Johnny Hodges and His Orchestra Hodge Podge Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Johnny Hodges and His Orchestra Hodge Podge Mp3, Flac, Wma Johnny Hodges And His Orchestra Hodge Podge mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Hodge Podge Country: US Released: 1995 Style: Swing MP3 version RAR size: 1541 mb FLAC version RAR size: 1616 mb WMA version RAR size: 1405 mb Rating: 4.6 Votes: 732 Other Formats: DTS MOD MP4 APE AU AHX WAV Tracklist 1 Jeep's Blues 2:54 2 Rendezvous With Rhythm 3:00 3 Empty Ballroom Blues 2:27 4 Krum Elbow Blues 2:36 5 I'm In Another World 3:03 6 Hodge Podge 2:36 7 Dancing On The Stars 2:56 8 Wanderlust 2:48 9 Dooji Wooji 2:55 10 Savoy Strut 2:31 11 Rent Party Blues 2:39 12 Good Gal Blues 2:58 13 Finesse 2:41 14 Hometown Blues 2:40 15 Dream Blues 3:02 16 Skunk Hollow Blues 2:40 Companies, etc. Manufactured By – Epic Credits Alto Saxophone – Otto Hardwick (tracks: 1) Alto Saxophone, Soprano Saxophone – Johnny Hodges Artwork – Steig* Baritone Saxophone – Harry Carney Bass – Billy Taylor Sr. Drums – Sonny Greer Guitar – Fred Guy (tracks: 1) Piano, Arranged By – Duke Ellington Producer [Digital Production] – Bob Thiele Trombone – Lawrence Brown Trumpet – Cootie Williams Barcode and Other Identifiers Barcode: 0 7464-66972-2 Matrix / Runout: E2 1A EK66972 02 Other versions Category Artist Title (Format) Label Category Country Year Johnny Hodges And Johnny Hodges And His His Orchestra Orchestra Featuring EE 22 002, Featuring Duke Duke Ellington, Epic, EE 22 002, US 1968 679 075 Ellington, Lawrence Lawrence Brown & Columbia 679 075 Brown & Cootie Cootie Williams - Hodge Williams Podge (LP, Comp) Johnny Hodges And Hodge Podge (LP, LG 3105 Epic LG 3105 Canada 1955 His Orchestra Mono) Johnny Hodges And His Johnny Hodges And Orchestra Featuring His Orchestra Duke Ellington, Featuring Duke EICP 7025 Lawrence Brown & Epic EICP 7025 Japan 2002 Ellington, Lawrence Cootie Williams - Hodge Brown & Cootie Podge (CD, Comp, Williams Mono, Ltd, RE, RM) LG 3105, Johnny Hodges And Hodge Podge (LP, LG 3105, Epic US 1955 LN 3105 His Orchestra Comp, Mono) LN 3105 Johnny Hodges And Johnny Hodges And His His Orchestra Orchestra Featuring Columbia Featuring Duke Duke Ellington, JEE 22001 Special JEE 22001 US 1974 Ellington, Lawrence Lawrence Brown & Products Brown & Cootie Cootie Williams - Hodge Williams Podge (LP, Comp, RE) Related Music albums to Hodge Podge by Johnny Hodges And His Orchestra Duke Ellington & Johnny Hodges - Back To Back (Duke Ellington And Johnny Hodges Play The Blues) Duke Ellington - Blues In Orbit Duke Ellington And His Orchestra - Ellingtonia - Vol. 2 “The Thirties” Johnny Hodges / Rex Stewart - Things Ain't What They Used To Be Cootie Williams Octet - Gal-avantin' / Mobile Blues Duke Ellington - Big Bands: Duke Ellington Johnny Hodges And His Orchestra - A Blues Serenade / Jitterbug's Lullaby Johnny Hodges And His Orchestra - Empty Ballroom Blues / You Walked Out Of The Picture.
