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Red Hot Songs
Red Hot Songs 1 2 4 5 A B C D E F G H I J K L M N O P Q R S T U V W Y Z Red Hot Songs - ['] Song Title Artist/Group or Commentary 'Lasses Candy Original Dixieland Jass Band 'Round My Heart Coon Sanders Nighthawks Orchestra 'S Wonderful 'Tain't Clean Boyd Senter Trio http://cij-assoc.com/jazzpages/alphasonglist.html [2003-02-19 00:49:52] The Red Hot Jazz Archive - Songs Red Hot Songs - [1] Song Title Artist/Group or Commentary 1-2-1944 (intro, song - "Valencia") 12-24-1944 (intro, Bing, Pops & The King's Men) 12-28-1938 (intro) 12th Street Blues Anthony Parenti's Famous Melody Boys 12th Street Blues Anthony Parenti's Famous Melody Boys 12th Street Rag Richard M. Jones 18th Street Stomp Fats Waller 18th Street Strut The Five Musical Blackbirds 18th Street Strut The Bennie Moten's Kansas City Orchestra http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/1.html (1 of 2) [2003-02-19 00:50:48] The Red Hot Jazz Archive - Songs 1919 Rag Kid Ory's Creole Orchestra 1943 (Gracie's "Concerto for Scales and Clinker") 19th Street Blues Dodds And Parham http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/1.html (2 of 2) [2003-02-19 00:50:48] The Red Hot Jazz Archive - Songs Red Hot Songs - [2] Song Title Artist/Group or Commentary 29th And Dearborn Johnny Dodds and his Chicago Boys 29th And Dearborn Richard M. Jones' Three Jazz Wizards http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/2.html [2003-02-19 00:51:05] The Red Hot Jazz Archive - Songs Red Hot Songs - [4] Song Title Artist/Group or Commentary 47th Street Stomp Jimmy Bertrand's -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
THE INFLUENCE of BIX BEIDERBECKE – VOLUME ONE: USA by Max Easterman Even Though It Became Known As “The Jazz Age”, Real Ja
THE INFLUENCE OF BIX BEIDERBECKE – VOLUME ONE: USA By Max Easterman Even though it became known as “The Jazz Age”, real jazz was rarely popular in its own right during the 1920s, as witness the rarity of many of the finest jazz recordings from this era. Jazzmen – particularly white jazzmen – made much more money and often won greater fame using it to pep up dance music than they ever did making pure jazz recordings, though, of course, it’s by the jazz they played on records that we now judge their worth. Such is the distorting mirror of history! Of course, to the general public of the time, arranged dance music played with a rhythmic bounce and offering the occasional jazz-like solo was what they thought of as “jazz”. Two recordings suffice to illustrate the point. The recording of Paul Whiteman’s Back In Your Own Backyard , issued in March 1928, sold 88,000 copies; Bix’s recording of Somebody Stole My Gal , recorded a few weeks later, made sales of only 2400. The first is a highly arranged dance band recording containing just two short solos by Bix; the latter is a romping jazz gem, on which Bix flies like a bird throughout and inspires his fellows to greater things than they knew they were capable of. Bix was a legend in his lifetime for the men who played with him, or listened to him and tried to play like him. But for the general public, who bought the discs, he was just another name, a name which only became significant, for some of them, long after his death. -
The Original Memphis Five Part 3: September 1922 – February 1925 : Busiest Band in the Land by Ralph Wondraschek
The Original Memphis Five Part 3: September 1922 – February 1925 : Busiest Band In The Land By Ralph Wondraschek After the Original Memphis Five had played their last night at Busoni’s Rosebud ballroom, Surf Ave. & West 5 th St., Coney Island (July 18 – Sept.08) 394, 395, 396, 777 , they started, from September 09, with a doubling scheme, alternating evenings between the Danceland, Surf Ave. & 20 th St., Coney Island, and the Balconades Ballroom, 66 th St. & Columbus Ave., Manhattan, for a period of two weeks. 