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Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition. -
2XHDST1117.Pdf
he conventional wisdom has it that Lester Young’s playing after his desperately unhappy year in the Army (1944/5) was never again to reach the high creative level it achieved over the first decade of his T professional life. Critics will no doubt debate the issue for many years to come, but the evidence from the 12 tracks on this album, recorded between 1951 and 1956, is that Pres remained an outstandingly gifted, original and swin- ging soloist right up to the end of his career (his last engagement, incidentally, was at the Blue Note in Paris in January 1959). The material here consists of air shots from club dates in New York and Washington. On all but three of the tracks, front-line duties are shared with a trumpet player – either Idrees Sulieman, a vigorous bebop exponent who has worked with Count Basie, Dizzy Gillespie, Lionel Hampton, the Clarke-Boland Band and Dexter Gordon, or Jesse Drakes, a fiery, staccato player from New York who played regularly with Lester between 1949 and 1955. It is highly appropriate that the opening track is Lester Leaps In, Young’s celebrated theme on the chords of I Got Rhythm which he first recorded with Count Basie’s Kansas City Seven in 1939. The middle eight of the opening chorus is delivered in typically rousing style by Sulieman, but after this it is Lester all the way. He plays the customary stop-time chorus after the theme and builds a solo full of charac- teristic Pres elements – lazy, laconic lines, reiterated notes and a lovely, loose swing. -
SLIDE Mc BRIDE SONG LIST Jazz/Lounge/Acoustic Ain't Misbehavin
SLIDE Mc BRIDE SONG LIST jazz/lounge/acoustic pop/rock/dance Ain’t Misbehavin’ (Fats Waller) A Little Less Conversation (Elvis Presley) Ain't That A Kick In the Head (Dean Martin) Accidentally In Love (Counting Crows) All of Me (Frank Sinatra) Allstar (Smashmouth) All Shook Up (Elvis Presley) All Day and All of the Night (Kinks) Autumn Leaves (Nat King Cole) All You Need Is Love (The Beatles) Better Together (Jack Johnson) All The Small Things (Blink 182) Beyond The Sea (Bobby Darin/Robbie Williams) Angels (Robbie Williams) Blue Moon Are You Gonna Be My Girl (Jet) Blue Monk (Theolonius Monk) Are You Gonna Go My Way (Lenny Kravitz) Blue Suede Shoes (Elvis Presley) Better Man (Robbie Williams) Boogie Blues Big Yellow Taxi(Counting Crows/Joni Mitchell) Bye Bye Blackbird (Miles Davis) Blister In the Sun (Violent Femmes) C.C.Rider (Elvis Presley) Brown Eyed Girl (Van Morrison) Cantaloupe Island ( Herbie Hancock) Brown Sugar (Rolling Stones) Cheek to Cheek (Fred Astaire) Busta Move (Young MC) Come Fly With Me (Frank Sinatra) Can't Buy Me Love (Beatles) Cool Struttin' (Sonny Clark) Can't Get Enough of Your Love, Baby (B White) Corcovado (A.C.Jobim) Can't Take My Eyes Off You (Franki Valli) Close To You (The Carpenters) Catch My Disease (Ben Lee) Darktown Strutter's Ball (Ted Mulray) Celebration (Kool & Gang) Don't Worry 'Bout a Thing (Mose Allison) Come Together (Beatles) Everything (Michael Buble) Crazy Little Thing Called Love (Queen) Fever (Peggy Lee) Dancing Queen (Abba) Flat Foot Floogee (Slim Galliard) Dani California (Chili Peppers) Fly -
Leo Parker “Mad Lad ”
1 The BARITONESAX of LEO PARKER “MAD LAD ” Solographer: Jan Evensmo Last update: April 6, 2020 2 Born: Washington D. C., April 18, 1925 Died: NYC. Feb. 11, 1962 Introduction: Leo Parker was one of the very first bebop baritonesax performers and therefore an interesting subject. However, I am not sure we liked his playing very much …, too rough for us. Nevertheless, as time goes by, it is obvious that he is a candidate for jazz archeology! History: He first recorded on alto saxophone with Coleman Hawkins in 1944 (not quite true, see below). He changed to baritone saxophone during his tenure with Billy Eckstine’s orchestra (1944-46) and became known as one of the finest performers in the bop style on that instrument, modelling his playing on that of Charlie Parker. He worked on 52nd Street with a small group led by Dizzy Gillespie in 1946, and performed briefly in Gillespie’s big band. His recording with Sir Charles Thompson of “Mad Lad” (1947), which gained him wider public attention, demonstrates a style of improvisation combining elements of bop with an extroverted rhythm-and-blues idiom. In 1947 Leo Parker joined the group led by Illinois Jacquet and worked intermittently with Jacquet into the 1950s. In the 50s LP had problems with drug abuse, which interfered with his recording career. He recorded two albums as a leader shortly before his death by heart attack (ref. New Grove Dictionary of Jazz, and Wikipedia). 3 LEO PARKER SOLOGRAPHY TRUMMY YOUNG Chi. Feb. 7, 1944 Trummy Young (tb), Leo Parker (as), Harry Curtis (ts), John Malachi (p), Tommy Potter (b), Eddie Byrd (dm). -
