Bemerkungen Zu „Benny Goodman –King of Swing“
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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. -
¶7櫥«Q }欻' / * #376;扎 #732;†
120825bk Teagarden2 REV 29/3/06 8:46 PM Page 8 Track 14: John Fallstitch, Pokey Carriere, Sid Jack Lantz, trombones; Merton Smith, Vic Rosi, Feller, trumpets; Jack Teagarden, Jose Bob Derry, Bert Noah, Dave Jolley, saxes; Guttierez, Seymour Goldfinger, Joe Ferrall, Norma Teagarden, piano; Charles Gilruth, trombones; Danny Polo, clarinet, alto sax; Tony guitar; Lloyd Springer, bass; Frank Horrington, Antonelli, Joe Ferdinando, alto sax; Art Moore, drums Art Beck, tenor sax; Ernie Hughes, piano; Track 19: Charlie Teagarden, trumpet; Jack Arnold Fishkin, bass; Paul Collins, drums Teagarden, Moe Schneider, trombones; Matty Track 15: John Fallstitch, Pokey Carriere, Matlock, clarinet, tenor sax; Ray Sherman, Truman Quigley, trumpets; Jack Teagarden, piano; Bill Newman, guitar, banjo; Morty Corb, Jose Guttierez, Seymour Goldfinger, Joe Ferrall, bass; Ben Pollack, drums trombones; Danny Polo, clarinet, alto sax; Tony Track 20: Charlie Teagarden, trumpet; Jack Antonelli, Joe Ferdinando, alto sax; Art Moore, Teagarden, trombone; Jay St. John, clarinet; Art Beck, tenor sax; Ernie Hughes, piano; Norma Teagarden, piano; Kass Malone, bass; Arnold Fishkin, bass; Paul Collins, drums Ray Bauduc, drums Track 16: John Fallstitch, Pokey Carriere, Truman Quigley, trumpets; Jack Teagarden, Also available ... Jose Guttierez, Seymour Goldfinger, Joe Ferrall, trombones; Danny Polo, clarinet, alto sax; Tony Antonelli, Joe Ferdinando, alto sax; Art Moore, Art Beck, tenor sax; Ernie Hughes, piano; Perry Botkin, guitar; Arnold Fishkin, bass; Paul Collins, drums Track -
Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne -
An Exploration of Extra-Musical Issues in the Music of Don Byron Steven Craig Becraft
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 An Exploration of Extra-Musical Issues in the Music of Don Byron Steven Craig Becraft Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN EXPLORATION OF EXTRA-MUSICAL ISSUES IN THE MUSIC OF DON BYRON By STEVEN CRAIG BECRAFT A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2005 Copyright 2005 Steven Craig Becraft All Rights Reserved The members of the committee approve the treatise of Steven Craig Becraft defended on September 26, 2005. ____________________________ Frank Kowalsky Professor Directing Treatise ____________________________ Denise Von Glahn Outside Committee Member ____________________________ Jeffrey Keesecker Committee Member ____________________________ Patrick Meighan Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS To Don Byron: Thank you for making such fascinating music. I thoroughly appreciate your artistic vision, your intellect, and your phenomenal technique as a clarinetist. The knowledge I have gained and the new perspective I have on music and society as a result of completing the research for this treatise has greatly impacted my life. I am grateful for the support of the Arkansas Federation of Music Clubs, especially Janine Tiner, Ruth Jordan, and Martha Rosenbaum for awarding me the 2005 Marie Smallwood Thomas Scholarship Award that helped with final tuition and travel expenses. My doctoral committee has been a great asset throughout the entire degree program. -
Artie Shaw 1938-1939
Glenn Miller Archives ARTIE SHAW 1938-1939 Prepared by: Reinhard F. Scheer-Hennings and Dennis M. Spragg In Cooperation with the University of Arizona Updated December 11, 2020 1 Table of Contents I. 1938 ................................................................................................................... 3 June 1938 ............................................................................................................... 3 July 1938 ................................................................................................................ 4 August 1938 ......................................................................................................... 12 September 1938 ................................................................................................... 15 October 1938 ........................................................................................................ 32 November 1938 .................................................................................................... 37 December 1938 .................................................................................................... 60 II. 1939 ............................................................................................................... 101 January 1939 ...................................................................................................... 101 February 1939 .................................................................................................... 131 March 1939 ........................................................................................................ -
Primary Sources: an Examination of Ira Gitler's
