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Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
59Th Annual Critics Poll
Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
Lee Morgan Chronology 1956–1972 by Jeffery S
Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC). -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Aaron SACHS: Frank SACKENHEIM: Fats SADI: Eddie SAFRANSKI
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Aaron SACHS: "Clarinet & Co" Phil Sunkel, Bernie Glow -tp; Frank Rehak -tb; AARON SACHS -cl,ts; Gene Allen -bs; Nat Pierce - p; Aaron Bell -b; Osie Johnson -d; recorded February 18 and 21, 1957 in New York 33134 RONDO BLUES 3.45 Rama RLP 1004 33135 JUST SICK BLUES 2.54 --- 33136 BLUE SOPHISTICATE 4.02 --- 33137 CONVERSATION 2.39 --- 33138 MONA'S KIMONA 4.01 --- 33139 COUNTRYFIELD 3.46 --- 33140 WIGGINS 3.26 --- Aaron Sachs -cl,ts; Hal Overton -p; Jimmy Raney -g; Aaron Bell -b; Osie Johnson -d; recorded March 04, 1957 in New York 33141 GORME HAS HER DAY 3.07 --- 33142 I CAN'T BELIEVE 2.58 --- 33143 HAL'S LOFT 2.43 --- 33144 NANCY 3.22 --- ------------------------------------------ Frank SACKENHEIM: "WDR3:Jazz.Cologne" Frank Sackenheim Trio: Frank Sackenheim -ts; Henning Gailing -b; Jonas Burgwinkel -d; recorded July 10, 2005 in Funkhaus Wallrafplatz, Köln 77097 DEIN IST MEIN GANZES HERZ 7.55 Aircheck 77098 L.O.V.E. 5.22 --- 77099 RED ROSES 8.16 --- 77100 SPEAK LOW 11.40 --- 77101 ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT 7.53 --- 77102 GAMES THAT LOVERS PLAY 8.05 --- ------------------------------------------ Fats SADI: "Ensadinado" Fats Sadi -vib; Jimmy Woode -b; Francy Boland -p; Kenny Clarke -d; recorded March 21, 1966 in Köln 16279 NIGHT LADY 4.18 Saba SB15111 16280 ENSADINADO 4.46 --- 16281 GOODBYE 3.16 --- 16282 THE SAME 5.06 --- 16283 ALL OF YOU 3.24 --- 16284 -
Jazz Upand Down
Volume 39 • Issue 8 September 2011 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Guitarist Jim Hall warms up for his performance in the Eastman School of Music’s stately Kilbourn Hall at the 10th Xerox Rochester International Jazz Festival in June. Photo by Mitchell Seidel. Jazz Up and Down By Mitchell Seidel f you were going to use two upstate New York jazz festivals in June A week after Rochester shuttered for the year, Saratoga Springs played I as an example of the summer music scene, you’d be hard-pressed to host to its 34th annual jazz festival, sponsored in recent years by come away with a consensus. On one hand, it was robust and getting Freihofer’s. Started as a part of the Newport Jazz Festival in exile by better. On the other hand, it was losing strength. It all depends on George Wein in 1978 before his return to Rhode Island, in its early your venue and point of view. years it could draw about 17,000 people a day for a weekend at the Saratoga Performing Arts Center (SPAC). You can only guess at what The Xerox Rochester International Jazz Festival celebrated its tenth they draw now, because SPAC officials, who used to announce such edition with throngs of street minglers, sold-out concert halls and a figures the day of the event, were still withholding their statistics in sense of optimism that’s rare in these tough economic times. Just a August. Judging from previous figures and the lighter crowd this year, few blocks from the festival site, the city was eagerly tearing down the 5,500 people a day would be a generous guess. -
Creative Music Studio Norman Granz Glen Hall Khan Jamal David Lopato Bob Mintzer CD Reviews International Jazz News Jazz Stories Remembering Bert Wilson
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC Creative Music Studio Norman Granz Glen Hall Khan Jamal David Lopato Bob Mintzer CD Reviews International jazz news jazz stories Remembering bert wilson Volume 39 Number 3 July Aug Sept 2013 romhog records presents random access a retrospective BARRY ROMBERG’S RANDOM ACCESS parts 1 & 2 “FULL CIRCLE” coming soon www.barryromberg.com www.itunes “Leslie Lewis is all a good jazz singer should be. Her beautiful tone and classy phrasing evoke the sound of the classic jazz singers like Ella Fitzgerald and Sarah aughan.V Leslie Lewis’ vocals are complimented perfectly by her husband, Gerard Hagen ...” JAZZ TIMES MAGAZINE “...the background she brings contains some solid Jazz credentials; among the people she has worked with are the Cleveland Jazz Orchestra, members of the Ellington Orchestra, John Bunch, Britt Woodman, Joe Wilder, Norris Turney, Harry Allen, and Patrice Rushen. Lewis comes across as a mature artist.” CADENCE MAGAZINE “Leslie Lewis & Gerard Hagen in New York” is the latest recording by jazz vocalist Leslie Lewis and her husband pianist Gerard Hagen. While they were in New York to perform at the Lehman College Jazz Festival the opportunity to record presented itself. “Leslie Lewis & Gerard Hagen in New York” featuring their vocal/piano duo is the result those sessions. www.surfcovejazz.com Release date August 10, 2013. Surf Cove Jazz Productions ___ IC 1001 Doodlin’ - Archie Shepp ___ IC 1070 City Dreams - David Pritchard ___ IC 1002 European Rhythm Machine - ___ IC 1071 Tommy Flanagan/Harold Arlen Phil Woods ___ IC 1072 Roland Hanna - Alec Wilder Songs ___ IC 1004 Billie Remembered - S. -
