Duke Ellington Great Times! Mp3, Flac, Wma
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![Frank Driggs Collection of Duke Ellington Photographic Reference Prints [Copy Prints]](https://docslib.b-cdn.net/cover/8847/frank-driggs-collection-of-duke-ellington-photographic-reference-prints-copy-prints-1348847.webp)
Frank Driggs Collection of Duke Ellington Photographic Reference Prints [Copy Prints]
Frank Driggs Collection of Duke Ellington Photographic Reference Prints [copy prints] NMAH.AC.0389 NMAH Staff 2018 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 Arrangement..................................................................................................................... 2 Scope and Contents note................................................................................................ 2 Biographical/Historical note.............................................................................................. 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 3 Series 1: Band Members......................................................................................... 3 Series 2: Ellington at Piano...................................................................................... 5 Series 3: Candid Shots............................................................................................ 6 Series : Ellington -
![Morgenstern, Dan. [Record Review: Paul Desmond: Summertime] Down](https://docslib.b-cdn.net/cover/1855/morgenstern-dan-record-review-paul-desmond-summertime-down-2861855.webp)
Morgenstern, Dan. [Record Review: Paul Desmond: Summertime] Down
the most part routine. ..,; cal in effect, but the method was pretty There are two_ ~eally fine arrangements: ·. much one of intuitively combining already Games and Pattm, the latter a blues that ,_: existing things). • changes keys about 407 times, which tends ·1· In such an environment, talented musi to keep your ears open, then settles in to cians like Bradford and Carter could em provide Curtis with the kind of earthy Jazz ulate their idols (Fats Navarro and James background in which he is at his best. Moody, I would guess) and, as they ma Some of the other charts, however, dis BY tured, extend their initial inspirations into play an abysmal lack of taste. Somewhere novel areas. And feedback enters once (which it takes guts to perform as a again when Carter and Bradford were saxophone solo anyway, given Cannon MPS·SABAinfluenced in the '60s by Coleman's fully ball's definitive treatment of it) is set to developed music. for collectors & The result is that this group sounds an annoying ricky-tick rhythm which connoisseurs . • quite fresh and new; not because they are vitiates the tune's lyricism. Hold Me Tight from Germany, using new musical materials, but because, is real cutesie. And where Arif Mardin "the Jazz musician's like Coleman, they legitimately tap jazz came up with the brilliant idea of routin paradise!" roots and bring forth new relations between ing Jude as a Latin number is a real familiar things. puzzle. You can hear this in Bradford, espe In general, the album is good clean fun. -
The Cambridge Companion to Duke Ellington Edited by Edward Green Frontmatter More Information
Cambridge University Press 978-0-521-88119-7 - The Cambridge Companion to Duke Ellington Edited by Edward Green Frontmatter More information The Cambridge Companion to Duke Ellington Duke Ellington is widely held to be the greatest jazz composer and one of the most significant cultural icons of the twentieth century. This comprehensive and accessible Companion is the first collection of essays to survey, in-depth, Ellington’s career, music, and place in popular culture. An international cast of authors includes renowned scholars, critics, composers, and jazz musicians. Organized in three parts, the Companion first sets Ellington’s life and work in context, providing new information about his formative years, method of composing, interactions with other musicians, and activities abroad; its second part gives a complete artistic biography of Ellington; and the final section is a series of specific musical studies, including chapters on Ellington and songwriting, the jazz piano, descriptive music, and the blues. Featuring a chronology of the composer’s life and major recordings, this book is essential reading for anyone with an interest in Ellington’s enduring artistic legacy. edward green is a professor at Manhattan School of Music, where since 1984 he has taught jazz, music history, composition, and ethnomusicology. He is also on the faculty of the Aesthetic Realism Foundation, and studied with the renowned philosopher Eli Siegel, the founder of Aesthetic Realism. Dr. Green serves on the editorial boards of The International Review of the Aesthetics and Sociology of Music, Haydn (the journal of the Haydn Society of North America), and Проблемы Музыкальной Науки (Music Scholarship), which is published by a consortium of major Russian conservatories, and is editor of China and the West: The Birth of a New Music (2009). -
