Sergent Garcia Brass Band Maynard Ferguson
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Disco Gu”Rin Internet
ISCOGRAPHIE de ROGER GUÉRIN D Par Michel Laplace et Guy Reynard ● 45 tours ● 78 tours ● LP ❚■● CD ■●● Cassette AP Autre prise Janvier 1949, Paris 3. Flèche d’Or ● ou 78 Voix de son Maitre 5 février 1954, Paris Claude Bolling (p), Rex Stewart (tp), 4. Troublant Boléro FFLP1031 Jacques Diéval et son orchestre et sex- 5. Nuits de St-Germain-des-Prés ● ou 78 Voix de son Maitre Gérard Bayol (tp), Roger Guérin (cnt), ● tette : Roger Guérin (tp), Christian Benny Vasseur (tb), Roland Evans (cl, Score/Musidisc SCO 9017 FFLP10222-3 Bellest (tp), Fred Gérard (tp), Fernard as), George Kennedy (as), Armand MU/209 ● ou 78 Voix de son Maitre Verstraete (tp), Christian Kellens (tb), FFLP10154 Conrad (ts, bs), Robert Escuras (g), Début 1953, Paris, Alhambra « Jazz André Paquinet (tb), Benny Vasseur Guy de Fatto (b), Robert Péguet (dm) Parade » (tb), Charles Verstraete (tb), Maurice 8 mai 1953, Paris 1. Without a Song Sidney Bechet avec Tony Proteau et son Meunier (cl, ts), Jean-Claude Fats Sadi’s Combo : Fats Sadi (vib), 2. Morning Glory Orchestre : Roger Guérin (tp1), Forhenbach (ts), André Ross (ts), Geo ● Roger Guérin (tp), Nat Peck (tb), Jean Pacific (F) 2285 Bernard Hulin (tp), Jean Liesse (tp), Daly (vib), Emmanuel Soudieux (b), Aldegon (bcl), Bobby Jaspar (ts), Fernand Verstraete (tp), Nat Peck (tb), Pierre Lemarchand (dm), Jean Paris, 1949 Maurice Vander (p), Jean-Marie Guy Paquinet (tb), André Paquinet Bouchéty (arr) Claude Bolling (p), Gérard Bayol (tp), (tb), Sidney Bechet (ss) Jacques Ary Ingrand (b), Jean-Louis Viale (dm), 1. April in Paris Roger Guérin (cnt), Benny Vasseur (as), Robert Guinet (as), Daniel Francy Boland (arr) 2. -
100 Titres Sur Le JAZZ — JUILLET 2007 SOMMAIRE
100 TITRES SUR LE JAZZ À plusieurs époques la France, par sa curiosité et son ouverture à l’Autre, en l’occurrence les hommes et les musiques de l’Afro-Amérique, a pu être considérée, hors des États-Unis, comme une « fille aînée » du juillet 2007 / jazz. Après une phase de sensibilisation à des « musiques nègres » °10 constituant une préhistoire du jazz (minstrels, Cake-walk pour Debussy, débarquement d’orchestres militaires américains en 1918, puis tour- Hors série n nées et bientôt immigration de musiciens afro-américains…), de jeunes pionniers, suivis et encouragés par une certaine avant-garde intellectuelle et artistique (Jean Cocteau, Jean Wiener…), entrepren- / Vient de paraître / nent, dans les années 1920, avec plus de passion que d’originalité, d’imiter et adapter le « message » d’outre-Atlantique. Si les traces phonographiques de leur enthousiasme, parfois talentueux, sont qua- CULTURESFRANCE siment inexistantes, on ne saurait oublier les désormais légendaires Léon Vauchant, tromboniste et arrangeur, dont les promesses musica- les allaient finalement se diluer dans les studios américains, et les chefs d’orchestre Ray Ventura, (qui, dès 1924, réunissait une formation de « Collégiens ») et Gregor (Krikor Kelekian), à qui l’on doit d’avoir Philippe Carles Journaliste professionnel depuis 1965, rédacteur en chef de Jazz Magazine (puis directeur de la rédaction à partir de 2006) et producteur radio (pour France Musique) depuis 1971, Philippe Carles, né le 2 mars 1941 à Alger (où il a commencé en 1958 des études de médecine, interrompues à Paris en 1964), est co-auteur avec Jean-Louis Comolli de Free Jazz/Black Power (Champ Libre, 1971, rééd. -
Aaron SACHS: Frank SACKENHEIM: Erna SACK: Fats SADI
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 --- ------------------------------------------ Erna SACK: Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded August 30, 1934 in Berlin 107685 WENN SICH EINE SCHÖNE FRAU VERLIEBT 3.30 19991-1 Tel A1676 Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded October 1934 in Berlin 107121 ICH BIN VERLIEBT 3.32 19990 --- aus der Operette "Clivia" Erna Sack war eine der bedeutendsten Sopranistinnen Deutschlands im 20. -
Sidney Bechet Kyle Etges Signature Recordings I Found a New Baby
Sidney Bechet Kyle Etges Signature Recordings I Found a New Baby. Recorded in New York in 1932 with trumpeter Tommy Ladnier, I Found a New Baby showcases Bechet’s commitment to the older “New Orleans” style of playing. The piece begins with Ladnier and Bechet in their traditional roles, with Ladnier’s roaring melody complemented by Bechet’s flowing counterlines. Bechet’s solo is the centerpiece of this recording, beginning with long musical lines flowing over multiple bars and eventually developing into his typical arpeggiated style of playing. Bechet truly shows off his technical capability in the last refrain, executing a beastly arpeggiated line under Ladnier with seeming ease. This recording stands as an excellent example of Bechet’s mastery of the New Orleans jazz clarinet tradition typical in his early work, though he would later develop a more flowing, melodic approach to