“Cat-Eye” Williams Should Not Be Confused with the Eddie Williams Who Played with Chick Webb, MBRB, Don Redman and Others in the 1930S
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Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N. -
From King Records Month 2018
King Records Month 2018 = Unedited Tweets from Zero to 180 Aug. 3, 2018 Zero to 180 is honored to be part of this year's celebration of 75 Years of King Records in Cincinnati and will once again be tweeting fun facts and little known stories about King Records throughout King Records Month in September. Zero to 180 would like to kick off things early with a tribute to King session drummer Philip Paul (who you've heard on Freddy King's "Hideaway") that is PACKED with streaming audio links, images of 45s & LPs from around the world, auction prices, Billboard chart listings and tons of cool history culled from all the important music historians who have written about King Records: “Philip Paul: The Pulse of King” https://www.zeroto180.org/?p=32149 Aug. 22, 2018 King Records Month is just around the corner - get ready! Zero to 180 will be posting a new King history piece every 3 days during September as well as October. There will also be tweeting lots of cool King trivia on behalf of Xavier University's 'King Studios' historic preservation collaborative - a music history explosion that continues with this baseball-themed celebration of a novelty hit that dominated the year 1951: LINK to “Chew Tobacco Rag” Done R&B (by Lucky Millinder Orchestra) https://www.zeroto180.org/?p=27158 Aug. 24, 2018 King Records helped pioneer the practice of producing R&B versions of country hits and vice versa - "Chew Tobacco Rag" (1951) and "Why Don't You Haul Off and Love Me" (1949) being two examples of such 'crossover' marketing. -
Debut Label Discography
Début Label discography Début was established in 1951 by Charles Mingus and possibly others. It was located at 4364 Bryon Avenue in New York City in 1952, relocated to the Grand Central Station in 1954. By 1956 it was located at 331 West 51st Street. Début recorded jazz and pop music. Fantasy Records acquired the Début Catalog in the early 1960’s. This Debut Label discography was compiled using Schwann catalogs from 1950 to 1957, The Jazz Discography Project Website (http://www.jazzdisco.org) and The American Record Label Directory and Dating Guide, 1940-1959 by Galen Gart, 10 Inch Series DLP-1 - Strings and Keys - Charles Mingus [1951] Body and Soul/Blue Moon/Blue Tide/What Is This Thing Called Love/Darn That Dream/Yesterdays DLP-2 - Jazz at Massey Hall Volume 1- Quintet - Various Artists [1952] Perdido/Salt Peanuts//Salt Peanuts Continued/All the Things You Are DLP-3 - Jazz at Massey Hall Volume 2 - Bud Powell [1952] Embraceable You/Sure Thing/Cherokee//Jubilee/Lullabye of Birdland/Basically Speaking DLP-4 - Jazz at Massey Hall Volume 3 - Charles Mingus [1952] Wee//Hot House/A Night in Tunisia DLP-5 - Jazz Workshop Volume 1-Trombone Rapport - J.J. Johnson, Kai Winding, Benny Green & Willie Dennis [1953] Move/Stardust//Yesterdays DLP-6 - Explorations - Ted Macero [1954] Teo/I’ll Remember April/How Low the Earth//Mitzi/Yesterdays/Explorations DLP-7 - Introducing Paul Bley - Paul Bley With Art Blakey and Charles Mingus [1954] Opus 1/Teapot/Like Someone In Love//Spontaneous Combustion/Split Kick/Can’t Get Started DLP-8 - The New Oscar Pettiford -
88-Page Mega Version 2016 2015 2014 2013 2012 2011 2010
The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! 88-PAGE MEGA VERSION 2017 2016 2015 2014 2013 2012 2011 2010 COMBINED jazz & blues report jazz-blues.com The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! INDEX 2017 Gift Guide •••••• 3 2016 Gift Guide •••••• 9 2015 Gift Guide •••••• 25 2014 Gift Guide •••••• 44 2013 Gift Guide •••••• 54 2012 Gift Guide •••••• 60 2011 Gift Guide •••••• 68 2010 Gift Guide •••••• 83 jazz &blues report jazz & blues report jazz-blues.com 2017 Gift Guide While our annual Gift Guide appears every year at this time, the gift ideas covered are in no way just to be thought of as holiday gifts only. Obviously, these items would be a good gift idea for any occasion year-round, as well as a gift for yourself! We do not include many, if any at all, single CDs in the guide. Most everything contained will be multiple CD sets, DVDs, CD/DVD sets, books and the like. Of course, you can always look though our back issues to see what came out in 2017 (and prior years), but none of us would want to attempt to decide which CDs would be a fitting ad- dition to this guide. As with 2016, the year 2017 was a bit on the lean side as far as reviews go of box sets, books and DVDs - it appears tht the days of mass quantities of boxed sets are over - but we do have some to check out. These are in no particular order in terms of importance or release dates. -