Recommended publications
  • JAMU 20160316-1 – DUKE ELLINGTON 2 (Výběr Z Nahrávek)
    JAMU 20160316-1 – DUKE ELLINGTON 2 (výběr z nahrávek) C D 2 – 1 9 4 0 – 1 9 6 9 12. Take the ‘A’ Train (Billy Strayhorn) 2:55 Duke Ellington and his Orchestra: Wallace Jones-tp; Ray Nance-tp, vio; Rex Stewart-co; Joe Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Barney Bigard-cl; Johnny Hodges-cl, ss, as; Otto Hardwick-as, bsx; Harry Carney-cl, as, bs; Ben Webster-ts; Billy Strayhorn-p; Fred Guy-g; Jimmy Blanton-b; Sonny Greer-dr. Hollywood, February 15, 1941. Victor 27380/055283-1. CD Giants of Jazz 53046. 11. Pitter Panther Patter (Duke Ellington) 3:01 Duke Ellington-p; Jimmy Blanton-b. Chicago, October 1, 1940. Victor 27221/053504-2. CD Giants of Jazz 53048. 13. I Got It Bad (And That Ain’t Good) (Duke Ellington-Paul Francis Webster) 3:21 Duke Ellington and his Orchestra (same personnel); Ivie Anderson-voc. Hollywood, June 26, 1941. Victor 17531 /061319-1. CD Giants of Jazz 53046. 14. The Star Spangled Banner (Francis Scott Key) 1:16 15. Black [from Black, Brown and Beige] (Duke Ellington) 3:57 Duke Ellington and his Orchestra: Rex Stewart, Harold Baker, Wallace Jones-tp; Ray Nance-tp, vio; Tricky Sam Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Johnny Hodges, Ben Webster, Harry Carney, Otto Hardwicke, Chauncey Haughton-reeds; Duke Ellington-p; Fred Guy-g; Junior Raglin-b; Sonny Greer-dr. Carnegie Hall, NY, January 23, 1943. LP Prestige P 34004/CD Prestige 2PCD-34004-2. Black, Brown and Beige [four selections] (Duke Ellington) 16. Work Song 4:35 17.
    [Show full text]
  • Ellington-Lambert-Richards) 3
    1. The Stevedore’s Serenade (Edelstein-Gordon-Ellington) 2. La Dee Doody Doo (Ellington-Lambert-Richards) 3. A Blues Serenade (Parish-Signorelli-Grande-Lytell) 4. Love In Swingtime (Lambert-Richards-Mills) 5. Please Forgive Me (Ellington-Gordon-Mills) 6. Lambeth Walk (Furber-Gay) 7. Prelude To A Kiss (Mills-Gordon-Ellington) 8. Hip Chic (Ellington) 9. Buffet Flat (Ellington) 10. Prelude To A Kiss (Mills-Gordon-Ellington) 11. There’s Something About An Old Love (Mills-Fien-Hudson) 12. The Jeep Is Jumpin’ (Ellington-Hodges) 13. Krum Elbow Blues (Ellington-Hodges) 14. Twits And Twerps (Ellington-Stewart) 15. Mighty Like The Blues (Feather) 16. Jazz Potpourri (Ellington) 17. T. T. On Toast lEllington-Mills) 18. Battle Of Swing (Ellington) 19. Portrait Of The Lion (Ellington) 20. (I Want) Something To Live For (Ellington-Strayhorn) 21. Solid Old Man (Ellington) 22. Cotton Club Stomp (Carney-Hodges-Ellington) 23. Doin’The Voom Voom (Miley-Ellington) 24. Way Low (Ellington) 25. Serenade To Sweden (Ellington) 26. In A Mizz (Johnson-Barnet) 27. I’m Checkin’ Out, Goo’m Bye (Ellington) 28. A Lonely Co-Ed (Ellington) 29. You Can Count On Me (Maxwell-Myrow) 30. Bouncing Buoyancy (Ellington) 31. The Sergeant Was Shy (Ellington) 32. Grievin’ (Strayhorn-Ellington) 33. Little Posey (Ellington) 34. I Never Felt This Way Before (Ellington) 35. Grievin’ (Strayhorn-Ellington) 36. Tootin Through The Roof (Ellington) 37. Weely (A Portrait Of Billy Strayhorn) (Ellington) 38. Killin’ Myself (Ellington) 39. Your Love Has Faded (Ellington) 40. Country Gal (Ellington) 41. Solitude (Ellington-De Lange-Mills) 42. Stormy Weather (Arlen-Köhler) 43.
