DOCSLIB.ORG

APFI's Fall Season: a S-Flower Bouquet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
APFI's Fall Season: a S-Flower Bouquet JazzCalancer CtPagE4-6 Oueutng.hzz EluenEs fuIBW, I"bss. adtrE@ APlacejorJWz! APFI's Fall Season: A S-Flower Bouquet come to the concerts. Children APF|'s Fall series is going to by Butch Conn under twelve are free when be a knockout. With a broad accompanied by a paying adult. spectrum of styles, instru- On October 16 lazzGrandmaster (limit two to an adult). And mentation and a presentation limmy Heath will be here with a children from 12-18 get in for of both grandmasters and quintet that will show you how half price (with ID). So bring "youngbloods" this will be a young this veteran remains. On your kids and make it an season to remember. In October 30 lazz Grandmaster evening sharing something you addition series tickets are Barry Harris will be here to love. now even mote of a savings delight us with his delightful (25%1. Cheap enough to buy performance of Monk, Bud New Support an annual subscription and Powell and other heroes of the The reason we're able to plan give individual tickets to Bebop era. We'lI close on No- and expand our activities is the your friends for presents. vember 13 with Brian Lynch and huge increase in the number of his all-star quartet. members who are paying dues The Dates and the Players and becoming active. Thanla to On the dates surrounding the the membership committee On September L8 the master of concerts APF| will have work- headed by Bill McCann, our Classic Jazz clainetist Kenny shops at the College of St. Rose, membership has increased by Davem willbe here with his local public and private schools 76% dwngthe last two months! quartet featuring Bucky Plu;zarcllt. and at least one special workshop By joining or upgrading your On October 2Jazzpianist Sumi for our members membership you can help make Toonaka willbe here with music Brine Children the entire region A Place for that will suqprise and delight you. We'll be continuing our emphasis lazz. on getting children of all ages to There's a whole lot going oninlazzin the Capital Region! Check out our Inside calendar, our columnists and all the p.2 .........The lazzW other special features in the APFJ p.3.......................... Solo Newsletter. Kenny Davem, Sumi p.4-5.............Cal endar Tonooka, Jimmy Heath, Barry Harris p.8.................Reviews and Brian Lynch will be appearing in p.9....Volunteer our Fall Series so mark down the dates Opti in your calendar. [immy Heath r h ruelazzW-oid Le Deluge. du lazz- by Tim Coakley |oin! rhere used to be a record store in 5:ffill;Jn:f8TffJl1u,l*, rr,u New York that claimed APlace caruyJazz Tim Coiiley lazzShLi6,VAfrAC_ for records "From -to Bunk to.Monk,,,B,unk FM,90,3, 1030pm to midnight on symbol Johnson.being_the of early Saturday), t try to cover an the bases ilazz New Orleans and lazz Thelonius from ea.ly iazz figures like Monk being as far out as things got Armstrong, Mortin and Beider_ Keep Live back then. becke, to tle newer musicians such Jazz in the Heart of Pavton rtwas a time when rong-playing :ll":1:lrtfl[ilI"n"las Northeastern records were the latest thing, and fans, critics and Dis were complain- I also think it,s important to focus on New York tryt so many new records ing were the great middle period of Jazz, issued each month they couldn't lg3d_peO,and on the greaiplayers keep up. who don,t fit easily int"o any neat In a Strange Town? Need Some lazz? Now.arter some 40 years or musicar ;flTfJ,3r"Tffif,ffi*X r,,* Try These Numbers developments, the