The Band Bus
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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. -
Highlights in This Issue
HIGHLIGHTS IN THIS ISSUE: Jim Cullum talks about Bobby Hackett Woody Herman part of 1945 in review Obscure Kitty Kallen lyrics revealed FIRST-CLASS MAIL U.S. POSTAGE PAID Atlanta, GA Permit No. 2022 BIG BAND JUMP NEWSLETTER VOLUME 104______________________ BIG BAND JUMP NEWSLETTER MAY-JUNE, 2006 JIM CULLUM TALKS professional musician. ABOUT BOBBY HACKETT His early career involved playing guitar and violin in hotel ballroom bands in Providence, Boston and Syra The Background cuse, but by 1933 he was play ing cornet with a trio at Jim Cullum, of RIVER- WALK Boston’s Crescent Club. By JAZZ public television fame 1936 he was specializing on was a friend of Bobby comet, and by the next year Hackett’s and as such was had moved to New York City. able to give us some valuable He was almost immediately insights into Hackett’s per in demand in the new York sonality and background. We Studios, but his bread-and- intersperse his comments with butter jobs were with society additional biographical in bands such as Lester Lanin formation about Hackett's and Meyer Davis. He worked varied career and remarkable briefly with Horace Heidt and achievements. led his own group at Nick’s and the Famous Door on 52nd The Story street. BBJ: Cornetist Bobby Even though Bobby Hackett Hackett was one of appeared often in studio ses those performers loved by sions arranged by jazz critic everyone, not only for his cor Leonard Feather and fre net virtuosity but for his gentle quently with Eddie Condon, demeanor. Over the years he played nearly every kind what was to become his most visible performance in of music including small group dixieland, Big Band those years was a salute to Bix Beiderbecke at Benny swing and romantic easy-listening music. -
Making America's Music: Jazz History and the Jazz Preservation
Making America’s Music: Jazz History and the Jazz Preservation Act Jeff Farley Department of American Studies University of Glasgow A thesis submitted for the degree of Doctor of Philosophy July 2, 2008 c Jeff Farley 2008 Abstract The aim of this thesis is to investigate some significant examples of the process by which jazz has been shaped by the music industry and government and their ideas of the place of jazz within American culture and society. The examples demonstrate that the history and traditions of jazz are not fixed entities, but rather constructions used to understand and utilise issues of race, national identity, cultural value, and musical authenticity and innovation. Engagement with such issues has been central to identifying jazz as America’s music, as it earned this status from its worldwide popularity and its identity as an inno- vative black American art form. Recognition for jazz as American music, in conjunction with its improvisational nature, consequently led to the identification of jazz as ‘demo- cratic’ music through its role in racial integration in America and in its representation of American democracy in government propaganda programmes. The different histories of jazz and its status as democratic, American music have all been especially important to the development of House Concurrent Resolution 57 in 1987, referred to as the Jazz Preservation Act (JPA). Authored by Congressman John Conyers, Jr. of Michigan, the JPA defined jazz as a ‘national treasure’ that deserved public support and inclusion in the education system. Few in the industry have criticised the recognition and public subsidy of jazz, but many have found fault with the JPA’s definitions of jazz and its history that have dictated this support. -
The Jazz Rag
