DOCSLIB.ORG

September 10, 2009 for Immediate Release Contact: Bril Barrett C/O M.A.D.D

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

September 10, 2009 For Immediate Release Contact: Bril Barrett c/o M.A.D.D. Rhythms, Inc. Phone: (773) 604-1899 Fax: (773) 604-1898 Email: [email protected] www.maddrhythms.com THE CHICAGO TAP SUMMIT 5th ANNIVERSARY Celebration “Honoring Chicago’s TAP Legacy” M.A.D.D. Rhythms presents The Chicago Tap Summit; 5th Anniversary Celebration, October 30- November 1, 2009. Many of the worlds most renowned Tap Legends will come together from Canada, New York, St. Louis, Las Vegas, New Jersey and Chicago to teach, perform and celebrate the art of tap dance. This year’s Summit will be dedicated to the late, great Ernest “Brownie” Brown. Ernest “Brownie” Brown was born April 25, 1916 and left for the big show in Heaven on Aug. 21, 2009. At the early age of 11, Ernest “Brownie” Brown ventured off to follow his dream of becoming a dancer and an entertainer. This dream would turn into a career that spanned 80 years. In 1930, Brownie and his childhood friend, Charles “Cookie” Cook formed the dance team Cook & Brown. They headlined in vaudeville theatres throughout the U.S. and in Europe. In 1934, they played The Cotton Club which led to London’s Palladium, The Latin Casino in Paris and The Broadway musical “Kiss Me Kate”. Brownie was also one of the founding members of the original “Copasetics”; an elite tap company formed in 1949 in memory of Bill “Bojangles” Robinson. One of his proudest moments was being inducted into the Tap Dance Hall Of Fame. This year’s esteemed honorees include: Dr. Jeni LeGon was born in Chicago, Illinois on August 14, 1916. She was the first black woman to sign an extended contract from MGM. In her first screen role, LeGon danced with Bill "Bojangles" Robinson (the only black woman to do so on screen) in Hooray for Love, which also featured Fats Waller. Her twenty-four film credits include: Broadway Melody of 1936, This Was Paris, (1937), Start Cheering, Fools for Scandal (1938), I Can't Give You Anything But Love (1940), Birth of the Blues, Sundown, Arabian Nights (1941), While Thousands Cheered, Stormy Weather (1943), Hi De Ho (1945), Easter Parade (1948), I Shot Jesse James (1949) and Somebody Loves Me (1952). In 2002, Oklahoma City University conferred upon her a doctorate of performing arts in American Dance. Dr. Prince Spencer was born on October 3, 1917 in Jenkinsville, South Carolina. In 1941, Spencer joined the dance troupe, The Four Step Brothers, replacing longtime member Sylvester Johnson. The Four Step Brothers was a group that originated in the mid-1920s performing in Hollywood films, and by 1946, was performing with Frank Sinatra. That same year, the group embarked on a six month performance at the Parisian Le Lido, then toured Italy and Spain. In 1947, The Four Step Brothers appeared uncredited in the film That's My Gal. The group returned to the silver screen in 1953, appearing alongside Bob Hope in a film entitled Here Come the Girls. Throughout the 1950s and 1960s, the group became favorites of Ed Sullivan and performed on Jack Benny's television show. They also toured Europe, performing for the Queen of England. In 2002, Oklahoma City University conferred upon him a doctorate of performing arts in American Dance. Dr. Harold Cromer was born in New York City, and began his 50 year career as a tap dancer on roller skates at the Hudson Guild in Hell’s Kitchen. He made his Broadway debut with Bert Lahr, Ethel Merman, and Betty Grable in Du Barry Was A Lady. Mr. Cromer later performed around the world as a member of the well-known song and dance comedy team, Stump and Stumpy, with James Cross. They appeared in leading theaters and night clubs with Duke Ellington, Frank Sinatra, Billie Holiday and Count Basie. Stump and Stumpy toured with Nat Cole, Ella Fitzgerald, Sarah Vaughn, the Ink Spots, Stan Kenton, and Sophie