, Wma
Chico Hamilton Peregrinations mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Peregrinations Country: Germany Released: 1975 Style: Jazz-Funk MP3 version RAR size: 1195 mb FLAC version RAR size: 1404 mb WMA version RAR size: 1571 mb Rating: 4.6 Votes: 481 Other Formats: DMF MMF AC3 MOD MP2 AA AUD Tracklist Hide Credits V-O A1 3:58 Soloist – Arthur Blythe, Barry FinnertyWritten-By – Steve Turre The Morning Side Of Love A2 5:18 Soloist – Barry Finnerty, Joe BeckWritten-By – Chico Hamilton Abdullah And Abraham A3 4:16 Written-By, Soloist – Arnie Lawrence Andy's Walk A4 4:15 Written-By – Chico Hamilton Peregrinations A5 3:16 Written-By – Chico Hamilton Sweet Dreams B1 5:53 Soloist – Arthur Blythe, Barry FinnertyWritten-By – Chico Hamilton Little Lisa B2 2:49 Written-By – Steve Turre Space For Stacy B3 3:06 Written-By – Chico Hamilton On And Off B4 2:56 Written-By – Chico Hamilton It's About That Time B5 0:57 Written-By – Chico Hamilton Companies, etc. Recorded At – A&R Studios Recorded At – Sound Factory West Mixed At – Westlake Audio Mastered At – Kendun Recorders Credits Art Direction, Design – Bob Cato Bass – Steve Turre Congas, Bongos, Percussion – Abdullah Drums, Percussion – Chico Hamilton Effects [Other Special Effects By] – Jerrell Ballard Engineer – Don Hahn, Steve Maslow Executive-Producer – George Butler Guitar – Barry Finnerty, Joe Beck Horns – Arnie Lawrence, Arthur Blythe, Steve Turre Keyboards – Jerry Peters Liner Notes – Stanley Crouch Mixed By, Mastered By – Baker Bigsby Producer, Effects [Other Special Effects By] – Keg Johnson Synthesizer [Programming] – Charlotte Politte Vocals – Julia Tillman*, Luther Waters, Maxine Willard*, Oren Waters Notes Rhythm tracks recorded at A&R Recording Studios, New York, NY. -
The Modality of Miles Davis and John Coltrane14
CURRENT A HEAD ■ 371 MILES DAVIS so what JOHN COLTRANE giant steps JOHN COLTRANE acknowledgement MILES DAVIS e.s.p. THE MODALITY OF MILES DAVIS AND JOHN COLTRANE14 ■ THE SORCERER: MILES DAVIS (1926–1991) We have encountered Miles Davis in earlier chapters, and will again in later ones. No one looms larger in the postwar era, in part because no one had a greater capacity for change. Davis was no chameleon, adapting himself to the latest trends. His innovations, signaling what he called “new directions,” changed the ground rules of jazz at least fi ve times in the years of his greatest impact, 1949–69. ■ In 1949–50, Davis’s “birth of the cool” sessions (see Chapter 12) helped to focus the attentions of a young generation of musicians looking beyond bebop, and launched the cool jazz movement. ■ In 1954, his recording of “Walkin’” acted as an antidote to cool jazz’s increasing deli- cacy and reliance on classical music, and provided an impetus for the development of hard bop. ■ From 1957 to 1960, Davis’s three major collaborations with Gil Evans enlarged the scope of jazz composition, big-band music, and recording projects, projecting a deep, meditative mood that was new in jazz. At twenty-three, Miles Davis had served a rigorous apprenticeship with Charlie Parker and was now (1949) about to launch the cool jazz © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM movement with his nonet. wwnorton.com/studyspace 371 7455_e14_p370-401.indd 371 11/24/08 3:35:58 PM 372 ■ CHAPTER 14 THE MODALITY OF MILES DAVIS AND JOHN COLTRANE ■ In 1959, Kind of Blue, the culmination of Davis’s experiments with modal improvisation, transformed jazz performance, replacing bebop’s harmonic complexity with a style that favored melody and nuance. -
Keeping the Tradition by Marilyn Lester © 2 0 1 J a C K V
