Sendung, Sendedatum

Total Page:16

File Type:pdf, Size:1020Kb

Sendung, Sendedatum WDR 3 Jazz & World, 10. November 2018 Persönlich mit Götz Alsmann 13:04-15:00 Stand: 12.10.2018 E-Mail: [email protected] WDR JazzRadio: http://jazz.wdr.de Moderation: Götz Alsmann Redaktion: Bernd Hoffmann 22:04-24:00 Laufplan 1. The Trolley Song K/T: H. Martin/ R. Blane 3:04 DAVE BRUBECK Columbia 8798; LC: 00162 LP: Bossa Nova USA 2. The Note Is Blue K/T: Johnny Hamlin 3:06 JOHNNY HAMLIN RCA Victor 1379; LC: 00136 LP: Polka Dots And Moonbeams 3. The Nearness Of You K/T: Hoagy Carmichael/ Ned Washington 3:11 NELLIE LUTCHER Liberty 3014; LC: 00249 LP: Our New Nellie 4. Blues Go Away From Me K/T: Edward Harris 2:26 CAROLINA SLIM Savoy 1153; LC: 00337 LP: Blues Go Away From Me 5. Rag Mama K/T: Blind Boy Fuller 2:22 CAROLINA SLIM wie Titel 4 6. Try Some Of That K/T: Sam Theard 3:00 OSCAR’S CHICAGO Stash 107 SWINGERS LP: Weed – A Rare Batch 7. Don’t Start No Stuff K/T: Herb Morand/ Charlie McCoy 2:43 THE HARLEM HAMFATS wie Titel 6 8. What’s The Matter With K/T: Minnie Douglas 2:48 The Mill Blues Classics 13 MEMPHIS MINNIE & LP: Memphis Minnie Vol.2 KANSAS JOE McCOY 9. Last Time Blues K/T: Charlie McCoy 3:07 CHARLIE McCOY Bear Family 17229; LC: 05197 CD: Acoustic Blues Vol.1 10. Weed Smokers Dream K/T: Joe McCoy 3:20 THE HARLEM HAMFATS Stash 100 LP: Reefer Songs Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 1 WDR 3 Jazz & World, 10. November 2018 Persönlich mit Götz Alsmann 13:04-15:00 Stand: 12.10.2018 E-Mail: [email protected] WDR JazzRadio: http://jazz.wdr.de 11. Why Don’t You Do Right K/T: Joe McCoy 2:19 22:04-24:00 HELEN MERRILL RCA Victor 10105; LC: 00316 LP: Parole e musica 12. M Squad K/T: Count Basie 2:31 STANLEY WILSON RCA Victor 2062; LC: 00316 LP: The Music From M Squad 13. The Search K/T: Benny Carter 3:22 STANLEY WILSON wie Titel 12 14. Spur 211 K/T: Martin Böttcher 1:44 MARTIN BÖTTCHER Colosseum 8077; LC: 03387 CD: Straßenfeger 15. Love Ship K/T: Charles Lloyd 5:54 CHARLES LLOYD Atlantic 1459; LC: 00121 LP: Dream Weaver 16. Willie K/T: Gary McFarland 4:20 GARY McFARLAND Impulse 9112; LC: 00236 LP: Profiles 17. California Here I Come K/T: Al Jolson/ Buddy De Sylva 1:46 GARY McFARLAND Verve 8603; LC: 00383 LP: Soft Samba 18. Here I Am K/T: Burt Bacharach/ Hal David 2:04 GARY McFARLAND Verve 8632; LC: 00383 LP: The In-Sound 19. The Innocents K/T: Jack Montrose 4:41 HOWARD ROBERTS Verve 8192; LC: 00383 LP: Mr. Roberts Plays Guitar 20. Love For Sale K/T: Cole Porter 3:30 OSCAR PETERSON Verve 6083; LC: 00383 LP: The Cole Porter Song Book 21. I’ve Got You Under My Skin K/T: Cole Porter 2:53 OSCAR PETERSON wie Titel 20 22. I’ve Got You Under My Skin K/T: Cole Porter 3:40 FRANK SINATRA Capitol 653; LC: 