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Flashback to the Future • Advance Your Life Personally and Professionally
at St. Louis Community College Fall 2012 Flashback to the Future • Advance your life personally and professionally. • Explore, create and learn! Registration begins August 6 For more information about Continuing Education classes, visit www.stlcc.edu/ce 1962 – 2012 One College. Lifelong Opportunities. CELEBRATING FIVE DECADES OF EDUCATION FOR ALL. Fall is “back to school” season, and you haven’t been back for awhile, but that doesn’t mean the learning needs to end. Now that you’re a bit older, you can continue learning with St. Louis Community College’s fall continuing education courses. You can learn and do just about everything you wanted to but never had the time for. Whether it’s personal enrichment or professional development, STLCC offers both, so you can discover a new hobby or develop your future career. There’s no age limit on learning! Whether you earned your degree from STLCC in 1970 or you picked up a few classes here and there over the years, you’re always welcomed back. Just check out the courses we’re offering at our campuses this fall through continuing education. Registration for this summer begins August 6. To learn more about your course or to register, call 314-984-7777. But don’t wait too long—seats are filling fast! JOIN THE CELEBRATION. TELL US YOUR STORY. WWW.STLCC.EDU/50 FLORISSANT VALLEY FOREST PARK MERAMEC WILDWOOD www.stlcc.edu/ce / 314-984-7777 Fall 2012 . Continuing Education | St. Louis Community College 3 FALL 2012 ST. LOUIS COMMUNITY COLLEGE STLCC CONTINUING EDUcaTION Advancing People -Personally and Professionally www.stlcc.edu/ce 314-984-7777 Join us as we Flash Back to the Future this Fall! CONTENTS PROFESSIONAL DEVELOPMENT In 1962, the St. -
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. -
Dan Desdunes: New Orleans Civil Rights Activist and “The Father of Negro Musicians of Omaha”
Dan Desdunes: New Orleans Civil Rights Activist and “The Father of Negro Musicians of Omaha” (Article begins on page 2 below.) This article is copyrighted by History Nebraska (formerly the Nebraska State Historical Society). You may download it for your personal use. For permission to re-use materials, or for photo ordering information, see: https://history.nebraska.gov/publications/re-use-nshs-materials Learn more about Nebraska History (and search articles) here: https://history.nebraska.gov/publications/nebraska-history-magazine History Nebraska members receive four issues of Nebraska History annually: https://history.nebraska.gov/get-involved/membership Full Citation: Jesse J Otto, “Dan Desdunes: New Orleans Civil Rights Activist and ‘The Father of Negro Musicians of Omaha,’ ” Nebraska History 92 (2011): 106-117 Article Summary: Dan Desdunes lived a remarkable life as a bandleader, educator, and civil rights activist. In his native New Orleans, he played a key role in an unsuccessful legal challenge to railway segregation that led to the U.S. Supreme Court’s infamous Plessy v. Ferguson decision. In Omaha, he became a successful bandleader who also volunteered at Father Flanagan’s Boys Home, where he trained the boys for fundraising musical tours. Cataloging Information: Names: Daniel Desdunes, Rodolphe Lucien Desdunes, Clarence Desdunes, Homer Plessy Bands Desdunes Directed: Desdunes Jazz Orchestra, Cousto-Desdunes Orchestra, Omaha Military Band (later called the Dan Desdunes Band, the Desdunes Prize Band, the First Regimental Band) Place Names: Omaha, Nebraska; New Orleans, Louisiana Keywords: Daniel Desdunes, Comité des Citoyens, Separate Car Act, Plessy v. Ferguson, minstrels, [Omaha] Chamber of Commerce, Boys Town, Father Flanagan’s Boys’ Band Photographs / Images: Dan Desdunes Band on a 1923 “good will excursion”; Omaha Military Band, 1904; Desdunes; Desdunes Band, c. -