Postprint : Author's Final Peer-Reviewed Version
This item is the archived peer-reviewed author-version of: Composing the jazz bass revolution : Duke Ellington's writing for the string bass, 1925-1941 Reference: Heyman Matthias.- Composing the jazz bass revolution : Duke Ellington's w riting for the string bass, 1925-1941 Jazz perspectives - ISSN 1749-4079 - (2019), p. 1-35 Full text (Publisher's DOI): https://doi.org/10.1080/17494060.2019.1682638 To cite this reference: https://hdl.handle.net/10067/1636600151162165141 Institutional repository IRUA Composing the Jazz Bass Revolution: Duke Ellington’s Writing for the String Bass, 1925–1941 Matthias Heyman, University of Antwerp ABSTRACT Throughout his career, Duke Ellington (1899–1974) has been partial to the deep sounds of the bass, as evidenced by records ranging from “East St. Louis Toodle-Oo” (1926) to “Portrait of Wellman Braud” (1970). He always made sure he had the finest bassists at his disposal and used them to good advantage, not merely as accompanists or soloists, but also by having them provide counterpoint, double melodic lines, add percussive effects, and so forth. It can even be argued that although he did not play the string bass, Ellington was instrumental to its development. This article discusses the compositional devices and strategies Duke used to explore new approaches to the bass function between 1925 and 1941, and reveals how he in the process helped define its role in jazz. Jazz history has often been framed as a (chrono)logical, evolutionary narrative supported by a canon of masterpieces that was created by a select few iconic figures.1 These jazz greats serve as “exemplary performer[s]” who play “better […] than anyone else and whose creative innovations influenced everyone else,” as such advancing the music by way of their singular artistic, technical, or stylistic contributions.2 In this historiographic model, the 1 I would like to thank Alexander Dhoest, Greg Gottlieb, Andrew Homzy, Steven Lasker, Ken Prouty, my fellow contributors, and the two reviewers for sharing their insights and ideas. -
Benjamin Francis Webster “Ben” “Frog” “Brute” Part 2
1 The TENORSAX of BENJAMIN FRANCIS WEBSTER “BEN” “FROG” “BRUTE” PART 2 (1943 – 1954) Solographer: Jan Evensmo Last update: October 23, 2017 2 Born: Kansas City, Missouri, March 27, 1909 Died: Amsterdam, Holland, Sept. 20, 1973 Introduction: Ben Webster got his fame through his association with Duke Ellington in the early forties, but he certainly managed on his own for his remaining forty years as active and highly respect artist. Intermediate History: Led own band on 52nd Street, short stay in Sid Catlett’s band (early 1944), with Raymond Scott on C.B.S. and two months with John Kirby (June – July 1944). Brief spell with Stuff Smith early in 1945, but from October 1944 mostly led own small groups for various residencies including: Spotlite and Three Deuces in New York and at Garrick Bar in Chicago (also guested with Henry Allen’s Band at the Garrick). Rejoined Duke Ellington from November 1948 until September 1949, worked with Jay McShann in Kansas City, also toured with ‘Jazz At The Philharmonic’. Returned to Kansas City, worked regularly with Bob Wilson’s band and free-lanced. Moved back to New York in late 1952, led own small groups, did studio work and free-lance recordings, then lived for several years in California (ref. John Chilton). 3 BEN WEBSTER SOLOGRAPHY Continued from 1943 and Duke Ellington. Ben Webster left Duke Ellington in Aug. 13, 1943. WOODY HERMAN AND HIS ORCHESTRA NYC. Nov. 8, 1943 Bobby Guyer, Ray Wetzel, Cappy Lewis, Benny Stabler, Nick Travis (tp), Al Mastren, Eddie Bert, Ed Kiefer (tb), Woody Herman (cl, as, vo, ldr), Johnny Bothwell, Chuck DiMaggio (as), Pete Mondello, Ben Webster, Allen Eager (ts), Skippy DeSair (bar), Dick Kane (p), Hy White (g), Chubby Jackson (b), Cliff Leeman (dm), Frances Wayne (vo-98,00). -
Seldon Powell
1 The TENORSAX of SELDON POWELL Solographer: Jan Evensmo Last update: Feb. 16, 2021 2 Born: Lawrenceville, Virginia, Nov. 15, 1928 Died: New York, Jan. 25, 1997 Introduction: I remember very well our first encounter with Seldon Powell; through the exciting 1956 Atlantic album “Boss Of The Blues” with Joe Turner. We enjoyed his music very much from the start, and realizing the enormous number of recording sessions he had taken part in, we called him a ‘tenorsax potato’, suitable for all jazz dishes. It was meant as an honour. In our opinion, SP did never get the recognition he deserved History: First musical studies at Brooklyn and New York Conservatories 1947-49 and graduated at Juillard 1957. First job with the band of Betty Mays 1949, Tab Smith at Savoy Ballroom 1949 and Dec. 1949 with Lucky Millinder until 1951. Did army service 1951-52 playing in bands in France and Germany where he was stationed. After discharge returned to New York and played with Sy Oliver, Erskine Hawkins, Neal Hefti, Louis Bellson and Don Redman 1952-55. Studied at Juillard. In 1958 he travelled to Europe with Benny Goodman’s band, and then he played briefly with Woody Herman. In the 1960s he worked chiefly for ABC TV but also recorded heavily. His numerous recordings as a studio musician include many made in the late 1960s and early 1970s with soul and soul-jazz musicians, including Groove Holmes (ca. 1973) and sessions in the big bands that accompanied Gato Barbieri (1974) and Anthony Braxton and Dizzy Gillespie (both 1976). -