JREV3.6FULL.Pdf
KNO ED YOUNG FM98 MONDAY thru FRIDAY 11 am to 3 pm: CHARLES M. WEISENBERG SLEEPY I STEVENSON SUNDAY 8 to 9 pm: EVERYDAY 12 midnite to 2 am: STEIN MONDAY thru SATURDAY 7 to 11 pm: KNOBVT THE CENTER OF 'He THt fM DIAL FM 98 KNOB Los Angeles F as a composite contribution of Dom Cerulli, Jack Tynan and others. What LETTERS actually happened was that Jack Tracy, then editor of Down Beat, decided the magazine needed some humor and cre• ated Out of My Head by George Crater, which he wrote himself. After several issues, he welcomed contributions from the staff, and Don Gold and I began. to contribute regularly. After Jack left, I inherited Crater's column and wrote it, with occasional contributions from Don and Jack Tynan, until I found that the well was running dry. Don and I wrote it some more and then Crater sort of passed from the scene, much like last year's favorite soloist. One other thing: I think Bill Crow will be delighted to learn that the picture of Billie Holiday he so admired on the cover of the Decca Billie Holiday memo• rial album was taken by Tony Scott. Dom Cerulli New York City PRAISE FAMOUS MEN Orville K. "Bud" Jacobson died in West Palm Beach, Florida on April 12, 1960 of a heart attack. He had been there for his heart since 1956. It was Bud who gave Frank Teschemacher his first clarinet lessons, weaning him away from violin. He was directly responsible for the Okeh recording date of Louis' Hot 5. -
STANLEY FRANK DANCE (K25-28) He Was Born on 15 September
STANLEY FRANK DANCE (K25-28) He was born on 15 September 1910 in Braintree, Essex. Records were apparently plentiful at Framlingham, so during his time there he was fortunate that the children of local record executives were also in attendance. This gave him the opportunity to hear almost anything that was at hand. By the time he left Framlingham, he and some friends were avid record collectors, going so far as to import titles from the United States that were unavailable in England. By the time of his death, he had been writing about jazz longer than anyone had. He had served as book editor of JazzTimes from 1980 until December 1998, and was still contributing book and record reviews to that publication. At the time of his death he was also still listed as a contributor to Jazz Journal International , where his column "Lightly And Politely" was a feature for many years. He also wrote for The New York Herald- Tribune, The Saturday Review Of Literature and Music Journal, among many other publications. He wrote a number of books : The Jazz Era (1961); The World of Duke Ellington (1970); The Night People with Dicky Wells (1971); The World of Swing (1974); The World of Earl Hines (1977); Duke Ellington in Person: An Intimate Memoir with Mercer Ellington (1978); The World of Count Basie (1980); and Those Swinging Years with Charlie Barnet (1984). When John Hammond began writing for The Gramophone in 1931 he turned everything upside down and Stanley began corresponding with Hammond and they met for the first time during Hammond's trip to England in 1935. -
JELLY ROLL MORTON's
