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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. -
Classified 643^2711 Violence Mar State's Holida
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Archer Nails Near Perfect Score Dedication, Practice Are Key in the Senior Games Men’S 60-64 Compound from 40, 50 and 60 Yards
Sponsored by AstraZeneca 2009 Official daily newspaper of the 2009 Senior Games | Palo Alto, California TUESDAY, AUGUST 4, 2009 Meagan Reidinger/Brooks Institute © 2009 Rafael Recto, from Vallejo, watches his arrow fly toward the target at the Senior Games competition Monday. Archer nails near perfect score Dedication, practice are key in the Senior Games men’s 60-64 Compound from 40, 50 and 60 yards. With 90 total shots in several archery magazines. “Don’t waste Release archery competition is any indica- and a maximum of 10 points per shot, a perfect your time trying to learn it yourself. You’ve to success in precision sport tion, he may be correct. round is 900 points. Campbell came within 26 got to get a good coach,” said Campbell. By Colin Becht Campbell shot a near perfect round, finish- points of perfection. Beyond the quality of his coaching, Camp- ing with a score of 874, putting him just one That level of precision comes with an incred- bell said his time commitment has been cru- lenn Campbell believes that a good point behind leader Ronald West. ible dedication to the sport. Campbell said he cial to his success. After shooting virtually coach is crucial to success in archery. In the Senior Games, archers participate shoots four hours each day and works with his G If Campbell’s performance on Monday in an American 900, shooting 30 times each coach, Bernie Pellerite, who has been featured (continued on page 13) John Hickinson, Palo Alto Bowling Club’s important aspects of the game and to do that Bowling on the green coach, started playing the sport about 10 one must carefully watch every bowl, not ball, years ago. -
It's the Best of Palo Alto!
6°Ê888]Ê ÕLiÀÊ{ÇÊUÊÕ}ÕÃÌÊÓn]ÊÓääÊN xäZ Holy barkers, Batman! It’s the Best of Palo Alto! Go to Palo Alto Online for even more Best of Palo Alto • www.PaloAltoOnline.com LOOK INSIDE Turn the page to fi nd out the winners of the Best of Palo Alto 2009 and read the latest local news, real estate information ... and more! $25 Registration Fee through August 31st. Fees increase September 1st. The BEST Is Yet To Come! The Oshman Family JCC Opens September 1st FITNESS + FAMILY + FUN Join today for low Charter Member rates and receive a free gift!* ti'VMMZMPBEFEwXJUIUIFMBUFTUDBSEJP TUSFOHUIFRVJQNFOU t*OEPPSiXBUFSQBSLwQPPM t0VUEPPSMBOFMBQQPPMTVOEFDL t%PVCMFDPVSUHZNOBTJVN t"GUFSTDIPPMQSPHSBNT t$MBTTFT QFSGPSNBODFTNVDINPSFGPSBMMBHFT Want to know more? Take a tour? Call: 650.223.8701 Email: [email protected] Stop in: 3921 Fabian Way, Palo Alto OFBS4BO"OUPOJP&$IBSMFTUPOSPBET paloaltojcc.org *While supplies last. Movies ........................... Page 14 Sports Digest ................ Page 17 Best of Palo Alto ............. Page 20 Home & Real Estate ..... Page 47 Crossword/Sudoku ....... Page 61 UpfrontLocal news, information and analysis Judge: More study needed on high-speed rail California High Speed Rail Authority native to Pacheco Pass, the agency’s land habitats and would require a of-way outside of this area, requiring ordered to rewrite parts of its environmental report, preferred route. new set of environmental clearances the taking of property and displace- but Pacheco route still stands, rail officials say The rail authority, Kenny ruled, and a new double-track bridge. ment of residents and businesses,” offered substantial evidence to sup- But Kenny agreed with the Kenny wrote. -
"Extraordinarily Phones, the Clariry Is Jaw-Dropping