Main Artist (Group) Album Title Other Artists Date Cannonball Adderley
Julian Andrews Collection (LPs) at the Pendlebury Library of Music, Cambridge list compiled by Rachel Ambrose Evans, August 2010 Main Artist (Group) Album Title Other Artists Date Cannonball Adderley Coast to Coast Adderley Quintet 1959/62 and Sextet (Nat Adderley, Bobby Timmons, Sam Jones, Louis Hayes, Yusef Lateef, Joe Zawinul) Cannonball Adderley The Cannonball Wes Montgomery, 1960 Adderley Victor Feldman, Collection: Ray Brown, Louis Volume 4 Hayes Nat Adderley Work Songs Wes Montgomery, 1978 Cannonball Adderley, Yusef Lateef Larry Adler Extracts from the film 'Genevieve' Monty Alexander Monty Strikes Ernest Ranglin, 1974 Again. (Live in Eberhard Weber, Germany) Kenny Clare Monty Alexander, Ray Brown, Herb Triple Treat 1982 Ellis The Monty Alexander Quintet Ivory and Steel Monty Alexander, 1980 Othello Molineux, Robert Thomas Jr., Frank Gant, Gerald Wiggins Monty Alexander Ivory and Steel (2) Othello Molineux, 1988 Len Sharpe, Marshall Wood, Bernard Montgomery, Robert Thomas Jr., Marvin Smith Henry Allen Henry “Red” 1929 Allen and his New York Orchestra. Volume 1 (1929) Henry Allen The College Steve Kuhn, 1967 Concert of Pee Charlie Haden, Wee Russell and Marty Morell, Henry Red Allen Whitney Balliett Mose Allison Local Color Mose Allison Trio 1957 (Addison Farmer, Nick Stabulas) Mose Allison The Prestige Various 1957-9 Collection: Greatest Hits Mose Allison Mose Allison Addison Farmer, 1963 Sings Frank Isola, Ronnie Free, Nick Stabulas Mose Allison Middle Class Joe Farrell, Phil 1982 White Boy Upchurch, Putter Smith, John Dentz, Ron Powell Mose Allison Lessons in Living Jack Bruce, Billy 1982 Cobham, Lou Donaldson, Eric Gale Mose Allison Ever Since the Denis Irwin, Tom 1987 World Ended Whaley Laurindo Almeida Laurindo Almeida Bud Shank, Harry quartet featuring Babasin, Roy Bud Shank Harte Bert Ambrose Ambrose and his Various 1983 Orchestra: Swing is in the air Albert Ammons, Pete Johnson Boogie Woogie 1939 Classics Albert Ammons, Pete Johnson, Jimmy Boogie Woogie James F. -
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..................................................................................... -
Johnny Hodges – the Composer -.:: GEOCITIES.Ws
Johnny Hodges – The Composer Compilation by Sven Eriksson Last updated 8May08 Introduction This catalogue was created to bring to light the creative powers of Johnny Hodges as a composer. In a condensed form you will find the melodies credited solely to him and tunes where he is credited as co-composer. The titles are as registered by ASCAP, the US Copyright Office, or the Smithsonian Institute, or as shown on record labels. They are in alphabetical order, with alternative title or spelling, if any. This is not a discography, so only a few examples of recordings are presented. The catalogue numbers used by The New Desor leads you to details for those recordings where Duke Ellington is present in the session. To find out when a tune was created, it is better to look for first recording date instead of registration date – several years may have passed before registration is made. Abbreviations are used in order to save space, in the hope that the short forms are understood. Months are typed in lower-case for visual clarity. For some tunes, no commercial recording has been found. Any comments or help from readers would be appreciated – please e-mail Sven Eriksson at [email protected]. 25 July 1907 – 11 May 1970 Title Composer Records: / Alternative title JH = The New Desor first entry (DExxxx) (spelling variations occur) Johnny Hodges Examples of other recordings: Issue, session date, DE = location. Personnel. Duke Ellington Abbreviations used for sets a. = listed (RCA24CD) = The Duke Ellington Centennial Edition. ASCAP The complete RCA Victor recordings 0926-63386-2. -
Jazz Jazz Is a Uniquely American Music Genre That Began in New Orleans Around 1900, and Is Characterized by Improvisation, Stron