PRIMARY SOURCES: AN EXAMINATION OF IRA GITLER’S SWING TO BOP AND ORAL HISTORY’S ROLE IN THE STORY OF BEBOP By CHRISTOPHER DENNISON A thesis submitted to the Graduate School-Newark Rutgers University, The State University of New Jersey In partial fulfillment of the requirements of Master of Arts M.A. Program in Jazz History and Research Written under the direction of Dr. Lewis Porter And approved by ___________________________ _____________________________ Newark, New Jersey May, 2015 ABSTRACT OF THE THESIS Primary Sources: An Examination of Ira Gitler’s Swing to Bop and Oral History’s Role in the Story of Bebop By CHRISTOPHER DENNISON Thesis director: Dr. Lewis Porter This study is a close reading of the influential Swing to Bop: An Oral History of the Transition of Jazz in the 1940s by Ira Gitler. The first section addresses the large role oral history plays in the dominant bebop narrative, the reasons the history of bebop has been constructed this way, and the issues that arise from allowing oral history to play such a large role in writing bebop’s history. The following chapters address specific instances from Gitler’s oral history and from the relevant recordings from this transitionary period of jazz, with musical transcription and analysis that elucidate the often vague words of the significant musicians. The aim of this study is to illustratethe smoothness of the transition from swing to bebop and to encourage a sense of skepticism in jazz historians’ consumption of oral history. ii Acknowledgments The biggest thanks go to Dr. Lewis Porter and Dr. -
THE INFLUENCE of BIX BEIDERBECKE – VOLUME ONE: USA by Max Easterman Even Though It Became Known As “The Jazz Age”, Real Ja
THE INFLUENCE OF BIX BEIDERBECKE – VOLUME ONE: USA By Max Easterman Even though it became known as “The Jazz Age”, real jazz was rarely popular in its own right during the 1920s, as witness the rarity of many of the finest jazz recordings from this era. Jazzmen – particularly white jazzmen – made much more money and often won greater fame using it to pep up dance music than they ever did making pure jazz recordings, though, of course, it’s by the jazz they played on records that we now judge their worth. Such is the distorting mirror of history! Of course, to the general public of the time, arranged dance music played with a rhythmic bounce and offering the occasional jazz-like solo was what they thought of as “jazz”. Two recordings suffice to illustrate the point. The recording of Paul Whiteman’s Back In Your Own Backyard , issued in March 1928, sold 88,000 copies; Bix’s recording of Somebody Stole My Gal , recorded a few weeks later, made sales of only 2400. The first is a highly arranged dance band recording containing just two short solos by Bix; the latter is a romping jazz gem, on which Bix flies like a bird throughout and inspires his fellows to greater things than they knew they were capable of. Bix was a legend in his lifetime for the men who played with him, or listened to him and tried to play like him. But for the general public, who bought the discs, he was just another name, a name which only became significant, for some of them, long after his death. -
JUBILEE PART 2 Programs 101-200
Glenn Miller Archives JUBILEE PART 2 Programs 101-200 AFRS/SSD Series H-11 BLUE Third Edition GREEN Second Edition Prepared by Dennis M. Spragg Updated December 23, 2020 101 AFRS program announcer: Melvin (Mel) Allen Mistress of Ceremonies: Ida James Studios: NBC Radio City (Rockefeller Center) New York Pre-recording dates: October 1944 Date of dubbing: October 16, 1944 Label information: Notes: (1) Mel Allen announces this program to be “another Broadway edition of Jubilee.” Side 1, wax info: ND4-MM-6963-1B Time 15:10 01 Drum Roll & theme: Mop - band vocal 02 Introduction & theme: One O‘Clock Jump (nc) 02 Let‘s Have A Session 03 Perdido 04 I‘m Gonna See My Baby - v IJ 05 Dorothy‘s Boogie Side 2, wax info: ND4-MM-6964-1B Time 29:25 Fill to 30:00 06 One Meat Ball 04 Knock Me A Kiss - v IJ 02 Let‘s Hop - band vocal 01 Signoff & theme: One O‘Clock Jump (nc) 01 AFRS Studio Orchestra No details 02 Claude Hopkins and his Orchestra Probably Nathanael Courtney Williams, Kenneth Roane, trumpets; Jimmy Archey, Floyd “Stumpy” Brady, trombones; Rudy Powell, alto sax; Joe Garland, Elbert “Skippy” Williams, tenor saxes; Ernest “Pinky” Williams, baritone & alto saxes; Claude Hopkins, piano; Eddie Gibbs, guitar; John Benjamin Peabody Brown, string bass; Wilbert Kirk, drums; band vocal. NOTE: Ida James states that the Hopkins Orchestra is at the “Zanzibar” at present. Rudy Powell can be aurally identified as alto sax soloist on “Let´s Hop”. Discographers have always listed Nathanael Williams and Courtney Williams separately, but it is one and the same person, according to Jean-Pierre Battestini, who interviewed him in the late 1980s. -
Ii H. Ragtime – the Dave Willmorth/Maple Leaf Club Archive
II H. RAGTIME – THE DAVE WILLMORTH/MAPLE LEAF CLUB ARCHIVE It is seldom that a single musical archive could be described as “definitive,” but this collection of musical materials devoted to, and documenting, the rediscovery, re- examination, and renewal of classic American ragtime in the period of roughly the 1960s to the 1990s is a monument to the enthusiasm and sustained interest of a group of researchers, including Dave Willmorth, associated with the Maple Leaf Club of Los Angeles. The archive, consisting of more than 800 cassettes and nearly 300 reel to reel tapes, includes examples of the playing of younger ragtime performers, as well as performances by the older generation of performers and interpreters. There is extensive presentation of the music of the last surviving major ragtime composer, Joseph Lamb, as well as