THE JAZZ RAG ISSUE 135 WINTER 2015 UK £3.25 CONTENTS FESTIVALS 2015 JAZZ RAG'S PICK OF THE 2015 JAZZ FESTIVALS (PAGES 18-21) PEPPER OF PEPPER AND THE JELLIES PHOTOGRAPHED BY MERLIN DALEMAN AT THE 2014 BIRMINGHAM JAZZ AND BLUES FESTIVAL. THE ITALIAN GROUP IS DUE TO RETURN TO BIRMINGHAM THIS YEAR. 4 NEWS 6 UPCOMING EVENTS 8 DIGBY'S HALF DOZEN AT 20 10 VIC ASH (1930-2014) 11 MIKE BURNEY REMEMBERED 12 2014'S TOP TRUMPET: SUBSCRIBE TO THE JAZZ RAG STEVE WATERMAN THE NEXT SIX EDITIONS MAILED 14 BERNARD 'ACKER' BILK (1929-2014) DIRECT TO YOUR DOOR FOR ONLY A LIFE IN PHOTOGRAPHS £17.50* Simply send us your name. address and postcode along with your 16 HAPPY 100TH BIRTHDAY TO THE payment and we’ll commence the service from the next issue. JAZZ KIDS OF 1915 OTHER SUBSCRIPTION RATES: SCOTT YANOW CUTS THE CAKE FOR EU £20.50 USA, CANADA, AUSTRALIA £24.50 BILLIE, FRANK AND THE REST Cheques / Postal orders payable to BIG BEAR MUSIC 22 CD REVIEWS Please send to: JAZZ RAG SUBSCRIPTIONS PO BOX 944 | Birmingham | England 32 BEGINNING TO CD LIGHT * to any UK address THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 NOW LISTEN TO JAZZ RAG! Fax: 0121 454 9996 London’s first internet jazz radio station jazzlondonradio.com covers a wide range Email: [email protected] of music, with extended programmes of both classic and contemporary jazz every Web: www.jazzrag.com afternoon. Former Director of Jazz Services Chris Hodgkins is the presenter of Jazz Then and Now on Mondays and Wednesdays at 3.00 pm and 8.00 pm. -
A Portrait of Tommy Dorsey
A PORTRAIT OF TOMMY DORSEY Prepared by Dennis M. Spragg Glenn Miller Archive Updated April 21, 2015 1 THE TALENTED AND TEMPERAMENTAL TD Although he celebrated his birthday as November 19, 1905, according to Schuylkill County records, Thomas Francis “Tommy” Dorsey, Jr. was born November 27, 1905 in Mahanoy Plane, a small town outside Shenandoah, Pennsylvania, the second son of Thomas Francis “Pop” Dorsey (born 1872) and Theresa “Tess” Langton (married 1901), Americans of Irish ancestry. Their firstborn son was James Francis “Jimmy” Dorsey, born February 29, 1904. The Dorsey couple bore two additional offspring, Mary, born 1907 and Edward, born 1911. Edward only lived to the age of three. Shenandoah was located in the heart of Pennsylvania coal country. Coal miner Pop Dorsey was once quoted as saying; “I would do anything to keep my sons out of the mines”. The Dorsey parents were interested in music and musically inclined. They saw music as a path for their sons to escape what they considered the “dead-end” future of coal mining. Pop and Tess Dorsey instilled a love of music in their sons. The father favored the cornet as an instrument and his sons fought over who would play it better. Ultimately, Jimmy Dorsey would gravitate to reed instruments and Tommy Dorsey to brass instruments. As children, the sons played in local parades and concerts. As they grew into adolescence, the brothers took nonmusical jobs to supplement the Dorsey family income. Young Tommy worked as a delivery boy. In 1920, the family moved to Lansford, Pennsylvania, where Pop Dorsey became leader of the municipal band and a music teacher. -
Ernesto Caceres “Ernie”
1 The BARITONESAX of ERNESTO CACERES “ERNIE” Solographers: Jan Evensmo with Arne Bryn and Ola Rønnow Last update: Oct. 7, 2020 2 Born: Rockport, Texas, Nov. 22, 1911 Died: San Antonio, Texas, Jan. 10, 1971 Introduction: The day I heard Ernie Caceres play “Body And Soul” with Eddie Condon, I realized that he was one of the best baritonesax players ever in the swing tradition , regardless of colour. Incredible how such a good musician can be almost forgotten! During the year 1944 he made more beautiful soli on his instrument than most challengers do in a lifetime! Early