DOCSLIB.ORG

William Russell Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
William Russell Collection MSS 506 Interviews with Musicians about Jelly Roll Morton 1938-1991 Bulk dates 1968-1970 Extent: 487 items This collection, a part of the larger William Russell Collection, consists of typed interviews about the jazz composer, pianist, and conductor Ferdinand “Jelly Roll” Morton (1885?-1941) and of other material which Russell collected for an intended book about Morton. The title of the collection derives from Russell‟s own descriptive phrase on folders and other packing material. However, the interviews were conducted not only with musicians, but also with others who could shed some light on Morton‟s story, including Frances M. Oliver (folder #118), Morton‟s sister; Joseph Fogarty (folder #54), grandson of Judge John J. Fogarty, who is mentioned in a Morton song; two retired vaudeville performers known as Mack and Mack (folder #108); Morton‟s one- time manager Harrison Smith (folder #174); and many others. Also in this collection are a few letters (folder #157, for instance), many of Jelly Roll‟s own autobiographical writings (folder #104), and several clippings, including an important obituary of Roy Carew (folder #87). The few photographs (none of Morton) are generally those mentioned in the accompanying interview article, and were probably intended as illustrations. Russell also collected the output of other people‟s research. John Steiner‟s chronology, “Jelly Roll in The Chicago Defender” (folders 183-185) and the beginning of Dave Stuart‟s book about his own friendship with Morton (folders 187-191) are examples of these. This material served as the basis for William Russell‟s book “Oh Mister Jelly!”: A Jelly Roll Morton Scrapbook. Cite as: Interviews with Musicians about Jelly Roll Morton, MSS 506, Williams Research Center, The Historic New Orleans Collection. Arrangement: Original order. Language: English. Restrictions: Researchers may be limited to consulting one or two items at a time, per the discretion of the Reading Room staff. Reproduction of original documents, when permitted, must be performed by the Williams Research Center staff. How to Order: Please provide the reference staff with the manuscript call number and folder number. Accession number: 92-48-L MSS 506, Williams Research Center, page 2 Table of Contents Folder # Name of Interviewee 1-2 Bernard Addison 3-4 Red Allen (by John Chilton) 5-6 Shep Allen 7-8 Hayes Alvis (by Bob Greene) 9-11 Frank Amacker 12-13 Lil Hardin Armstrong 14-15 Louis Armstrong 16-17 Lovie Austin 18-19 Paul Barbarin 20-21 Danny Barker 22-24 Paul Barnes 25-27 Tommy Benford 28-30 Barney Bigard (by Floyd Levin) 31-34 Eubie Blake 35-36 Rudi Blesh 37-38 Joseph “Fan” Bourgeau 39-40 Bricktop 41-42 Georg Brunis 43-44 Albert “Happy” Caldwell 45-47 Roy Carew [See also George W. Kay] 48-49 Lillie Delk Christian MSS 506, Williams Research Center, page 3 50-53 Amide Colas and Gene Colas 54-57 Bill Colburn 58-59 Lee Collins 60-62 Sam Davis (by John G. Heinz) 63-64 Volly De Faut 65-66 Wilbur De Paris 67-68 Baby Dodds 69-70 Natty Dominque 71-72 Harold Drob 73-74 Charles Elgar 75-78 [Duke] Ellington, Etc. “A Few Other Opinions on Jelly Roll” Wallace Bishop Shelton Brooks Dave Brubeck Duke Ellington John