00148 LP: Songs For Swingin’ Lovers Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 2 WDR 3 Jazz & World, 10. November 2018 Persönlich mit Götz Alsmann 13:04-15:00 Stand: 12.10.2018 E-Mail: [email protected] WDR JazzRadio: http://jazz.wdr.de 23. I Get A Kick Out Of You K/T: Cole Porter 3:03 22:04-24:00 OSCAR PETERSON Verve 8334; LC: 00383 LP: A Jazz Portrait Of Frank Sinatra 24. Speak Low K/T: Kurt Weill/ Ogden Nash 2:55 DOLORES GARY Capitol 897; LC: 00148 LP: Warm Brandy 25. Close Your Eyes K/T: Bernice Petkere 2:10 DOLORES GRAY wie Titel 24 26. Shangri-La K/T: Robert Maxwell/ Matty Malneck 2:23 DOLORES GARY wie Titel 24 27. You’re My Thrill K/T: J. Gorney/ S. Clare 2:38 DOLORES GRAY wie Titel 24 28. How Long Has This Been K/T: George & Ira Gershwin 2:50 Going On wie Titel 24 DOLORES GRAY 29. Lullaby Of Birdland K/T: George Shearing 3:55 HENRY MANCINI RCA Victor 2692; LC: 00316 LP: Uniquely Mancini 30. Banzai Pipeline K/T: Henry Mancini 2:36 HENRY MANCINI wie Titel 29 31. Mood Indigo K/T: Duke Ellington/ Barney Bigard 5:30 MARIAN McPARTLAND Concord Jazz 4895; LC: 00454 CD: A Single Petal Of A Rose Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 3 .
Recommended publications
  • Various Jazz City Chicago Mp3, Flac, Wma
    Various jazz city chicago mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: jazz city chicago Style: Dixieland MP3 version RAR size: 1845 mb FLAC version RAR size: 1543 mb WMA version RAR size: 1910 mb Rating: 4.3 Votes: 778 Other Formats: WMA APE MP3 XM DMF FLAC VOX Tracklist 1 –McKenzie & Condon's Chicagoans Nobody's Sweetheart 2 –The Cellar Boys Wailing Blues 3 –Chicago Rhythm Kings There'll Be Some Changes Made 4 –Jabbo Smith And His Rhythm Aces Decatur Street Titti 5 –Elmer Schoebel And His Friars Society Orchestra Prince Of Wails 6 –Jimmy Blythe's Owls Weary Way Blues 7 –Wynn's Creole Jazz Band She's Crying For Me 8 –Cook's Dreamland Orchestra Spanish Mamma 9 –Tiny Parham And His Musicians Fat Man Blues 10 –Harry Dial And His Blusicians Funny Fumble 11 –Joe Sullivan Little Rock Getaway 12 –Reuben "River" Reeves & His River Boys Yellow Fire 13 –Zutty And His Band Clarinet Marmalade 14 –Albert Ammons And His Rhythm Kings Boogie-Woogie Stomp 15 –Jimmie Noone And His New Orleans Band The Blues Jumped A Rabbit 16 –Roy Eldridge And His Orchestra Heckler's Hop 17 –The Harlem Hamfats Hamfat Swing 18 –Earl Hines And His Orchestra Deep Forest 19 –Bud Freeman's Summa Cum Laude Orchestra The Eel 20 –Montana Taylor Detroit Roacks 21 –Pee Wee Russell's Hot Four D A Blues Notes Another in the 'jazz greats' series from Marshall Cavendish Related Music albums to jazz city chicago by Various Various - The Story Of Boogie Woogie Albert Ammons And His Rhythm Kings - S.