history: Clarinet from an early age, also studied guitar and saxophone. Worked with local bands from 1928, then worked with the “family” trio. Long spell with brother Emilio’s small band including residencies in Detroit and New York. Joined Bobby Hackett in summer of 1938, played tenorsax in Jack Teagarden’s band from February 1939. Briefly in big band led by Bob Zurke, then with Glenn Miller from February 1940 until summer of 1942. With Johnny Long’s band from March 1943, with Benny Goodman in October 1943. Joined Tommy Dorsey in December 1943. Worked with Benny Goodman and Woody Herman in 1944, U.S. Army service from spring 1945. Took part in many recordings with Eddie Condon alumni during the 1940s and 1950s (ref. John Chilton). Message: I am very sorry I did not realize how fine a clarinet player EC was! When you below find reference to ‘have EC’ it means baritonesax only. However, he may play beautiful clarinet soli, not noted. -
Tommy Dorsey
Glenn Miller Archives TOMMY DORSEY 1 9 3 9 Prepared by: Dennis M. Spragg CHRONOLOGY Part 1 - Chapter 5 Updated March 16, 2021 Table of Contents January 1939 3 February 1939 20 March 1939 29 April 1939 37 May 1939 44 June 1939 59 July 1939 73 August 1939 86 September 1939 109 October 1939 125 November 1939 135 December 1939 144 2 January 1939 January 1, 1939 (Sunday) Midnight - 12:30 am Hotel New Yorker New York (CBS) (WABC) sustaining broadcast January 2, 1939 (Monday) 11:00-11:30 pm Hotel New Yorker New York (Mutual) (WOR) sustaining broadcast Personnel Add Nat Leslie, arranger January 4, 1939 (Wednesday) 8:30 - 9:00 pm “The Raleigh and Kool Show” 79A NBC Radio City New York (NBC-Red) (WEAF) broadcast Bud Collyer, announcer Nat Leslie, arranger The Pied Pipers (Josephine Stafford, John Huddleston, Hal Hopper, Chuck Lowry, Bud Hervey, George Tait, Woody Newbury, Dick Whittinghill), guests I’m Gettin’ Sentimental Over You - opening theme, Two Cigarettes In The Dark Humoresque - Paul Weston arrangement What Do You Know About Love? – Edythe Wright, vocal It’s A Killer – Nat Leslie arrangement Let’s Stop The Clock Judgment Day Is Coming – Deane Kincaide arrangement Russian Lullaby, Down Home Rag – Deane Kincaide arrangement Symphony In Riffs – Benny Carter arrangement I’m Gettin’ Sentimental Over You - closing theme January 4, 1939 (Wednesday) 11:30 pm – Midnight “The Raleigh and Kool Show” 79B Western Feed NBC Radio City New York (NBC-Red) broadcast January 6, 1939 (Friday) 11:30 pm – Midnight Hotel New Yorker New York (CBS) (WABC) sustaining broadcast 3 January 7, 1939 (Saturday) 11:00 - 11:30 pm Hotel New Yorker New York (Mutual) (WOR) sustaining broadcast January 8, 1939 (Sunday) Midnight - 12:30 am Hotel New Yorker New York (CBS) (WABC) sustaining broadcast Broadcast cancelled - see Variety article, following. -
Guide to the John Steiner Collection 1860-2001
University of Chicago Library Guide to the John Steiner Collection 1860-2001 © 2009 University of Chicago Library Table of Contents Acknowledgments 4 Descriptive Summary 4 Information on Use 4 Access 4 Citation 4 Biographical Note 4 Scope Note 7 Related Resources 9 Subject Headings 9 INVENTORY 10 Series I: Personal and Professional 10 Subseries 1: Personal 10 Subseries 2: Professional 12 Subseries 3: Travel 21 Series II: Correspondence 23 Series III: Record Industry and Collecting 43 Subseries 1: Paramount and S/D Records 44 Subseries 2: Record Companies and Catalogs 53 Subseries 3: Recording Equipment and Technology 92 Subseries 4: Album Labels 99 Subseries 5: Album Covers and Record Books 112 Series IV: Musicians and People 118 Subseries 1: Paramount Records Musicians and People 118 Subseries 2: Musicians and People 128 Series V: Clubs, Events and Ephemera 330 Subseries 1: Chicago 331 