18. the Far-Ranging 19605
18. The Far-Ranging 19605 n the 1960s, rock ' n roll sought to create jazz that had and Motown were more to say. I monopolizing popular He was a world leader in music. The big jazz bands of the free jazz movement ofthe the 1930s and '40s and the 1960s, but Ayler's early singers of the '50s had faded influences offered little or no from the public consciousness. indication of his eventual It was a critical time for jazz. experiments in unstructured Jazz had not been the world's music. most popular music for almost Born in Cleveland July 13, two decades and seemed to be 1936, Ayler was raised by almost lost in the cross-fire of Edward and Myrtle Ayler in other forms of musical Shaker Heights. He grew up entertainment. in a very musical atmosphere. Some artists, who viewed Cleveland Press I CSU Archives He said his father played jazz as an almost straight-line Albert Ayler violin and a Dexter Gordon- evolutionary process, tried to style saxophone. "When I extend it in a variety of directions, sometimes with was two," recalled Albert, "I used to blow foot stool. disastrous results. Others, rejecting the need to expand, My mother told me I'd hold it up to my mouth and blow reverted to earlier styles of jazz. The result was a as if it were a horn." When his father played Lionel fragmentation of jazz which, in turn, diminished its Hampton records, Albert would mimic the musicians. general popularity. Jazz had moved from the Edward decided to teach his son to play alto sax. -
George Benson Charlie Haden Dave Holland William Hooker Jane Monheit Steve Swallow CD Reviews International Jazz News Jazz Stories
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC George Benson Charlie Haden Dave Holland William Hooker Jane Monheit Steve Swallow CD Reviews International jazz news jazz stories Volume 39 Number 4 Oct Nov Dec 2013 More than 50 concerts in venues all around Seattle Keith Jarrett, Gary Peacock, & Jack DeJohnette • Brad Mehldau Charles Lloyd Group w/ Bill Frisell • Dave Douglas Quintet • The Bad Plus Philip Glass • Ken Vandermark • Paal Nilssen-Love • Nicole Mitchell Bill Frisell’s Big Sur Quintet • Wayne Horvitz • Mat Maneri SFJAZZ Collective • John Medeski • Paul Kikuchi • McTuff Cuong Vu • B’shnorkestra • Beth Fleenor Workshop Ensemble Peter Brötzmann • Industrial Revelation and many more... October 1 - November 17, 2013 Buy tickets now at www.earshot.org 206-547-6763 Charles Lloyd photo by Dorothy Darr “Leslie Lewis is all a good jazz singer should be. Her beautiful tone and classy phrasing evoke the sound of the classic jazz singers like Ella Fitzgerald and Sarah aughan.V Leslie Lewis’ vocals are complimented perfectly by her husband, Gerard Hagen ...” JAZZ TIMES MAGAZINE “...the background she brings contains some solid Jazz credentials; among the people she has worked with are the Cleveland Jazz Orchestra, members of the Ellington Orchestra, John Bunch, Britt Woodman, Joe Wilder, Norris Turney, Harry Allen, and Patrice Rushen. Lewis comes across as a mature artist.” CADENCE MAGAZINE “Leslie Lewis & Gerard Hagen in New York” is the latest recording by jazz vocalist Leslie Lewis and her husband pianist Gerard Hagen. While they were in New York to perform at the Lehman College Jazz Festival the opportunity to record presented itself. -
Jazzweek with Airplay Data Powered by Jazzweek.Com • December 20, 2010 Volume 7, Number 4 • $7.95
