Arvell Shaw & the Louis Armstrong Legacy Band
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Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference. -
John Colianni Marty Grosz Quintet and His Hot Winds
THE TRI-STATE SKYLARK STRUTTER Member of South Jersey Cultural Alliance and Greater Philadelphia Cultural Alliance VOLUME 19 NUMBER 7 BEST OF SOUTH JERSEY 2008 MARCH 2009 ******************************************************************************************************************************** OUR NEXT CONCERTS SUNDAY, MARCH 15 SUNDAY MARCH 29 2 PM 2 PM JOHN COLIANNI MARTY GROSZ QUINTET AND HIS HOT WINDS BROOKLAWN AMERICAN LEGION HALL Dd CONCERT ADMISSION $20 ADMISSION $15 MEMBERS $10 STUDENTS $10 FIRST TIME MEMBER GUESTS Pay At the Door No Advanced Sales S SAINT MATTHEW LUTHERAN CHURCH JOHN COLIANNI 318 CHESTER AVENUE John Colianni grew up in the Washington, D.C. metro area and first heard Jazz MOORESTOWN, NJ 08057-2590 on swing-era LP re-issues (Ellington, Goodman, Jimmie Lunceford, Count Basie, Armstrong, etc.) in his parents' home. A performance by Teddy Wilson 3 BLOCKS from Main Street in Washington attended by John when he was about 12 years old also left a strong impression, as did a Duke Ellington performance (more later). 1 THE QUINTET : In 2006, looking for an outlet for his high velocity piano for Torme' from early 1991 to mid 1995, touring and recording six albums. improvisations, John formed the John Colianni Quintet. In July 2007, the group recorded its first CD, "Johnny Chops" (Patuxent Records), which was released PLAYERS FEATURED ON JOHN'S CURRENT CD this year. JUSTIN LEES: Justin, whose guitar work is characterized by a bluesy and LES PAUL: Les Paul offered the piano spot in his group to John in August infectiously swinging phrasing and a distinctive tone, is a fresh face on the jazz 2003. Les had not used a pianist in his combo since the 1950s and, in looking scene. -
“Big Chief” Moore, in New York a Few Weeks Earlier on January 16
WIND12413 ITF Douglas Yeo ITA.qxp_Layout 1 5/22/17 11:24 AM Page 1 July 2017/ Volume 45, Number 3 / $11.00 Denson Paul Pollard — Page 36 Douglas Yeo Depends on Yamaha “Yamaha trombones are the most flexible, finely engineered and well-made instruments INTERNATIONALINTERNATIONAL I have ever played. They allow my musical voice to be expressed beautifully every time I have a trombone in my hands.” Douglas Yeo Visit 4wrd.it/yeoITA2 for details World-renowned Bass Trombonist ASSOCIATION JOURNAL THETHE QUARTERLYQUARTERLY PUBLICATIONPUBLICATION OFOF THETHE ITAITA Take it, Big Chief! An Appreciation of Russell Moore Photo credit: Timothy Hutchens INTERNATIONAL TROMBONE ASSOCIATION JOURNAL The Quarterly Publication of the ITA Volume 45, Number 3 / July 2017 General News — Page 6 The International Trombone Association is Dedicated to the Artistic Advancement of Trombone Teaching, Performance, and Literature. Contents Features Take It, Big Chief: An Appreciation of Russell Moore ITA JOURNAL STAFF by Douglas Yeo .............................................................. 18 Managing Editor A Conversation with Denson Paul Pollard Diane Drexler by Douglas Yeo ................................................................ 36 3834 Margaret Street, Madison, WI 53714 USA / [email protected] Associate Editors Feature Stories – Bruce Gunia Departments [email protected] Announcements ...................................................................... 2 Jazz – Antonio Garcia President’s Column - Ben van Dijk .......................................... -
Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960
Authentic Assertions, Commercial Concessions: Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960 by Christina D. Abreu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in The University of Michigan 2012 Doctoral Committee: Associate Professor Jesse Hoffnung-Garskof Associate Professor Richard Turits Associate Professor Yeidy Rivero Associate Professor Anthony P. Mora © Christina D. Abreu 2012 For my parents. ii Acknowledgments Not a single word of this dissertation would have made it to paper without the support of an incredible community of teachers, mentors, colleagues, and friends at the University of Michigan. I am forever grateful to my dissertation committee: Jesse Hoffnung-Garskof, Richard Turits, Yeidy Rivero, and Anthony Mora. Jesse, your careful and critical reading of my chapters challenged me to think more critically and to write with more precision and clarity. From very early on, you treated me as a peer and have always helped put things – from preliminary exams and research plans to the ups and downs of the job market – in perspective. Your advice and example has made me a better writer and a better historian, and for that I thank you. Richard, your confidence in my work has been a constant source of encouragement. Thank you for helping me to realize that I had something important to say. Yeidy, your willingness to join my dissertation committee before you even arrived on campus says a great deal about your intellectual generosity. ¡Mil Gracias! Anthony, watching you in the classroom and interact with students offered me an opportunity to see a great teacher in action. -