Hammond Earl Hines Louis Metcalf Marili Morden [Levin] Rex Stewart 79-81 “Quotes by Others Not Used” Donald Byrd Cozy Cole Leonard Feather Louis Metcalf George Orendorff Harry Prather Charley Thompson Joe Turner 82-83 Don Ewell MSS 506, Williams Research Center, page 4 84-85 Joseph Fogarty (Interviewed about Judge John J. Fogarty) 86-87 Pops [George Murphy] Foster 88-89 Ed “Montudi” Garland 90-91 Bob [Robert S.] Greene 92-93 George Guesnon 94-95 J. C. Higginbotham 96-97 Paul Howard 98-99 Kenneth Hulsizer 100-101 Willie Humphrey 102-103 Preston Johnson 104-105 Dink Johnson 106-107 Bunk Johnson 108-110 James P. Johnson 111-112 Manzie Johnson 113-114 Rosalind Johnson 115-122 George W. Kay 123-124 Karl Kramer 125-126 Floyd Levin 127-128 Creole Charlie Levy 129-130 Harry Lim 131-133 Alan Lomax 134-135 Jelly Roll Morton “Jelly Writings” (autobiographical essays) [see also William Russell] MSS 506, Williams Research Center, page 5 136-137 Lawrence Lucie 138-139 Billy McBride and Mary McBride [Mack & Mack] 140-141 Manuel “Fess” Manetta 142-143 Punch Miller 144-145 George Mitchell 146-147 Albert Nicholas 148-149 Frances M. Oliver 150-151 Kid Ory 152-153 Russell Procope 154-155 Fred Ramsey (Frederic Ramsey, Jr.) 156-157 Bill [Beale A.] Riddle 158-159 “Banjo” Ikey Robinson 160-161 Al Rose 162-163 Jimmy Rushing 164-167 William Russell “Jelly Roll at the Music Box” 168-186 William Russell “Orchestration” and “Jelly Orchestration” files 174 Frog-I-More Rag 175 Morton‟s piano style 176-178 Stop & Go 179 Fingerbreaker 183 Victor Album Notes 187-190 William Russell “Jelly in Europe” 191 William Russell “Order of Pages in Jelly Book” MSS 506, Williams Research Center, page 6 192-193 Eleanor Simeon 194-195 Omer Simeon 196-197 Marge Creath Singleton 198-201 Zutty Singleton 202-203 Charles Edward Smith 204-207 Harrison Smith 208-210 Stephen W. Smith 211-212 Willie “The Lion” Smith 213-214 “Reb” and Johnny Spikes 216-217 Johnny St. Cyr 218-221 John Steiner “Jelly Roll in The Chicago Defender” (Chronology) 222-226 Dave Stuart 224-226 “Dave Stuart‟s Jelly Roll Book” 227-228 Billy Taylor 229-231 Butch Thompson 232-233 Benny Waters 234-235 J. Mayo “Ink” Williams 236-237 Willie Woodman 238-239 Al[bert] Wynn 240-241 Trummy Young Folder List Folder 1 Bernard Addison (New York, 1970 May 7) Typed interview with introduction. Annotated. Introduction, [1] p. (p. “A”); interview, 4 pp., 1 item Folder 2 Folder marked “Bernard Addison,” with other notations (pencil), 1 item Folder 3 Red Allen (London, 1973 August 30) “John Chilton‟s Notes on Red Allen and Jelly Roll.” Typed, with annotations in ink and red pencil. Page four in pencil in Russell‟s hand. 4 pp., 1 item Folder 4 Folder marked “Red Allen (Chilton),” with other notations (pencil) Verso: flyer for “Stand Up for Life” Rally, 2 items Folder 5 Shep Allen (Washington, DC, 1970 July 15) Typed interview with introduction. Introduction, [1] p. (p. “A”); interview (photocopy), 3 pp., 1 item Folder 6 Folder marked “Shep Allen,” with other notations (pencil) Note, “Shep Al 2 items Folder 7 Hayes Alvin (Washington, DC, 1968 October 23) Typed interview by Bob Greene, with introduction Introduction, [1] p. (p. “A”); interview, 4 pp. With duplicate , 2 items Folder 8 Folder marked “Hayes Alvis,” with other notations (pencil), 1 item