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. -
JAZZ: a Regional Exploration
JAZZ: A Regional Exploration Scott Yanow GREENWOOD PRESS JAZZ A Regional Exploration GREENWOOD GUIDES TO AMERICAN ROOTS MUSIC JAZZ A Regional Exploration Scott Yanow Norm Cohen Series Editor GREENWOOD PRESS Westport, Connecticut • London Library of Congress Cataloging-in-Publication Data Yanow, Scott. Jazz : a regional exploration / Scott Yanow. p. cm. – (Greenwood guides to American roots music, ISSN 1551-0271) Includes bibliographical references and index. Discography: p. ISBN 0-313-32871-4 (alk. paper) 1 . Jazz—History and criticism. I. Title. II. Series. ML3508.Y39 2005 781.65'0973—dc22 2004018158 British Library Cataloguing in Publication Data is available. Copyright © 2005 by Scott Yanow All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2004018158 ISBN: 0-313-32871-4 ISSN: 1551-0271 First published in 2005 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48-1984). 10 9 8 7 6 5 4 3 2 1 Contents Series Foreword vii Preface xi Chronology xiii Introduction xxiii 1. Sedalia and St. Louis: Ragtime 1 2. New Orleans Jazz 7 3. Chicago: Classic Jazz 15 4. New York: The Classic Jazz and Swing Eras 29 5. Kansas City Swing, the Territory Bands, and the San Francisco Revival 99 6. New York Bebop, Latin, and Cool Jazz 107 7. -
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. -
Jazzletter PO Box 240, Oiai G' 93024-0240
G€rE Lrc Ad Libitwm & Jazzletter PO Box 240, Oiai G' 93024-0240 "The saxes had a different sound - two tenors and one The Glenn Miller Years III alto instead of the usual two altos and one tenor. Skeets and a fellow named Jack Stacey and Jimmy played alto and also Bobby Glenn hacl already recorded with pick-up groups led by clarinet. In the rhythm section we had Kaplan on bass, Kay Weber was the 1'ommy and his brother Jimmy, which contained the best of Van Eps on piano, Roc on guitar, and me. boy singer' New York City's lazz musicians' They backed Mildred girl singer and later on Bob Crosby became the room up Bailey, using Miller alrangements, and early in 1934 made "The band used to rehearse in that little rehearsal in Radio City. The second some instrumental records. Then they talked about forming a in the office of Rockwell-O'Keefe were screaming at permanent band and taking it on the road, under their joint rehearsal ran true to form the Dorseys - you think that means leadership, a doubtful idea at best, since they had never since each other. Jimmy yelled, 'I suppose know damn well I'm childhood been able to agree on anything. you're the boss,' and Tommy said, 'You you."' ln the last days of the Smith Ballew band, Ray McKinley the boss, because I can talk louder than in New England and Glenn went to hear a band at the Broadhurst Hotel led by The band played a series of one-nighters atthe Sands Point Casino Vic Schilling. -
MUNI 2017-2 - Clarinet