RECORD REVIEWS tAzz Through Grado SR-225 head- "extraordinarily phones, the clariry is jaw-dropping. Yes, surface noise is significant, but it POYYerful... varies th,roughout, sometimes within unGolor€d... a single track. Balancing pros and cons of sound quality versus historical .natural" value can make bootleg releases an ift proposition in general, but in this case -./ohn Atkinso4 Stereophih the lamer prioriry wins out. The historical importance of the 1940 recording of '8ody and Soul" by Coleman Hawkins that begins this COLEMAN HAWKINS & FRIENDS collection can't be overstated. Two The Savory Collection, Volume No.01: more swinging, beautifully arranged Body and Soul Hawkins numbers follow, then rwo Coleman Hawkins, Herschel Evans, tenor saxophone; from Ella with Chick Webb. Then a Ella Fitzgerald, vocal; Charlie Shavers, trumpet; come rouglrly 25 blissful minutes, six Emilio Caceres, violin; Carl Kress, Dick McDonough. tracks in all, from Fats Waller and His U guitar; Fats Waller, piano, vocal; Lionel Hampton, vibraphone, piano, vocal; Milt Hinton, bass; Cozy Rhythm (before nearly every number, Cole, drums; others Fats implores his public to "Latch National Jazz Museum in Harlem NJMH-0112 on!"). Next, in a Lionel Hampton-led (MP4).2016. William Savory, orig. prod., eng.; Ken Druker, Loren Schoenberg, reissue prods.; Doug jam session with Herschel Evans, Pomeroy, restoration, mastering. A-D. TT: 70:43 Charlie Shavers, Milt Hinton, Cozy jazzmuseuminharlem.org,/the-museum/ See hltp'.// Cole, and others, Hamp plays vibes collections,/the-savory-collection ? and piano and sings, blowing them all PERFoRMANcE ffi off the bandstand. Herschel's ballad soNrcs EXXdE fearure, "Stardust." compares interest- This music is culled from aluminum ingly with Hawk's "Body and Soul." and lacquer discs that, over the course The last rwo racks are more inti- of decades, rotted in the home of one mate curiosities, wonderful in their Bill Savory. -
Download the File
“DON’T BE EVIL”: GOOGLE’S LABOR, TECHNOLOGY, AND THE LIMITS OF CORPORATE GOOD A thesis submitted to the faculty of San Francisco State University In partial fulfillment of %o IS the requirements for VvlOV\Sl the Degree •V45 Master of Arts In Women and Gender Studies by Alison Agnes Veith San Francisco, California May 2015 Copyright by Alison Agnes Veith 2015 CERTIFICATION OF APPROVAL I certify that I have read “Don't Be Evil”: Google’s Labor, Technology, and the Limits o f Corporate Good by Alison Agnes Veith, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Women and Gender Studies at San Francisco State University. Kasturi Ray, Ph.D Associate Professor Evren Savci, Ph.D Assistant Professor “DON’T BE EVIL”: GOOGLE’S LABOR, TECHNOLOGY, AND THE LIMITS OF CORPORATE GOOD Alison Agnes Veith San Francisco, California 2015 Google’s “Don’t Be Evil” motto and its public image as corporate do-gooder are examined through a material and cultural analysis of its internal labor hierarchies and its technological products. By focusing on Google’s hidden contracted reproductive service laborers, as well as the premises and consequences of disruptive, digital technology, this project reveals how the realities of necessary but undesirable work are obscured and contested. This dual focus allows for a revaluation of intimate labors in two ways. First, it reveals that Google’s sustained capital accumulation relies on its reproductive intimate labor. Second, it recognizes that Google’s corporate practices of invisibilizing intimate labor and mediating social intimacies are importantly reflective of the larger social, economic, and cultural trends in our emerging knowledge-based/service-based economy. -
7. a Pdf-Book About Johnny Dodds
BY<3. E. LAMBERT 780.92 D6422L 66-08387 Lambert Johnny Dodds KINGS OF JAZZ Johnny Dodds BY G. E. LAMBERT A Perpetua Book A. 5. BARNES AND COMPANY, INC. NEW YORK <) CasseU & Co. Ltd. 1961 PERPETUA EDITION 1961 Printed in the United States of America CONTENTS PART PAGE 1 HIS LIFE 1 2 HIS RECORDINGS 18 3 HIS CONTRIBUTION TO JAZZ 65 SELECTED DISCOGRAPHY 79 6608387 HIS LIFE In the years when New Orleans was the premier centre of jazz that is from around 1900 to the closing of the Story- ville red light district in 1918 it was a city flooded with music. Every possible occasion picnics, advertising, trips on the Mississippi was provided with music; every place of diversion the bars, theatres, brothels and gambling joints had its musicians. Parades by the various organi- zations had their brass bands, which also played for the unique New Orleans funerals, and dance orchestras of all types were to be heard within the city limits. In the Creole and Negro districts there was scarcely a family who did not boast of several part-time musicians, and there were hundreds of skilled local professionals playing in the various parade bands, jazz bands, society bands and riverboat orchestras. To judge from the material collected by later historians, the doings of the favourite musicians of the city were looked upon with the same interest which 1 the mass of people today accord to sporting heroes and popular cinema or television personalities. There were trumpet players known for their vivacious playing and stamina on the long parades, and others who specialized in the dirges played on the way to and at the graveside; one trumpet player will be remembered for his volume and exuberance in the lower-class dance-halls, another for his unique ability and power of expression on the blues. -
