Frisco Dwindles to Two Franklin Ave^ Brooklyn; No «Overt ASTOR HOTEL (Time« Square)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Swingville Label Discography
Swingville Label Discography: 2000 Series: SVLP 2001 - Coleman Hawkins and The Red Garland Trio - Coleman Hawkins and The Red Garland Trio [1960] It’s a Blue World/I Want to Be Loved/Red Beans/Bean’s Blues/Blues For Ron SVLP 2002 - Tiny In Swingville - Tiny Grimes with Richardson [1960] Annie Laurie/Home Sick/Frankie & Johnnie/Down with It/Ain’t Misbehaving/Durn Tootin’ SVLP 2003 - Tate's Date - Buddy Tate [1960] Me ‘n’ You/Idling/Blow Low/Moon Dog/No Kiddin’/Miss Ruby Jones SVLP 2004 - Callin' the Blues - Tiny Grimes [1960] Reissue of Prestige 7144. Callin’ the Blues/Blue Tiny/Grimes’ Times/Air Mail Special SVLP 2005 – Coleman Hawkins’ All Stars - Coleman Hawkins with Joe Thomas and Vic Dickenson [1960] You Blew Out the Flame/More Bounce to the Vonce/I’m Beginning to See the Light/Cool Blue/Some Stretching SVLP 2006 - The Happy Jazz of Rex Stewart - Rex Stewart [1960] Red Ribbon/If I Could Be with You/Four or Five Times/Rasputin/Please Don’t Talk About me When I’m Gon/San/You Can Depend on Me/I Would Do Most Anything For You/Tell Me/Nagasaki SVLP 2007 - Buck Jumpin' - Al Casey [1960] Buck Jumpin’/Casey’s Blues/Don’t Blame Me/Ain’t Misbehavin’/Honeysuckle Rose/Body & Soul/Rosetta SVLP 2008 - Swingin' with Pee Wee - Pee Wee Russell [1960] What Can I Say Dear/Midnight Blue/Very Thought of You/Lulu’s Back in Town/I Would Do Most Anything For You/Wrap Your Troubles in Dreams/Englewood SVLP 2009 - Yes Indeed! - Claude Hopkins [1960] It Don’t Mean a Thing/Willow Weep For Me/Yes Indeed/Is It So/Empty Bed Blues/What Is This Thing Called Love/Morning Glory SVLP 2010 – Rockin’ in Rhythm - Swingville All Stars (Al Sears, T. -
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. -
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............................... -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. MARIAN McPARTLAND NEA Jazz Master (2000) Interviewee: Marian McPartland (March 20, 1918 – August 20, 2013) Interviewer: James Williams (March 8, 1951- July 20, 2004) Date: January 3–4, 1997, and May 26, 1998 Repository: Archives Center, National Museum of American History Description: Transcript, 178 pp. WILLIAMS: Today is January 3rd, nineteen hundred and ninety-seven, and we’re in the home of Marian McPartland in Port Washington, New York. This is an interview for the Smithsonian Institute Jazz Oral History Program. My name is James Williams, and Matt Watson is our sound engineer. All right, Marian, thank you very much for participating in this project, and for the record . McPARTLAND: Delighted. WILLIAMS: Great. And, for the record, would you please state your given name, date of birth, and your place of birth. McPARTLAND: Oh, God!, you have to have that. That’s terrible. WILLIAMS: [laughs] McPARTLAND: Margaret Marian McPartland. March 20th, 1918. There. Just don’t spread it around. Oh, and place of birth. Slough, Buckinghamshire, England. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 WILLIAMS: OK, so I’d like to, as we get some of your information for early childhood and family history, I’d like to have for the record as well the name of your parents and siblings and name, the number of siblings for that matter, and your location within the family chronologically. Let’s start with the names of your parents. -
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. -
BOP HARMONY by Contrast with the Earliest Jazz Musicians, Bop Musicians Did More Than Embellish a Song