Manny Oquendo
Manny Oquendo Manny Oquendo (January 1, 1931 – March 25, 2009) was a percussionist of Puerto Rican ancestry. His main instruments were bongós and timbales. [See: “Timbales Demonstration” (Manny Oquendo) and “The Martillo [Bongo] Pattern” (Manny Oquendo) Oquendo grew up in New York City and began studying percussion in 1945. He worked in the bands of tropical and Latin music ensembles such as Carlos Valero, Luis del Campo, Juan “El Boy” Torres, Luciano “Chano” Pozo, José Budet, Juanito Sanabria, Marcelino Guerra, José Curbelo, and Pupi Campo. In 1950, he became the bongó player for Tito Puente. Following this he played with Tito Rodríquez in 1954 and Vicentico Valdés in 1955. He worked freelance in New York before joining Eddie Palmieri’s Conjunto La Perfecta in 1962, where he helped develop the New York style of the mozambique rhythm. He co-led Conjunto Libre (later simply Libre) with bassist Andy González from 1974 and had a worldwide hit with “Little Sunflower” in 1983. Oquendo’s timbales solos were famous for their tastefully sparse, straight forward “típico” phrasing. The following five measure excerpt is from a timbales solo by Oquendo on “Mambo.” The clave pattern is written above for reference. Notice how the passage begins and ends by coinciding with the strokes of clave. Excerpt from timbales solo by Manny Oquendo, “Mambo” (1974). Incorporation of rumba quinto vocabulary Oquendo’s solos also incorporated the rhythmic language of the folkloric quinto, the lead drum of rumba. The short excerpt below is from a timbales solo by Manny Oquendo on “Cuba Linda” (1975). This is a quinto crossing phrase that groups the regular pulses in sets of three. -
Tito Rodríguez (January 4, 1923 – February 28, 1973) Was a Popular 1950S and 1960S Puerto Rican Singer and Bandleader
Tito Rodríguez Tito Rodríguez (January 4, 1923 – February 28, 1973) was a popular 1950s and 1960s Puerto Rican singer and bandleader. He is known by many fans as “El Inolvidable” (The Unforgettable One), a moniker based on his most popular interpretation, a song written by Cuban composer Julio Gutiérrez. Rodríguez (birth name: Pablo Rodríguez Lozada ) was born in Santurce, Puerto Rico, to a Puerto Rican father from San Sebastian. He worked in Dominican Republic as land developer. Not as formally posted being Dominican and mother from Holguin Cuba, became interested in music as a child. He was always surrounded by musical toys, such as guitars, pianos and trumpets. His older brother, Johnny Rodríguez was a popular song composer and bandleader, who inspired the younger Rodríguez to become a musician. In 1936, 13-year-old Rodríguez joined the group of Ladislao (El Maestro Ladí) Martínez, “Conjunto de Industrias Nativas”, as a singer and when he was 16 years old he participated in a recording with the renowned Cuarteto Mayarí. In 1940, Rodríguez emigrated to New York City shortly after his parents, José and Severina, died. He went to live with his brother Johnny, who had been living there since 1935. Musical career In New York, Rodríguez found a job as a singer and bongó player for the orchestra of Eric Madriguera. In 1941, he recorded “Amor Guajiro“, “Acércate Más” (Come Closer) and “Se Fue la Comparsa“. In 1942, Rodríguez joined the band of Xavier Cugat, and recorded “Bin, Bam, Bum” and “Ensalada de Congas” (Conga Salad). Rodríguez joined and served in the U.S. -
Louis Armstrong All Stars Satchmo in Pasadena Mp3, Flac, Wma
Louis Armstrong All Stars Satchmo In Pasadena mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Satchmo In Pasadena Country: Germany Released: 1956 Style: Big Band, Swing MP3 version RAR size: 1469 mb FLAC version RAR size: 1106 mb WMA version RAR size: 1492 mb Rating: 4.7 Votes: 737 Other Formats: AU MMF FLAC ADX RA MP1 AA Tracklist Hide Credits Way Down Yonder In New Orleans A1 Written-By – Creamer*, Layton* You Can Depend On Me A2 Written-By – Carpenter*, Hines*, Dunlop* Just You, Just Me A3 Written-By – Greer*, Klages* Indiana B1 Written-By – McDonald*, Hanley* The Huckle Buck B2 Written-By – Gibson*, Alfred* My Monday Date B3 Written-By – Earl Hines Credits Bass – Arvell Shaw Clarinet – Barney Bigard Drums – Cozy Cole Piano – Earl Hines Trombone – Jack Teagarden Trumpet, Vocals – Louis Armstrong Vocals – Velma Middleton Notes Aufgenommen am 30.1.1951 in America durch Decca Records Inc., New York BIEM Made in Germany Other versions Category Artist Title (Format) Label Category Country Year Louis Armstrong Satchmo At DL 8041 And The All Decca DL 8041 US 1951 Pasadena (LP) Stars* Satchmo At Louis Armstrong Verve B0012372-02, Pasadena (CD, B0012372-02, And The All Records, US 2009 DL 8041 Album, RE, RM, DL 8041 Stars* Decca Dig) Louis Armstrong Satchmo At MCA ORL 8134 And The All Pasadena (LP, ORL 8134 Italy Unknown Coral Stars* Album, RE) Louis Armstrong Satchmo At SDL-10214 And The All Pasadena (12", Decca SDL-10214 Japan Unknown Stars* Album) Louis Armstrong Satchmo At VIM-4621 (M) And The All Pasadena (LP, Decca VIM-4621 (M) Japan 1980 Stars* Mono, RE) Related Music albums to Satchmo In Pasadena by Louis Armstrong All Stars Louis Armstrong All Stars / Louis Armstrong And His Orchestra - Satch And His Trumpet Louis Armstrong And The All Stars - Satchmo At Symphony Hall Louis Armstrong And His Hot Seven - The Louis Armstrong Story, Volume II: Louis Armstrong And His Hot Seven Louis Armstrong - Satchmo . -
Jazz Jazz Is a Uniquely American Music Genre That Began in New Orleans Around 1900, and Is Characterized by Improvisation, Stron
Jazz Jazz is a uniquely American music genre that began in New Orleans around 1900, and is characterized by improvisation, strong rhythms including syncopation and other rhythmic invention, and enriched chords and tonal colors. Early jazz was followed by Dixieland, swing, bebop, fusion, and free jazz. Piano, brass instruments especially trumpets and trombones, and woodwinds, especially saxophones and clarinets, are often featured soloists. Jazz in Missouri Both St. Louis and Kansas City have played important roles in the history of jazz in America. Musicians came north to St. Louis from New Orleans where jazz began, and soon the city was a hotbed of jazz. Musicians who played on the Mississippi riverboats were not really playing jazz, as the music on the boats was written out and not improvised, but when the boats docked the musicians went to the city’s many clubs and played well into the night. Some of the artists to come out of St. Louis include trumpeters Clark Terry, Miles Davis and Lester Bowie, saxophonist Oliver Nelson, and, more recently, pianist Peter Martin. Because of the many jazz trumpeters to develop in St. Louis, it has been called by some “City of Gabriels,” which is also the title of a book on jazz in St. Louis by jazz historian and former radio DJ, Dennis Owsley. Jazz in Kansas City, like jazz in St. Louis, grew out of ragtime, blues and band music, and its jazz clubs thrived even during the Depression because of the Pendergast political machine that made it a 24-hour town. Because of its location, Kansas City was connected to the “territory bands” that played the upper Midwest and the Southwest, and Kansas City bands adopted a feel of four even beats and tended to have long solos. -
Louis Armstrong
Louis Armstrong Louis Armstrong (August 4, 1901 – July 6, 1971),[1] nicknamed Satchmo[2] or Pops, was an American jazz trumpeter, composer and singer who became one of the pivotal and most influential figures in jazz music. His ca- reer spanned from the 1920s to the 1960s, covering many different eras of jazz. Coming to prominence in the 1920s as an “inventive” trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from col- lective improvisation to solo performance. With his in- stantly recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also skilled at scat singing. Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong’s influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African- American entertainers to “cross over”, whose skin color was secondary to his music in an America that was ex- tremely racially divided. He rarely publicly politicized his race, often to the dismay of fellow African-Americans, Handcolored etching Louis Armstrong (2002) by Adi Holzer but took a well-publicized stand for desegregation dur- ing the Little Rock Crisis. His artistry and personality allowed him socially acceptable access to the upper ech- elons of American society which were highly restricted in the care of his grandmother, Josephine Armstrong, and for black men of his era. -
Gesamtkatalog 2009 Jazz