Folder 9 Frank Amacker (New Orleans, 1970 October 23) Typed interview with introduction Introduction, [1] p. (p. “A”); interview, 2 pp., 1 item Folder 10 Photograph (glossy black and white, 12½ cm X 17½ cm), of Frank Amacker. With duplicate (photocopy), 2 items Folder 11 Folder marked “Amacker,” with other notations (pencil) Note, “Frank Amacker” (ink and pencil), 2 items Folder 12 Lil Armstrong (New Orleans, 1969 Jan. 19) Typed interview with introduction Introduction, [1] p. (p. “A”); interview, 3 pp., 1 item Folder 13 Folder marked “Lil Armstrong” with other notations (pencil) Two notes, “Lil Armstrong” and “Lil” about interview and photographs. 3 items Folder 14 Louis Armstrong (1970 May 5) Typed article from interview. Article, 3 pp., 1 item Folder 15 Folder marked “Louis Armstrong Jelly Roll Article” with other notations (pencil), 1 item Folder 16 Lovie Austin (Chicago, 1969 April 25) Typed interview with introduction Introduction, [1] p. (p. “A”); interview, 3 pp., 1 item Folder 17 Folder marked “Lovie Austin,” with other notations (pencil) Note, “Lovie Austin” (pencil), 2 items Folder 18 Paul Barbarin (New Orleans, 1968 December 4) Typed interview with introduction. Annotated. Introduction [1] p.; interview, 5 pp., 1 item Folder 19 Folder marked “Paul Barbarin,” with other notations (pencil) Note, “Use with Paul Barbarin” (ink and pencil) Note, “Pau , 3 items Folder 20 Danny Barker (New Orleans, 1968 August 18; 1985 December 21) Typed interview with introduction Introduction, [1] p. (p. “A”); interview, 12 pp., 1 item Folder 21 Folder marked “Danny Barker” (pencil) Clipping, advertisement for Hart Schaffner & Marx suits, 4 items Folder 22 Paul Barnes (New Orleans, 1968 October 15) Typed interview with annotations, 6 pp., 1 item Folder 23 Two drafts of a biographical sketch of Paul Barnes Each is 1 p. (pencil with ink annotations) Verso: 1955 Oct. 31 invoice, Co-Service Printing Co., Newark, NJ, to American Music Records, Chicago, IL Verso: 1949 July 19 TLS, Lee Ruttle, Oakland, CA, to [William] Russell, [Pittsburgh, PA?] Photo of Jelly Roll Morton and band (photocopy), 3 items Folder 24 Folder marked “Paul Barnes,” with other notations (pencil) ncil) Note, “Make Correc 3 items Folder 25 Tommy Benford (New York City, 1970 May 4) Typed interview with introduction Introduction, [1] p. (p. “A”); interview, 4 pp. (photocopy), 1 item Folder 26 Photograph (black and white, 26 cm X 21 cm) of Palm Cafe (photocopy) Photograph (black and white, 6½ cm X 14 cm) of Tommy Benford (photocopy), 2 items Folder 27 Folder marked “Tommy Benford,” with other notations (pencil) , 2 items Folder 28 Barney Bigard (Los Angeles, 1969 July 25) Typed interview by Floyd Levin, with introduction Introduction, [1] p. (p. “A”); interview (photocopy), 4 pp., 1 item Folder 29 Clipping, “Jelly Roll Morton, an Interview with Barney Bigard [by Floyd Levin]” by Bill Russell, Footnote, 1980 Aug./Sept. Annotated photocopy. Includes cover (photograph of Barney Bigard), 1 item Folder 30 Folder marked “Barney Bigard,” with other notations (pencil) , 2 items Folder 31 Eubie Blake (New Orleans, 1969 June 5) “Eubie Blake Talks About Jelly” Typed interview Includes photocopy of photograph of Eubie Blake by Jules Cahn.
Load more

Recommended publications
  • How Democratic Is Jazz?