Jazz Styles Gridley Eleventh Edition Jazz Styles Mark C. Gridley Eleventh Edition ISBN 978-1-29204-259-6 9 781292 042596 ISBN 10: 1-292-04259-1 ISBN 13: 978-1-292-04259-6 Pearson Education Limited Edinburgh Gate Harlow Essex CM20 2JE England and Associated Companies throughout the world Visit us on the World Wide Web at: www.pearsoned.co.uk © Pearson Education Limited 2014 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without either the prior written permission of the publisher or a licence permitting restricted copying in the United Kingdom issued by the Copyright Licensing Agency Ltd, Saffron House, 6–10 Kirby Street, London EC1N 8TS. All trademarks used herein are the property of their respective owners. The use of any trademark in this text does not vest in the author or publisher any trademark ownership rights in such trademarks, nor does the use of such trademarks imply any affi liation with or endorsement of this book by such owners. ISBN 10: 1-292-04259-1 PEARSON® ISBN 13: 978-1-292-04259-6 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Printed in the United States of America Copyright_Pg_7_24.indd 1 7/29/13 11:28 AM uring the 1940s, a number of adventuresome D musicians showed the effects of studying the advanced swing era styles of saxophonists Coleman Hawkins and Lester Young, pianists Art Tatum and Nat Cole, trumpeter Roy Eldridge, guitarist Charlie Christian, and the Count Basie rhythm section. -
The Assimilation of American Jazz in Trance, 1917-1940
le hot the assimilation of american jazz in trance, 1917-1940 William h. kenney iii The assimilation of American jazz music in France, an instance of the cultural transmission of an emerging American musical art, began at the time of World War I. Within the subsequent history of jazz in France lies the tale of the progressive mastery of the two principles of improvisation and rhythmic swing and the modification of American sounds to suit the particular cultural terrain of France between the two World Wars. The process was eased by the obvious fact that France already contained, indeed originated in some cases, the basics of western music: instrumental definitions, chromatic and diatonic scales and the myriad chords from which they were constructed. Still, the principles of melodic and particu larly harmonic improvisation were little known in France as was the surprising phenomenon of rhythmic swing so that when early jazz arrived in that country French musicians knew most of the vocabulary of jazz without knowing how to make jazz statements. A small number of French musicians learned to "sing" with a swing and in the process created their own "école française de jazz." Ragtime and the musical precursors of jazz were carried from the U.S.A. to France by military bands sent by the American government in 1917. The most famous was the 369th Infantry Regiment's Hell Fighters Band, an all-Black outfit organized and led by James Reese Europe. Europe was a pioneer of ragtime in New York City where he had organized 0026-3079/84/2501-0005S01.50/0 5 concerts of Black music, headed the famous Clef Club, and accompanied Irene and Vernon Castle's introduction of the foxtrot in America. -
The Evolution of PASIC by Gary Cook
The Evolution of PASIC By Gary Cook n this our 50th anniversary year cel- tradition was established of holding annual be started by the ebration of the Percussive Arts Soci- business meetings in conjunction with the Executive Secretary ety, articles appearing in the previous Midwest Band Clinic at the Sherman House report and summary three issues of Percussive Notes have in Chicago. (The Sherman was chosen be- of P.A.S. activities Ichronicled the history of the Society up to cause of its central location and the fact that in the last ten months. With the status of 1990. These articles have included the birth many of the founders annually came to the P.A.S. clearly in our minds the discussion of the Society and its publications, advent of Clinic.) [Author’s comment: This 1960 din- will be centered around several basic topics. PAS chapters, inception of the museum and ner