Subseries 2: Chicago Defender and Chicago Whip 361 Subseries 3: Non-Chicago 361 Subseries 4: Posters 367 Series VI: Photographs 369 Subseries 1: Musicians and People 369 Subseries 2: Locations and Subjects 409 Subseries 3: Slides, Negatives, and Oversize Prints 420 Subseries 4: Scrapbooks 422 Series VII: Subject Files 423 Series VIII: Printed Music 451 Subseries 1: Sheet Music 452 Subseries 2: Song Books 606 Subseries 3: Stock Arrangements 629 Subseries 4: Newspaper Music 640 Subseries 5: Articles and Research 642 Series IX: Publications 647 Subseries 1: Publications 647 Subseries 2: Oversize Publications 686 Series X: Artifacts 699 Series XI: Audio-Visual 702 Series XII: Oversize 703 Descriptive Summary Identifier ICU.SPCL.STEINERJ Title Steiner, John. Collection Date 1860-2001 Size 331.25 linear feet (471 boxes) Repository Special Collections Research Center University of Chicago Library 1100 East 57th Street Chicago, Illinois 60637 U.S.A. -
Lew TABACKIN: Tatsuya TAKAHASHI
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Lew TABACKIN: "Lew Tabackin" Lew Tabackin -ts,fl; Bob Dougherty -b; Bill Goodwin -d; recorded December 19, 1974 in Tokyo 11925 BYE BYE BLUES 7.22 RCA 6271 11926 SOLILOQUI 6.00 --- 21816 COME RAIN OR COME SHINE 7.36 --- 21817 MORNING 6.12 --- 21818 HOW DEEP IS THE OCEAN 5.52 --- 21821 LET THE TAPE ROLL 5.42 --- Lew Tabackin -ts; recorded December 19, 1974 in Tokyo 21822 GHOST OF A CHANCE 5.52 --- "Dual Nature" Lew Tabackin -fl,afl,ts[2]; Don Friedman -p; Bob Daugherty -b; Shelly Manne -d, perc; recorded August 31 and September 03, 1976 in Hollywood 69549 EUTERPE 7.15 Empathy EMP1001 69550 YELLOW IS MEOOW 5.48 --- 69551 OUT OF THIS WORLD 9.40 --- 69552 NO DUES BLUES (2) 9.22 --- 69553 MY IDEAL (2) 6.52 --- 69554 RUSSIAN LULLABY (2) 5.47 --- "Trackin'" Lew Tabackin -ts,fl; Toshiko Akiyoshi -p; Bob Daugherty -b; Shelly Manne -d; recorded September 03, 1976 in Hollywood 17075 I'M ALL SMILES 6.35 RCA RDC-3 17076 COTTON TAIL 5.49 --- 17077 TRACKIN' 6.16 --- 17078 SUMMERTIME 4.42 --- "Rites of Pan" Lew Tabackin -fl; Toshiko Akiyoshi -p; John Heard -b; Shelly Manne -d; recorded September 26 and 27, 1977 in Los Angeles 64263 BE-BOP 2.24 Inner City IC6052 64264 JITTERBUG WALTZ 6.39 --- 64265 RITES OF PAN 5.09 --- 64266 NIGHT NYMPH 2.17 --- 64267 ELUSIVE DREAM 4.05 --- Lew Tabackin -fl; Toshiko Akiyoshi -p; Bob Dougherty -b; Shelly Manne -d; recorded February 1978 in Los Angeles 64261 -
Everett Longstreth
Music at MIT Oral History Project Everett Longstreth Interviewed by Forrest Larson with Frederick Harris, Jr. March 30, 2011 Massachusetts Institute of Technology Lewis Music Library Transcribed by MIT Academic Media Services and 3Play Media. Cambridge, MA Transcript Proof Reader: Lois Beattie, Jennifer Peterson Transcript Editor: Forrest Larson ©2013 Massachusetts Institute of Technology Lewis Music Library, Cambridge, MA ii Table of Contents 1. Family and early musical experience (00:00:16) ............................................1 Family in Vaudeville—radio show on WBNS—Al Longstreth Orchestra—choosing the trumpet—Berklee College of Music—trumpet lessons with Fred Berman, Harry Fink, and John Coffey—Harry DeAngelis—Ralph Neer—South High School musical groups—jazz in Columbus, OH—Willis Conover—Spike Jones—Maynard Ferguson—Tommy Dorsey—Gene Krupa—Duke Ellington—Stan Kenton—Nancy Wilson 2. Service in US Army (00:23:30) ......................................................................9 Audition—Dance Masters—Joe Solomon—writing and arranging—Jack Carter—George Jalber—introduction to Berklee College of Music—Larry Berk—Robert Share 3. Berklee School of Music. Touring (00:31:12) ..............................................12 Fred Berman—touring with Leo Peeper’s band—Norm