advent of the CD and ]oe Sullivan. Atlanta...... ....404-241,-3598 and the rush of young musicians Baltimore.. ....301, -9 45 -2266 making their own discs, those same With nearly a century of lazzto look Chicago..... ....312-427 -9900 fans face an avalanche of music, back on, ttrere,s ua anor-om Miami.............305-382-3938 New Orleans..504-455 -6847 some ! azzshows meet. the onslaught ;T,"#lr:,"?'il1lTi:H'rf if;; head-on, playing NYC.......... ......7 1.8-465-7500 shictly the new viduil phylrs from different eras, or releases. Some specialize Northeastern NY 37 4-6912 in certain or, o.,u priticular instrument and its types or styles of Pittsburgh ......412-g4g-9\Ss lazz, such as players, it is possible to give a fair traditional, Wash., D .C.....202-69 8-7 Latin or bebop. cross section, with all the richness SZ2 and diversity of this most American r - }'i$"g::ggtE Il"3gE - - - g!ryJEL: - - -r r - r r r r r r r r r r r r overlrom c"l*ii:B;r; i H#*:^-it^laut Mastriani andrnrr T^r., Nd & Nd s l^hq r'I 1 ]ody in tryLs ro build St',uyrr. a CD (Members and i Tu l1ui"g ielease tu"_tur"lTalMusicians) Ior that resraurant.^hr; e T ^;i;k"l I gilty-attlreGlenEandersonJuly theCentralParkSummer Coakley hasmovedf6rlflo*to ! Y9u'r9 all Concerts. 19.I welcomel e;ohn They were doubled 10:30pm on Saturday night. i Hilton ! i has been the leader of by ]ane Bunnett's Spirits of It's now a 90 minutesho"* I i the houseband at Sign of the Flavana that included the cBill McCann continues I variously world famous Pancho through the i by,Y::.Bt:*-rlTommieFordft._::Actompanied summer on ryCDB ! i Quinto.cLeeShawback onSaf,rrdaymorning r fddie ! DeMarc c from her i :"lMike o Jazz on Austrian Festival Knowles is i" ;"-aia scouting ! i Iaf.Street continues this summer gig. She was featured with out Carribe *j^rrmusicians f[r! i yjt performances every Elly Wright (THE Jazz singer APFI. At least ihaqs what t. ,rrJ a y,.d"esday in downtown in Austria) and Art Farmer. he's doing there! a nandy --l i fthenectady. c Brian Shetriedtogetoneof the Treeceisonasimilarmisjorrirrl l'r|:aude has established a Bosendorfer's she was play- Paris. i websiteforJazzperfor- We're expecting a thor- ! i ingonintoherluggagebut oughreportfrombott of them. ! mances. o Alex Torres was declared "overweight"! I Los a- DI Ken Taylor is trying to ! l(eyT sounded absolutely Members indoctrinate his newbo.""UrUJ I 'l i 1:1fi".i.,T"il double bill cNona Teabout is doing the girl vashti in the cirtues of i$:J3"":Tl,Hlfl1 bookins ror sign or the iree A:ffij:" Brown lunior is *rl IIL _UA:III I I I I-L:IIIIIIIIIIIIIIIIIIIIIIII-.-J sbt?,rw ttl,o Arts! He also collected ]azz records and CDs, supported APF], wrote the We wish we knew of 200 words 200 words column regularly and that would help me tell you how finally asked that contributions in lieu of flowers be made to A Place much we miss Glyn Evans. Our ffie.L Ober1-Door long-time columnist passed a forlazz. Bo oftstore-& GLft GaIIery few weeks ago and I attended A Locally -Owtted Independent Bookstore Since 1971 what tumed out tobe what We're going to endow our scholar- 128 Jay Street ships to the College of St. Rose and could onlybe called aJazz Schenectady, NY 12305 service. the Schenectady County Commu- (s78) 346-2719 nity College with the conhibutions Members'of his family had flown we receive and it will be known as r the Glyn T.Evans Scholarship I in from all over (Glyn was bom Jazz I Fund. I in Wales) and so much of the I SMITH BARNEY I service had to dowithJazz. I A Memb er of TraaelersGrouo I Glyn in a very important way was I 'l