    Accepted Manuscript Version Version of Record Published in Finding Democracy in Music, ed. Robert Adlington and Esteban Buch (New York: Routledge, 2021), 58–79 How Democratic Is Jazz? BENJAMIN GIVAN uring his 2016 election campaign and early months in office, U.S. President Donald J. Trump was occasionally compared to a jazz musician. 1 His Dnotorious tendency to act without forethought reminded some press commentators of the celebrated African American art form’s characteristic spontaneity.2 This was more than a little odd. Trump? Could this corrupt, capricious, megalomaniacal racist really be the Coltrane of contemporary American politics?3 True, the leader of the free world, if no jazz lover himself, fully appreciated music’s enormous global appeal,4 and had even been known in his youth to express his musical opinions in a manner redolent of great jazz musicians such as Charles Mingus and Miles Davis—with his fists. 5 But didn’t his reckless administration I owe many thanks to Robert Adlington, Ben Bierman, and Dana Gooley for their advice, and to the staffs of the National Museum of American History’s Smithsonian Archives Center and the New York Public Library’s Schomburg Center for Research in Black Culture. Copyright © 2020 by Benjamin Givan. 1 David Hajdu, “Trump the Improviser? This Candidate Operates in a Jazz-Like Fashion, But All He Makes is Unexpected Noise,” The Nation, January 21, 2016 (https://www.thenation.com/article/tr ump-the-improviser/ [accessed May 14, 2019]). 2 Lawrence Rosenthal, “Trump: The Roots of Improvisation,” Huffington Post, September 9, 2016 (https://www.huffpost.com/entry/trump-the-roots-of-improv_b_11739016 [accessed May 14, 2019]); Michael D.
    [Show full text]
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 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]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph 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 Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr.
    [Show full text]
  • Selected Observations from the Harlem Jazz Scene By
    SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation 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 Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan.
    [Show full text]
  • Whicl-I Band-Probably Sam; Cf
    A VERY "KID" HOWARD SUMMARY Reel I--refcyped December 22, 1958 Interviewer: William Russell Also present: Howard's mother, Howard's daughter, parakeets Howard was born April 22, 1908, on Bourbon Street, now renamed Pauger Street. His motTier, Mary Eliza Howard, named him Avery, after his father w'ho di^d in 1944* She sang in church choir/ but not professionally. She says Kid used to beat drum on a box with sticks, when he was about twelve years old. When he was sixteen/ he was a drummer. They lived at 922 St. Philip Street When Kid was young. He has lived around tliere all of his life . Kid's father didn't play a regular instrument, but he used to play on^ a comb, "make-like a. trombone," and he used to dance. Howard's parents went to dances and Tiis mother remembers hearing Sam Morgan's band when she was young, and Manuel Perez and [John] Robichaux . The earliest band Kid remembers is Sam Morgan's. After Sam died, he joined the Morgan band/ witli Isaiah Morgan. He played second trumpet. Then he had his own band » The first instrument he.started on was drums . Before his first marriage, when he got his first drums/ he didn't know how to put them up. He had boughtfhem at Werlein's. He and his first wife had a time trying to put them together * Story about }iis first attempt at the drums (see S . B» Charters): Sam Morgan had the original Sam Morgan Band; Isaiah Morgan had l:J^^i', the Young Morgan Band.
    [Show full text]
  • QUASIMODE: Ike QUEBEC
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ QUASIMODE: "Oneself-Likeness" Yusuke Hirado -p,el p; Kazuhiro Sunaga -b; Takashi Okutsu -d; Takahiro Matsuoka -perc; Mamoru Yonemura -ts; Mitshuharu Fukuyama -tp; Yoshio Iwamoto -ts; Tomoyoshi Nakamura -ss; Yoshiyuki Takuma -vib; recorded 2005 to 2006 in Japan 99555 DOWN IN THE VILLAGE 6.30 99556 GIANT BLACK SHADOW 5.39 99557 1000 DAY SPIRIT 7.02 99558 LUCKY LUCIANO 7.15 99559 IPE AMARELO 6.46 99560 SKELETON COAST 6.34 99561 FEELIN' GREEN 5.33 99562 ONESELF-LIKENESS 5.58 99563 GET THE FACT - OUTRO 1.48 ------------------------------------------ Ike QUEBEC: "The Complete Blue Note Forties Recordings (Mosaic 107)" Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Milt Hinton -b; J.C. Heard -d; recorded July 18, 1944 in New York 34147 TINY'S EXERCISE 3.35 Blue Note 6507 37805 BLUE HARLEM 4.33 Blue Note 37 37806 INDIANA 3.55 Blue Note 38 39479 SHE'S FUNNY THAT WAY 4.22 --- 39480 INDIANA 3.53 Blue Note 6507 39481 BLUE HARLEM 4.42 Blue Note 544 40053 TINY'S EXERCISE 3.36 Blue Note 37 Jonah Jones -tp; Tyree Glenn -tb; Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Oscar Pettiford -b; J.C. Heard -d; recorded September 25, 1944 in New York 37810 IF I HAD YOU 3.21 Blue Note 510 37812 MAD ABOUT YOU 4.11 Blue Note 42 39482 HARD TACK 3.00 Blue Note 510 39483 --- 3.00 prev. unissued 39484 FACIN' THE FACE 3.48 --- 39485 --- 4.08 Blue Note 42 Ike Quebec -ts; Napoleon Allen -g; Dave Rivera -p; Milt Hinton -b; J.C.