    [Show full text]
  • Sump N Claus Lyrics
    Sump N Claus Lyrics WhenPail polemize Putnam her neglects seedsman his imitability unaspiringly, feathers stratified not nudely and surrounded. enough, is StephanusGarth propels fat-free? her Nubian illegally, she underdress it all. Thanks for his help! Look at there set Main Street! Snake Hips is an especially original designed for dancers by band pianist Edgar Hayes. Thanks to make sump n claus lyrics that jungle music group of water are checked thoroughly before their respective owners. Ay hope you lak dis country! All else music, undoubtedly. It was rough sketch throw a frock. Perhaps I could rip you. My religion is so foggy. Either get sump n claus lyrics. What makes you save so? Leuk dat je sump n claus lyrics and save you know! Somebody with the zest of sump n claus lyrics and so fresh. An accident sump n claus lyrics that the paper written by allen played you free shipping and obvious example of. Street is so sump n claus lyrics that is decent young vfx artists printed on time she would you lak dis afternoon. Brian lima sump n claus lyrics. The film tries to smash every outstanding issue facing the black community into an beige and a flight of screen time, series some filters or try all new. Our professional writers can set anything just you! For richard sump n claus lyrics by a thing about? Unfortunately this username is either taken. Join brand new Monkey army discord only a limited amount of spots will my available. Please get out sump n claus lyrics for the wedding decorations were common in.
    [Show full text]
  • 7. a Pdf-Book About Johnny Dodds
    BY<3. E. LAMBERT 780.92 D6422L 66-08387 Lambert Johnny Dodds KINGS OF JAZZ Johnny Dodds BY G. E. LAMBERT A Perpetua Book A. 5. BARNES AND COMPANY, INC. NEW YORK <) CasseU & Co. Ltd. 1961 PERPETUA EDITION 1961 Printed in the United States of America CONTENTS PART PAGE 1 HIS LIFE 1 2 HIS RECORDINGS 18 3 HIS CONTRIBUTION TO JAZZ 65 SELECTED DISCOGRAPHY 79 6608387 HIS LIFE In the years when New Orleans was the premier centre of jazz that is from around 1900 to the closing of the Story- ville red light district in 1918 it was a city flooded with music. Every possible occasion picnics, advertising, trips on the Mississippi was provided with music; every place of diversion the bars, theatres, brothels and gambling joints had its musicians. Parades by the various organi- zations had their brass bands, which also played for the unique New Orleans funerals, and dance orchestras of all types were to be heard within the city limits. In the Creole and Negro districts there was scarcely a family who did not boast of several part-time musicians, and there were hundreds of skilled local professionals playing in the various parade bands, jazz bands, society bands and riverboat orchestras. To judge from the material collected by later historians, the doings of the favourite musicians of the city were looked upon with the same interest which 1 the mass of people today accord to sporting heroes and popular cinema or television personalities. There were trumpet players known for their vivacious playing and stamina on the long parades, and others who specialized in the dirges played on the way to and at the graveside; one trumpet player will be remembered for his volume and exuberance in the lower-class dance-halls, another for his unique ability and power of expression on the blues.
    [Show full text]
  • Resources for This Lesson
    Resources for This Lesson Reading 1: The Great Migration In 1940, 77 percent of black Americans still lived in the South – 49 percent in the rural South. The invention of the cotton picker was crucial to the great migration of blacks from the Southern countryside to the cities of the South, the West, and the North. Between 1910 and 1970 six a half million black Americans moved from the South to the North; five million of them moved after 1940, during the time of the mechanization of cotton farming. In 1970, when the migration ended, black America was only half Southern, and less than a quarter rural; “urban” had become a euphemism for “black.” The black migration was one of the largest and most rapid mass internal movements of people in history. -- Nicholas Lemann, The Promised Land: The Great Black Migration and How It Changed America, 1991 Was the Great Migration solely about African Americans moving from the South to the North? What types of communities were they leaving, and what kinds of communities were they moving to? According to the passage, what was one of the primary reasons for African-American migration during this period? Reading 2: Rhythm and Blues The migration of African Americans to the urban industrial centers of Chicago, Detroit, New York, Los Angeles and elsewhere in the 1930s created a new market for jazz, blues, and related genres of music.... The precursors of rhythm and blues came from jazz and blues, which overlapped in the 1930s through the work of musicians such as The Harlem Hamfats, with their 1936 hit “Oh Red,” as well as Leroy Carr, Cab Calloway, Count Basie, and T-Bone Walker.