ln fact the service was held in the emblematic of the kind of support I oennis wentraub I Whisperdome. And there was we've received over the years. financial I Someone said to us, you must I Consultant Paul Mashiani at the piano I s1l-427-5ss7 I really be wealthy to do all this stuff playrng some of Gly^ s favorites I aoo-541-0601 I (Monk and Erroll Gamer). There you do withJazz in the Capital Region. How wrong he was. It was lt were poems about Jazz and I SMITH BARNEY lNC. I accounts of children who had people like Glyn, and many. many r 80 State Street. Suite 801 r been inhoduced to lazz by others who contribute in so many I nrO.ny,NY 12207-2543 i Glyn's kindly encouragement. ways including working on the Some of the two hundred words newsletter, the underwriting of L--i;E3it:--i columns had been bound and concerts, the purchase of series were distributed to the partici- subscriptions, baking brownies for Dr. David T. Civale pants. Glyn's brother David told the concerts, etcetera, etcetera, how their youth was surrounded etcetera. Chiropractic by music (the Welsh of course have a long hadition of commu- Finally you will notice that the Family Care nity choral singurg and their retum address for A Place forlazz Sports Iniuries society is fairly permeated with has changed. It is now 69 Trinity Work and Auto Injuries music.). Somehow, Glyn heard Place, Albany, New York12202. Jazzonthe radio and was My new home phone number is For Appointment 465-1278. immediately hansfixed into an The reason for this move Call377-2207 obsessive Jazz patron and is unfortunately that the editor and participant. He was an avid his wife have separated. This is a 201Glen Avenue, pianist (he could shetch 12 notes difficult time for both of us. We Scotia and therefore could play the ask your consideration and indul- L Block fiendishly difficult Fats Waller gence while this painful process South of improvisations).
Load more

Recommended publications
  • HA-Bio New 2010
    Howard Alden- Jazz Guitarist “He may be the best of his generation,” writes Owen Cordle in JAZZ TIMES. George Kanzler of the NEWARK STAR LEDGER proclaims that he is “the most impressive and creative member of a new generation of jazz guitarists.” And Chip Deffaa of the NEW YORK POST observes that he is “ ...one of the very finest young guitarists working today.” It seems that the only thing regarding Howard Alden on which the critics have debate is whether the remarkable jazz guitarist is one of the best or simply the best. Born in Newport Beach, California, in 1958, Howard began playing at age ten, inspired by recordings of Louis Armstrong, Count Basie and Benny Goodman, as well as those by guitarists Barney Kessel, Charlie Christian, Django Reinhardt and George Van Eps. Soon he was working professionally around Los Angeles playing in groups ranging from traditional to mainstream to modern jazz. In 1979, Alden went east, for a summer in Atlantic City with vibraphone legend Red Norvo, and continued to perform with him frequently for several years. Upon moving to New York City in 1982, Aldenʼs skills, both as soloist and accompanist, were quickly recognized and sought-out for appearances and recordings with such artists as Joe Bushkin, Ruby Braff, Joe Williams, Warren Vache` and Woody Herman. He has continued to win accolades from critics and musicians alike, adding Benny Carter, Flip Phillips, Mel Powell, Bud Freeman, Kenny Davern, Clark Terry, Dizzy Gillespie and George Van Eps, as well as notable contemporaries such as Scott Hamilton and Ken Peplowski to his list of impressive credits.