396 to 402 Then, the band topped even that: The Original Memphis Five … are now appearing in three dance halls each week and are making records for eleven different phonograph companies. They appear weekly at the Palais de Danse, Brooklyn; Healy’s Balconades, and Healy’s Danceland, at 95 th street [formerly Healy’s Sunken Gardens] . Besides this, they are recording for the Columbia, Arto, Banner, Pathé, Actuelle, Gennett, Paramount, Regal, Brunswick and Cameo. The members of the Original Memphis Five are Phil Napoleon, leader, cornetist; Frank Signorelli, pianist; James Lytell, clarinet; Charles PanoIIy [sic] , trombone, and Jack Roth, drums. (New York Clipper, November 01, 1922, p.28) Brooklyn Standard Union, September 22, 1922, p.14 Brooklyn Daily Eagle, September 09, 1922, p.22 The tripling schedule had started on September 22, 1922 with the opening of yet another Busoni ballroom, the Palais De Danse, Flatbush Ave. & Sterling Place, Brooklyn 402, 403 : New York Daily News, October 17, 1922, p.17 BUSONI’S PALAIS de DANCE The latest addition to Brooklyn’s sumptuous amusement enterprises, Busoni’s Palais de Dance, at Flatbush avenue and Sterling place, is now open. -
Bix Beiderbecke Leon Bismark Beiderbecke Was an American Jazz
Bix Beiderbecke Leon Bismark Beiderbecke was an American jazz cornetist, jazz pianist, and composer. Born March 10, 1903 Davenport, Iowa, US Died August 6, 1931 (aged 28) Years active 1924–1931 Labels Columbia/SME Records With Louis Armstrong and Muggsy Spanier, Beiderbecke was one of the most influential jazz soloists of the 1920s. His turns on "Singin' the Blues" and "I'm Coming, Virginia" (both 1927), in particular, demonstrated an unusual purity of tone and a gift for improvisation. With these two recordings, especially, he helped to invent the jazz ballad style and hinted at what, in the 1950s, would become cool jazz. "In a Mist" (1927), one of a handful of his piano compositions and one of only two he recorded, mixed classical (Impressionist) influences with jazz syncopation. A native of Davenport, Iowa, Beiderbecke taught himself to play cornet largely by ear, leading him to adopt a non-standard fingering some critics have connected to his original sound. He first recorded with Midwestern jazz ensembles, The Wolverines and The Bucktown Five in 1924, after which he played briefly for the Detroit- based Jean Goldkette Orchestra before joining Frankie "Tram" Trumbauer for an extended gig at the Arcadia Ballroom in St. Louis. Beiderbecke and Trumbauer joined Goldkette in 1926. The band toured widely and famously played a set opposite Fletcher Henderson at the Roseland Ballroom in New York City in October 1926. In 1928, Trumbauer and Beiderbecke left Detroit to join the best-known and most prestigious dance orchestra in the country: the New-York-based Paul Whiteman Orchestra. Beiderbecke's most influential recordings date from his time with Goldkette and Whiteman, although they were generally recorded under his own name or Trumbauer's. -
The Strutter
The Strutter VOLUME 25 NUMBER 3 Traditional Jazz in the Philadelphia Tri-State Area OCTOBER 2014 OUR NEXT CONCERT Howard Alden, Marty Grosz and Titi Bamberger. They hosted the Philadelphia area's first Djangofest The Hot Club of Philadelphia and have played at the World Cafe Live, the Sellersville Theater, the Philadelphia Museum of Art, Philadelphia's first 'Diner en Blanc,' and at the Kimmel Center. Their TV credits include a feature performance on WHYY's Friday Arts. Sunday, October 26, 2014 2:00 – 4:30 p.m. Haddonfield United Methodist Church 29 Warwick Road Barry plays an AJL guitar built to the specs of the Haddonfield, NJ 08033 original Selmer oval-hole "Manouche" guitars made in France in the 1930s. You can learn more about Directions at http://www.tristatejazz.org/directions- the Hot Club, and hear samples of their playing, at haddonfield.html www.hotclubphilly.com. Their latest CD, "Wrap Your Troubles In Dreams," is available via PayPal at The Hot Club of Philadelphia Jazz Quartet their website or you can write Barry Wahrhaftig at Barry Wahrhaftig - Lead Guitar, Vocals, Leader 403-A West Ave., Jenkintown, PA 19046. A new CD Joe Arnold - Violin is slated for an October 2014 release. Zach Fay - Rhythm Guitar Jim Stager - Acoustic Bass Concert Admissions $10 First-time attendees and members "Philadelphia can claim another Hot Swing act $20 General Admission besides the great Joe Venuti... saw the Hot Club of Philadelphia last night at the World Cafe and their High school/college students with ID and show was a killer!" ~ Affa Dalla, Djangobooks children with paying adult admitted free Forum/Blog. -