    [Show full text]
  • John Cornelius Hodges “Johnny” “Rabbit”
    1 The ALTOSAX and SOPRANOSAX of JOHN CORNELIUS HODGES “JOHNNY” “RABBIT” Solographers: Jan Evensmo & Ulf Renberg Last update: Aug. 1, 2014, June 5, 2021 2 Born: Cambridge, Massachusetts, July 25, 1906 Died: NYC. May 11, 1970 Introduction: When I joined the Oslo Jazz Circle back in 1950s, there were in fact only three altosaxophonists who really mattered: Benny Carter, Johnny Hodges and Charlie Parker (in alphabetical order). JH’s playing with Duke Ellington, as well as numerous swing recording sessions made an unforgettable impression on me and my friends. It is time to go through his works and organize a solography! Early history: Played drums and piano, then sax at the age of 14; through his sister, he got to know Sidney Bechet, who gave him lessons. He followed Bechet in Willie ‘The Lion’ Smith’s quartet at the Rhythm Club (ca. 1924), then played with Bechet at the Club Basha (1925). Continued to live in Boston during the mid -1920s, travelling to New York for week-end ‘gigs’. Played with Bobby Sawyer (ca. 1925) and Lloyd Scott (ca. 1926), then from late 1926 worked regularly with Chick webb at Paddock Club, Savoy Ballroom, etc. Briefly with Luckey Roberts’ orchestra, then joined Duke Ellington in May 1928. With Duke until March 1951 when formed own small band (ref. John Chilton). Message: No jazz topic has been studied by more people and more systematically than Duke Ellington. So much has been written, culminating with Luciano Massagli & Giovanni M. Volonte: “The New Desor – An updated edition of Duke Ellington’s Story on Records 1924 – 1974”.
    [Show full text]
  • Otto Hardwick Duke Ellington´S Sweet Alto Saxophonist
    BULLETIN NR 1, JANUARI 2017, ÅRGÅNG 25 Otto Hardwick Duke Ellington´s sweet alto saxophonist I detta nummer / In this issue: 2 Ledare m. m. 3 Recensioner 4 Otto Hardwick 9 Willie Cook with Dizzy Gillespie 10 Willie Cook with Billie Holiday 11 Olle Snismark 12 Milt Hinton and Duke Ellington 13 Other Duke´s Places 14 Nya skivor 15 When Jazz Had The Blues 16 A Swedish singer with Duke Ellington 17 Adelaide Hall 18 Duke Ellington in Europe 20 Kallelse 1-2017 Nu tar vi nya tag Alla våra medlemmar önskas en god den 13 februari engagera två erkänt bra av kassan. Jag känner mig övertygad fortsättning på det nya året. Med det musiker med synnerligen gott renommé. om att årsmötet kommer att godkänna önskar jag även en god fortsättning för Det rör sig om teamet Kjell Fernström vår begäran. Alla årsmöteshandlingar vår förening och att vårt medlemsantal och Mårten Lundgren (se kallelse på kommer att fnnas tillgängliga inför skall öka. Den CD som vi skickade ut sid. 20). Detta innebär att kostnaden för mötet. med förra Bulletinen har rönt ett gott evenemanget höjs och vi tvingas därför När jag ändå är inne på ekonomifrågor mottagande och något annat hade jag höja entréavgiften till 200:-, men vi tror så hoppas jag att alla våra medlemmar inte väntat mig. Den speglade ju en och hoppas att våra medlemmar skall få kommer att använda sig av det höjdpunkt i Duke Ellingtons karriär. Vi valuta för sina pengar. inbetalningskort som bifogades förra räknar med att senast under 2018 kunna Det kommande medlemsmötet är Bulletinen.