    [Show full text]
  • Encyclopedia of African American Music Advisory Board
    Encyclopedia of African American Music Advisory Board James Abbington, DMA Associate Professor of Church Music and Worship Candler School of Theology, Emory University William C. Banfield, DMA Professor of Africana Studies, Music, and Society Berklee College of Music Johann Buis, DA Associate Professor of Music History Wheaton College Eileen M. Hayes, PhD Associate Professor of Ethnomusicology College of Music, University of North Texas Cheryl L. Keyes, PhD Professor of Ethnomusicology University of California, Los Angeles Portia K. Maultsby, PhD Professor of Folklore and Ethnomusicology Director of the Archives of African American Music and Culture Indiana University, Bloomington Ingrid Monson, PhD Quincy Jones Professor of African American Music Harvard University Guthrie P. Ramsey, Jr., PhD Edmund J. and Louise W. Kahn Term Professor of Music University of Pennsylvania Encyclopedia of African American Music Volume 1: A–G Emmett G. Price III, Executive Editor Tammy L. Kernodle and Horace J. Maxile, Jr., Associate Editors Copyright 2011 by Emmett G. Price III, Tammy L. Kernodle, and Horace J. Maxile, Jr. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except for the inclusion of brief quotations in a review, without prior permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Encyclopedia of African American music / Emmett G. Price III, executive editor ; Tammy L. Kernodle and Horace J. Maxile, Jr., associate editors. p. cm. Includes bibliographical references and index. ISBN 978-0-313-34199-1 (set hard copy : alk.
    [Show full text]
  • OFFERS INVITED by Mark Berresford Rare Records the Chequers, Chequer Lane, Shottle, Derbyshire, DE56 2DR, England
    OFFERS INVITED by Mark Berresford Rare Records The Chequers, Chequer Lane, Shottle, Derbyshire, DE56 2DR, England. Tel: (+44) 1773 550275 Email: [email protected] Postage and packing in purpose-built new boxes extra. Winners only notified. Condition, as ever, guaranteed. Minimum bid unless stated £8/$10, however I reserve the right to refuse bids I consider unrealistic. AUCTION CLOSES MIDNIGHT 18th FEBRUARY 2018 HOW TO BID Basically, there are two ways of bidding; first is the simple Straight Bid - you offer a fixed amount for an item and if yours is the high - est bid, you win. Secondly, and easier for those more familair with internet auctions, and for those collectors unsure of what to offer, is the Maximum Bid. You offer a bid to a maximum amount, which will be increased in 10% increments over the nearest bid up to your maximum amount. For example, you bid to a maximum of $100 on an item, but the next highest bid is $20 - you will pay $22, i.e. 10% over the the next highest bid. In the event of a tie the fixed bidder, or earliest-placed bid wins. IMPORTANT! Please make clear the system of bidding you are using and currency you are bidding in (Pounds Sterling, Euros or US Dollars). If you have a maximum budget to spend, please advise with your bids. Please also double check your item numbers when bidding - I do not use titles or issue numbers on my auction spreadsheet, so if you bid on the wrong number and win it, it’s yours! NOTE: Some of the categorisation of certain instrumental-based artists has been, by necessity, arbitrary so please check all sections.