AUGUST 2018—ISSUE 196 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM P EE ING TK THE R N ADITIO DARCY ROBERTA JAMES RICKY JOE GAMBARINI ARGUE FORD SHEPLEY Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East AUGUST 2018—ISSUE 196 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : ROBERTA GAMBARINI 6 by ori dagan [email protected] Andrey Henkin: [email protected] Artist Feature : darcy james argue 7 by george grella General Inquiries: [email protected] ON The COver : preservation hall jazz band 8 by marilyn lester Advertising: [email protected] Encore : ricky ford by russ musto Calendar: 10 [email protected] VOXNews: Lest We Forget : joe shepley 10 by anders griffen [email protected] LAbel Spotlight : weekertoft by stuart broomer US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviewS 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Miscellany 31 Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, Event Calendar 32 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Contributing Writers Mathieu Bélanger, Marco Cangiano, Ori Dagan, George Grella, George Kanzler, Annie Murnighan Contributing Photographers “Tradition!” bellowed Chaim Topol as Tevye the milkman in Fiddler on the Roof. -
Nds Jazzgeschiedenis 568 = Zondag 29.12.91 = R 1 = +20.30
NDS JAZZGESCHIEDENIS 568 = ZONDAG 29.12.91 = R 1 = +20.30-21.00 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ band Pingel - 0:07 CldR, NOS Jazzgeschiedenis 568, tijdvak 1953-1958, hoofdstuk 12, Billie Holiday, deel 6 en laatst. Het was op het Newport Jazz Festival al heel duidelijk, u hoorde dat vorige keer, dat de zangeres haar drug-en vooral drankgebruik steeds slechter onder controle had. Het werd snel een vicieuze cirkel: door haar moeilijkheden kreeg ze steeds minder engagementen, wanneer ze moest optreden was ze onzeker, dus weer gin etc. En zo door. Schrijver/criticus Nat Hentoff produceerde voor de Timex TU Show in studio 58 van CBS in NYC 'The sound of Jazz' die in deze tijd toen er nog geen video bestond, op 16 mm film met aparte geluidsband werd opgenomen. Q.a. de Count Basie band in speciale bezetting en Thelonious Honk met een trio traden op, Hentoff had het briljante idee om Billie Holiday te laten zingen met een ook weer speciale formatie. Roy Eldridge speelde solo-trom- pet, naast hem Doe Cheatham. Dp trombone Uic Dickenson, dal liJaldron natuurlijk piano, verder Danny Barker-rhythmguitar, Milt Hinton-bas,Osie Johnson-drums. En er waren vier saxofonis- ten. Gerry flulligan op bariton en -dat was Hentoff's gouden greep- Ben Webster, Lester Young en Coleman Hawkins-tenorsaxo- foon. Solistisch in die volgorde. Billie Holiday's "Fine and mellow", voorafgegaan door de MC die geen hout van jazz wist, en de ingemonteerde introductie door Lady Day. plaat 1 Billie Holiday: Fine and mellow (Louis HcKay) T7Ï - 9:07 - Sagapan 6905 "Fine and mellow" uit de Timex TU Show van 8 december 1957 in NYC, uit de productie van Nat Hentoff 'The sound of Jazz'. -
13. Cleveland Jazz Guitarists
13. Cleveland Jazz Guitarists itariSts who grew up in still a teenager. He joined the leveland have been among musicians' union when he was 16. By Gthe most important and most 1940, when he was 17, he was playing acclaimed in jazz history. They all at parties and country clubs around drew their inspiration from the all Cleveland. "I played with band leaders time grand masters of jazz guitar, Clint Noble and Jack Horowitz," he Django Reinhardt and Charlie said, but he had bigger plans. Christian. "In 1941, I went to New York to become famous. My father borrowed Fred Sharp $50 on his life insurance policy and Anyone who was even a casual gave me the money to go. Joe Sharp listener ofjazz in Cleveland from the never had money at all. In New York, 1940s to the '80s probably heard I put in for my union card. You had to guitarist Fred Sharp. He played with stay six months to get your card and I some ofthe biggest names in jazz and went to the union floor every day and was the man Jim Hall credited as his started to get some club dates. The teacher. scale was $7 then for a club date, but In the mid-1930s, when Sharp was most everybody paid $4." growing up in the Glenville area of Courtesy of Fred Sharp When he was still in his teens, Fred Sharp and Babik Reinhardt, Cleveland and listening to music on Sharp remembered he almost starved the 23-year-old son of Sharp's the radio, the guitar, with a few guitar idol Ojango Reinhardt, in trying to become famous in New exceptions, was not a solo jazz voice, Paris in 1967 York. -
