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VOLUME XXIII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1992 Dec 12-13, 1992 Vocals have always been with BBJ PROGRAMS are subject to change due to un SINGING GROUPS us, even though swing pur avoidable circumstances or station convenience. Many ists tend to overlook the con requests are receivedfor tape copies o f the programs, tribution made by lyrics in popularizing the Big Bands but stringent copyright laws applying to the records that are the basis of it all. The Mills Brothers, the Pied used prevent us from supplying such copies. Pipers, the Sentimentalists, the Modernaires, the Ink Spots, the Stardusters and the Merry Macs all make ( RECORDS TO CONSIDER) recorded appearances on this salute to the vocal groups, along with a few instrumental and single vocal HERE’S THAT SWING THING Pat Longo hits of the forties. Orchestra -Vocals by Frank Sinatra, Jr. USA Records - 19 Cuts - CD or Cassette Dec 19-20, 1992 It’s a very special BIG BAND CHRISTMAS time with very special Billy May was one of the arrangers for this recording, music, captured as which immediately makes it a must-have. Pat Longo’s performed in the studio and in broadcasts during the Orchestra has a two decade history of solid perfor Christmas seasons of years past. Both Big Bands and mance, some of it a bit far out for some Big Band single vocalists recall the Sounds of Christmas in a traditionalists, but most simply solid swing. Sax man simpler time; perhaps a better time. Recollections of Longo was vice-president of a California bank until he Christmas experiences fill in the moments between the realized money wasn’t what he wanted to handle the music to weave a spell. -
J. Dorsey, Earl Hines Also Swell Trombone Showcased
DOWN BEAT Chicago. April 15. 1941 Chicago fl by his latest cutting. Everything Depends On You, in which he spots Gems of Jazz’ and Kirby Madeline Green and a male vocal trio. On BBird 11036, it’s a side which shows a new Hines, a Hines who can bow to the public’s de Albarns Draw Big Raves; mands and yet maintain a high artistic plane. Backer is In Suiamp Lande, a juniper, with the leader’s I—Oh Le 88, Franz Jackson’s tenor and a »—New ' J. Dorsey, Earl Hines Also swell trombone showcased. Je Uy, 3—dmapi Jelly (BBird 11065) slow 4—Perfid by DAVE DEXTER, JR. blues with more sprightly Hines, 5—The A and a Pha Terrelish v ical by Bill 6—High I JvlUSICIANS SHOULD FIND the new “Gems of Jazz” and Eckstein. Flipover, I’m Falling 7—There' For You, is the only really bad John Kirby albums of interest, for the two collections em side of the four. It’s a draggy pop 9—Chapeí brace a little bit of everything in the jazz field. The “Gems” with too much Eckstein. [O—Th> l include 12 exceptional sides featuring Mildred Bailey, Jess 11—f Unti Stacy, Lux Lewis, Joe Marsala and Bud Freeman. Made in Jimmy Dorsey 12—Frenes 1936, they’ were issued only in England on Parlophone and Hot as a gang of ants on a WATCH O have been unavailable domestically until now. warm rock, Jim and his gang click again with two new Tudi« Cama Ma «mvng tl B a i 1 ey’s rata versions uf Yours (the Man Behind the Counter in soda-jerk getup in that rat. -
JUKEBOX JAZZ by Ian Muldoon* ______
JUKEBOX JAZZ by Ian Muldoon* ____________________________________________________ n 1955 Bill Haley’s Rock Around the Clock was the first rock and roll record to become number one on the hit parade. It had made a stunning introduction in I the opening moments to a film called Blackboard Jungle. But at that time my favourite record was one by Lionel Hampton. I was not alone. Me and my three jazz loving friends couldn’t be bothered spending hard-earned cash on rock and roll records. Our quartet consisted of clarinet, drums, bass and vocal. Robert (nickname Orgy) was learning clarinet; Malcolm (Slim) was going to learn drums (which in due course he did under the guidance of Gordon LeCornu, a percussionist and drummer in the days when Sydney still had a thriving show scene); Dave (Bebop) loved the bass; and I was the vocalist a la Joe (Bebop) Lane. We were four of 120 RAAF apprentices undergoing three years boarding school training at Wagga Wagga RAAF Base from 1955-1957. Of course, we never performed together but we dreamt of doing so and luckily, dreaming was not contrary to RAAF regulations. Wearing an official RAAF beret in the style of Thelonious Monk or Dizzy Gillespie, however, was. Thelonious Monk wearing his beret the way Dave (Bebop) wore his… PHOTO CREDIT WILLIAM P GOTTLIEB _________________________________________________________ *Ian Muldoon has been a jazz enthusiast since, as a child, he heard his aunt play Fats Waller and Duke Ellington on the household piano. At around ten years of age he was given a windup record player and a modest supply of steel needles, on which he played his record collection, consisting of two 78s, one featuring Dizzy Gillespie and the other Fats Waller. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
Cool Trombone Lover
NOVEMBER 2013 - ISSUE 139 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM ROSWELL RUDD COOL TROMBONE LOVER MICHEL • DAVE • GEORGE • RELATIVE • EVENT CAMILO KING FREEMAN PITCH CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm RESIDENCIES / 7:00, 9:00 & 10:30pm Fri & Sat, Nov 1 & 2 Wed, Nov 6 Sundays, Nov 3 & 17 GARY BARTZ QUARTET PLUS MICHAEL RODRIGUEZ QUINTET Michael Rodriguez (tp) ● Chris Cheek (ts) SaRon Crenshaw Band SPECIAL GUEST VINCENT HERRING Jeb Patton (p) ● Kiyoshi Kitagawa (b) Sundays, Nov 10 & 24 Gary Bartz (as) ● Vincent Herring (as) Obed Calvaire (d) Vivian Sessoms Sullivan Fortner (p) ● James King (b) ● Greg Bandy (d) Wed, Nov 13 Mondays, Nov 4 & 18 Fri & Sat, Nov 8 & 9 JACK WALRATH QUINTET Jason Marshall Big Band BILL STEWART QUARTET Jack Walrath (tp) ● Alex Foster (ts) Mondays, Nov 11 & 25 Chris Cheek (ts) ● Kevin Hays (p) George Burton (p) ● tba (b) ● Donald Edwards (d) Captain Black Big Band Doug Weiss (b) ● Bill Stewart (d) Wed, Nov 20 Tuesdays, Nov 5, 12, 19, & 26 Fri & Sat, Nov 15 & 16 BOB SANDS QUARTET Mike LeDonne’s Groover Quartet “OUT AND ABOUT” CD RELEASE LOUIS HAYES Bob Sands (ts) ● Joel Weiskopf (p) Thursdays, Nov 7, 14, 21 & 28 & THE JAZZ COMMUNICATORS Gregg August (b) ● Donald Edwards (d) Gregory Generet Abraham Burton (ts) ● Steve Nelson (vibes) Kris Bowers (p) ● Dezron Douglas (b) ● Louis Hayes (d) Wed, Nov 27 RAY MARCHICA QUARTET LATE NIGHT RESIDENCIES / 11:30 - Fri & Sat, Nov 22 & 23 FEATURING RODNEY JONES Mon The Smoke Jam Session Chase Baird (ts) ● Rodney Jones (guitar) CYRUS CHESTNUT TRIO Tue Cyrus Chestnut (p) ● Curtis Lundy (b) ● Victor Lewis (d) Mike LeDonne (organ) ● Ray Marchica (d) Milton Suggs Quartet Wed Brianna Thomas Quartet Fri & Sat, Nov 29 & 30 STEVE DAVIS SEXTET JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm Thu Nickel and Dime OPS “THE MUSIC OF J.J. -
The Jazz Record
oCtober 2019—ISSUe 210 YO Ur Free GUide TO tHe NYC JaZZ sCene nyCJaZZreCord.Com BLAKEYART INDESTRUCTIBLE LEGACY david andrew akira DR. billy torn lamb sakata taylor on tHe Cover ART BLAKEY A INDESTRUCTIBLE LEGACY L A N N by russ musto A H I G I A N The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year. -
Ifabiszletter 93024--O24-O January 1992 Vol
P.O. Box 240 Ojai, Calif. ifabiszletter 93024--O24-O January 1992 Vol. 11 No. 1 changed and segregation has ostensibly ended, the vestiges of Mail Bag a segregated society still exist there, and even in Cincinnati, where I now live. In The Prez of Louisville, I was captured in nostalgia and When I was going to place a black sales representative in tenderness with your treatment of your feelings about early southern Kentucky, the owner of a large wholesale grocery experiences with blacks. I too "never understood those who warehouse told me that other companies had tried it and pull back from difference, or more, hate it." failed. Most of the people had crosses burned in their front I was born in the early years of the development of jazz, yards, or received other unpleasant warnings. There are a few 1926. As I grew up, it took a certain amount of daring for me black sales representatives in Louisville today, but very few. to visit the black ghettos of Long Beach, California, and Los Cincinnati has improved greatly, and black representatives are Angeles. Blacks did not go into white restaurants or night- not uncommon today. ‘ubs, they did not appear in public on the same bandstand or Yet it is rare even today to go into a black neighborhood even baseball diamond. Blacks rarely went mto the stores bar and see a white man, except in clubs featuring jazz. So, where whites shopped in the 1930s and later, and whites rarely while we have progressed some in the past 30 or 40 years, it visited black neighborhoods, churches, clubs, or restaurants. -