Tucker, among others. In the late 1950’s, Harold became the Master of Ceremonies to Rock and Roll’s The Biggest Show of Stars. In 2008, Bloomfield College conferred upon him a doctorate of performing arts in American Dance. Very special guests include Prof. Robert L. Reed, founder, producer and director of The St. Louis and Oklahoma City Tap Festivals, Dormeshia Sumbry-Edwards, America’s representative on “Superstars of Dance” and star of the newly released independent film “The Rise and Fall of Miss Thang”, Reggio “The Hoofer” McLaughlin, longtime partner of the late, great Ernest “Brownie” Brown and Chicago Native and M.A.D.D Rhythms’ own founder and artistic director Bril Barrett. Jumaane Taylor, Nora Clark, Starinah Dixon, Ja’Bowen Dixon, Donnetta Jackson and teen tap sensation Latrell Garnett round out the well-diversified faculty. Collectively the faculty credits include Broadway’s Bring in the Noise Bring in the Funk, Black & Blue, national and international tours of Riverdance, the movies “TAP”, “Bamboozled” and “The Cotton Club”, “Star Search” and concert openings for the late great Sammy Davis Jr. The Chicago Tap Summit; 5th Anniversary Celebration will include an array of master classes for all levels of tap dancers, along with history sessions (complete with rare footage of some of the all time greats of tap), a participants’ showcase, a panel discussion and our popular “LIVE THE HISTORY” lecture/demonstration which takes you through TAP history by the legends who lived it. The festival will wrap up with an electrifying concert “TAKE 5” featuring all faculty, guests and the M.A.D.D. Rhythms family. This year’s concert will feature Be The Groove (Rhythmic Performance Ensemble often compared to Stomp!), The FootworKingz (Finalists on America’s Got Talent, Touring with Madonna), The Primeridian (Underground Hip Hop, Jazz, Soul and Funk eclectic group) and The Hip Hop ConnXion (one of the leading hip hop dance troupes in Chicago). Chicago’s Ben “Jammin” Johnson will serve as musical director , providing live Jazz-Hip Hop-R&B-Classical-Rock-Gospel music. All classes and the performance take place at The Harold Washington Cultural Center (4701 S. King Drive, Chicago, IL. 60615). M.A.D.D. Rhythms is a dynamic collective of young entertainers from diverse socioeconomic backgrounds, with one thing in common. A love and respect for the art of tap dance or "the dance" as we like to call it. Bril Barrett (Imagine Tap, Porgy and Bess, The Tap Dance Kid, Riverdance, Oprah and the Jenny Jones show) founded the company in 2001 and serves as business manager and artistic director as well as being one of the company's principal choreographers/dancers. Jumaane Taylor (Tap the Map, Imagine Tap, Dance Spirit Magazine's top 20 hoofers under 20 (may 2005 issue), Grand prize winner of The Chicago Tap Off and the Bring In Da Noize Bring In Da Funk Contest, Chicago Tap All Stars, Rhythm I.S.S. and Friends) began as a protégé of first Bril, but has grown into an artist all his own. Jumaane is the Assistant Director and principal choreographer/dancer in M.A.D.D. Rhythms. Approaching our eighth full year in existence, with nine critically acclaimed concert performances, several workshops behind us and 4 successful festivals under our belt, we hope you'll join us. PSA Unleash your rhythm and experience and learn tap dancing from world renowned hoofers at M.A.D.D. Rhythms, The Chicago Tap Summit; 5th Anniversary Celebration; Oct. 30 –Nov. 1 at the Harold Washington Cultural Center (4701 S. King Drive, Chicago, IL. 60615). Enjoy a weekend filled with workshops and evening events including a culminating concert entitled “TAKE 5”, Sunday, Nov. 1st at 7pm. Tickets are $20 and classes range from $30 for individual classes to $370 for an unlimited package. For more information call (773) 604-1899 or visit them online at www.maddrhythms.com .
Recommended publications
  • Harold J. Cromer, Vaudeville Duo's Stumpy, Is