    [Show full text]
  • Ken Peplowski Discography
    Discography – Ken Peplowski 1987 Double Exposure Concord Jazz 1989 Sonny Side Concord Jazz 1990 Mr. Gentle and Mr. Cool Concord Jazz 1990 Illuminations Concord 1991 Groovin' High Concord Jazz 1992 Concord Duo Series, Vol. 3 Concord Jazz 1992 The Natural Touch Concord Jazz / Concord 1993 Steppin' with Peps Concord Jazz 1994 Encore! Live at Centre Concord Concord Jazz / Concord 1994 Live at Ambassador Auditorium Concord Jazz / Concord 1995 The International All-Stars Play Benny Goodman, Vol. 2 Nagel Heyer Records 1995 The International Allstars Play Benny Goodman, Vol. 1 Nagel Heyer Records 1995 It's a Lonesome Old Town Concord Jazz / Concord 1996 The Other Portrait Concord / Concord Jazz 1997 A Good Reed Concord Jazz / Concord 1998 Grenadilla Concord Jazz 1999 Last Swing of the Century Concord Vista / Concord Jazz 2000 All This...Live in the UK, Vol. 1 Koch / Koch Jazz 2001 Tribute to Benny Goodman with the BBC Big Band Chandos 2002 Just Friends Nagel Heyer Records 2002 And Heaven Too: Live in the U.K. Vol. 2 Koch 2002 Remembering Louis Jump Records 2002 Ellingtonian Tales Mainstream 2002 Lost in the Stars Nagel Heyer Records 2004 Easy to Remember Nagel Heyer Records 2007 Memories of You Tokuma Records 2008 Gypsy Lamento Venus / Venus Jazz Japan 2008 When You Wish Upon a Star Tokuma Records 2011 In Search Of Capri 2013 Maybe September Capri 2013 ...Live at the Kitano Victoria Company 2018 Sunrise Arbors 2018 Duologue Arbors Credits 2018 Duologue Adrian Cunningham / Ken Peplowski Primary Artist 2018 Sunrise Ken Peplowski / Ken Peplowski
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]
  • The Strutter
    The Strutter VOLUME 27 NUMBER 1 Traditional Jazz in the Philadelphia Tri-State Area JULY 2016 OUR NEXT CONCERT Roll Morton rags as well as pop tunes of the jazz era by George Gershwin, Irving Berlin, Harold Arlen Atlantic City Jazz Band and Johnny Mercer. Since their founding in 2008, ACJB has released a CD (Making Waves), toured in Italy, and has become a fixture on the traditional jazz scene in the tri-state area. Band Personnel: Bob Rawlins – clarinet, saxophones, Leader Franny Smith – banjo, vocals Bob Ferguson – trumpet Larry Toft – trombone Nancy Rawlins – piano John McClernan – tuba Chuck Harms – drums To hear the ACJB in action go to: http://www.youtube.com/watch?v=SncLw8larQg or visit them on Facebook: Sunday, July 24, 2016 2:00 – 4:30 p.m. Haddonfield United Methodist Church 29 Warwick Road Haddonfield, NJ 08033 Directions at http://www.tristatejazz.org/directions- haddonfield.html The seven-piece ACJB, which previously performed Concert Admissions for TSJS in November, 2013, is an authentic "tuba $10 First-time attendees and Members and banjo" ensemble specializing in the music that $20 General Admission swept the nation when the first jazz recordings were High school/college students with ID and issued in 1917. The members are seasoned players children with paying adult admitted free who love the traditional style and deliver it in an energetic fashion. But their repertoire goes well Pay at the door beyond that, featuring the prime output of the skilled Tin Pan Alley composers who dominated In This Issue music through the 1930s and beyond, and their Looking Ahead.................Page 2 zesty, spirited instrumentals are punctuated by an Neville Dickie-Midiri Review.
    [Show full text]
  • The Strutter
    The Strutter VOLUME 27 NUMBER 7 Traditional Jazz in the Philadelphia Tri-State Area FEBRUARY 2017 OUR NEXT CONCERT wit storytelling make for a memorable and entertaining program. Marty Grosz and the Hot Winds Born in Germany, Marty was brought to America at the age of three and grew up on Long Island. By the time he was 21, Marty was leading a Dixieland band with stride pianist Dick Wellstood and the veteran New Orleans bassist Pops Foster. Over the following decades he has performed and recorded with countless traditional jazz greats. For this performance, the ”Hot Winds,” led by Marty on guitar, banjo, and vocals, will include two of New York’s top traditional jazz players, Randy Reinhart, cornet, and Dan Block, reeds, plus Philly’s own Joe Plowman on bass. Always a favorite with Tri-State audiences, Marty last performed in Haddonfield in May, 2014. Watch a clip from this 2014 concert at: http://www.youtube.com/watch?V=888jVrurjY. For more about Marty Grosz, visit his website at: Photo by Lynn Redmile http://martygrosz.com/ Sunday, February 12, 2017 2:00 – 4:30 p.m. Haddonfield United Methodist Church Haddonfield, NJ 08033 29 Warwick Road Directions at http://www.tristatejazz.org/directions- Concert Admissions haddonfield.html $10 First-time attendees and Members ● Marty Grosz – Guitar, Banjo, Vocals, Leader $20 General Admission ● Dan Block – Reeds High school/college students with ID and ● Randy Reinhart - Cornet children with paying adult admitted free ● Joe Plowman - Bass Pay at the door Guitarist and raconteur Marty Grosz is a legend of the jazz world, today's foremost jazz rhythm In This Issue guitarist and chord soloist.