Ko Ko”-- Charlie Parker, Miles Davis, Dizzy Gillespie, and Others (1945) Added to the National Registry: 2002 Essay by Ed Komara (Guest Post)*
“Ko Ko”-- Charlie Parker, Miles Davis, Dizzy Gillespie, and others (1945) Added to the National Registry: 2002 Essay by Ed Komara (guest post)* Charlie Parker Original label “Ko Ko” was Charlie Parker’s signature jazz piece, conceived during his apprenticeship with Kansas City bands and hatched in the after-hours clubs of New York City. But when “Ko Ko” was first released by Savoy Records in early 1946, it seemed more like a call for musical revolution than a result of evolution. “Ko Ko” was developed from a musical challenge that, from 1938 through 1945, confounded many jazzmen. The piece uses the chord structure of “Cherokee,” an elaborate, massive composition that was written by dance-band composer Ray Noble. “Cherokee” was the finale to a concept suite on Native American tribes, the other four movements being “Comanche War Dance,” “Iroquois,” “Sioux Sue,” and “Seminole.” If a standard blues is notated in 12-measures, and a pop song like George Gershwin’s “I Got Rhythm” is in 32 measures, Noble’s “Cherokee” is in 64 measures. In 1939, Charlie Barnet popularized “Cherokee” through a hit version for RCA Victor. Meanwhile, jazz musicians noticed the piece, and they tried clumsily to improvise solos to its chord progression. Count Basie, for one, with his Kansas City band, recorded “Cherokee” in February 1939. At the time, Basie had some of the best soloists in jazz like Lester Young, Ed Lewis, and Dicky Wells. But on this record, these four musicians improvised only during the A sections, leaving the very difficult “bridge” sections (measures 33-48 of the piece) to be played by the whole band. -
The Role of the Bass in Pianoless Jazz Ensembles: 1952-2014
The Role of the Bass in Pianoless Jazz Ensembles: 1952-2014 Volume One Nikki Joanna Stedman B.Mus. (Hons) 2010 (The University of Adelaide) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Arts The University of Adelaide June 2016 ! !!!! TABLE OF CONTENTS List of Figures .................................................................................................................... xii Abstract ............................................................................................................................ xxv Declaration ...................................................................................................................... xxvi Acknowledgements ........................................................................................................ xxvii Introduction ......................................................................................................................... 1 Introduction ....................................................................................................................... 1 Thesis Structure ................................................................................................................. 4 Conceptual Framework ..................................................................................................... 9 1) Pianoless Ensembles ................................................................................................. 9 2) Accompaniment Techniques .................................................................................. -
STARK, 'Bobbie'
THE PRE-CHICK WEBB RECORDINGS OF BOBBY STARK An Annotated Tentative Personnelo - Discography STARK, ‘Bobbie’ Robert Victor, trumpet born:, New York City, 6th January 1906; died: New York City, 29th December 1945 Began on the alto horn at 15, taught by Lt. Eugene Mikell Sr. at M.T. Industrial School, Bordentown, New Jersey, also studied piano and reed instruments before specialising on trumpet. First professional work subbing for June Clark at Small´s (Sugar Cane Club – KBR), New York (late 1925), then played for many bandleaders in New York including: Edgar Dowell, Leon Abbey, Duncan Mayers, Bobby Brown, Bobby Lee, Billy Butler, and Charlie Turner, also worked briefly in McKinney´s Cotton Pickers. Worked with Chick