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Amid the Coronavirus Pandemic, Remember “Thanks for the Memory” Oscar-Winning
Back to Newsroom (/newsroom) Leo Robin Music Amid the Coronavirus Pandemic, Remember "Thanks for the Memory" Oscar-Winning Lyricist Leo Robin Who Served on The Hollywood Office of Music War Council During WWII - The Hollywood Walk of Fame Should Install #LeosLostStar" Awarded to Him 30 Years Ago Tuesday, April 28, 2020 3:18 PM SHERMAN OAKS, CA / ACCESSWIRE / April 28, 2020 / Turning on the radio back in 1944 you would have heard the most celebrated jazz musicians such as Louis Armstrong and Lionel Hampton and vocalists such as Frank Sinatra, Judy Garland, Dinah Washington and actress Marlene Dietrich singing the wartime song "No Love, No Nothin'." Lyricist Leo Robin wrote the heartfelt lyrics to this song during World War II when romantic and sentimental songs about the girls left behind captured the mood of the country. In The Great Jazz and Pop Vocal Albums, Will Friedwald gives his interpretation, "this no-frills love song is refreshingly straightforward. No frills, no love, no nothin', in fact -- it's all about the deprivation of the 'love-sick girl' on the home front is suffering; [...] there's an obvious parallel with wartime rationing and shortages. It was near impossible to get sugar, rubber, tires, or gasoline, among other goods and the same thing applied to love, she's not getting any of that either." Today's songwriters and musicians amid the Coronavirus pandemic follow in the footsteps of those during World War II in writing and performing songs that capture the mood of the country during this new war against what President Trump calls the "invisible enemy." For example, Alicia Keys, a 15-time Grammy winner, debuted her new powerful anthem "Good Job" to honor the unsung heroes in her own life during a CNN global town hall addressing the latest developments in the Covid-19 pandemic. -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 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..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation 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, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
TOSHIKO AKIYOSHI NEA Jazz Master (2007)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOSHIKO AKIYOSHI NEA Jazz Master (2007) Interviewee: Toshiko Akiyoshi 穐吉敏子 (December 12, 1929 - ) Interviewer: Dr. Anthony Brown with recording engineer Ken Kimery Dates: June 29, 2008 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript 97 pp. Brown: Today is June 29th, 2008, and this is the oral history interview conducted with Toshiko Akiyoshi in her house on 38 W. 94th Street in Manhattan, New York. Good afternoon, Toshiko-san! Akiyoshi: Good afternoon! Brown: At long last, I‟m so honored to be able to conduct this oral history interview with you. It‟s been about ten years since we last saw each other—we had a chance to talk at the Monterey Jazz Festival—but this interview we want you to tell your life history, so we want to start at the very beginning, starting [with] as much information as you can tell us about your family. First, if you can give us your birth name, your complete birth name. Akiyoshi: To-shi-ko. Brown: Akiyoshi. Akiyoshi: Just the way you pronounced. Brown: Oh, okay [laughs]. So, Toshiko Akiyoshi. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Akiyoshi: Yes. Brown: And does “Toshiko” mean anything special in Japanese? Akiyoshi: Well, I think,…all names, as you know, Japanese names depends on the kanji [Chinese ideographs]. Different kanji means different [things], pronounce it the same way. And mine is “Toshiko,” [which means] something like “sensitive,” “susceptible,” something to do with a dark sort of nature. -
BROWNIE the Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet
BROWNIE The Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet Dan Morgenstern Grammy Award for Best Album Notes 1990 Disc 1 1. DELILAH 8:04 Clifford Brown-Max RoaCh Quintet: (V. Young) Clifford Brown (tp), Harold Land (ts), Richie 2. DARN THAT DREAM 4:02 Powell (p), George Morrow (b), Max RoaCh (De Lange - V. Heusen) (ds) 3. PARISIAN THOROUGHFARE 7:16 (B. Powell) 4. JORDU 7:43 (D. Jordan) 5. SWEET CLIFFORD 6:40 (C. Brown) 6. SWEET CLIFFORD (CLIFFORD’S FANTASY)* 1:45 1~3: Los Angeles, August 2, 1954 (C. Brown) 7. I DON’T STAND A GHOST OF A CHANCE* 3:03 4~8: Los Angeles, August 3, 1954 (Crosby - Washington - Young) 8. I DON’ T STAND A GHOST OF A CHANC E 7:19 9~12: Los Angeles, August 5, 1954 (Crosby - Washington - Young) 9. STOMPIN’ AT TH E SAVOY 6:24 (Goodman - Sampson - Razaf - Webb) 10. I GET A KICK OUT OF YOU 7:36 (C. Porter) 11. I GET A KICK OUT OF YOU* 8:29 * Previously released alternate take (C. Porter) 12. I’ LL STRING ALONG WITH YOU 4:10 (Warren - Dubin) Disc 2 1. JOY SPRING* 6:44 (C. Brown) Clifford Brown-Max RoaCh Quintet: 2. JOY SPRING 6:49 (C. Brown) Clifford Brown (tp), Harold Land (ts), Richie 3. MILDAMA* 3:33 (M. Roach) Powell (p), George Morrow (b), Max RoaCh (ds) 4. MILDAMA* 3:22 (M. Roach) Los Angeles, August 6, 1954 5. MILDAMA* 3:55 (M. Roach) 6. -