Biography -- Printable Version
Biography -- Printable Version Peter Wolf's Historical Biography Written & Researched by Bryan Wiser, and Sheila Warren with Mimi Fox. Born in New York City, Peter grew up in the Bronx during the mid-1950's in a small, three-room apartment where he lived with his parents, older sister, two cats, dog and parakeet. For some time, Peter lived with his grandmother, an actress in New York City's Yiddish Theater. She and Peter had a strong bond, and she affectionately named him "Little Wolf" for his energetic and rambunctious ways. His father was a musician, vaudevillian and singer of light opera. Like Peter did years later, his father left home at age fourteen to join the Schubert Theater Touring Company with which he traveled the country performing light operas such as The Student Prince and Merry Widow. He had his own radio show called The Boy Baritone, which featured new songs from Tin Pan Alley, and was a member of the Robert Shaw Chorale. As a result of such artistic pursuits, Peter's father underwent long periods of unemployment that created a struggle to make financial ends meet. Peter's mother was an elegant and attractive woman who taught inner-city children in the South Bronx for 27 years. A political activist, union organizer and staunch civil rights advocate, she supported racial equality by attending many of the southern "freedom rides" and marches. Peter's older sister was also a teacher as well as a photographer who now works as an advocate for persons with disabilities. She continues her mother's tradition, often marching on Washington to support the rights of the disabled. -
Tommy Irvine Jazz Collection SPC.2018.038
http://oac.cdlib.org/findaid/ark:/13030/c8g166g7 No online items Inventory of the Tommy Irvine Jazz Collection SPC.2018.038 Jade Delao California State University Dominguez Hills Archives and Special Collections 2018-12-05 University Library South -5039 (Fifth Floor) 1000 E. Victoria St. Carson, CA 90747 [email protected] URL: https://www.csudh.edu/libarchives/ Inventory of the Tommy Irvine SPC.2018.038 1 Jazz Collection SPC.2018.038 Language of Material: English Contributing Institution: California State University Dominguez Hills Archives and Special Collections Title: Tommy Irvine Jazz Collection creator: Cole, Nat King, 1919-1965 creator: Holiday, Billie, 1915-1959 creator: Eckstine, Billy creator: Garner, Erroll creator: Shearing, George creator: Vaughan, Sarah, 1924-1990 Identifier/Call Number: SPC.2018.038 Physical Description: 24 boxes Date (inclusive): 1908-1981, undated Date (bulk): 1940-1953 Language of Material: Collection material is in English. Abstract: This collection contains approximately 444 records held in 76 album sets with performances from musicians, many of which fall under the musical genre of jazz. Most of the records are 10" Shellac, 78 RPMs. Notable musicians featured in this collection include: George Shearing, Billy Eckstine, Nat King Cole, Erroll Garner, Billie Holiday, Sarah Vaughan, and others. Physical Description: Shellac, 10'', 78 RPM Conditions Governing Access There are no access restrictions on this collection. Conditions Governing Use All requests for permission to publish or quote from manuscripts must be submitted in writing to the Director of Archives and Special Collections. Permission for publication is given on behalf of Special Collections as the owner of the physical materials and not intended to include or imply permission of the copyright holder, which must also be obtained. -
9789004184473 08-Lapidus-2