    [Show full text]
  • Acoustic Jazz Guitar Great Marty Grosz Marks 90Th Birthday with His New Memoir
    Contact: Joe Plowman, publicist Email:[email protected] Phone: 610-417-7534 Acoustic Jazz Guitar Great Marty Grosz Marks 90th Birthday with His New Memoir “…entertaining, readable, funny, and revealing…a real and sometimes startlingly candid pleasure” – Michael Steinman, Jazz Lives PHILADELPHIA, PA March 4, 2020 – A giant of jazz rhythm guitar, Marty Grosz has performed with jazz greats such as Herb Ellis, Charlie Byrd, Ruby Braff, Dick Hyman, Bob Haggart, Bob Wilber, and Kenny Davern. And after performing for 70 years, he has stories to tell. Part memoir, part transcribed oral history, It’s a Sin to Tell a Lie serves up Marty’s story raconteur style—full of sardonic wit with a touch of vaudeville. Part 1: My Story: Candid stories of life with his famous father, German Expressionist George Grosz; sailing to the US; his Chicago jazz years; travels abroad; Soprano Summit; Classic Jazz Quartet; the Orphan Newsboys. Part 2: The Interviews: Transcriptions from 11 live interviews between 2015 and 2019. Marty opines on guitar tuning, Eddie Condon, drummers and bassists, Slam Stewart, Mingus, Chet Baker, Hoagy Carmichael, Herb Ellis, and more. “A giant of jazz rhythm guitar, Marty Grosz is equal parts showman, jazz scholar and raconteur. A virtuoso in a playing style that’s both timeless and so far off the radar it’s all but lost.” — Riverwalk Jazz Marty Grosz (b. 1930, Berlin) came to the United States at age three. He is considered among the best acoustic jazz guitarists of the twentieth century, as well as a vocalist, humorist, composer and arranger. Joe Plowman, Jazz Story Club Series editor, is a musician in Philadelphia.
    [Show full text]
  • Guide to the Leonard Gaskin Papers
    Guide to the Leonard Gaskin Papers NMAH.AC.0900 Vanessa Broussard-Simmons and Dr. Theodore Hudson 2019 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 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 4 Series 1: Personal Papers, 1937-2006, undated..................................................... 4 Series 2: Diaries and Planners, 1947-2004............................................................. 7 Series 3: Business Records, 1939-2000, undated................................................. 10 Series 4: Photographic Materials, 1956-2003, undated......................................... 12 Series 5: Scrapbooks, 1923-2004, undated..........................................................
    [Show full text]
  • 2012 Pee Wee Russell Memorial Stomp
    Volume 40 • Issue 1 January 2012 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Nineteen-year-old Harmony Boys bandleader Timme Rosenkrantz posing at the drums. His violin stands on floor to his left. Four of the sextet doubled on other instruments. This 1930 photo courtesy of Lis I. Godtfredsen, daughter of the youngest sideman, then 15-year-old alto saxophonist Erik Godtfredsen, who went on to become a prominent ophthalmologist. imme Rosenkrantz was a Danish journalist, photographer, author, Tconcert and record producer, broadcaster and entrepreneur with a 2012 life-long consuming passion for jazz. Known as the Jazz Baron, he liked Pee Wee to trace his family roots back to the Rosencrantz in Shakespeare’s Russell Hamlet. Timme was the first European journalist to report on Meet Memorial the jazz scene in Harlem, from 1934 until 1969. He is credited Stomp with discovering and being first to record the pianist Erroll Garner. SUNDAY, Several LPs from those home-recorded sessions were released by Blue Note and later on many other jazz labels. He also found and the MARCH 4 Birchwood recorded the saxophonist Don Byas and the trombonist Tyree Glenn. Manor Now the first English edition of Harlem Jazz Adventures — A Jazz TICKETS ON SALE NOW. European Baron’s Memoir, 1934-1969, a translation and adaptation see ad of Rosenkrantz’s long out of print 1964 Danish memoir by Jersey Jazz’s page 9 International Editor Fradley Garner, is set for publication in the United States, Canada and the United Kingdom this month by The Scarecrow Press.