    [Show full text]
  • The Cambridge Companion to Duke Ellington Edited by Edward Green Frontmatter More Information
    Cambridge University Press 978-0-521-88119-7 - The Cambridge Companion to Duke Ellington Edited by Edward Green Frontmatter More information The Cambridge Companion to Duke Ellington Duke Ellington is widely held to be the greatest jazz composer and one of the most significant cultural icons of the twentieth century. This comprehensive and accessible Companion is the first collection of essays to survey, in-depth, Ellington’s career, music, and place in popular culture. An international cast of authors includes renowned scholars, critics, composers, and jazz musicians. Organized in three parts, the Companion first sets Ellington’s life and work in context, providing new information about his formative years, method of composing, interactions with other musicians, and activities abroad; its second part gives a complete artistic biography of Ellington; and the final section is a series of specific musical studies, including chapters on Ellington and songwriting, the jazz piano, descriptive music, and the blues. Featuring a chronology of the composer’s life and major recordings, this book is essential reading for anyone with an interest in Ellington’s enduring artistic legacy. edward green is a professor at Manhattan School of Music, where since 1984 he has taught jazz, music history, composition, and ethnomusicology. He is also on the faculty of the Aesthetic Realism Foundation, and studied with the renowned philosopher Eli Siegel, the founder of Aesthetic Realism. Dr. Green serves on the editorial boards of The International Review of the Aesthetics and Sociology of Music, Haydn (the journal of the Haydn Society of North America), and Проблемы Музыкальной Науки (Music Scholarship), which is published by a consortium of major Russian conservatories, and is editor of China and the West: The Birth of a New Music (2009).
    [Show full text]
  • Duke Ellington 1
    MUNI 20140324 - DUKE ELLINGTON 1 C D 1 1. It’s Gonna Be a Cold, Cold Winter (Porter Grainger-Jackie Trent) 3:00 Alberta Prime-voc; Duke Ellington-p. New York, November 1924. first issue Blue Disc T-1007/matrix number T2001-1. CD Masters of Jazz MJCD 8. 2. Choo Choo (Duke Ellington-Bob Schafer-Dave Ringle) 3:17 The Washingtonians: James “Bubber” Miley-tp; Charlie Irvis-tb; Otto Hardwick-Cms; Duke Ellington-p; George Francis-bjo; Sonny Greer-dr. NY, November 1924. Blue Disc T-1002/T2005-2. CD Masters of Jazz MJCD 8. 3. East St.Louis Toodle-Oo (Duke Ellington-Bubber Miley) 2:54 Duke Ellington and his Kentucky Club Orchestra: Louis Metcalf, Bubber Miley-tp; Tricky Sam Nanton-tb; Otto Hardwick-Cms, as, ss, bs; possibly Edgar Sampson-as; Prince Robinson-ts, cl; Duke Ellington-p; Fred Guy-bjo; Mack Shaw-tu; Sonny Greer-dr. NY, November 29, 1926. Vocalion 1064/E4110. CD Masters of Jazz MJCD 8. 4. Creole Love Call (Duke Ellington-Rudy Jackson-Bubber Miley) 3:14 Duke Ellington and his Orchestra: Louis Metcalf, Bubber Miley-tp; Tricky Sam Nanton-tb; Otto Hardwick-as, ss, cl; Harry Carney-bs, as, cl; Rudy Jackson-cl, ts; Duke Ellington-p; Fred Guy-bjo; Wellman Braud-b; Sonny Greer-dr; Adelaide Hall-voc.. NY, October 26, 1927. Victor 21137/39.370-1. CD Masters of Jazz MJCD 9. 5. Black and Tan Fantasy (D.Ellington-B.Miley) 3:22 Duke Ellington and his Orchestra: Louis Metcalf, Cladys "Jabbo" Smith-tp; Tricky Sam Nanton- tb; Otto Hardwick-as; Harry Carney-as, bs; Rudy Jackson-cl, ts; Duke Ellington-p; Fred Guy-bjo; Wellman Braud-b; Sonny Greer-dr.