Webb on and off during 1926-7. Joined Fletcher Henderson early in 1928 and remained with that band until late 1933 except for a brief spell with Elmer Snowden in early 1932. With Chick Webb from 1934 until 1939. Free-lancing, then service in U.S. Army from 14th November 1943. With Garvin Bushell´s Band at Tony Pastor´s Club, New York, from April until July 1944, then worked at Camp Unity with Cass Carr until joining Benny Morton´s Sextet at Café Society (Downtown) New York in September 1944. (J. Chilton, Who´s Who Of Jazz) BOBBY E. STARK (trumpet), b. New York, Jan. 6/06. d. New York, Dec 29/45. Played with Chick Webb´s small band (1927); said also to have worked with McKinney´s Cotton Pickers, but this seems unlikely; joined Fletcher Henderson Nov/27, stayed until c Mar/34 (except said to have left briefly to Elmer Snowden, early 1932). -
Charlie Parker (“Bird”)
Charlie Parker (“Bird”) Greatest single musician in history of jazz Considered one of the most influential jazz performers in jazz history Charlie Parker General style characteristics Tone quality varied from strident to lush Vibrato slightly slower and narrower than predecessors Longer phrases than predecessors Unexpected accents at key points in the phrase Tremendous command of technique (virtuoso) Large repository of material to draw upon Complete mastery of the bebop language (i.e., harmonic as well as melodic) Charlie Parker Timeline Born 8/29/20 in Kansas City, KS Moved to Kansas City, Missouri in 1927 Played baritone horn in high school Quit HS in 1935 & played 1st gig Joined George E. Lee band in 1937 (Ozark Mountains and Prez recordings) In New York City ca. 1938-39 (Tatum?) Rejoined Jay McShann Band in 1940 (earliest recordings) Charlie Parker Timeline, cont. Joins Earl “Fatha” Hines in 1943 w/Diz & on tenor *Sweet Georgia Brown Plays in Billy Eckstine’s band in 1944 Records with Tiny Grimes (9-15-44) *Tiny’s Tempo Swing meets Bebop (1945) *Hallelujah Records w/Diz’s group (2-29-45) & again in June that year *Groovin’ High First true bebop recording (“Charlie Parker Beboppers”), 11-29-45 (Parker, Diz/Miles, Sadik Hakim, Curley Russell, Max Roach) *Koko Bird & Diz in California, 1946 Committed to Camarillo Hospital (7-29-46) for six months Charlie Parker Timeline, cont. 1947 begins Bird’s best periods Records with quintet ca. 1947-49 (Miles/ Dorham, Duke Jordon/Al Haig, Tommy Potter, Max Roach) *Dexterity Leap Frog (11 takes) Misc. ensembles 1948-1955, in particular, recordings with strings (November 1949) *Just Friends Poll Winner (video with Diz) Charlie Parker Timeline, cont. -
1 Miles Davis Quintet, Live in Europe 1967: the Bootleg Series, Vol. 1
77TH ANNUAL READERS POLL HISTORICAL ALBUM OF THE YEAR 1 Miles Davis Quintet, Live In Europe 1967: The Bootleg Series, Vol. 1 (COLUMBIA/LEGACY) 2,619 votes The trumpeter and his second great quintet were in their prime while touring with George Wein’s Newport Jazz Festival in October and November 1967. 2 Wes Montgomery, Echoes 5 Stan Getz, Stan Getz 8 Fela Kuti, Vinyl Box Set I Of Indiana Avenue Quintets: The Clef & (KNITTING FACTORY/ (RESONANCE) 1,270 Norgran Studio Albums LABEL MAISON) 465 (HIP-O SELECT) 642 Newly dis- This package of covered live This three-disc remastered Fela recordings made collection, which Kuti albums—the in Indianapolis concentrates on first in a series sometime in Getz’s earliest sin- of vinyl box sets 1957 or ’58 gles and albums covering the shed light on the early work of (1952–1955) for work of the world-renown Afro- one of jazz’s greatest guitarists Norman Granz, elegantly fills a gap beat vocalist—was curated by during a pivotal point in his career. in the saxophonist’s discography. Ahmir “Questlove” Thompson. 3 The Dave Brubeck Quartet, 6 The Dave Brubeck Quartet, 9 Howlin’ Wolf, Smokestack The Columbia Studio Their Last Time Out Lightning:The Complete Albums Collection: 1955– (COLUMBIA/LEGACY) 596 Chess Masters, 1951–1960 (HIP-O SELECT/GEFFEN) 464 1966 (COLUMBIA/LEGACY) 1,001 Brubeck’s quar- tet of 17 years Perhaps the most Containing about with Paul Des- unique and power- 12 hours of mond, Eugene ful performer in music, this box Wright and Joe the history of the set covers all 19 Morello played blues, How- studio albums their last concert lin’ Wolf cre- that Brubeck together in Pittsburgh on Dec.