The Originals GesamtkataloG 2009 Jazz leGendäre aufnahmen von deutsche Grammophon, decca und verve www.the-oriGinals-serie.de www.verve-oriGinals.de The Originals Als Mitte des vergangenen Jahrhunderts das Zeitalter der Langspielplatte begann, bedeutete dies eine Revolution in der damals schon 60-jährigen Geschichte des Tonträgers: Die Klangqualität verbesserte sich entscheidend und es wurde möglich, selbst die längsten Werke zu veröffentlichen. In den nun folgenden 35 Jahren bis zum Beginn der Alleinherrschaft der CD entstand eine Anzahl von Aufnahmen, die unerreicht blieben und bis heute Maßstäbe setzen. Viele wurden zum Mythos. Seit nunmehr elf Jahren zaubert die längst selbst zum Mythos gewordene Serie THE ORIGINALS einen Schatz nach dem anderen aus den Archiven klassischer Musik der Deutschen Grammophon und Decca, original in Optik und Klangverständnis, auf dem neuesten Stand in der technischen Qualität. Zielsetzung war und ist die umfassende Dokumen- tation dieses grandiosen Zeitalters der Plattengeschichte anhand seiner größten Aufnahmen, aber auch ein Katalog der wichtigsten Werke. Auch für Jazzfans gilt: Es geht nichts über die Originale. Deshalb präsentiert die Originals-Serie viele Schätze aus den Archiven von Verve, Impulse!, EmArcy, Mercury, Decca, A&M und anderen Labels von Universal Jazz. Einige der Alben der Reihe werden erstmals auf CD veröffentlicht. Die VERVE ORIGINALS bieten inzwischen schon weit über 100 Titel im Originalcover (Digipak) und Originalsound (24bit- Remastering). inhalT Jazz Interpreten A – Z 34 Hinweis: In diesem Gesamtkatalog für den Handel wird im Klassikteil jeder Titel im Katalog nur ein Mal aufgeführt. Ton- träger mit Werken von mehr als einem Komponisten sind unter dem Namen des erstgenannten Komponisten eingeordnet. -
EDDIE PALMIERI NEA Jazz Master (2013)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. EDDIE PALMIERI NEA Jazz Master (2013) Interviewee: Eddie Palmieri (December 15, 1936 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: July 8, 2012 Depository: Archives Center, National Music of American History Description: Transcript, 50 pp. [BEGINNING OF DISK 1, TRACK 1] Brown: Today is July 8, 2012, and this is the Smithsonian Jazz Oral History Interview with NEA Jazz Master, arranger-pianist-composer-cultural hero-cultural icon, and definitely an inspiration to all musicians everywhere, Eddie Palmieri, in the Omni Berkshire in New York City. Good afternoon, Mr. Palmieri. Palmieri: Good afternoon, Anthony, and good afternoon, Ken. Brown: This interview is being conducted by Anthony Brown and Ken Kimery. And we just want to begin by saying thank you, Mr. Palmieri... Palmieri: Thank YOU, gentlemen. Brown: ...for all the music, all the inspiration, all the joy you have brought to everyone who’s had the opportunity and the privilege of hearing your music, and particularly if they’ve had the chance to dance to it—that especially. Palmieri: [LAUGHS] Brown: I’d like to start from the beginning. If you could start with giving your full birth-name, birth-place, and birth-date. th Palmieri: Well, Edward Palmieri. I was born in 60 East 112 Street in Manhattan, known as For additional information contact the Archives Center at 202.633.3270 or [email protected] Page | 1 the barrio, and at about 5 or 6 years old... That was 1936. -
Louis Armstrong -Portrait of the Artist As a Young Man 1923-1934
Louis Armstrong—Portrait of the Artist as a Young Man 1923-1934 Dan Morgenstern Grammy Award for Best Album Notes 1994 Columbia/Legacy Smithsonian Institution Press C4K 57176 Transcript provided by Hank Hehmsoth – National Endowment for the Arts 2019 INDEX OF RECORDINGS: for discographical reference and music commentary, see designated page next to each selection. Title Page A Monday Date ............................................................................................................................. 19 Ain’t Misbehavin’ .......................................................................................................................... 16 Alone at Last .................................................................................................................................. 10 Anybody Here Want to Try My Cabbage? .................................................................................... 07 Basin Street Blues (rec. 1928) ...................................................................................................... 20 Basin Street Blues (rec. 1933) ...................................................................................................... 33 Beau Koo Jack ............................................................................................................................... 21 Between the Devil and the Deep Blue Sea .................................................................................... 33 Big Butter and Egg Man ................................................................................................................