    Harold J. Cromer, Vaudeville Duo's Stumpy, Is

    'True Blood' Star Will Play Stanley in 'Streetcar' - NYTimes.com JUNE 14, 2013, 1:16 PM ‘True Blood’ Star Will Play Stanley in ‘Streetcar’ By ALLAN KOZINN Joe Manganiello, whose buff physique has been amply displayed as a werewolf on HBO’s “True Blood” and as a stripper in the film “Magic Mike,” will wear (and take off?) the most famous T-shirt in American theater when he plays Stanley Kowalski in Yale Repertory Theater’s production of “A Streetcar Named Desire.” Portraying Blanche DuBois will be René Augesen, who has appeared at the Public and Lincoln Center Theaters. Mark Rucker is directing the production, which opens Yale Rep’s season on Sept. 20 and is scheduled to run through Oct. 12. The season, which had already been announced, also includes “These Paper Bullets,” an adaptation of Shakespeare’s “Much Ado About Nothing,” with music by Billie Joe Armstrong of the band Green Day and plays by Caryl Churchill, Dario Fo, Marcus Gardley and Meg Miroshnik. http://artsbeat.blogs.nytimes.com/.../06/14/true-blood-star-will-play-stanley-in-streetcar/?ref=allankozinn&pagewanted=print[6/17/2013 11:03:39 AM] Of Shakespeare and Superheroes - The New York Times June 13, 2013 THEATER REVIEW Of Shakespeare and Superheroes By BEN BRANTLEY There’s enough plot in Eric Rosen and Matt Sax’s “Venice,” the action-flooded new musical at the Public Theater, to fill a whole year in a Marvel comics series. Though it borrows some of its story from Shakespeare’s “Othello” and much of its tone from apocalyptic movie blockbusters like “The Dark Knight Rises,” this tale of a once-and-future civil war still seems to translate into two-dimensional panels as you watch it.
  • Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor

    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. JOE WILDER NEA Jazz Master (2008) Interviewee: Joe Wilder (February 22, 1922 – May 9, 2014) Interviewer: Julie Burstein Date: August 25-26, 1992 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 129 pp. Burstein: I wanted to start by asking you about your beginnings in Colwyn, I guess. [She pronounces it as “coal-win.”] Wilder: Colwyn, it’s pronounced. [Wilder says “coll-win,” as in collar.] Burstein: Colwyn. Wilder: Yeah, Colwyn. Burstein: . Colywn, Pennsylvania, and about your family. Where were your folks from? Wilder: My – I think – I know my father’s family are from North Carolina. I think my mother’s family were also from North Carolina. Apparently they had come North much earlier than my father’s family, because my mother was born in Pennsylvania. My father was born in North Carolina. He left – my grandfather brought his family to Philadelphia – to Colwyn, as a matter of fact. That’s something I don’t really understand. I don’t know how they managed to end up in Colwyn, but that’s where they did. My father was 12 years old at that time. He’s now – he’ll be 92 in November – the 23rd of November. Burstein: So this was in 1912 that they came there. Wilder: Yeah, in 1912 he came – they came to Colwyn. There were – in Colwyn, I think there was my paternal grandparents and my maternal grandparents, and my aunts and uncles, and my family.
  • Hip Hop Ja Jazztanssi