Jazz Jazz is a uniquely American music genre that began in New Orleans around 1900, and is characterized by improvisation, strong rhythms including syncopation and other rhythmic invention, and enriched chords and tonal colors. Early jazz was followed by Dixieland, swing, bebop, fusion, and free jazz. Piano, brass instruments especially trumpets and trombones, and woodwinds, especially saxophones and clarinets, are often featured soloists. Jazz in Missouri Both St. Louis and Kansas City have played important roles in the history of jazz in America. Musicians came north to St. Louis from New Orleans where jazz began, and soon the city was a hotbed of jazz. Musicians who played on the Mississippi riverboats were not really playing jazz, as the music on the boats was written out and not improvised, but when the boats docked the musicians went to the city’s many clubs and played well into the night. Some of the artists to come out of St. Louis include trumpeters Clark Terry, Miles Davis and Lester Bowie, saxophonist Oliver Nelson, and, more recently, pianist Peter Martin. Because of the many jazz trumpeters to develop in St. Louis, it has been called by some “City of Gabriels,” which is also the title of a book on jazz in St. Louis by jazz historian and former radio DJ, Dennis Owsley. Jazz in Kansas City, like jazz in St. Louis, grew out of ragtime, blues and band music, and its jazz clubs thrived even during the Depression because of the Pendergast political machine that made it a 24-hour town. Because of its location, Kansas City was connected to the “territory bands” that played the upper Midwest and the Southwest, and Kansas City bands adopted a feel of four even beats and tended to have long solos. -
Mercer Ellington
BULLETIN NR 2, MAJ 2014, ÅRGÅNG 22 Mercer Ellington Being Duke Ellington´s son formed his whole life. His career includes composing, arranging, playing the trumpet, leading his own bands, running a recording company - but all the time more or less in connection with his father. From the 50´s on he had an influent and important role in the Duke´s organization as band manager. – We present Mercer Ellington in this issue, pages 4-9. 2-2014 När vi närmar oss midsommar Vårt föregående nummer av Bulletinen har och vi förstår att de uppskattar vår Bul- rönt stor uppskattning både inom och utom letin. Kunskapen i engelska språket är som rikets gränser. Innehållet fick till vissa delar regel mycket god bland svenskar i gemen så ändras i sista stund pga Alice Babs plötsliga vi tror inte någon av våra medlemmar har bortgång men ändå fick vi inte utrymme för svårigheter att tillgodogöra sig innehållet i allt material om henne som stod till redak- dessa artiklar. tionens förfogande. Därför innehåller det- Vårt senaste medlemsmöte som gick i Alice ta nummer några kompletterande artiklar Babs tecken besöktes av drygt 50 medlem- om föreningens hedersmedlem. Alice blev mar och underhållningen som erbjöds med självklart föremål för en nekrologisk presen- Lasse Zackrissons insiktsfulla kåseri om sitt tation vid den nyligen genomförda Elling- samarbete med Alice som kvällens clou upp- tonkonferensen i Amsterdam. Mer om detta skattades. En recension av kvällen kan läsas på annan plats i denna Bulletin. på annan plats. En av våra medlemmar har ställt frågan Ytterligare två medlemsmöten kommer att till styrelsen varför en svensk förening har arrangeras under hösten och vi räknar med artiklar på engelska i sin medlemstidning. -
Download the TRUMPET of Phil Sunkel
1 The TRUMPET & CORNET of PHILIP SUNKEL Solographer: Jan Evensmo Last update: July 22, 2020 2 Born: Zanesville, Ohio, Nov. 26, 1925 Died: No info Introduction: Phil Sunkel is the result of a long process starting with the appreciation of cool jazz, represented by Chet Baker, then we were led to Tony Fruscella and Don Joseph, and only now, fifty years too late, is Phil Sunkel becoming a name, together with Don Ferrara and other fine and forgotten white trumpeters. Sorry for that. History: Played cornet when he was fourteen, later also trumpet and attended the conservatory in Cincinnati. From 1950 played in local groups, then worked with Claude Thornhill, Charlie Barnet and other band leaders. In 1955 he played in Stan Getz’ band. Member of Gerry Mulligan Concert Band. No info after 1961 except playing with Dick Meldonian 1981/82 (ref. Wikipesdia). 3 PHIL SUNKEL SOLOGRAPHY HAL McKUSICK / BETTY ST. CLAIR NYC. Jan. 1955 Phil Sunkel (tp), Billy Byers (tb), Hal McKusick (as), Gene Di Novi (p), Jimmy Raney (g), Clyde Lombardi (b), Jimmy Campbell (dm), Betty St. Clair (vo). Four titles, “Out Of Nowhere, What Is There To Say?”, “Almost Like Being In Love” and “Here Comes Trouble Again” were recorded for Jubilee, but no trumpet soli. same Same without (vo). Three titles, “Byers Market”, “Willow Weep For Me” and “The Thrill Is Gone”, not available. WILL BRADLEY, JR. NYC. Feb. 25 & March 9, 1955 Phil Sunkel (cnt), J. R. Monterose (ts), Wade Legge (p), Doug Watkins (b), Will Bradley jr. (dm). Eleven titles were recorded for Epic, six issued: My Old Flame Solo 16 bars.