Bobby Watson Kirk Knuffke Guillermo Gregorio Horace Silver Coltrane
AUGUST 2019—ISSUE 208 YOUR FREE GuiDe TO THE NYC JaZZ SCENE NYCJaZZRECORD.COM RAVICOLTRANE next trane comin’ bobby kirk GuiLLERMo horace watson knuffke GREGorio siLver Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East AUGUST 2019—ISSUE 208 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 new york@niGht 4 Laurence Donohue-Greene: interview : bobby watson 6 by ken dryden [email protected] Andrey Henkin: artist feature : kirk knuffke 7 by john sharpe [email protected] General Inquiries: on the cover : ravi coLtrane 8 by russ musto [email protected] Advertising: encore : GuiLLERMo GREGORIO 10 by steven loewy [email protected] Calendar: Lest we forGet : horace siLver 10 by scott yanow [email protected] VOXNews: LabeL spotLiGht : aLeGre recorDs 11 by jim motavalli [email protected] VOXNEWS by suzanne lorge US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or obituaries 12 by andrey henkin money order to the address above or email [email protected] festivaL report 13 Staff Writers Duck Baker, Stuart Broomer, Robert Bush, Kevin Canfield, cD reviews 14 Marco Cangiano, Thomas Conrad, Pierre Crépon, Ken Dryden, Donald Elfman, Phil Freeman, Miscellany Kurt Gottschalk, Tom Greenland, 31 George Grella, Tyran Grillo, Alex Henderson, Robert Iannapollo, event caLenDar Mark Keresman, Marilyn Lester, 32 Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Anna Steegmann, Scott Yanow Contributing Writers Brian Charette, George Kanzler, Improvisation is the magic of jazz. -
Order Form Full
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Deebee's Scrapbook # 1 Ict, Dentist Y Phoned INTERNATIONAL Me As Pro Anglo-American Herd Electioneer- What the Sound Would Be Like, Nobody Knew for Certain
Hamiltonians Reunite Jones, trumpet; Nat Adderley, cor cert, Reunald Jones, approaching It was like old on-the-road week net; Bill Harris, trombone; Charlie the microphone, stenped on Woody’s in the Hollywood recording studio. Byrd, guitar; Vince Guaraldi, piano; clarinet. Melody Maker said with Reunited for the occasion by Keeter Betts, bass; and Jimmy Camp British reserve that incident “upset World Pacific Records’ Dick Bock bell, drums. (Jones’) usual composure” during were the members of the original From among the British musicians, the solo. Chico Hamilton Quintet plus near Woody chose well: Bert Courtley, original Paul Horn. The musical Les Condon and Ken Wheeler, Jazz Junket proceedings: recording of bassist trumpets; Don Rendell and Art The standard dream for the Euro Carson Smith’s Ellington Suite. Ellefson, tenors; Eddie Harvev and pean jazz fan is a trip to America to Besides arranger Smith, who, in Ken Wray, trombones; Johnny Scott, hear all his favorites. This summer, addition to being one of the original tenor and flute; Ronnie Ross, bari fans in several countries will see the Hamiltonians, was also the first bass tone. Actually, two of the nine are dream come true in reverse: cornet- ist with the Gerry Mulligan Quartet, not English. Ellefson. whom the ist Rex Stewart is leading a group of the group assembled for this final Melody Maker called “one of U. S. tourists to Europe to hear jazz. World Pacific recording date (before Britain’s most promising jazzmen,” Arranged in conjunction with the Hamilton took up residence in the and Wheeler , whom the same American Tourist Bureau, Inc., of Warner Bros, stable) included cellist paper described as “among the two New York, Stewart’s International Freddv Katz, multi-reed man Buddy or three best lead trumpets in Eng Jazz Junket will arrive by air in mid Collette, guitarist Jim Hall and reed land,” are Canadians — two young July for the start of its 29-day Euro man Horn.