Louis Armstrong
A+ LOUIS ARMSTRONG 1. Chimes Blues (Joe “King” Oliver) 2:56 King Oliver’s Creole Jazz Band: King Oliver, Louis Armstrong-co; Honore Dutrey-tb; Johnny Dodds-cl; Lil Hardin-p, arr; Arthur “Bud” Scott-bjo; ?Bill Johnson-b; Warren “Baby” Dodds-dr. Richmond, Indiana, April 5, 1923. first issue Gennett 5135/matrix number 11387-A. CD reissue Masters of Jazz MJCD 1. 2. Weather Bird Rag (Louis Armstrong) 2:45 same personnel. Richmond, Indiana, April 6, 1923. Gennett 5132/11388. Masters of Jazz MJCD 1. 3. Everybody Loves My Baby (Spencer Williams-Jack Palmer) 3:03 Fletcher Henderson and his Orchestra: Elmer Chambers, Howard Scott-tp; Louis Armstrong-co, vocal breaks; Charlie Green-tb; Buster Bailey, Don Redman, Coleman Hawkins-reeds; Fletcher Henderson-p; Charlie Dixon- bjo; Ralph Escudero-tu; Kaiser Marshall-dr. New York City, November 22-25, 1924. Domino 3444/5748-1. Masters of Jazz MJCD 21. 4. Big Butter and Egg Man from the West (Armstrong-Venable) 3:01 Louis Armstrong and his Hot Five: Louis Armstrong-co, voc; Edward “Kid” Ory-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; May Alix-voc. Chicago, November 16, 1926. Okeh 8423/9892-A. Maze 0034. 5. Potato Head Blues (Armstrong) 2:59 Louis Armstrong and his Hot Seven: Louis Armstrong-co; John Thomas-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; Pete Briggs-tu; Warren “Baby” Dodds-dr. Chicago, May 10, 1927. Okeh 8503/80855-C. Maze 0034. 6. Struttin’ with Some Barbecue (Armstrong) 3:05 Louis Armstrong and his Hot Five. -
LEGISLATIVE RESOLUTION Commemorating the 96Th Birthday of Ella Fitzger- Ald and Her Tremendous Contributions to Jazz
LEGISLATIVE RESOLUTION commemorating the 96th birthday of Ella Fitzger- ald and her tremendous contributions to jazz WHEREAS, It is the sense of this Legislative Body to recognize and commend those musical geniuses who brought entertainment and cultural enrichment to the citizens of the great Empire State; and WHEREAS, Also known as the "First Lady of Song", "Queen of Jazz", and "Lady Ella", Ella Fitzgerald was an American jazz vocalist noted for her purity of tone, impeccable diction, phrasing and intonation, and a "horn-like" improvisational ability, particularly her scat singing; she was a notable interpreter of the Great American Songbook; and WHEREAS, Ella Fitzgerald was born on April 25, 1917, in Newport News, Virginia, the daughter of Temperance "Tempie" and William Fitzgerald; her parents separated soon after her birth, and Ella and her mother went to Yonkers, New York; she and her family were Methodists and were active in the Bethany African Methodist Episcopal Church; and WHEREAS, In her youth, Ella Fitzgerald wanted to be a dancer, although she loved listening to jazz recordings by Louis Armstrong, Bing Crosby and The Boswell Sisters, and idolized lead singer Connee Boswell; after the death of her mother in 1932 and overcoming many hardships and obsta- cles, a young Ella made her singing debut at age 17 on November 21, 1934, at the Apollo Theater in Harlem, New York and the rest was histo- ry; and WHEREAS, Over the course of her 59-year recording career, the First Lady of Song sold 40 million copies of her 70-plus albums, won 13 Grammy Awards and was awarded the National Medal of Arts by former president Ronald Reagan and the Presidential Medal of Freedom by former president George H. -
Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. -
Devil Tune Song List- Final