    [Show full text]
  • Menus for State Dinners During the Carter Administration
    Menus for State Dinners during the Carter Administration President Jose Lopez Portillio of Mexico February 14, 1977 Dinner: Shrimp Gumbo Soup Corn Sticks Paul Mason Rare Sherry Supreme of Capon in White Grape Sauce Saffron Rice Asparagus Tips in Butter Charles Krug Gamay Beaujolais Hearts of Lettuce Salad Trappist Cheese Schramsberg Blanc de Blanc Burnt Almond Ice Cream Ring Butterscotch Sauce Cookies Demitasse Entertainment: Rudolf Serkin Program Prelude and Fugue in E minor, Felix Mendelssohn Sonata in F minor, Op. 57, Ludwig van Beethoven (“Appassionata”) Allegro assai Andante con moto (variazioni); Allegro ma non troppo-Presto Prime Minister Pierre Trudeau of Canada February 21, 1977 Dinner: Alaskan King Crab in Herb Sauce Saint Michelle Chenin Blanc Roast Stuffed Saddle of Lamb Timbale of Spinach Glazed Carrots Louis Martini Cabernet Sauvignon Watercress and Mushroom Salad Wisconsin Blue Cheese Beaulieu Extra Dry Orange Sherbet Ambrosia Cookies Demitasse Entertainment: The Young Columbians (19 Students from the Columbia School of Theatrical Arts, Inc., in Columbia Maryland) In 30 minutes, they cause American History to unfold through classic songs and dances from colonial days to the present. U.S. Marine Band will play selections from American Broadway musicals and movies in the foyer during dinner. U.S. Army Strings will stroll through the Dining Room during dessert. A Marine Corps harpist will provide music in the Diplomatic Reception Room where guests arrive. Prime Minister Rabin of Israel March 7, 1977 Dinner: Cold Cucumber Soup Bread Sticks Baked Stripped Bass Eggplant Braised Celery Charles Krug Johannisberg Riesling Hearts of Palm and Watercress Vinaigrette Almaden Blanc de Blancs Macedoine of Fresh Fruit Macaroons Entertainment: The Alexandria Quartet will perform a brief musical interlude in the Dining Room following the toast.
    [Show full text]
  • TAILGATE RAMBLINGS FEBRUARY 1981 TAILGATE RAMBLINGS As Much As We Could Have Hoped For
    TAILGATE RAMBLINGS FEBRUARY 1981 TAILGATE RAMBLINGS as much as we could have hoped for. The Hot Volume 11, Number 2 Mustard Band was in fine fettle Saturday at February 1981 the Museum of American History. Tony Hagert POTOMAC RIVER JAZZ CLUB: and his New Sunshine Jazz Band cavorted at the EDITOR: Don Farwell President Ken Kramer same place on Sunday. And the National Por­ trait Gallery was the scene on Monday of some CONTRIBUTING EDITORS: excellent solo piano by John Eaton. (See Dick Baker Harold Gray Harold Gray's report elsewhere in this issue.) Vivienne Brownfield Floyd Levin As you'll see from the name appended below, Joe Godfrey the editorship of this chronicle has undergone a change. Ken Kramer, who has done such a TAILGATE RAMBLINGS is the monthly publication fine job over the past couple of years, of the Potomac River Jazz Club. The Club decided it was time to step down, and I drew stands for the preservation, encouragement, the short straw. Ken and I will do the tenth and advancement of traditional jazz. This anniversary issue (April) together, and then means jazz from 1900 to 1930 in the New he'll bow out. My policy, until someone tells Orleans, Chicago and Dixieland styles, me different, is that the columns of Tailgate including their various revivals, as well as Ramblings will be open to whatever anyone blues and ragtime. TAILGATE RAMBLINGS wants to say about traditional jazz or jazz­ welcomes contributions from its readers. men, subject only to limitations of space and the libel laws. So let the contributions roll MEMO FROM THE EDITOR Don Farwell A liking for traditional jazz is essen­ BAD NEWS FROM THE B'HAUS tially retrospective in nature--for ragtime, even more so.