    Hip Hop Ja Jazztanssi

    Harri Heinilä Hip hop ja jazztanssi Afrikkalaisamerikkalaisen tanssin jatkumo Kansi: Harri Heinilä ISBN 978-952-68364-8-5 Musiikkiarkisto 2021 musiikkiarkisto.fi [email protected] Sisällysluettelo Johdanto: hip hop ja jazztanssi 5 Jazztanssin synty 13 Jazzmusiikin synty 20 Jazzmusiikin ja -tanssin terminologia 22 Jazztanssi orjuuden aikana Yhdysvaltain plantaaseilla ja sen vaikutus 31 Minstrelsy-aikakausi 36 Cakewalk 52 Texas Tommy 61 Charleston 63 Lindy Hop 71 Mambo ja salsa 75 Rock and roll -tanssit 79 Hip hop -musiikin synty 85 Breikeistä rappiin: hip hop -kulttuurin muotoutuminen 96 Hip hop -tanssien synty 104 James Brown ja ’Get on the Good Foot’ -tanssi 106 Burning eli ”polttaminen” 108 Burning muuttuu breikkaukseksi 117 Bronxin alkuperäiset 1970-luvun breikkausryhmät 121 Bronxin alkuperäisen breikkauksen loppu 137 Länsirannikon Soul Train -tanssijat osana hip hop -tanssia 139 Breikkaus siirtyy uudelle sukupolvelle 151 Breikkauksen jatkumo vai katkeama: ensimmäisen ja toisen 163 sukupolven väliset erot Jazz- ja hip hop -tanssien yhtäläisyydet 168 2 Epilogi: hip hop -tanssi 2000-luvulla 192 Suomalaisen hip hop -kulttuurin musiikin ja tanssin alku 197 tutkijan näkökulmasta Taulukot 4 Viitteet 209 Lähteet 271 Henkilöhakemisto 292 3 Taulukot Taulukko 1. Ragtime vs. Jazz. Taulukko 2. William Henry Lane vs. John Diamond. Taulukko 3. Bronxin breikkausryhmiä 1970-luvulla. Taulukko 4. Bronxin breikkauspaikkoja 1970-luvulla. Taulukko 5. The Campbellock Dancers vuonna 1973. Taulukko 6. The Rock Steady Crew:n tanssijoita vuonna 1981. Taulukko 7. The New York City Breakers. Alkuperäinen kokoonpano vuonna 1982. Taulukko 8. Dynamic Rockers / Dynamic Breakers vuonna 1983. Taulukko 9. Breikkauksen leviäminen elokuvien kautta eri maissa. Teos on saanut tukea WSOY:n kirjallisuussäätiöltä ja Suomen tietokirjailijat ry:ltä.
  • Guide to the Ernie Smith Jazz Film Collection

    Guide to the Ernie Smith Jazz Film Collection

    Guide to the Ernie Smith Jazz Film Collection NMAH.AC.0491 Ben Pubols, Franklin A. Robinson, Jr., and Wendy Shay America's Jazz Heritage: A Partnership of the The Lila Wallace- Reader's Digest Fund and the Smithsonian Institution provided the funding to produce many of the video master and reference copies. 2001 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...................................................................................................................... 2 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Ernie Smith Presentation Reels................................................................ 4 Series 2: Additional Titles.....................................................................................
  • JACKSON, DELILAH. Delilah Jackson Papers, 1852-2013

    JACKSON, DELILAH. Delilah Jackson Papers, 1852-2013

    JACKSON, DELILAH. Delilah Jackson papers, 1852-2013 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Jackson, Delilah. Title: Delilah Jackson papers, 1852-2013 Call Number: Manuscript Collection No. 923 Extent: 47 linear feet (89 boxes), 8 oversized papers boxes and 5 oversized papers folders (OP), 1 extra-oversized paper (XOP), and AV Masters: 20.5 linear feet (21 boxes, LP1, and CLP5) Abstract: Papers collected or created by Delilah Jackson in her research on African American entertainers, including photographs, correspondence, subject files, oral history interviews, and films. Language: Materials primarily in English with some items in French. Administrative Information Restrictions on Access Special restrictions apply:Use copies have not been made for all audiovisual material in this collection. Researchers must contact the Rose Library at least two weeks in advance for access to these items. Collection restrictions, copyright limitations, or technical complications may hinder the Rose Library's ability to provide access to audiovisual material. Terms Governing Use and Reproduction Special restrictions apply: The collection contains some copies of original materials held by other institutions; these copies may not be reproduced without the permission of the owner of the originals. Commercial films located in the audiovisual series may not be reproduced. Printed or manuscript music in this collection that is still under copyright protection and is not in the Public Domain may not be photocopied or photographed. Researchers must provide written authorization from the copyright holder to request copies of these materials. Separated Material The Johnny Hudgins papers were originally part of the Delilah Jackson papers.
  • THE JERRY GRAY STORY – 1949 [Updated Jun 15, 2018 – Version JG.004E]

    THE JERRY GRAY STORY – 1949 [Updated Jun 15, 2018 – Version JG.004E]