Mazal Tov, Amigos! Jews and Popular Music in the Americas Edited by Amalia Ran and Moshe Morad LEIDEN | BOSTON For use by the Author only | © 2016 Koninklijke Brill NV Contents Acknowledgements vii List of Figures viii List of Contributors ix Introduction 1 Amalia Ran and Moshe Morad 1 Is “White Christmas” a Piece of Jewish Music? 11 Ellen Koskofff 2 The Musical Worlds of Jewish Buenos Aires, 1910–1940 25 Pablo Palomino 3 Tristes Alegrías: The Jewish Presence in Argentina’s Popular Music Arena 44 Amalia Ran 4 Jacob do Bandolim: A Jewish(-)Brazilian Composer 60 Thomas George Caracas Garcia 5 Walls of Sound: Lieber and Stoller, Phil Spector, the Black-Jewish Alliance, and the “Enlarging” of America 78 Ari Katorza 6 Singing from Diffference: Jewish Singers-Songwriters in the 1960s and 1970s 96 Jon Stratton 7 ¡Toca maravilloso! Larry Harlow and the Jewish Connection to Latin Music 109 Benjamin Lapidus 8 Roberto Juan Rodriguez’ Timba Talmud: Diasporic Cuban-Jewish Musical Convergences in New York 122 Nili Belkind For use by the Author only | © 2016 Koninklijke Brill NV vi contents 9 Yiddish Song in Twenty-First Century America: Paths to Creativity 142 Abigail Wood 10 Fight for Your Right to Partycipate: Jewish American Rappers 153 Uri Dorchin 11 Gypsy, Cumbia, Cuarteto, Surf, Blah Blah Blah: Simja Dujov and Jewish Musical Eclecticism in Argentina 171 Lillian M. Wohl 12 Queer Jewish Divas: Jewishness and Queerness in the Life and Performance of Barbra Streisand, Bette Midler, and Olga Guillot 188 Moshe Morad 13 Third Diaspora Soundscapes: Music of the Jews of Islam in the Americas 208 Edwin Seroussi Closing Notes: The Soundstage of Jewish Life, North and South 237 Judah M. -
List of Transcribed Solos Xxiii Note on the Music Examples Xxv Chronology Xxvii
JAZZ PERSPECTIVES Lewis Porter, Series General Editor Open the Door: The Life and Music of Betty Carter By William R. Bauer Jazz Journeys to Japan: The Heart Within By William Minor Four Jazz Lives By A. B. Spellman Head Hunters: The Making of Jazz’s First Platinum Album By Steven F. Pond Lester Young By Lewis Porter OTHER BOOKS OF INTEREST Before Motown: A History of Jazz in Detroit 1920–1960 By Lars Bjorn with Jim Gallert John Coltrane: His Life and Music By Lewis Porter Charlie Parker: His Music and Life By Carl Woideck The Song of the Hawk: The Life and Recordings of Coleman Hawkins By John Chilton Rhythm Man: Fifty Years in Jazz By Steve Jordan with Tom Scanlan Let the Good Times Roll: The Story of Louis Jordan and His Music By John Chilton Twenty Years on Wheels By Andy Kirk as Told to Amy Lee Copyright © 2005 by Lewis Porter Published by the University of Michigan Press 2005 First published by G. K. Hall & Co. 1985 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ∞ Printed on acid-free paper 2008 2007 2006 2005 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. Library of Congress Cataloging-in-Publication Data applied for. ISBN 0-472-08922-6 This revised edition is dedicated to my wonderful children, Matthew and Rachel, and to my devoted mother, Carol. -
RCA Victor LPV 500 Series
RCA Discography Part 23 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor LPV 500 Series This series contains reissues of material originally released on Bluebird 78 RPM’s LPV 501 – Body and Soul – Coleman Hawkins [1964] St. Louis Shuffle/Wherever There's A Will, Baby/If I Could Be With You/Sugar Foot Stomp/Hocus Pocus/Early Session Hop/Dinah/Sheikh Of Araby/Say It Isn't So/Half Step Down, Please/I Love You/Vie En Rose/Algiers Bounce/April In Paris/Just Friends LPV 502 – Dust Bowl Ballads – Woody Guthrie [1964] Great Dust Storm/I Ain't Got No Home In This World Anymore/Talkin' Dust Bowl Blues/Vigilante Man/Dust Cain't Kill Me/Pretty Boy Floyd/Dust Pneumonia Blues/Blowin' Down This Road/Tom Joad/Dust Bowl Refugee/Do Re Mi/Dust Bowl Blues/Dusty Old Dust LPV 503 – Lady in the Dark/Down in the Valley: An American Folk Opera – RCA Victor Orchestra [1964] Lady In The Dark: Glamour Music Medley: Oh Fabulous One, Huxley, Girl Of The Moment/One Life To Live/This Is New/The Princess Of Pure Delight/The Saga Of Jenny/My Ship/Down In The Valley LPV 504 – Great Isham Jones and His Orchestra – Isham Jones [1964] Blue Prelude/Sentimental Gentleman From Georgia/(When It's) Darkness On The Delta/I'll Never Have To Dream Again/China Boy/All Mine - Almost/It's Funny To Everyone But Me/Dallas Blues/For All We Know/The Blue Room/Ridin' Around In The Rain/Georgia Jubilee/You've Got Me Crying Again/Louisville Lady/A Little Street Where Old Friends Meet/Why Can't This Night Go On Forever LPV 505 – Midnight Special – Leadbelly [1964] Easy Rider/Good Morning Blues/Pick A Bale Of Cotton/Sail On, Little Girl, Sail On/New York City/Rock Island Line/Roberta/Gray Goose/The Midnight Special/Alberta/You Can't Lose-A Me Cholly/T.B. -
Jazz Pensacola News