MUNI 2017-2 - Clarinet Battleship Kate (Wilbur Sweatman) 2:46 Wilbur Sweatman and His Acme Syncopaters: Gus Aiken, Leonard Davis-tp; unknown-tb; Wilbur Sweatman-cl; Duke Ellington-p; Mike Danzi-bjo; Maceo White-dr New York, September 18, 1924 78 Gennett 5584-B, matrix number 9083-A Bouncing Around (Armand J. Piron-Peter Bocage) 2:43 Pirons New Orleans Orchestra: Armand J. Piron-vio; Peter Bocage-tp; John Lindsay-tb; Lorenzo Tio, Jr.-cl; Louis Warnecke-as; Steve Lewis-p; Charles Bocage-bjo; Bob Ysaguirre-tu; Louis Cottrell-dr New York, ca. December 3, 1923 78 OKeh 40021, matr. 72132-B Kiss Me Sweet (Armand J. Piron-Steve Lewis) 2:35 same personnel and session 78 OKeh 40021, matr. 72133-D New Orleans Wiggle (Armand J. Piron-Peter Bocage) 0:58/2:01 same personnel New York, December 11, 1923 78Victor 19233, matr. 29121-3 Mama's Gone Goodbye (Armand J. Piron-Peter Bocage) 0:30/2:37 same personnel and session 78 Victor 19233, matr. 29122-2 Sud Bustin' Blues (Armand J. Piron-Steve Lewis) 0:34/2:41 Piron's New Orleans Orchestra: Armand J. Piron-vio; Peter Bocage-tp; John Lindsay-tb; Lorenzo Tio, Jr.-cl; Louis Warnecke-as; Steve Lewis-p; Charles Bocage-bjo; Bob Ysaguirre-tu; Louis Cottrell-dr New York, ca. December 14, 1923 78 Columbia 14007-D, matr. 81435-3 West Indies Blues (Clarence Williams-Edgar Dowell-Spencer Williams) 1:26/2:00 same personnel and session 78 Columbia 14007-D, matr. 81436-2 Do Doodle Oom (Fletcher Henderson-Porter Grainger) 2:50 unknown cornet added New York, January 8, 1924 78 Victor 19255, matr. -
Shaw Sues Barnet for 100
CHICAGO, NOVEMBER 15, 1942 SHAW SUES BARNET FOR 100 G’S Shaw May Use McIntyre and Booker Charges Thornhill and Haynes Split Charlie Forgot Does Not Affect His Agreement Sam Donahue Shribman - Miller Failure to Demand Artie's 20-Piece Crew Setup, However Settlement Sooner to Make Movie, Head New York—Rumors of u split between Glenn Miller and Cy May Jeopardize Case for Pearl Harbor Shribman, New England band New York — The man ha« bit York — C.P.O Artie Shaw pilot, were squashed here emphati New the dog. A band booker and man was in town two weeks ago, look- rally by Don Haynes, Miller per ager has filed suit against an ing for talent for his navy band. sonal manager, before leaving on Completed, the outfit is due to orchestra leader, alleging nonpay his first vacation in years to his have twenty pieces and the strong ment of monies due. and demand home in Cleveland. est rumor in town has band-leaders ing a restitution and accounting! Claude Thornhill and Sam Dona “The fact that I am no longer Tersely, Billy Shaw, Morris of hue lined up to join the sailor managing Hal McIntyre’s band in fice booking exec, is suing Charlie clarinetist. no way reflects a disagreement be Just what Thornhill’s status will Barnet, claiming that the latter tween Miller, Shribman, or any be is uncertain because Rocco Ca- has never lived up to their agree lucci, pianist who has worked pre one else,” said Haynes. “Hal is viously with Dick Stabile, Tommj now booked by th«1 Morris agency. -
Collection of Jazz Articles
1 Table of Contents Adams, Dolly 3 Albert, Don 6 Alexis, Richard 12 Allen, Red 14 Almerico, Tony 16 Anderson, Andy 27 Bailey, Buster 38 Barbarin, Paul 39 Barnes, “Polo” 43 Barrett, Emma 48 Barth, George 49 Bauduc, Ray 50 Bechet, Sidney 65 Bechet, Leonard 69 Bigard, Barney 70 Bocage, Peter 53 Boswell, Sisters 84 Boswell, Connie 88 Bouchon, Lester 94 Braud, Wellman 96 Brown, Tom 97 Brownlee, Norman 102 Brunies, Abbie 104 Brunies, George 106 Burke, Ray 116 Casimir, John 140 Christian, Emile 142 1 2 Christian, Frank 144 Clark, Red 145 Collins, Lee 146 Charles, Hypolite 