    [Show full text]
  • Postprint : Author's Final Peer-Reviewed Version
    This item is the archived peer-reviewed author-version of: Composing the jazz bass revolution : Duke Ellington's writing for the string bass, 1925-1941 Reference: Heyman Matthias.- Composing the jazz bass revolution : Duke Ellington's w riting for the string bass, 1925-1941 Jazz perspectives - ISSN 1749-4079 - (2019), p. 1-35 Full text (Publisher's DOI): https://doi.org/10.1080/17494060.2019.1682638 To cite this reference: https://hdl.handle.net/10067/1636600151162165141 Institutional repository IRUA Composing the Jazz Bass Revolution: Duke Ellington’s Writing for the String Bass, 1925–1941 Matthias Heyman, University of Antwerp ABSTRACT Throughout his career, Duke Ellington (1899–1974) has been partial to the deep sounds of the bass, as evidenced by records ranging from “East St. Louis Toodle-Oo” (1926) to “Portrait of Wellman Braud” (1970). He always made sure he had the finest bassists at his disposal and used them to good advantage, not merely as accompanists or soloists, but also by having them provide counterpoint, double melodic lines, add percussive effects, and so forth. It can even be argued that although he did not play the string bass, Ellington was instrumental to its development. This article discusses the compositional devices and strategies Duke used to explore new approaches to the bass function between 1925 and 1941, and reveals how he in the process helped define its role in jazz. Jazz history has often been framed as a (chrono)logical, evolutionary narrative supported by a canon of masterpieces that was created by a select few iconic figures.1 These jazz greats serve as “exemplary performer[s]” who play “better […] than anyone else and whose creative innovations influenced everyone else,” as such advancing the music by way of their singular artistic, technical, or stylistic contributions.2 In this historiographic model, the 1 I would like to thank Alexander Dhoest, Greg Gottlieb, Andrew Homzy, Steven Lasker, Ken Prouty, my fellow contributors, and the two reviewers for sharing their insights and ideas.
    [Show full text]
  • Otto Hardwick
    THE RECORDINGS OF OTTO HARDWICK An Annotated Tentative Discography HARDWICK, Otto ‚Toby‘, born: Washington, D.C., 31st May 1904; died: Washington, D.C., 5th August 1970. Started on string bass at the age of 14, worked with Carroll´s Columbia Orcjestra (c. 1920), then switched to ‚C‘ melody sax. Began gigging with Duke Ellington in and around Washington, also worked for Elmer Snowden at Murray´s Casino, Washington (c. 1922). Went to New York with Duke Ellington in 1923 and shared man oft hat leader´s early experiences – including week with Wilbur Sweatman (March 1923) and residencies with Elmer Snowden – occasionally doubled violin and string bass in the mid-1920s, but specialised on alto sax. Worked regularly with Duke Ellington until the spring of 1928. Went to Paris, worked in band led by bassist John Ricks, led own band and played briefly with Noble Sissle and Nekka Shaw´s Orchestra before returning to New York. Brief stint with Chick Webb (1929), then led own band at the ‚Hot Feet‘ Club, New York (1930), subsequently led at Small´s then worked with Elmer Snowden before rejoining Duke Ellington in spring 1932. Except for brief absencies he remained with Duke until May 1946. Susequently retired from music, worked in hotel management, also ran own farm in Maryland. (John Chilton, Who´s Who in Jazz) This personnelo-discography is based on RUST, JAZZ AND RAGTIME RECORDS 1897 - 1942. Personnels are taken from this source, but modified in the light of earlier or subsequent research or on the strength of my own listening, discussed with our listening group or other interested collectors.