JazzWeek with airplay data powered by jazzweek.com • December 20, 2010 Volume 7, Number 4 • $7.95 Jazz Album No. 1: Cassandra Wilson Silver Smooth Album No. 1: Dave Koz Hello Pony (Blue Note) Tomorrow (Concord) World Music No. 1: AfroCubism AfroCubism Smooth Single No. 1: Dave Koz “Put The Top (Nonesuch) Down” (Concord) Jazz Album Chart .................... 3 Jazz Add Dates ...................... 7 Smooth Jazz Album Chart ............. 4 Jazz Radio Currents .................. 8 Smooth Singles Chart ................. 5 Jazz Radio Panel ................... 11 World Music Album Chart.............. 6 Smooth Jazz Current Tracks........... 13 Smooth Jazz Station Panel............ 14 Jazz Birthdays December 20 December 27 January 4 Larry Willis (1940) Bunk Johnson (1889) Frankie Newton (1906) December 21 Booty Wood (1919) Slim Gaillard (1916) Panama Francis (1918) Walter Norris (1931) Frank Wess (1922) Hank Crawford (1934) December 28 John McLaughlin (1942) John Hicks (1941) Earl “Fatha” Hines (1903) Eugene Chadbourne (1954) December 22 Ed Thigpen (1930) January 5 Joe Lee Wilson (1935) Lonnie Liston Smith (1940) Wild Bill Davison (1906) Michel Petrucciani (1962) Dizzy Reece (1931) December 23 David Berkman (1964) Jerry Gonzalez (1949) Chet Baker (1929) Frank Morgan (1933) December 29 January 6 Snub Mosley (1905) Barry Altschul (1943) December 24 Joe Lovano (1952) Baby Dodds (1898) January 7 Cladys “Jabbo” Smith (1908) December 30 Henry Allen (1908) Ray Bryant (1931) Jack Montrose (1928) Chano Pozo (1915) Chris McGregor (1936) Wolfgang Dauner (1935) Sam Woodyard (1925) Woody Shaw (1944) December 31 Kenny Davern (1935) Ralph Moore (1956) John Kirby (1908) January 9 Louis Moutin (1961) Jonah Jones (1909) Kenny Clarke (1914) François Moutin (1961) January 1 Betty Roche (1920) December 25 Israel Crosby (1919) Bucky Pizzarelli (1926) Kid Ory (1890) Milt Jackson (1923) January 10 Cab Calloway (1907) Susannah McCorkle (1946) Max Roach (1924) Chris Woods (1925) T. -
MONTY WATERS (Summergarden)
n MONTY WATERS on alto saxophonSummergardee and TOM HARRELnL on trumpet will play music Weekend evenings in the Sculpture Garden of The Museum of Modern Art are made possible by a grant from Mobil by composer/jazz"Eac cellish compositiot DAVID nEYGE isS ai ndesig Then Museu for mbringin of Moderg ount Art' s a certain musical idea." —David Eyges SUMMERGARDEN at 8 PM, Friday and Saturday, July 7 & 8, 1978. Free admission is through the Sculpture Garden gate at 8 West 54 Street. TOM HARRELL is known for his work with such musicians as Horace Silver, Sam Jones, and Richard Sussman. MONTY WATERS is known for his work with such musicians as Joe Lee Wilson, Eddie Jefferson, and Elvin Jones. He is also the founder of the Monty Waters Big Band. DAVID EYGES, after graduating from the Manhattan School of Music in classical cello studies, began to experiment in the realm of jazz. Lacking a role model for jazz cello, he derived inspiration and understanding from the music of Ornette Coleman, Archie Shepp, Lightnin1 Hopkins, and John Lee Hooker, as well as contemporary composers such as Hale Smith. He has since played with such musicians as Monty Waters, Jeanne Lee, Bob Moses, and the late Trevor Koehler. He has recently released his first album on Chiaroscuro Records entitled "The Captain", in which he performs his compositions in a quartet including Mark Whitecage on alto sax, Ronnie Boykins on bass, and Jeff Williams on drums. Much of Eyges1 work involves improvisation, and yet he never loses sight of the delicate balance between improvisation and composition. -
Trinity Tripod, 1975-03-04
•:. _ •-.. '• vol. ?$ issue 19 THE TRINITY March <1/ 1975 Trinity College Hartford, Conn. Black Culture Week Upcoming by Wenda Harris In an effort to enlighten the McCook Auditorium. Later that March 11. At 9:00 p.m. the Trinity March 12 in McCook. person and $3.50 per couple. evening, the Nia Ensemble/ Trinity community as to the talent audience is invited to hear Also in McCook on March 12,, A limited number of tickets are exhibited by many members of Contemporary Gospel Ensemble, a saxophonist Marion Brown per- June Jordan, poet, writer, novelist, talented group of Black singers, available for the' 'Donald Byrd and May's Black society, the Trinity form a jazz concert in the and teacher will present a reading the Blackbyrds" concert on March Coalition of Blacks will sponsor dancers, and musicians, will Washington Room. Admission to of her works with a discussion present "A History of Africa 15. The dance will begin at 8:00 Black Culture Week March 9-16. hear a fine saxophonist who has following. The reading is scheduled p.m. in the Washington Room. through Religious Dance and performed with John Coltrane, for 8:00 p.m. A variety of "events including Music." The program will begin at Tickets are $3.50 with Trinity ID, films, dances, concerts, and Archie Shepp, and other greats, is $4.50 for,public (in advance), and, speakers will be featured. Most of 8:00p.m, in the Washington Room; only $1.00. "Black Girl," a film about a young girl who is hoodwinked into if available, $5.00 at the door.