148 Cordilla, Charles 155 Cottrell, Louis 160 Cuny, Frank 162 Davis, Peter 164 DeKemel, Sam 168 DeDroit, Paul 171 DeDroit, John 176 Dejan, Harold 183 Dodds, “Baby” 215 Desvigne, Sidney 218 Dutrey, Sam 220 Edwards, Eddie 230 Foster, “Chinee” 233 Foster, “Papa” 234 Four New Orleans Clarinets 237 Arodin, Sidney 239 Fazola, Irving 241 Hall, Edmond 242 Burke, Ray 243 Frazier, “Cie” 245 French, “Papa” 256 Dolly Adams 2 3 Dolly‟s parents were Louis Douroux and Olivia Manetta Douroux. It was a musical family on both sides. Louis Douroux was a trumpet player. His brother Lawrence played trumpet and piano and brother Irving played trumpet and trombone. Placide recalled that Irving was also an arranger and practiced six hours a day. “He was one of the smoothest trombone players that ever lived. He played on the Steamer Capitol with Fats Pichon‟s Band.” Olivia played violin, cornet and piano. Dolly‟s uncle, Manuel Manetta, played and taught just about every instrument known to man. -
Tommy Dorsey
Glenn Miller Archives TOMMY DORSEY 1 9 3 9 Prepared by: Dennis M. Spragg CHRONOLOGY Part 1 - Chapter 5 Updated March 16, 2021 Table of Contents January 1939 3 February 1939 20 March 1939 29 April 1939 37 May 1939 44 June 1939 59 July 1939 73 August 1939 86 September 1939 109 October 1939 125 November 1939 135 December 1939 144 2 January 1939 January 1, 1939 (Sunday) Midnight - 12:30 am Hotel New Yorker New York (CBS) (WABC) sustaining broadcast January 2, 1939 (Monday) 11:00-11:30 pm Hotel New Yorker New York (Mutual) (WOR) sustaining broadcast Personnel Add Nat Leslie, arranger January 4, 1939 (Wednesday) 8:30 - 9:00 pm “The Raleigh and Kool Show” 79A NBC Radio City New York (NBC-Red) (WEAF) broadcast Bud Collyer, announcer Nat Leslie, arranger The Pied Pipers (Josephine Stafford, John Huddleston, Hal Hopper, Chuck Lowry, Bud Hervey, George Tait, Woody Newbury, Dick Whittinghill), guests I’m Gettin’ Sentimental Over You - opening theme, Two Cigarettes In The Dark Humoresque - Paul Weston arrangement What Do You Know About Love? – Edythe Wright, vocal It’s A Killer – Nat Leslie arrangement Let’s Stop The Clock Judgment Day Is Coming – Deane Kincaide arrangement Russian Lullaby, Down Home Rag – Deane Kincaide arrangement Symphony In Riffs – Benny Carter arrangement I’m Gettin’ Sentimental Over You - closing theme January 4, 1939 (Wednesday) 11:30 pm – Midnight “The Raleigh and Kool Show” 79B Western Feed NBC Radio City New York (NBC-Red) broadcast January 6, 1939 (Friday) 11:30 pm – Midnight Hotel New Yorker New York (CBS) (WABC) sustaining broadcast 3 January 7, 1939 (Saturday) 11:00 - 11:30 pm Hotel New Yorker New York (Mutual) (WOR) sustaining broadcast January 8, 1939 (Sunday) Midnight - 12:30 am Hotel New Yorker New York (CBS) (WABC) sustaining broadcast Broadcast cancelled - see Variety article, following. -
Guide to the Duncan P. Schiedt Photograph Collection
Guide to the Duncan P. Schiedt Photograph Collection NMAH.AC.1323 Vanessa Broussard Simmons, Franklin A. Robinson Jr., and Craig A. Orr. Processing and encoding funded by a grant from the Council on Library and Information Resources. 2016 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 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Background Information and Research Materials, 1915-2012, undated..................................................................................................................... 4 Series 2: Photographic Materials, 1900-2012,