Guide to the Duncan P. Schiedt Photograph Collection
Guide to the Duncan P. Schiedt Photograph Collection NMAH.AC.1323 Vanessa Broussard Simmons, Franklin A. Robinson Jr., and Craig A. Orr. Processing and encoding funded by a grant from the Council on Library and Information Resources. 2016 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 / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Background Information and Research Materials, 1915-2012, undated..................................................................................................................... 4 Series 2: Photographic Materials, 1900-2012, -
JA 2017 Draft Copy 2.Indd
photo by John McCusker Bruce Boyd Raeburn Curator of the Hogan Jazz Archive, ReƟ ring aŌ er 38 Years of Service Born in a Livery Stable - “First Jazz Record” Turns 100 THE JAZZ ARCHIVIST A newsletter of the William Ransom Hogan Jazz Archive Volume XXX, 2017 Contributors: Colin Hancock and Hannah Krall, Vic Hobson, David Sager, Wayne D. Shirley THE JAZZ ARCHIVIST HOGAN JAZZ ARCHIVE 6801 FRERET STREET ROOM 304 TULANE UNIVERSITY NEW ORLEANS, LA 70118-5682 Volume XXX, 2017 In This Issue: © Tulane University Libraries, 2017. Permission to reproduce in whole and in part must be obtained in wri ng from Tulane 3-14 “Unraveling the Dawn of Recorded University Libraries. Jazz” by David Sager ISSN 1085-8415 15-24 “How Did the ODJB Learn to Play ‘Livery Stable Blues?’” by Vic Hobson Regarding the Cover 25-37 “Centenary Lessons: Exploring The fi rst jazz record turned 100 this the Roots of Jazz and the Music of the year, and the Hogan Jazz Archive turned 59. Meanwhile, Bruce Boyd Raeburn, Curator Original Dixieland ‘Jass’ Band” by Colin of the Jazz Archive, will turn 69, and he Hancock and Hannah Krall has decided to retire at the end of this year. Nobody knows the Jazz Archive better than 38-43 “In the Archive” Bruce. He came aboard as a student assistant in 1980 and worked his way up the ladder, 44-53 “‘Bessie Smith and Her Band’: The becoming a staff member in 1984, and then March 2, 1927, Session” by Wayne D. taking the helm in 1989, as the fourth in Shirley a noteworthy succession of curators: Bill Russell, 1958-1962; Dick Allen, 1962-1980; 54-56 “A Sneak Preview of the Eddie Curt Jerde, 1980-1989. -
Collection of 78Rpm Sound Discs, Date (Inclusive): 1910-1960 Collection Number: 174-M Repository: University of California, Los Angeles
http://oac.cdlib.org/findaid/ark:/13030/tf7s2007n3 No online items Finding Aid for the Collection of 78rpm sound discs 1910-1960 Processed by . Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm ©2009 The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 174-M 1 78rpm sound discs 1910-1960 Descriptive Summary Title: Collection of 78rpm sound discs, Date (inclusive): 1910-1960 Collection number: 174-M Repository: University of California, Los Angeles. Library. Performing Arts Special Collections Los Angeles, California 90095-1490 Abstract: Archival collection of 78 rpm sound recordings. The collection is in the midst of being processed. The finding aid will be updated periodically. Access The collection is open for use. Advance notification is required for use. Preferred Citation [Identification of item], Collection of 78rpm sound discs, 174-M, Performing Arts Special Collections , University of California, Los Angeles. Scope and Content Archival collection of 78 rpm gramophone records housed in the UCLA Music Library, Archive of Popular American Music. General collection, Box 1 - 263, 280 - 299, 303 - 304, 339 - 347/Jazz recordings, Box 264 - 274, 305 - 338/Wolcott gift, Box 275 - 279/Silbaugh gift, Box 300 - 302 The collection is organized into the following series: Series 1. General Collection Series 3. Cal State Long Beach Gift Series 4. -
Extended Edison Jazz and Blues Volume 2.Qxd