That Devilin' Tune: A Jazz History, 1900-1951 Volume 1 CD 1 1. Standard Quartette Who Broke The Lock 1895/1896 2. Voss’ 1st Regiment Band Aunt Dinah’s Supper Party Late 1890s 3. Len Spencer Clime De Golden Fence Late 1890s 4. Metropolitan Orchestra Coon Town Capers 1897-1899 5. Sousa Band Whistlin’ Rufus 1899 6. Len Spencer You’ve Been a Good Old Wagon 1900 or 1901 7. Williams and Walker My Little Zulu Babe Nov. 10 1901 8. Arthur Collins Bill Bailey ca. May, 1902 9. Len Spencer On Emancipation Day late 1902 10. Hager’s Orchestra Rooster Dance 1904 11. Vess Ossman Buffalo Rag 1905 12. Prince’s Orchestra St. Louis Tickle Aug., 1905 13. Pryor’s Band St. Louis Rag 1906 14. Orquestra Typicas La Patti Negra 1906 15. Sir Herbert Clarke Bride of the Waves Dec. 21, 1907 16. May Irwin When You Ain’t Got No Money You Needn’t Come Around May 21, 1907 17. Arthur Collins Parson Jones’ Three Reasons ca. 1909 18. Stella Mayhew/Billie Taylor That Beautiful Rag July 5, 1910 19. Sophie Tucker That Lovin’ Rag Jan. 5, 1910 20. Stella Mayhew That Devilin’ Tune Apr. 24, 1911 21. Collins and Harlan Alexander’s Ragtime Band 1911 22. Sophie Tucker Some of These Days Feb. 24, 1911 23. Grupo Bahianainho El Cavito ca. 1911 24. Grupo Bahianainho Bambino ca. 1911 25. Grupo Bahianainho Destimido ca. 1911 26. Prince’s Orchestra Red Pepper Rag May, 1911 27. Gene Greene King of the Bungaloos Feb. 17, 1911 CD 2 1. -
Singer Kendra Shank Pays Tribute to Spirited Music of Abbey Lincoln
Photo by John Abbott Photo by John Kendra Shank will bring the music of Abbey Lincoln to Lincoln June 5. Singer Kendra Shank pays tribute ○○○○○○○○○○○○○○○○○○○○○ to spirited music of Abbey Lincoln ○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○ April 2007 Vol. 12, Number 2 With her new release, “A Spirit File Photo Free: Abbey Lincoln Songbook,” singer Kendra Shank has taken on a daunting task—interpreting the music of one of the most idiosyn- cratic jazz singer-songwriters in his- ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ tory. In this issue of Jazz.... She and her longtime ensemble will bring the music of Lincoln to Prez Sez.........................................................2 Lincoln, Neb., June 5 in the open- Abbey Lincoln John Pizzarelli review........................6 ing concert of this year’s Jazz in Giacomo Gates/NJO review..................7 June series. this record were created there, on In a recent interview, Shank the gigs at that club. We would just Chick Corea/Gary Burton review...........8 talked about the recording and the try stuff and see what worked well Maria Schneider Orchestra review.....9 years it took to bring to fruition. and what didn’t work well,” she Mac McCune/NJO review......................10 Unlike many jazz musicians liv- said, pretty much describing the cre- Tomfoolery: Generous jazz calendar......11 ing in New York City, Shank has a ative process inherent in jazz mu- regular gig where she and the band sic. Harry “The Hipster” Gibson..................12 can work up new material and hone To Shank’s knowledge, no one Jazz on Disc reviews...........................14 their music to a fine edge. One Fri- else has ever attempted a full-length Discorama reviews..............................18 day a month, they appear at the 55 tribute to Lincoln’s very personal Letters to the Editor...............................19 Bar, Shank’s home away from music, although some of her tunes home for five years. -
This Model TV Ford Slows up the Show
TELEVISION NEWS Chicago. August 10,1951 gets him as he is about to elude cops and gangsters. Recreate Speakeasy Era For Pete Kelly’ Preview Pete and his boys punctuate the finding with ■* mournful blues, assisted by singer Maggie Jacksor (played by Meredith Howard) NBC. Wednesday», 6:30 p.m. Each episode is complete in itself PDST and tins may or may not be Radio’s first drama series with typical. characters and background tied in with jazz, the story got off to an Band figuring in the story, and interesting atari with first episode. which provides the only back Scene is in a Kansas City speak ground music, is comprised of Dick easy in the torrid ’20s, in which Cathcart, cornet; Elmer Schneider, Pete Kelly (played by Jack Webb), trombone; Matty Matlock, clarinet. hot cornet player, heads a jazz Ray Shet man, piano; Nick Fatool, combo. An old friend and former drums; Morty Corb, bass, and Bill musician, Gus Trudo, who has been Newman, guitar. serving time for a murder he did They play a good brand of jaz. not commit, has escaped from the and no one can argue that it penitentiary. doesn’t belong io the period. “Jazz Ask« Aid authorities’* will l av« to fight only a» to whether it’s “true Kansai- Ho appeals to Kelly to help him City style” of the times or some escape to Mexico to elude not only derivation thereof—and they will. police but mobsters who aim to avenge the death of their pal in the manner of the times. -
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.