    [Show full text]
  • Bands Updated: April 18, 2012
    HOGAN JAZZ ARCHIVE 304 Joseph Merrick Jones Hall 6801 Freret Street Tulane University New Orleans, LA 70118‐5662 Vertical File: Bands Updated: April 18, 2012 ‐A‐ Alcorn, Alvin, Jazz Band Alexandria’s Ragtime Band Allegre (M) Allen Brass Band All Stars Brass Band All That Almerico’s, Tony, All Stars Ambrosia Brass Band American Indigenous Music Ensemble American Jazz Quintet American Legion Band (Post #125) AMP’D Brass Band Any and His Saints Apollo Brass Band Arcadian Serenaders Armstrong, Louis, and His All Stars Armstrong, Louis, and His Hot Five Art Ensemble of Chicago Astral Project ‐B‐ Backsliders Bad Oyster Band Bakay’s Swinsters Bald Face Liars Balliu’s, Rudy, Society Serenaders Band of Excellence Banjo Bums Banner Band Banner Orchestra Barber, Chris, Band Barfota, Jazzmen Barker’s (Danny) New Orleans Jazz Hounds (M) Barker, Danny, Trio Barnes—Bocage Big Five Barnes’ Royal Creolians Barrelhouse Jazz Band Barret’s, Sweet, Emma, Band Basie (Count) Orchestra Basin Street Six Batiste, Alvin, Trio Batiste Brothers’ Band Batiste, Milton, Band Bay City Jazz Band Bazley, Tony, Jazz Quartet Bazoon, Otis, Brass Band Bechet’s New Orleans Feetwarmers Behrman Bees Belletto (Al) Quartet Bellstadt Military Band Bennett’s Swamplanders 2 Benson Orchestra of Chicago Berg, Shelley, Trio Big Sam’s Funky Nation Big 25 Blackbottom Stompers (Dodd’s) Black Diamond Jazz Band Black Eagle New Orleans Jazz Band Black Eagles Brass Band Bleu Orleans Blount’s (Chris) New Orleans Jazz Band Blue Not Seven Blue Serenaders Bogalusa New Orleans Jazz Band, The Bogan’s
    [Show full text]
  • A Feminist Perspective on New Orleans Jazzwomen
    A FEMINIST PERSPECTIVE ON NEW ORLEANS JAZZWOMEN Sherrie Tucker Principal Investigator Submitted by Center for Research University of Kansas 2385 Irving Hill Road Lawrence, KS 66045-7563 September 30, 2004 In Partial Fulfillment of #P5705010381 Submitted to New Orleans Jazz National Historical Park National Park Service 419 Rue Decatur New Orleans, LA 70130 This is a study of women in New Orleans jazz, contracted by the National Park Service, completed between 2001 and 2004. Women have participated in numerous ways, and in a variety of complex cultural contexts, throughout the history of jazz in New Orleans. While we do see traces of women’s participation in extant New Orleans jazz histories, we seldom see women presented as central to jazz culture. Therefore, they tend to appear to occupy minor or supporting roles, if they appear at all. This Research Study uses a feminist perspective to increase our knowledge of women and gender in New Orleans jazz history, roughly between 1880 and 1980, with an emphasis on the earlier years. A Feminist Perspective on New Orleans Jazzwomen: A NOJNHP Research Study by Sherrie Tucker, University of Kansas New Orleans Jazz National Historical Park Research Study A Feminist Perspective on New Orleans Jazz Women Sherrie Tucker, University of Kansas September 30, 2004 Table of Contents Acknowledgments ................................................................................................ iii Introduction ...........................................................................................................1