1 The TENORSAX of WARDELL GRAY Solographers: Jan Evensmo & James Accardi Last update: June 8, 2014 2 Born: Oklahoma City, Oklahoma, Feb. 13, 1921 Died: Las Vegas, Nevada, May 25, 1955 Introduction: Wardell Gray was the natural candidate to transfer Lester Young’s tenorsax playing to the bebop era. His elegant artistry lasted only a few years, but he was one of the greatest! History: First musical studies on clarinet in Detroit where he attended Cass Tech. First engagements with Jimmy Raschel and Benny Carew. Joined Earl Hines in 1943 and stayed over two years with the band before settling on the West Coast. Came into prominence through his performances and recordings with the concert promoter Gene Norman and his playing in jam sessions with Dexter Gordon.; his famous recording with Gordon, “The Chase” (1947), resulted from these sessions as did an opportunity to record with Charlie Parker (1947). As a member of Benny Goodman’s small group WG was an important figure in Goodman’s first experiments with bop (1948). He moved to New York with Goodman and in 1948 worked at the Royal Roost, first with Count Basie, then with the resident band led by Tadd Dameron; he made recordings with both leaders. After playing with Goodman’s bigband (1948-49) and recording in Basie’s small group (1950-51), WG returned to freelance work on the West Coast and Las Vegas. He took part in many recorded jam sessions and also recorded with Louie Bellson in 1952-53). The circumstances around his untimely death (1955) is unclear (ref. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz. -
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron. -
Raw Is»? of the Ballad Arrangements Themselves Lenge for Both Braff and the Fortun in the Basie Book
ber, they tend to be adequate but trumpet and piano, thereby creating an unexciting as are, for that matter, most unusual rhythmic and inventive chal Raw is»? of the ballad arrangements themselves lenge for both Braff and the fortun in the Basie book. Another point with ately two-handed Larkins. The chal regard to the LP as a whole is that lenge is fully met by both. This is All jaws record» are reviewed by Nat both featured tenors, though they swing Braff’s best work on records so fai, Hentoff except those initialed by Jack vigorously, are not yet major soloists because he is freed of what sometimes Tracy. Rating «AAA* Excellent. #A#A conceptually, regardless of the tempo. in the past has been inadequate Very Good. ★** Good. *★ Fair, * Poor. For the rest, the band wails as usual. rhythmic accompaniment and parallel The recording balance could be better. horns that were less swinging and (Clef 12" LP-MG C-666) emotionally strong than his. Nat. Adderley- Larkins’ unique but unpretentious Porky; f Married an Angel; Big “E”; Milt Bemhart harmonic imagination and his subtle, Kuuin’t Bustin'; Ann Spring»; You sensitive swing make for a strangely 1 he Horns; Hooray for Hollywood; Better Go Note apt partnership with Ruby—strange What Is There to Say; Looking for a Rating: ★★A' because although both men follow rich Boy; Amor Flamengo; Southern Com ly individualistic approaches on these That’s Nat is the first album of hit fort; London in July; Tangerine; Lav numbers, they yet blend superbly from own for Julian (Cannonball) Adder ender; Hillside; It's All Right with Me; the perspective of the whole perform ley’s younger brother. -
Great Instrumental
I grew up during the heyday of pop instrumental music in the 1950s and the 1960s (there were 30 instrumental hits in the Top 40 in 1961), and I would listen to the radio faithfully for the 30 seconds before the hourly news when they would play instrumentals (however the first 45’s I bought were vocals: Bimbo by Jim Reeves in 1954, The Ballad of Davy Crockett with the flip side Farewell by Fess Parker in 1955, and Sixteen Tons by Tennessee Ernie Ford in 1956). I also listened to my Dad’s 78s, and my favorite song of those was Raymond Scott’s Powerhouse from 1937 (which was often heard in Warner Bros. cartoons). and to records that my friends had, and that their parents had - artists such as: (This is not meant to be a complete or definitive list of the music of these artists, or a definitive list of instrumental artists – rather it is just a list of many of the instrumental songs I heard and loved when I was growing up - therefore this list just goes up to the early 1970s): Floyd Cramer (Last Date and On the Rebound and Let’s Go and Hot Pepper and Flip Flop & Bob and The First Hurt and Fancy Pants and Shrum and All Keyed Up and San Antonio Rose and [These Are] The Young Years and What’d I Say and Java and How High the Moon), The Ventures (Walk Don't Run and Walk Don’t Run ‘64 and Perfidia and Ram-Bunk-Shush and Diamond Head and The Cruel Sea and Hawaii Five-O and Oh Pretty Woman and Go and Pedal Pusher and Tall Cool One and Slaughter on Tenth Avenue), Booker T.