    [Show full text]
  • DIMINUENDO and CRESCENDO in BLUE by Duke Ellington
    JAzz At Lincoln Center Library DIMINUENDO AND CRESCENDO IN BLUE by Duke ellington Transcribed by David B­erger for Jazz at Lincoln Center F u ll S C o r e This transcription was made especially for Essentially Ellington 2004: The Ninth Annual Jazz at Lincoln Center High School Jazz Band Competition & Festival. Major support for Essentially Ellington is provided by The Jack and Susan Rudin Educational and Scholarship Fund, Surdna Foundation, Danny Kaye and Sylvia Fine Kaye Foundation, Verizon Communications, and Verve Music Group. Additional support is provided by The Heckscher Foundation for Children, the National Endowment for the Arts, Citigroup Foundation, the Ella Fitzgerald Charitable Foundation, The Charles Evans Hughes Memorial Foundation, The New York Times Company Foundation, Gail & Alfred Engelberg, Elroy and Terry Krumholz Foundation, Robert E. and Elizabeth Anne La Blanc Foundation, and other generous funders. This vocal transcription was made possible with support from the Ella Fitzgerald Charitable Foundation. Jazz at Lincoln Center and Alfred Music Publishing Co., Inc. gratefully acknowledge the cooperation and sup- port provided in the publication of this year’s Essentially Ellington music series: EMI Music Publishing, Famous Music Corporation & Mr. Irwin Z. Robinson, Hal Leonard Corporation, Music Sales Corporation / Tempo Music Inc., WB Music Corp., the George Gershwin Family Trust, Previewand especially the Estates of Duke Ellington and Mercer EllingtonOnly Legal Use Requires Purchase NOTES ON PLAYING ELLINGTON the lead trumpet is the boss. The lead alto and trombone must listen to the first trumpet and follow her. In turn, the other saxes At least 95% of modern-day large ensemble jazz playing comes out and trombones must follow their lead players.
    [Show full text]
  • 5. Duke Ellington in Cleveland
    5. Duke Ellington in Cleveland Cleveland Press I CSU Archives Duke Ellington and his orchestra at Cleveland's Palace Theatre in 1937. Front row (L-R): Freddie Guy, Barney Bigard, Johnny Hodges, Otto Hardwick and Harry Carney. Second row: Rex Stewart, Ray Nance, Arthur Whetsol, Joe Nanton, Juan Tizol, Lawrence Brown. Back row: Billy Taylor, Sonny Greer and Hayes Alvis. (Note two bassists) dward Kennedy Ellington was probably the most Clevelander Noble Sissie, the son of the pastor of creative force in jazz history. For more than 40 Cleveland's Cory Methodist Church, who opened the Eyears, he made monumental contributions as a door for Ellington and other black entertainers by composer, arranger, pianist and bandleader in a variety producing an all-black Broadway review, Shuffle Along, of musical forms. Christoph von Dohnanyi, the world in 1921. famous classical conductor and the music director ofthe When Ellington, a native ofWashington, D.C., went Cleveland Orchestra, told me in 1985 that he believed to New York, he met violinist and orchestra leader Will Ellington was "one ofthe really great people in music." Marion Cook. Ellington said Cook was one of his Ellington biographer John Edward Hasse said it was strongest musical influences. He called him "Dad Cook" and said the Oberlin graduate gave him lectures in music. But, according to Ellington, the most important thing Cook told him was, "Don't try to be anybody else but yourself," advice that Ellington followed throughout his career. Ellington had many local connections. When he was leading his band at Harlem's Cotton Club in 1928, he hired a four-foot ten-inch left-handed trumpet player from Ohio' s Wilberforce University.