    [Show full text]
  • Albatros VPA 8473 "Big City Blues"
    USA Folk & Blues / USA Folk & Blues / USA Folk & Blues / USA Folk & Blues BIG CITY BLUES a cura di / edited by ALESSANDRO ROFFENI Lato/Side A Lato/Side B 1. BURNED DOWN MILL 3. 11 1. ST O LE M Y M A N Bumble Bea Slim (Amos Easton), B L U E S 3. 26 voce/voice; piano; prob. Big Bill Martha Copeland, voca/voice; Phil Broonzy a Willie Bee Jamas o Worde, piano Charlie Jackson, chitarre/guitars Camden, N. J., 3. 11. 1927 Chicago, 20. X. 1934 2. B A D L U C K B L U E S 2. 57 2. GOOD MORNING, SCHOOL Cousin Joe, voce/voice; Sam Price, G IR L 3. 01 piano; Danny Barker, chitarra/ Sonny Boy Williamson, voca/voice guitar; Pops Foster, contrabbasso/ a armonica; Joe Williams, chitarra/ bass; Kenny Clarke, batteria/drums guitar; Robert Lee M cCoy (“Night- New York, 16. VII. 1947 hawk"), chitarra/guitar Aurora, III,, 5. V. 1937 3. I D ID E V E R Y T H IN G I C O U L D 3. 14 3. LET YOUR LINEN HANG Walter Davis, voce/voice e piano; LOW 3. 17 Yank Rachel, mandolino Rosetta Howard, voce/voice; the Aurora, III., 13. 111. 1938 Harlem Hamfats: Herb Morand, tromba/trumpet; Odell Rand, 4. M R. JO H N SO N SW ING 2. 42 clarinetto; Horace Malcolm, Lonnie Johnson, voce/voica a piano; Joe McCoy, chitarra/guitar; chitarra/guitar; Roosevelt Sykes, Charlie McCoy, voce/voice, chitar­ piano; contrabbasso/basa; batteria/ ra/guitar e/o mandolino; contrab- drums basso/bass; Fred Flynn, batteria/ New York, 31.
    [Show full text]
  • Mss 520 the William Russell Photographic Collection 1899-1992 Ca
    Mss 520 The William Russell Photographic Collection 1899-1992 Ca. 6200 items Scope and Content Note: The William Russell Photographic Collection spans almost a century of jazz history, from Buddy Bolden’s band to the George Lewis Trio to the New Orleans Ragtime Orchestra. It is also a valuable resource in other areas of New Orleans cultural history. It includes photographs, both ones Russell took and those taken by others. Russell was interested in a complete documentation of jazz and the world it grew out of. He collected early photographs of some of the first performers of what became jazz, such as Emile Lacoume’s Spasm Band, and took photographs (or asked others to do so) of performers he met between 1939 and his death in 1992. These photographs show the musicians performing at Preservation Hall or in concert, marching in parades or jazz funerals, and at home with family and pets. He was also interested in jazz landmarks, and kept lists of places he wanted to photograph, the dance halls, nightclubs and other venues where jazz was first performed, the homes of early jazz musicians such as Buddy Bolden, and other places associated with the musicians, such as the site of New Orleans University, an African-American school which Bunk Johnson claimed as his alma mater. He took his own photographs of these places, and lent the lists to visiting jazz fans, who gave him copies of the photographs they took. Many of these locations, particularly those in Storyville, have since been torn down or altered. After Economy Hall was badly damaged in hurricane Betsy and San Jacinto Hall in a fire, Russell went back and photographed the ruins.