    [Show full text]
  • John Cornelius Hodges “Johnny” “Rabbit”
    1 The ALTOSAX and SOPRANOSAX of JOHN CORNELIUS HODGES “JOHNNY” “RABBIT” Solographers: Jan Evensmo & Ulf Renberg Last update: Aug. 1, 2014, June 5, 2021 2 Born: Cambridge, Massachusetts, July 25, 1906 Died: NYC. May 11, 1970 Introduction: When I joined the Oslo Jazz Circle back in 1950s, there were in fact only three altosaxophonists who really mattered: Benny Carter, Johnny Hodges and Charlie Parker (in alphabetical order). JH’s playing with Duke Ellington, as well as numerous swing recording sessions made an unforgettable impression on me and my friends. It is time to go through his works and organize a solography! Early history: Played drums and piano, then sax at the age of 14; through his sister, he got to know Sidney Bechet, who gave him lessons. He followed Bechet in Willie ‘The Lion’ Smith’s quartet at the Rhythm Club (ca. 1924), then played with Bechet at the Club Basha (1925). Continued to live in Boston during the mid -1920s, travelling to New York for week-end ‘gigs’. Played with Bobby Sawyer (ca. 1925) and Lloyd Scott (ca. 1926), then from late 1926 worked regularly with Chick webb at Paddock Club, Savoy Ballroom, etc. Briefly with Luckey Roberts’ orchestra, then joined Duke Ellington in May 1928. With Duke until March 1951 when formed own small band (ref. John Chilton). Message: No jazz topic has been studied by more people and more systematically than Duke Ellington. So much has been written, culminating with Luciano Massagli & Giovanni M. Volonte: “The New Desor – An updated edition of Duke Ellington’s Story on Records 1924 – 1974”.
    [Show full text]
  • Ernest Elliott
    THE RECORDINGS OF ERNEST ELLIOTT An Annotated Tentative Name - Discography ELLIOTT, ‘Sticky’ Ernest: Born Booneville, Missouri, February 1893. Worked with Hank Duncan´s Band in Detroit (1919), moved to New York, worked with Johnny Dunn (1921), etc. Various recordings in the 1920s, including two sessions with Bessie Smith. With Cliff Jackson´s Trio at the Cabin Club, Astoria, New York (1940), with Sammy Stewart´s Band at Joyce´s Manor, New York (1944), in Willie ‘The Lion’ Smith´s Band (1947). Has retired from music, but continues to live in New York.” (J. Chilton, Who´s Who of Jazz) STYLISTICS Ernest Elliott seems to be a relict out of archaic jazz times. But he did not spend these early years in New Orleans or touring the South, but he became known playing in Detroit, changing over to New York in the very early 1920s. Thus, his stylistic background is completely different from all those New Orleans players, and has to be estimated in a different way. Bushell in his book “Jazz from the Beginning” says about him: “Those guys had a style of clarinet playing that´s been forgotten. Ernest Elliott had it, Jimmy O´Bryant had it, and Johnny Dodds had it.” TONE Elliott owns a strong, rather sharp, tone on the clarinet. There are instances where I feel tempted to hear Bechet-like qualities in his playing, probably mainly because of the tone. This quality might have caused Clarence Williams to use Elliott when Bechet was not available? He does not hit his notes head-on, but he approaches them with a fast upward slur or smear, and even finishes them mostly with a little downward slur/smear, making his notes to sound sour.