6. Count Basie's Cleveland Connections
6. Count Basie's Cleveland Connections illiam Basie, pianist and bandleader, was not a In his autobiography, Good Morning Blues, Basie Clevelander, but he certainly perfonned recalled he married the girl from Cleveland in 1943 in Wfrequently in Cleveland and hired a number of Seattle. Their honeymoon was a series ofone-night band Clevelanders to play in his swinging band. Basie' s appearances. strongest tie to Cleveland is frequently forgotten. He The Basie band was working in New York when Katy married a girl from Cleveland and their only child was was about to have a baby. She returned to Cleveland and born here. stayed with her parents. Katy and Bill Basie's only child, Diane Basie, was born in Cleveland. He rushed to Catherine Morgan Basie Cleveland to be with his wife and Catherine Morgan left Cleveland daughter. at the age of 16 in 1931 to become a Later, when they rejoined Basie in dancer. She joined a very popular New York, he said he had vivid vaudeville act, the Whitman Sisters. memories of seeing Katy getting off She was one of three girls in the the plane from Cleveland carrying dance company who called their baby. He said, "It was a special themselves "The Snake Hips thrill bringing my family home from Queens." When they appeared at the the airport that day, Old Base, his Lafayette Theatre in New York City, wife and daughter." there was a jazz band from Kansas They moved into an apartment City on the same bill. The young building near New York' s Central dancer from Cleveland noticed the Park. -
![Istreets] Rampart Street; Then He Went Back to New Orleans University](https://docslib.b-cdn.net/cover/4790/istreets-rampart-street-then-he-went-back-to-new-orleans-university-1724790.webp)
Istreets] Rampart Street; Then He Went Back to New Orleans University
PRESTON JACKSON Also present: William Russell I [of 2]-Digest-Retyped June 2, 1958 Preston Jackson was born in the Carrollton section of New Orleans on January 3, 1904 at Cherokee and Ann [now Garfield] Istreets] (according to his mother). He went to "pay" school, then to Thorny Lafon [elementary] School, then to New Orleans University (WR says Bunk Johnson went there years before), which was at Valmont and St. Charles. His family are Methodist and Catholic. PJ moved to the Garden District; he attended McDonogh 25 School, on [South] Rampart Street; then he went back to New Orleans University [High s ]t School Division?] . In about 1920 or 1921, PJ told Joe Oliver he was thinking of taking up trombone; Oliver advised him to take clarinet instead, as PJ was a good whistler and should have an instrument more maneuver- able than the tromboneo Having decided on clarinet, PJ was surprised by his mother, wlio secretly bought him a trombone (August, 1920 or 1921) - PJ found but later that William Robertson, his first teacher, and a trombonist, had bought the horn for PJ's mother (Robertson was from Chicago) . PJ studied with Robertson for about six months; when he had had the horn for about nine months, he was good enough to be invited to play in the band at [Quinn's?] Chapel, where he remained four or five months, playing in the church band. Then PJ met some New Orleans friends and acquaintances/ including Al and Omer Simeon (from the "French part of town"), Bernie Young and 1 PRESTON JACKSON 2 I [of 2]-Digest--Retyped June 2. -
Count Basie and His Bands