newly composed rags by dozens of writers, from obscure beginners to established classical artists like William Bolcom. To extend the range of the material there are examples of earlier related recordings by jazz artists like Jelly Roll Morton. The archive is an incomparable resource for anyone interested not only in ragtime, but in American popular culture itself. A partial list of artists represented: Joseph Lamb, Eubie Blake, James P. Johnson, Fats Waller, Earl Hines, Jimmy Yancey, Albert Ammons, Meade Lux Lewis, Itzak Perlman, Andre Previn, Jean Pierre Rampal, William Bolcomb, Brun Campbell, Trebor Tichenor, David Thomas Roberts, John Arpin, Max Morath, Knocky Parker, Bob Darch, Frank French, Joshua Rifkin, John Arpin. Also in the archive are recordings of most of the major ragtime festivals in the 1970s to 1990s, including the major festival at Sedalia, Missouri, and the important Toronto festival. -
Artie Shaw, 1940-1941
Glenn Miller Archives ARTIE SHAW January 1940 – March 1941 “The West Coast Band” Prepared by: Reinhard F. Scheer-Hennings and Dennis M. Spragg In Cooperation with the University of Arizona Updated December 11, 2020 Table of Contents January 1940 ..................................................................................................................... 3 February 1940 .................................................................................................................... 9 March 1940....................................................................................................................... 16 April 1940 ......................................................................................................................... 22 May 1940 .......................................................................................................................... 24 June 1940 ........................................................................................................................ 29 July 1940 .......................................................................................................................... 34 August 1940 ..................................................................................................................... 42 September 1940 ............................................................................................................... 53 October 1940 .................................................................................................................. -
The Boswell Sisters 1932-34 Mp3, Flac, Wma
The Boswell Sisters The Boswell Sisters 1932-34 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Pop Album: The Boswell Sisters 1932-34 Released: 1972 Style: Vocal MP3 version RAR size: 1194 mb FLAC version RAR size: 1197 mb WMA version RAR size: 1650 mb Rating: 4.7 Votes: 505 Other Formats: VQF RA AHX MMF MP4 FLAC VOC Tracklist Hide Credits A1 Was That The Human Thing To Do 3:04 A2 We've Got To Put That Sun Back In The Sky 2:57 A3 There'll Be Some Changes Made 3:05 A4 If It Ain't Love 2:56 A5 Hand Me Down My Walkin' Cane 2:50 A6 Old Yazoo 3:10 A7 We Just Couldn't Say Good-Bye 2:38 B1 Down Amont The Sheltering Palms 2:48 B2 Sentimental Gentleman From Georgia 3:07 B3 Minnie The Moocher's Wedding Day 3:08 B4 Crazy People 2:42 B5 Mood Indigo 3:17 Sophisticated Lady Alto Saxophone – Chester HazlettBanjo – Perry BotkinClarinet, Alto Saxophone – Benny B6 3:08 GoodmanDouble Bass – Dick CherwinTrombone – Charlie Butterfield*Trumpet – Manny WeinstockViolin – Harry Hoffman The Object Of My Affection Clarinet, Alto Saxophone – Frank Schumacher, James BriggsClarinet, Tenor Saxophone – Art Grier, Gordon GreenDouble Bass – Jake Garcia Drums – Billy MarcusGuitar – Wally B7 3:18 HeglinOrchestra – Jimmy Grier's Orchestra*Piano – Ted RepayTrombone – Homer MengeTrumpet – Cliff Barber , Stan Green Violin – Bob Morrow, Dick Weber, Dwight Muma, Henry Jaworski* Credits Alto Saxophone – Jimmy Dorsey (tracks: A1 to A5, B5) Arranged By – Connee Boswell* Clarinet – Jimmy Dorsey (tracks: A1 to A5, A7, B1 to B3, B5) Double Bass – Arthur Bernstein* (tracks: -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ARTIE SHAW NEA Jazz Master (2005) Interviewee: Artie Shaw (May 23, 1910- December 30, 2004) Interviewer: Bruce Talbot Date: October 7 and 8, 1992 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 100 pp. Note: Expletives have been deleted from this Web version of the transcript, and are marked thus: [expletive deleted]. An unaltered transcript is available for use by researchers at the Archives Center, National Museum of American History. Talbot: This is October the 7th [1992], and this is day . the first of two days’ interviews with Artie Shaw. Shaw: Are we o.k.? [recording engineer:] Yeah, we got a great level. Shaw: Before we get into this, or maybe as a way of getting into it, I showed you this material on the book I’ve been working on on-and-off since about 1978. What is it now? This is . It’s been 12 years. I’ve published another book in between. I’ve done some CDs. I’ve done a lot of other stuff. But this one . I’ll tell you the point of it. I wanted to do a trilogy. I had at one time . I don’t know. You’re a reader, so you may know the book. Most people don’t even know of it. Romain Rolland wrote a book called Jean- Christophe. Did you ever read it or hear of it? For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Talbot: Heard of it.