meeting resulted in the legendary photo These will be those most often mentioned in headquarters, and have mentioned briefly of many of the founding fourteen members correspondences, discussions, and business what has become perhaps the most integral of PAS.] On December 20, 1963, the first sessions throughout these last months and part of PAS––our conventions. Many mem- general meeting of the PAS membership took should therefore be of vital interest to the bers may recall the publication Celebrating 30 place in the Louis XVI Room of the hotel. entire membership. Years of PASIC, which was unveiled at PA- The practice of holding separate Board of The local hosts will be our members from SIC 2005 in Columbus and contained short Directors and membership meetings, fol- the Chicago area with Gordon Peters of our year-by-year reminiscences by convention lowed on the next day by breakfast, was Editorial Staff as Chairman. -
VIDO MUSSO Discography Thanks to Daniel Gugolz, Bob Sunenblick and Leo T
VIDO MUSSO Discography Thanks to Daniel Gugolz, Bob Sunenblick and Leo T. Sullivan for Research Assistance Vido Musso, tenor saxophone on all tracks: Benny Goodman (cl) and His Orchestra: Pee Wee Erwin, Sterling Rose, Gordon Griffin, tpts; Red Ballard, Murray McEachern, trbs; Hymie Schertzer, Bill DePew, as; Dick Clark, Arthur Rollini, ts; Jess Stacy, pno; Alan Reuss, gtr; Harry Goodman, sb; Gene Krupa, dms; Fletcher Henderson, arr*; Jimmy Mundy, arr**; Helen Ward, vcl*** Hollywood, CA, August 21, 1936 97748-1 St. Louis Blues* Victor 25411 97750-1 Love Me or Leave Me* Victor 25406 97751-2 Bugle Call Rag Victor LP LPM-10022 Teddy Wilson (pno) and His Orchestra: Gordon Griffin, tpt; Benny Goodman, cl*; Alan Reuss, gtr; Harry Goodman, sb; Gene Krupa, dms; Lionel Hampton, vibes; Helen Ward (as Vera Lane), vcl**; Red Harper, vcl*** Los Angeles, August 24, 1936 LA-1158-A You Came To My Rescue*/** Brunswick 7739 LA-1159-A Here's Love In Your Eyes*/** - LA-1160-A You Turned The Tables On Me*** Brunswick 7736 LA-1161-A Sing, Baby, Sing*** - Benny Goodman (cl/as#) and His Orchestra: Gordon Griffin, Zeke Zarchy, Ziggy Elman, tpts; Red Ballard, Murray McEachern, trbs; Hymie Schertzer, Bill DePew, as; Arthur Rollini, ts; Jess Stacy, pno; Alan Reuss, gtr; Harry Goodman, sb; Gene Krupa, dms; Fletcher Henderson, arr*; Jimmy Mundy, arr**; Helen Ward, vcl*** New York City, October 7, 1936 0798-1 When a Lady Meets a Gentleman Down South*** Victor 25434 0799-1 You're Giving Me a Song and Dance*** - 02101-1 Organ Grinder's Swing Victor 25442 02102-1 Peter -
JUBILEE PART 2 Programs 101-200
Glenn Miller Archives JUBILEE PART 2 Programs 101-200 AFRS/SSD Series H-11 BLUE Third Edition GREEN Second Edition Prepared by Dennis M. Spragg Updated December 23, 2020 101 AFRS program announcer: Melvin (Mel) Allen Mistress of Ceremonies: Ida James Studios: NBC Radio City (Rockefeller Center) New York Pre-recording dates: October 1944 Date of dubbing: October 16, 1944 Label information: Notes: (1) Mel Allen announces this program to be “another Broadway edition of Jubilee.” Side 1, wax info: ND4-MM-6963-1B Time 15:10 01 Drum Roll & theme: Mop - band vocal 02 Introduction & theme: One O‘Clock Jump (nc) 02 Let‘s Have A Session 03 Perdido 04 I‘m Gonna See My Baby - v IJ 05 Dorothy‘s Boogie Side 2, wax info: ND4-MM-6964-1B Time 29:25 Fill to 30:00 06 One Meat Ball 04 Knock Me A Kiss - v IJ 02 Let‘s Hop - band vocal 01 Signoff & theme: One O‘Clock Jump (nc) 01 AFRS Studio Orchestra No details 02 Claude Hopkins and his Orchestra Probably Nathanael Courtney Williams, Kenneth Roane, trumpets; Jimmy Archey, Floyd “Stumpy” Brady, trombones; Rudy Powell, alto sax; Joe Garland, Elbert “Skippy” Williams, tenor saxes; Ernest “Pinky” Williams, baritone & alto saxes; Claude Hopkins, piano; Eddie Gibbs, guitar; John Benjamin Peabody Brown, string bass; Wilbert Kirk, drums; band vocal. NOTE: Ida James states that the Hopkins Orchestra is at the “Zanzibar” at present. Rudy Powell can be aurally identified as alto sax soloist on “Let´s Hop”. Discographers have always listed Nathanael Williams and Courtney Williams separately, but it is one and the same person, according to Jean-Pierre Battestini, who interviewed him in the late 1980s. -