JOSEPHINE “JOSLE” MILES Born around 1900, in Summerville, South Carolina. Her early life is unknown, but she apparently moved to New York in the early 1920’s. She recorded for the Black Swan label around 1922 and 1923. Appeared in various Black revues and touring companies for most of the 1920’s, recording for Gennett, Ajax, Banner, Okeb and Edison during this time. By 1928, she is believed to have begun recording religious material, using the name “Sister Josephine Miles”. In the early 1930’s she had settled in Kansas City and her remaining years are believed to have been taken up there with Church activities. She supposedly died in an automobile accident sometime between 1953 and 1956 in Kansas City Missouri. IRVING “MIFF” MOLE (Red & Miff’s Stompers) Started his musical career playing violin and accompanying silent pictures on the piano. He switched to trombone, and his career in jazz music began with Gus Sharp’s Orchestra. He joined the Original Memphis Five and played on and off with them until 1924. In 1923 he met Red Nichols and went on to make many records with bands directed by Red Nichols or under the name of Miff Mole and his Little Molers. However in 1927 he started working as a studio and radio musician and played very little Jazz during the next decade. He joined the Paul Whiteman Orchestra in 1938, and toured with them until 1940. He returned to small-group jazz in the mid-1940s playing with Eddie Condon and recording for Commodore. Miff Mole's health quickly declined in the 1950s and sadly, he was largely forgotten by the jazz world at the time of his death in 1961. -
The Memphis Five
The Memphis Five Part 1: March 1919 - June 1920: The Last Word In Jazz Art by Ralph Wondraschek with special contribution by Millicent Gappell also an orchestra stand and a podium with about twenty Harvard Inn, Coney Island: Frankie Uale was loaded in the tables. The most powerful mobster in America at that time, club. He drew a gun, aimed it at Phil Napoleon and his Frankie Uale (also known as Frankie Yale) had opened the Memphis Five, and growled: “Don’t nobody leave! Just play!” club, with the proceeds of his rackets, in May 1917; Frank Two hours later, Napoleon sneaked behind the lattice work Ross and his Jazz Band supplied the music.662 During the and blew St. Louis Blues from the rest room. By that time, following summer season of 1918, Mike Speciale’s Alabama Frankie Uale was dozing on the barrel of his revolver. Jazz Band had played there. 663 This saloon-cabaret-dance hall Little Augie owned a piece of the club. He walked up to the served as the headquarters of the Uale gang which bandstand, lifted the lid of the upright piano, and yanked his concentrated on Black Hand rackets, preying upon Italian pistol out. “Stop playing”, he said. “If they’re on the dance floor, they can’t buy whiskey. When a clock goes tick, Phil, it’s gotta go tock. Right ?” Right. The police frisked the dump twice a week. It was full of thugs, but nobody thought of looking in the piano. There were so many guns hanging on the strings that the instrument sounded like a muffled mandolin. -
Bud] Freeman, [Jimmy] Mcpartland, [Frank] Teschemacher, Davey Tough, [Gene] Krupa, and the [Eddie] Condon Gang; He Is Currently Active, As He Has
* ^ t SQUIRREL ASHCRAFT 1 Reel I [of 2], Track 1 [of 2]-Digest-Retype August 16, 1961 Also present: John Steiner John Steiner introduces Edwin "Squirrel" Ashcraft as a leader in the Chicago style of jazz, both amateur and professional; he has re- corded with and/or played with, among others, the following: [Bud] Freeman, [Jimmy] McPartland, [Frank] Teschemacher, Davey Tough, [Gene] Krupa, and the [Eddie] Condon gang; he is currently active, as he has been for the past 30 or 40 years- JS says he will ask SA to talk; ob- jectively and unconcernedly al^out his contacts with jazz, and that the influence of New Orleans music on the Chicago people will be shown along the way; JS says SA went to [Princeton/1 New Jersey about 1925, and is in a position to report the influence of New Orleans music on New York music. SA was born in 1905, about the time most of the Austin high "gang were born; he adds that he was born at the right place and the right time to observe [the development of jazz], and he wishes he had re- corded his observations better. He is a third-generation lawyer, his people came from Virginia and Massachusetts by way of Vandalia, Illi- nois; he has two sisters. He says the first contact he had with Jazz was about the same as that of the Austin High boys, through records; they had access to records by the Original Dixieland Jazz Band. SA says he, as a pianist, was partial to the All-Star Trio, Omen and Arden, and later to Zez Confrey, until he heard James P.