    [Show full text]
  • Download the FLUTE of WAYMAN ALEXANDER CARVER
    1 The FLUTE of WAYMAN ALEXANDER CARVER Solographer: Jan Evensmo Last update: July 2, 2011 2 Born: Portsmouth, Virginia, Dec. 25, 1905 Died: May 6, 1967 Introduction: From the very first day I heard Wayman Carver‟s flute on the Spike Hughes sessions, I have been a great fan. Not only was he the first (together with Alberto Socarras) to improvise on flute, but he was more than just a pioneer on that instrument. His soli certainly have lasting qualities for musical and not only for historical reasons. He might have recorded more extensively, if he had chosen an instrument less „modest‟! His sound was probably not among the loudest ones on Chick Webb‟s dancing nights, therefore he never became a „name‟ to the public, not even the general jazz public. I sincerely believe he deserves a solography, although it is much too brief. Some years after writing Wayman Carver‟s solography in 1983 (Jazz Solography Series, Vol. 14), I met his daughter Avis and the whole family in Atlanta, a great pleasure for me! Together we made a website for his 100 years anniversary in 2005. History: Wayman Alexander Carver was bom December 25,1905 in Portsmouth, Virginia. His parents were Alexander and Catherine Carver. Wayman was the second bom of eight children – four boys and four girls. At an early age, Carver showed not only an interest in but talent for music. Both his father and uncle were accomplished musicians who played in the Metropolitan Marching Band of Portsmouth. The band was a combined jazz and marching band composed largely of “earmusicians”.
    [Show full text]
  • The Recordings
    Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr.
    [Show full text]
  • Grover Kemble and Za Zu Zaz Reunion
    Volume 39 • Issue 7 July/August 2011 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. above: Winard Harper Sextet; below: Allan Harris. Photos by Tony Mottola. 2011 “Ring dem Bells!” azzfest 2011 on June 11 at the College of Saint J Elizabeth in Morristown kicked off with the ringing of the noon bells at Anunciation Hall just as Emily Asher’s Garden Party was set to begin playing outside its entrance. That caused only a minor setback at our brand new venue where the benefits outweighed any clouds and drizzle. All activities had been seamlessly moved indoors, which turned out to be a boon for one and all, with no missed notes. Dolan Hall proved to be a beautiful venue and the Jazz Lobsters easily fanned across its stage. The languid start to “Splanky” gave way to a crisp, sparking horn crescendo. Bari sax man Larry McKenna was featured as arranger and soloist on “You Go to My Head,” and his velvety, luxurious tone sparked bandleader/ pianist James Lafferty’s continued on page 30 New JerseyJazzSociety in this issue: Deconstructing Dave NEW JERSEY JAZZ SOCIETY April Jazz Social: Dave Frank . 2 Dave Frank digs into Dave McKenna at April Jazz Social Bulletin Board . 2 Governor’s Island Jazz Party 2011 . 3 Text and photos Mail Bag. 3 by Tony Mottola NJJS Calendar . 3 Co-Editor Jersey Jazz Jazz Trivia . 4 Editor’s Pick/Deadlines/NJJS Info . 6 ianist and educator May Jazz Social: Sue Giles . 52 PDave Frank explored Crow’s Nest .
    [Show full text]
  • Guide to the Milt Gabler Papers
    Guide to the Milt Gabler Papers NMAH.AC.0849 Paula Larich and Matthew Friedman 2004 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 .............................................................................................. 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Personal Correspondence, 1945-1993..................................................... 5 Series 2: Writings, 1938 - 1991............................................................................... 7 Series 3: Music Manuscripts and Sheet Music,, 1927-1981.................................. 10 Series 4: Personal Financial and Legal Records, 1947-2000...............................
    [Show full text]