Butler 4. Resuming study at Berklee, association with Herb Pomeroy (00:37:35) .....13 John Coffey—arrangement studies with Herb Pomeroy—playing in Pomeroy’s band— Bill Berry—The Stables—Ray “Muzzy” Santisi—John Neves—Joseph Schillinger’s theory 5. Touring with the Woody Herman Band (00:45:24) ......................................15 Pomeroy’s band at The Stables—Storyville—John Coppola—playing with the Woody Herman Band—Bill Harris—Karl Kiffe—Jay Migliori—Roger Pemberton—Joe Romano—playing at Paul’s Mall—Woody Herman as a bandleader—Danny Stiles— Andy Peele 6. -
Chilowicz Sauter Thesis
©2013 Alex Chilowicz ALL RIGHTS RESERVED A Career Retrospective of Eddie Sauter, Jazz’s Overlooked Composer and Innovator By Alex Chilowicz A Thesis 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, New Jersey May, 2013 ABSTRACT OF THESIS A Career Retrospective of Eddie Sauter, Jazz’s Overlooked Composer and Innovator By Alex Chilowicz Thesis Director: Dr. Lewis Porter With a career that spanned nearly four decades during the height of jazz’s popularity, Eddie Sauter contributed arrangements and compositions to some of the most significant jazz groups in the music’s history. Through his unique style, his constant desire to expand upon his compositional prowess through studies with various classical composers, and his general willingness to experiment with unusual melodic and harmonic gestures, Sauter produced music vastly different from that of most of his contemporaries. It is for this reason that the pensive composer was deemed “twenty years ahead of his time” by several critics of the day. As the chief architect for much of Red Norvo’s songbook in the 1930s, dozens of arrangements and compositions for Benny Goodman in the early 1940s, creative originals for Ray McKinley in the late 1940s, a unique repertoire with co- conspirator Bill Finegan in their jointly led “expanded” big band of the 1950s, and a handful of gems for Stan Getz with orchestral accompaniment in the 1960s, “prolific” barely begins to describe the output of Eddie Sauter. -
Artie Shaw 1941-1942
Glenn Miller Archives ARTIE SHAW June 1941 – January 1942 “The Symphonic Orchestra” Prepared by: Reinhard F. Scheer-Hennings and Dennis M. Spragg In Cooperation with the University of Arizona Volume 5 Updated January 25, 2021 Table of Contents Table of Contents ........................................................................................................................................ 2 Prelude ......................................................................................................................................................... 3 June 1941 ..................................................................................................................................................... 4 July 1941 ...................................................................................................................................................... 7 August 1941 ................................................................................................................................................. 9 September 1941 ......................................................................................................................................... 12 October 1941 ............................................................................................................................................. 25 November 1941 .......................................................................................................................................... 33 December 1941 .........................................................................................................................................