    [Show full text]
  • How to Improvise Jazz on the Clarinet
    sign in | contact us Members Only ABOUT US | MEMBERSHIP | THE CLARINET JOURNAL | CLARINETFEST® | COMPETITIONS | RESEARCH CENTER | ARCHIVES & LINKS Clarinet Anthology How to Improvise Jazz on the Clarinet Previous ClarinetFest Presentations ClarinetFest® 2000 John Cipolla Electronic Archived Issues Clarinet Journal Back Issues ** Many of the teaching ideas presented here are based on the original teachings of Barry Harris, Dave Links Glasser and John McNeil, of which I find to be the most accessible and effective method to learn how to play and listen to this wonderful music. I use this method in conjunction with a focus on playing by ear. Listening - To try to make this topic understandable I'd like to give it a theme-listening. Everything we cover here today is centered around the idea of using our ears, which is the basis for playing this music. Concepts and techniques - In organizing the material I thought it best to try to keep it simple. So I divided my material into two categories: concepts and techniques; in other words, ideas and ways to implement the ideas. For more detailed information on these ideas please refer to the resource book listed at the end of this paper. The resource list includes explanations of the concepts and techniques, recommended recordings, web site links-some of which have sound clips to sample the style of various artists and some exercises to practice. Rhythm and harmony - The foundations that we base our improvisations on are rhythm and harmony. Without these musical elements it would be like trying to tell a story without a theme or characters.
    [Show full text]
  • Selected Discography
    Part 1 of Selected Discography Milt Hinton as Leader or Co-leader Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. It is estimated that between 1930 and 1995, Milt Hinton performed on more than nine hundred jazz record sessions. He made at least as many records, especially during the ’50s and ’60s, that featured hundreds of non-jazz performers, as well as countless jingles and film and television soundtracks. Specific and comprehensive information about Hinton’s recordings outside of jazz is nearly impossible to obtain. A partial list of non-jazz performers with whom he recorded includes: Paul Anka, Pearl Bailey, Harry Belafonte, Tony Bennett, Brook Benton, Archie Blyer, Teresa Brewer, Diahann Carroll, the Clancy Brothers, Nat King Cole, Perry Como, Sam Cooke, Bing Crosby, Vic Damone, Bobby Darin, Sammy Davis Jr., the Drifters, Percy Faith, Eddie Fisher, Connie Francis, Judy Garland, Jackie Gleason, Arthur Godfrey, Eydie Gormé, Skitch Henderson, John Lee Hooker, Lena Horne, Langston Hughes, Mahalia Jackson, Jack Jones, Frankie Laine, Steve Lawrence, Guy Lombardo, Johnny Mathis, Paul McCartney, Bette Midler, the Mills Brothers, Mantovani, Willie Nelson, Patti Page, Leontyne Price, Leon Redbone, Della Reese, Debbie Reynolds, Frank Sinatra, Kate Smith, Barbra Streisand, Sonny Terry and Brownie McGhee, Bobby Vinton, Dionne Warwick, Roger Williams, Jackie Wilson, and Hugo Winterhalter. The recording location is the New York City area unless otherwise noted. CDs have the same title as the LPs unless otherwise noted. [MH comp] indicates that Hinton was the composer or co-composer of a piece.
    [Show full text]