    [Show full text]
  • Download Booklet
    120682bk Duke 4 20/5/03 3:20 pm Page 2 1. Clarinet Lament (Barney’s Concerto) 8. Exposition Swing 3:09 15. Caravan 2:39 19. Diminuendo In Blue 2:43 3:08 (Duke Ellington) (Juan Tizol–Duke Ellington–Irving Mills) (Duke Ellington) (Duke Ellington–Barney Bigard) Brunswick m8213, mx B 19627-1 Master MA 131, mx M 470-2 Brunswick m8004, mx M 648-1 Brunswick 7650, mx B 18736-1 Recorded 29 July 1936, New York Recorded 14 May 1937, New York Recorded 20 September 1937, New York Recorded 27 February 1936, New York 9. Mood Indigo1—Solitude2 3:05 16. All God’s Chillun Got Rhythm 2:41 20. Crescendo In Blue 3:15 2. Echoes Of Harlem (Cootie’s Concerto) 1(Duke Ellington–Irving Mills–Barney Bigard) (Gus Kahn–Bronislaw Kaper–Walter Jurmann) (Duke Ellington) 3:00 2(Duke Ellington–Irving Mills–Eddie deLange) Master MA 137, mx M 519-1 Brunswick m8004, mx M 649-1 (Duke Ellington) Duke Ellington, piano solo Recorded 8 June 1937, New York Recorded 20 September 1937, New York Brunswick 7650, mx B 18737-1 Master MA 102, mx L 0377-1 17. Prologue To Black & Tan Fantasy 2:33 Duke Ellington & His Famous Orchestra Recorded 27 February 1936, New York Recorded 21 December 1936, Hollywood (Duke Ellington–Bubber Miley) 3. I Don’t Know Why I Love You So 3:03 10. Sophisticated Lady—In A Sentimental Brunswick m8256, mx M 714-1 Transfers & Production: David Lennick (Duke Ellington-Irving Mills) Mood 3:03 Recorded 13 January 1938, New York Digital Noise Reduction: Graham Newton Columbia 37296, mx C 1199-1 (Duke Ellington–Mitchell Parish–Irving Mills) Original 78s from the collections of David Lennick 18.
    [Show full text]
  • Edward Kennedy 'Duke'
    Form NO. 10-300 (Rev io-74) THE 8: CONTEMPLATIVE SOCIETY, f'Music UNITED STAThS DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY » NOMINATION FORM SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS __________TYPE ALL ENTRIES - COMPLETE APPLICABLE SECTIONS______ I NAME HISTORIC Edward Kennedy "Duke" EMington Residence _________ ___ AND/OR COMMON 935 St. NIcholas Avenue, Apartment 4A LOCATION STREET & NUMBER V3D bt. Nicholas Avenue / ^panrmenr **rt _NOT FOR PUBLICATION CITY, TOWN CONGRESSIOMAL DISTRICT New York —. VICINITY OF 19 STATE CODE COUNTY CODE New York 36 New York 061 ^CLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE .-DISTRICT __PUBLIC _X OCCUPIED — AGRICULTURE —MUSEUM XBUILDING(S) X.PRIVATE -UNOCCUPIED —COMMERCIAL —PARK ..STRUCTURE _.BOTH —WORK IN PROGRESS _ EDUCATIONAL —PRIVATE RESIDENCE —SITE PUBLIC ACQUISITION ACCESSIBLE — ENTERTAINMENT --RELIGIOUS __OBJECT _IN PROCESS .XyES: RESTRICTED — GOVERNMENT -^SCIENTIFIC — BEING CONSIDERED — YES. UNRESTRICTED —INDUSTRIAL —TRANSPORTATION — NO .MILITARY MOTHER: AparJ.mc (OWNER OF PROPERTY NAME St. Nicholas Realty Company STREETS NUMBF.R St. Nicholas Avenue STATE New York New York [LOCATION OF LEGAL DESCRIPTION COURTHOUSE REGISTRY OF DEEDS, El ___Surrogate Court, House Office STREET& NUMBER 31 Chamber Sfreet CITY, TOWN STATE New York New York 1 REPRESENTATION IN EXISTING SURVEYS TITLE None Known DATE -FEDERAL —STATE —COUNTY —LOCAL DEPOSITORY FOR SURVEY RECORDS CITY. TOWN STATE DESCRIPTION CONDITION CHECK ONE CHECK ONE —EXCELLENT _DETERIORATED X_UNALTERED ^ORIGINAL SITE _GOOD _RUINS _ALTERED _MOVED DATE_______ X_FAIR _UNEXPOSED DESCRIBETHE PRESENT AND ORIGINAL (IF KNOWN) PHYSICAL APPEARAN C E The six-story, elevator building is located on the southwest corner of St. Nicholas Avenue and W. 157th Street. To the south of the building is the landscaped playground and parking lot of Public School #28.
    [Show full text]