    THE JERRY GRAY STORY – 1949 [Updated Jun 15, 2018 – Version JG.004e] January 3, 1949 [Monday]: Jerry Gray and his Orchestra – Bob Crosby’s Club 15 with The Andrews Sisters, 4:30–4:45 pm local time, CBS Columbia Square Playhouse, 6121 Sunset Boulevard, Hollywood, California. [Author’s Note: NYC/Eastern Standard Time UTC-5; Hollywood/Pacific Standard Time UTC-8.] The original CBS Network program was broadcast live to a good part of the country, airing at 7:30–7:45 pm in the East Coast [WCBS in New York City], 6:30–6:45 pm in the Central zone [WBBM in Chicago], and 4:30–4:45 pm on the West Coast [KNX in Los Angeles]. Club 15 – CBS Network Radio Broadcast, 1948-1949 Series, Episode 111: Details Unknown ____________________________________________________________________________________ January 4, 1949 [Tuesday]: Jerry Gray and his Orchestra – Bob Crosby’s Club 15 with Margaret Whiting and The Modernaires, 4:30–4:45 pm local time, CBS Columbia Square Playhouse, 6121 Sunset Boulevard, Hollywood, California. The original CBS Network program was broadcast live to a good part of the country, airing at 7:30–7:45 pm in the East Coast [WCBS in New York City], 6:30–6:45 pm in the Central zone [WBBM in Chicago], and 4:30–4:45 pm on the West Coast [KNX in Los Angeles]. Club 15 – CBS Network Radio Broadcast, 1948-1949 Series, Episode 112: Details Unknown ____________________________________________________________________________________ Part 4 - Page 1 of 230 January 5, 1949 [Wednesday]: Jerry Gray and his Orchestra – Bob Crosby’s Club 15 with The Andrews Sisters, 4:30–4:45 pm local time, CBS Columbia Square Playhouse, 6121 Sunset Boulevard, Hollywood, California.
  • Photographs May Not Reproduce Well. P

    Photographs May Not Reproduce Well. P

    DOCUMENT RESUME ED 407 293 SO 026 675 TITLE Stepping in Time. INSTITUTION Philadelphia Folklore Project, PA. REPORT NO ISSN-1075-0029 PUB DATE Feb 94 NOTE 45p.; Photographs may not reproduce well. AVAILABLE FROM Philadelphia Folklore Project, 719 Catharine St., Philadelphia, PA 19147. PUB TYPE Collected Works Serials (022) Historical Materials (060) JOURNAL CIT Works in Progress; v8 n2 Feb 1994 EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS Adult Education; Aesthetics; *Art Education; *Blacks; Dance; Drama; *Folk Culture; Higher Education; Interdisciplinary Approach; *Multicultural Education; Music; Secondary Education IDENTIFIERS *African Americans; Entertainment; Musicals ABSTRACT This special commemorative theme issue features a Philadelphia Folklore Project that sought to encourage a wider discussion about art and the politics of culture; to document and explore the history of a significant folk art form--in this case, tap dancing--from the perspective of the generation of African American women and men who "came up" in the 1920s-40s; and to create a forum for presentation and discussion of these issues. Following an introduction and a section titled "Performers' biographies," seven essays present in-depth testimonies from the artistsas they trace Philadelphia vernacular tap traditions and discuss aesthetics of the art as well as the range of customs and performances. Featured artists include Hortense Allen Jordan, Libby Spencer, Edith Hunt, Henry Meadows, and Tommy Jordan. (DQE) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. ******************************************************************************** STEPPING ,INTIME A 471 0 INSIDE PERMISSION TO REPRODUCE AND DISSEMINATE THIS MATERIAL HAS BEEN GRANTED BY Setting the record straight, p 2 ko d Performers' biographies, p 4 Beginnings and breaks, p 14 TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) Henry Meadows & the rhythms of .4 South Philly, p.
  • Just a Buncha Clowns: Comedic-Anarchy and Racialized Performance in Black Vaudeville, the Chop Suey Circuit, and Las Carpas

    Just a Buncha Clowns: Comedic-Anarchy and Racialized Performance in Black Vaudeville, the Chop Suey Circuit, and Las Carpas