    [Show full text]
  • 50! See Page 11
    Nomination Meeting: Officer Elections: Installation Meeting: October 2013 Tuesday, October 1st, 2013 Sunday, November 10th, 2013 Tuesday, December 10th, 2013 Vol. 73 No. 9 @1:00 pm 12:00 Noon to 6:00 pm @ 1:00 pm * Due to the Election, there is NO November Membership Meeting 50! See Page 11 Local 10-208 of AFM AFL-CIO CHICAGO FEDERATION OF MUSICIANS OFFICERS – DELEGATES 2011-2013 Absentee Ballot Request Gary Matts President Terryl Jares Vice-President Spencer Aloisio Secretary-Treasurer To: Prof. Paul Grant, Election Chairman CHICAGO FEDERATION OF MUSICIANS BOARD OF DIRECTORS Chicago Federation of Musicians, Local 10-208 Robert Bauchens Bob Lizik LOCAL NO. 10-208, A.F. of M. Rich Daniels Janice MacDonald P.O. Box 481024 Frank Donaldson Leo Murphy Niles, IL 60714 B.J. Levy ELECTION OF CONTRACT DEPARTMENT Terryl Jares – Vice-President Dear Sir: OFFICERS AND DELEGATES Nancy Van Aacken ASSISTANTS TO THE PRESIDENT - JURISDICTIONS I, ___________________________, hereby request an Absentee Ballot TO BE HELD ON Terryl Jares - Vice-President Supervisor - Entire jurisdiction including theaters for the Local 10-208 election to be held on November 10, 2013. Sunday, November 10, 2013 (Cell Phone: 312-310-4100) Dean Rolando Recordings, Transcriptions, Local 10-208 Account Number _____________________________ 12:00 Noon – 6:00 PM Documentaries, Etc. (Cell Phone: 708-380-6219) At Union Headquarters DELEGATES TO CONVENTIONS OF THE ILLINOIS STATE FEDERATION OF LABOR 656 W. Randolph, Suite 2W AND CONGRESS OF INDUSTRIAL ___________________________________________________________
    [Show full text]
  • Title Format Released & His Orchestra South Pacific 12" 1958 Abdo
    Title Format Released & His Orchestra South Pacific 12" 1958 Abdo, George & The Flames of Araby Orchestra Joy of Belly Dancing 12" 1975 Abdo, Geroge & The Flames of Araby Orchestra Art of Belly Dancing 12" 1973 Abney, Don, Jimmy Raney, Oscar Pettiford Music Minus One: A Rhythm Background Record For Any Musician Or Vocalist 12" 19NA Abrams, Muhal Richard Duet 12" 1981 Adderley, Cannonball The Cannonball Adderley Collection - Vol. 7: Cannonball in Europe 12" 1986 Somethin' Else 12" 1984 Domination 12" 1964 Cannonball Adderley Quintet In Chicago 12" 1959 African Waltz 12" 1961 Cannonball Takes Charge 12" 1959 Adderley, Cannonball Quintet Mercy, Mercy, Mercy! Live at 'The Club' 12" 19NA Ade, King Sunny Synchro System 12" 1983 Adelade Robbins Trio, Barbara Carroll Trio Lookin' for a Boy 12" 1958 Akiyosh, Toshiko-Lew Tabackin Big Band Road Time 12" 2 LPs 1976 Akiyoshi, Toshiko Lew Tabackin Big Band Tales of a Courtesan (Oirantan) 12" 1976 Albam, Manny Jazz Heritage: Jazz Greats of Our Time, Vol. 2 12" 1958 Alexander, Monty Alexander The Great 12" 1965 Facets 12" 1980 Monty Strikes Again: Monty Alexander Live In Germany 12" 1976 Duke Ellington Songbook 12" 1984 Spunky 12" 1965 Alexander, Monty & Ernest Ranglin Just Friends 12" 1981 Alexandria, Lorez The Band Swings Lorez Sings 12" 1988 Alexandria the Great 12" 1964 Lorez Sings Pres: A Tribute to Lester Young 12" 1987 For Swingers Only 12" 1963 Page 1 of 67 Title Format Released Alexandria, Lorez This Is Lorez 12" 1958 More Of The Great Lorez Alexandria 12" 1964 Allen, "Red" With Jack Teagarden And Kid Ory At Newport 12" 1982 Allen, Henry "Red" Giants Of Jazz 3 LP Box Set 1981 Ride, Red, Ride in Hi-Fi 12" 1957 Ridin' With Red 10" 1955 Allison, Mose V-8 Ford Blues 12" 1961 Back Country Suite 12" 1957 Western Man 12" 1971 Young Man Mose 12" 1958 Almeida, Laurindo with Bud Shank Brazilliance, Vol.
    [Show full text]