Issue VII Jazz Pensacola News August 2019 Sparks Edition Jazz in boston in mid-50’s interested in my mother than me, but of course, neither of by Crystal Joy Albert us seriously contemplated accepting his offer. Another personal story involves Eddie’s on Mass. Avenue As a child of the depression era and growing up in New across from the Hi Hat. In 1953-54 the star performer there York City, I took piano lessons which were subsidized by was Gene Walcott, a singer, violinist and storyteller who President Roosevelt’s WPA cultural programs. Then in packed the house nightly. He retired from entertainment the 1950s, I attended Boston University. There were jazz and became a Muslim and changed his name to Louis musical opportunities in the downtown area which were Farrakhan. I was one of the acts to follow him! both a joy for me—pardon my play on words here—and a Boston in the ‘50s was the place to be! chance to offset some of my educational expenses. This was an interesting time in my life and activity was In the year 1953, Boston rivaled NYC with clubs featuring such that I discontinued my college career only to complete the hottest current jazz artists. I was fortunate to have my studies at a later time. I subsequently went “on the road” for a musical stint in Miami and then had opportunity Storyville in Copley Plaza Hotel. The policy there was no to appear on TV with Steve Allen on The Tonight Show. But singingplayed inallowed most of before them. -
14 OUR LATIN THING New York Is the Great Latin American City
14 OUR LATIN THING New York is the great Latin American city. From El Barrrio to Loisaida, Corona to Castle Hill, Los Sures to Sunset Park, Jackson Heights to Washington Heights—nowhere in the Americas, not in Mexico City or Caracas or even in Los Angeles, do so many people from all the regions of Latin America—from the Caribbean to Central and South America—come together to interact and live with such variety and force. Dominicans and Puerto Ricans, Colombians and Ecuadorans and Argentines, Salvadorans and Hondurans and Mexicans— nearly one in four New Yorkers call Spanish their frst language. And perhaps nowhere else do these people together exert such an outsize cultural infuence on the rest of the world. Tis Latin-tinged infuence isn’t new for a city whose frst /0/4501.&53010-*4 permanent resident was a “mulatto trader” from Hispaniola named Rodrigues "/&8:03,$*5:"5-"4 (he began peddling his wares by the Battery in 1614). In the late 1800s José Martí, the great Cuban writer and patriot, spent years here organizing and fund- ing his nation’s liberation—hardly the frst or last Latin American revolutionary 5IFQVCMJTIFSHSBUFGVMMZBDLOPXMFEHFTUIF to do so. In 1917 the passage of the Jones Act allowed Puerto Ricans to come here HFOFSPVTDPOUSJCVUJPOUPUIJTCPPLQSPWJEFECZ without either a passport or a visa. Tis established “Nuyoricans” as a promi- 'VSUIFSNPSFBQSPHSBNPGUIF+.,BQMBO'VOE nent part of New York’s ethnic mix—and turned them into central players in the birth of what remains New York’s most famed contribution to “Latin music” 6OJWFSTJUZPG$BMJGPSOJB1SFTT POFPGUIFNPTUEJTUJOHVJTIFEVOJWFSTJUZQSFTTFTJOUIF6OJUFE worldwide: salsa. -
Gumbs, Robert Interview 2 Gumbs, Robert
Fordham University Masthead Logo DigitalResearch@Fordham Oral Histories Bronx African American History Project 4-18-2005 Gumbs, Robert Interview 2 Gumbs, Robert. Bronx African American History Project Fordham University Follow this and additional works at: https://fordham.bepress.com/baahp_oralhist Part of the African American Studies Commons Recommended Citation Gumbs, Robert. Interview 2. April 18, 2005. Interview with the Bronx African American History Project. BAAHP Digital Archive at Fordham University. This Interview is brought to you for free and open access by the Bronx African American History Project at DigitalResearch@Fordham. It has been accepted for inclusion in Oral Histories by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. Interviewer: Mark Naison and Maxine Gordon Interviewee: Robert Gumbs Session 2 Page1 Mark Naison: Interview with The Bronx African American History Project taking place at Fordham University on April 18th 2005. This is the second interview with Robert Gumbs and the interviewer is Maxine Gordon, who is working as a jazz researcher for the BAAHP. Maxine Gordon: I’m doing this second interview with Robert Gumbs particularly on his involvement with jazz. Because in reading his first interview, there are some very interesting things that he mentioned but I think would be very good to go further about. So just to repeat, you were born in Harlem in 1939, 1941, you moved to The Bronx. Robert Gumbs: Yes MG: To Lionel Place? RG: No, my family moved to Union Avenue in The Bronx not to far from Lionel Place. MG: And then? RG: Then we moved to Lionel Place in 1943.