NEW YORKJAZZ MUSEUM , . (:OU~T 13A,I~ and 171,13A~u, _.......-- · ' - . -~•,.,. - (:OU~T 13Ail~ and I-iii 13A~l)i Edited by Dan Morgenstern and Jack Bradley Biographies by Bill Esposito Dan Morgenstern Arnold J. Smith © Copyright 1975 by New York Jazz Museum Cover photo/Phil Stern Cover design/ Fran Greenberg WILLIAM "COUNT" BASIE A PROFILE OF HIS LI FE & MUSIC 1904 Born , August 21, at Red Bank, N.J. 1917 Starts as a drummer, switches to piano. 1919-20 Plays in local bands and stage shows in N. Y. and N.J. Takes lessons from Fats Waller. 1925-27 Tours theaters accompanying variety acts: Kate Crippen and Her Kids, Sonny Thompson Band, Gonzelle White. Vaudevillians ; first hears Kansas City style music in Tulsa, Walter Page Blue Devils; Gonzelle White Show folds in Kansas City; Accompanies Whitman Sisters in Kansas City . 1928 Join s Blue Devils in Dallas, Texas in July. 1929 Plays briefly with Elmer Payne and his Ten Royal Americans (summer). 1930 Basie and members of the Blue Devils join Benny Mote.n's band. 1934 Leaves Moten early in year to lead own band (under Mote.n's auspices) in Little Rock, Arkansas, then rejoins Moten. 1935 Death of Moten breaks up the famous Kansas City unit, after working a short time under Mote.n's brother Buster's leadership; returning to Kansas City, · works as a single, then with own trio before jointly leading "Barons of Rhythm" with altoist, Buster Smith. 1936 Broadcasts over Station WIXBY and is heard by John Hammond, famed jazz buff and sponsor, who initiates the band's first national tour; plays at Grand Terrace in Chicago - not a rousing success - then the Vendome Hotel in Buffalo, N.Y. -
List of Transcribed Solos Xxiii Note on the Music Examples Xxv Chronology Xxvii
JAZZ PERSPECTIVES Lewis Porter, Series General Editor Open the Door: The Life and Music of Betty Carter By William R. Bauer Jazz Journeys to Japan: The Heart Within By William Minor Four Jazz Lives By A. B. Spellman Head Hunters: The Making of Jazz’s First Platinum Album By Steven F. Pond Lester Young By Lewis Porter OTHER BOOKS OF INTEREST Before Motown: A History of Jazz in Detroit 1920–1960 By Lars Bjorn with Jim Gallert John Coltrane: His Life and Music By Lewis Porter Charlie Parker: His Music and Life By Carl Woideck The Song of the Hawk: The Life and Recordings of Coleman Hawkins By John Chilton Rhythm Man: Fifty Years in Jazz By Steve Jordan with Tom Scanlan Let the Good Times Roll: The Story of Louis Jordan and His Music By John Chilton Twenty Years on Wheels By Andy Kirk as Told to Amy Lee Copyright © 2005 by Lewis Porter Published by the University of Michigan Press 2005 First published by G. K. Hall & Co. 1985 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ∞ Printed on acid-free paper 2008 2007 2006 2005 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. Library of Congress Cataloging-in-Publication Data applied for. ISBN 0-472-08922-6 This revised edition is dedicated to my wonderful children, Matthew and Rachel, and to my devoted mother, Carol. -
2014 Posters
Sunday Monday Tuesday Wednesday Thursday Friday Saturday 3 4 5 6 7 10 11 12 13 14 17 18 19 20 21 24 25 26 27 28 Etta Moten Barnett 1901 - 2004 An actress and singer closely identified with the role of Bess in the opera Porgy and Bess, Etta Moten Barnett was born in Texas and studied music and drama at Western University in Kansas City, Kansas, and at the University of Kansas. Moving to New York City she became a musical inspiration for Kansas City-born composer Virgil Thomson and the great George Gershwin. Though Gershwin wrote the role of Bess with her in mind, Moten Barnett did not sing the role until a revival of the opera in 1942. It became her signature role. In 1933 Moten Barnett became the first African American star to perform at the White House. That year she appeared in two film musicals, Flying Down to Rio (singing “The Carioca”) and Gold Diggers of 1933 (singing “My Forgotten Man”). She retired from performing in 1952 and hosted a Chicago-based radio show. She was appointed to represent the United States on cultural missions to 10 African nations. She was also active in the National Council of Negro Women, the Chicago Lyric Opera, and the Field Museum. Image courtesy: Spencer Research Library, University of Kansas Libraries Sunday Monday Tuesday Wednesday Thursday Friday Saturday 3 4 5 6 7 10 11 12 13 14 17 18 19 20 21 24 25 26 27 28 William “Count” Basie 1904 - 1984 The musician most closely associated with Kansas City jazz, pianist and bandleader William Basie was born in New Jersey and came to Kansas City in the late 1920s.