    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2019 Just a Buncha Clowns: Comedic-Anarchy and Racialized Performance in Black Vaudeville, the Chop Suey Circuit, and las Carpas Michael Shane Breaux The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3099 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] JUST A BUNCHA CLOWNS: COMEDIC-ANARCHY AND RACIALIZED PERFORMANCE IN BLACK VAUDEVILLE, THE CHOP SUEY CIRCUIT, AND LAS CARPAS by MICHAEL SHANE BREAUX A dissertation submitted to the Graduate Faculty in Theatre and Performance in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2019 © 2019 MICHAEL SHANE BREAUX All Rights Reserved ii Just a Buncha Clowns: Comedic-Anarchy and RacialiZed Performance in Black Vaudeville, the Chop Suey Circuit, and las Carpas by Michael Shane Breaux This manuscript has been read and accepted for the Graduate Faculty in Theatre and Performance in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date James F. Wilson Chair of Examining Committee Date Peter Eckersall Executive Officer Supervisory Committee: Jean Graham-Jones David Savran THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT JUST A BUNCHA CLOWNS: COMEDIC-ANARCHY AND RACIALIZED PERFORMANCE IN BLACK VAUDEVILLE, THE CHOP SUEY CIRCUIT, AND LAS CARPAS by Michael Shane Breaux Advisor: James F.
  • Introduction: the Regal Theater and Black Culture 1

    Introduction: the Regal Theater and Black Culture 1

    Notes Introduction: the Regal Theater and Black Culture 1. Dempsey Travis, one of Chicago’s most prominent African American businessmen, who achieved his success in the field of real estate, has also made important contributions as an independent scholar of Chicago’s Black political and cultural history. In his several works in the field, Travis provides important information and insight on the Regal Theater. See, for example, Dempsey J. Travis, An Autobiography of Black Chicago (Chicago: Urban Research Institute, 1981) and Autobiography of Black Jazz (Chicago: Urban Research Institute, 1983). 2. Chicago Defender, January 14, 1928, pt. 1, p. 8. 3. Ibid.; Chicago Defender, January 14, 1928, pt. 1, p.1. 4. Ibid., February 7, 1959, p. 18. 5. Ibid. 6. Chicago Tribune, September 6, 1973, sec. S4A, p. 2. 7. W. Augustus Low and Virgil A. Clifts, eds., Encyclopedia of Black America (New York: Da Capo Press, 1981), pp. 412, 421, 441. 8. Ibid. pp. 515, 735; Jessie Parkhurst Guzman, ed., Negro Year Book: A Review of Events Affecting Negro Life, 1941-1946 (Tuskegee, Alabama: Tuskegee Institute, 1947), p. 17. Also see “Chicago Renaissance 1932–1950: Images and Documents from the Vivian G. Harsh Research Collection, Charlemae Hill Rollins,” accessed March 14, 2003, from Chicago Public Library Digital Collection: http://www.chipublib.org/digital/chiren/instrollins.html 9. See John N. Ingham and Lynne B. Feldman, African–American Business Leaders: A Biographical Dictionary (Westport, CT: Greenwood Press, 1994), p. 492. 10. See, for example, “Doctor with Big Heart,” Ebony Magazine, Janauary 1958, pp. 51–53, 56; Chicago Defender, December 28, 1957, p.
  • To Buster with Love by Kurt Albert and Klaus Bleis

    To Buster with Love by Kurt Albert and Klaus Bleis

    Buster Brown Story To Buster with love By Kurt Albert and Klaus Bleis “Got a stack of magazines about this high I can’t read them and you know why I gotta go tap dancing tonight.” Buster Brown died at Columbus he left for the tap community. St. Peter’s was filled with old and new Presbyterian Hospital in New York City on Buster really loved dancing, especially friends who loved this man. May 7th 2002, ten days before his 89th tap dancing. And through him, the whole birthday. As Heather told us, he went natu- Swing Era came back to life. His swing rally and had a smile on his face. That smile came from deep inside and he really lived it. Baltimore stands for his loving and happy personality He would go out dancing and partying that we all connect with Buster. At the ser- whenever he could, even when he got old. James Richard “Buster” Brown was vice at St. Peters Church where many great That was his life. And he could sing any born on May 17th 1913 in the Brown tap and jazz artists had their service, Jimmy tune that you could think of, and many family’s house on 414 Hamburg Street in Slyde said: “Buster didn’t leave, he left more. Everybody remembers him scatting Baltimore, Maryland. He was the sixth of something for us”. And Gregory Hines got the arrangements of “Fascinating Rhythm” eight children. to the heart of it: When he got into the tap and “Just You” during his tap classes, and The last of his sisters, Ruth Jackson, a business and closer to the circles of tap always ending the classes with “Ballin’ the sweet lady of 86 years and with Buster’s masters, everybody would eventually say Jack”.
  • August 4, 1956