Chronological Discography
Chronological Discography arranger g guitar as alto saxophone 0 pipe organ bb brass bass (sousaphone/tuba) p piano bj banjo ss soprano saxophone bs baritone saxophone t trumpet c comet tb trombone cl clarinet ts tenor saxophone d drums v vocals db double bass vib vibraphone dir director vn violin f flute This chronological list contains most known releases on which Danny Barker plays and sings. Titles are given as they appear on the record labels. Where possible, the first issue number is given, but the complexity of subsequent reissues is such that these are not shown. In preparing the list much use has been made of the works cited in the acknowledgment section as well as Stagg and Crump: New Orleans: the Revival (Dublin, 1973). 1931 Ward Pinkett (t, v); Albert Nicholas (cO; Jack Russin (p); Danny ]une9 NewYork Barker(g);Joe Watts (db); Sam Weiss (d) Dave's Harlem Highlights 95337-1 Everything is okey-dokey (WP:v) Bluebird B-6144 Dave Nelson (1, v); Clarence Brereton (t); Melvin Herbert/Harry 95338-1 I'm on a see-saw (WP:v) Bluebird B-6130 Brown (t); Wilbur de Paris (tb); Buster Bailey (cl, as); Glyn Paque (cl, 95339-1 Red sails in the sunset (WP:v) Bluebird B-6131 as); Charles Frazier (ts); Wtryman Caroer (ts, f); Sam Allen (p); 95340-1 Tender is the night (WP:v) Bluebird B-6131 •Danny Barker (bj); Simon Marrero (bb); Gerald Hobson (iii 95341-1 I'mpaintingthetownred 69905-1 Somebody stole my gal Timely Tunes C-1587 (to hide a heart that's blue) Bluebird B-6130 69906-1 Rockin' Chair Timely Tunes C-1576 95342-1 Tap Room Special (Panama) Bluebird B-6193 69907-2 Loveless Love Timely Tunes C-1577 69908-2 St. -
Buster Bailey Drum Sticks • Trumpet • and Dixieland Mp3, Flac, Wma
Buster Bailey Drum Sticks • Trumpet • And Dixieland mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Drum Sticks • Trumpet • And Dixieland Country: US Style: Dixieland MP3 version RAR size: 1397 mb FLAC version RAR size: 1658 mb WMA version RAR size: 1277 mb Rating: 4.3 Votes: 788 Other Formats: MP2 AUD TTA MIDI APE AU RA Tracklist A1 Struttin' With Some Barbeque A2 Tin Roof Blues A3 Royal Garden Blues A4 Basin Street Blues B1 Muskrat Ramble B2 High Society B3 When The Saints Go Marching In B4 Late Date Companies, etc. Record Company – Pickwick Music Corp. Credits Cover – Leonard Pearl Notes K. M. Corp - Freeport, L.I. Full Frequency Sound Stereo Records Barcode and Other Identifiers Matrix / Runout (Side A): AKS-164-A Matrix / Runout (Side B): AKS-164-B Other versions Category Artist Title (Format) Label Category Country Year Vic Dickenson / Marty Vic Dickenson / Napoleon / George Marty Napoleon / Wettling / Rex Stewart George Wettling / / Arvell Shaw / Buster Rex Stewart / Bailey / "Pee Wee" Grand Prix KS-164 Arvell Shaw / KS-164 US Unknown Irwin* / Milt Hinton / Series Buster Bailey / Claude Hopkins - "Pee Wee" Irwin* / Drumsticks, Trumpets Milt Hinton / & Dixieland (LP, Claude Hopkins Album) Buster Bailey, Vic Buster Bailey, Vic Dickenson, Marty Dickenson, Marty Napoleon, Arvell Shaw, Napoleon, Arvell Rex Stewart, George Shaw, Rex Wettling, "Pee Wee" International AK-164 Stewart, George AK-164 US Unknown Irwin*, Claude Award Series Wettling, "Pee Hopkins, Milt Hinton - Wee" Irwin*, Drum Sticks • Trumpet Claude Hopkins, • And Dixieland (LP, Milt Hinton Album, Mono) Vic Dickenson / Vic Dickenson / Marty Marty Napoleon / Napoleon / George George Wettling / Wettling / Rex Stewart Rex Stewart / / Arvell Shaw / Buster Pickwick PR.