    August 4, 1956

    VOLUME XVII — NUMBER 46 AUGUST 4, 1956 Eddy Howard is shown in a warm family portrait with his daughter Lynn and son Biff (Eddy, Jr.). The inquisitive looks of the children obviously point out the question just given to their father, “Daddy, when I grow up what will I he?'’ and Eddy is answering “Que Sera, Sera” which just happens to he the title of his latest Mercury release. www.americanradiohistory.com from the sound track of the MGM Production of the same name up there Somebody likes me c/w Dream Along With Me (I'm On My Way To A Star) the theme song from Perry's NBC-TV Show ...and nobody sings 'em like Perry Como [tiithe dealer’s choice rca\Tictor 20/47-6590 A New Orthophonic High Fidelity Recording Your customers will hear these recordings best on an RCA Victor New Orthophonic High Fidelity "Victrola." www.americanradiohistory.com ” ] The CashBox August 4, 1956 Publishers BILL GERSH JOE ORLECK The Cash Box Publishing Co., Inc 26 West 47th Street, New York 36, N. Y. (All Phones: JUdson 6-2640) Cable Address: CASHBOX, N. Y. JOE ORLECK • CHICAGO OFFICE 32 West Randolph St., Chicago 1, 111. A (All Phones: DEarborn 2-0045) GLANCE AT BILL GERSH Howie Freer Chuck Peele • HOLLYWOOD OFFICE 6272 Sunset Blvd., Hollywood, Cal. (Phone: Hollywood 5-2129) JACK DEVANEY Bob Martin • BOSTON OFFICE 1765 Commonwealth Ave., Boston 35, Mass. (Phone: ALgonquin 4-8464) GUY LIVINGS IgN FUTURE LONDON OFFICE 17 Hilltop, London, N.W., England Record manufacturers, distributors crease in volume from its current (Phone: Speedwell 2596) MARCEL STELLMAN and dealers from all over the country $200,000,000 a year to estimates which have just finished meeting at the NAMM ranged anywhere from $500,000,000 EXECUTIVE STAFF convention.
  • Jazz Music in Motion.Pdf

    Jazz Music in Motion.Pdf

    Front Matter pg i-xvi 7/26/07 11:51 AM Page i the jazz cadence of american culture Columbia University Press New York Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 1998 Robert G. O’Meally Reprinted by permission of Columbia University Press All rights reserved Library of Congress Cataloging-in-Publication Data The jazz cadence of American culture / edited by Robert G. O’Meally. p. cm. Thirty-five essays. Includes bibliographical reference and index. Contents: Part I. What is jazz—Part 2. One nation under a groove, or, The United States of jazzocracy—Part 3. Jazz lines and colors : the sound I saw—Part 4. Jazz is a dance : jazz art in motion—Part 5. Tell the story : jazz, history, memory—Part 6. Writing the blues, writing jazz. ISBN 0-231-10448-0 (cloth : alk. paper). — ISBN 0-231- 10449-9 (pbk.: alk. paper) 1. Jazz—History and criticism. 2. Blues (Music)—History and criticism. 3. Afro-Americans—Music—History and criticism. 1. O’Meally, Robert G., 1948–. ML3508.J38 1998 781.65—DC21 98–14768 Material included in JSO by permission of Columbia University Press. chapter 18 JACQUI MALONE Jazz Music in Motion: Dancers and Big Bands Dancing is very important to people who play music with a beat. I think that people who don’t dance, or who never did dance, don’t really under- stand the beat. I know musicians who don’t and never did dance, and they have difficulty communicating. —duke ellington, The World of Duke Ellington tThe infancy of jazz coincided with extensive artistic and commercial efforts to get black musical theater established on Broadway.