improvisation. This recording date was accompanied by a short residence by Bechet and Ladnier at the Savoy Ballroom, though unfortunately audiences’ tastes were gravitating toward the big bands of the era. This letdown, exacerbated by the Great Depression, drove both musicians to leave the music business, though thankfully not permanently. The two frontmen are joined on this record by the rest of the New Orleans Feetwarmers, featuring Teddy Nixon on trombone, Hank Duncan on piano, Wilson Myers on bass, and Morris Morand on Drums. Petite Fleur. Arguably Bechet’s most notable contribution to the jazz repertoire, this beautiful composition was first featured alongside the Claude Luter Orchestra in Paris, France. Bechet eventually relocated to Europe, as many jazz musicians did during that time, and presented this incredible work in 1952. -
Programmation Jazz À Vienne De 1980 À 2019
PROGRAMMATION JAZZ À VIENNE DE 1980 À 2019 SOMMAIRE 1980 ............................................................................................................................................................................................. 3 1981 ............................................................................................................................................................................................. 4 1982 ............................................................................................................................................................................................. 5 1983 ............................................................................................................................................................................................. 6 1984 ............................................................................................................................................................................................. 7 1985 ............................................................................................................................................................................................. 9 1986 .......................................................................................................................................................................................... 11 1987 ......................................................................................................................................................................................... -
The Recordings of Sidney Bechet; in Fact It Does Not Include Much Release Information at All
The Recordings of SIDNEY BECHET Mal Collins June 2011 Introduction This is not a discography in the most accepted sense of that word: it does not itemise every commercial release of the recordings of Sidney Bechet; in fact it does not include much release information at all. The Recordings here are – at the time of writing, June 2011 - almost all free of recording copyright in many territories: 50 years from the first publication date, recordings may be freely - and legally - used, without paying royalties to the artist (not the case in the USA, and the situation is changing in Europe). This means that it is difficult - not to say impossible - to keep track of the many uses of his work: not only of his classic performances which have been free of this copyright for some time, but also now of his many French recordings, which count for more than 50% of his output. So to detail the original release information is of less and less interest (and this has already been done. None of the original shellac or vinyl releases is available, except as a collector’s item; many CD releases are also no longer available; we are into an era driven by the most popular end of the music market: the digital/download age.So to itemise ALL commercial releases is a thankless task which serves less & less benefit with every year that passes. What this document does do is: to collect together all the known recordings of Sidney Bechet; to clear up a number of anomalies and uncertainties (others will always remain); to identify all the occasions on which he plays soprano sax and/or clarinet; and to fully index all sessions by title and performer. -
Bulletin De La Sabix, 32 | 2002 Les X Et Le Jazz - Rencontre Avec Claude Abadie X 38 2
Bulletin de la Sabix Société des amis de la Bibliothèque et de l'Histoire de l'École polytechnique 32 | 2002 Les polytechniciens et la musique Les X et le Jazz - Rencontre avec Claude Abadie X 38 Simon Hadrot Édition électronique URL : http://journals.openedition.org/sabix/390 DOI : 10.4000/sabix.390 ISSN : 2114-2130 Éditeur Société des amis de la bibliothèque et de l’histoire de l’École polytechnique (SABIX) Édition imprimée Date de publication : 1 décembre 2002 Pagination : 23 - 34 ISBN : ISSN N° 2114-2130 ISSN : 0989-30-59 Référence électronique Simon Hadrot, « Les X et le Jazz - Rencontre avec Claude Abadie X 38 », Bulletin de la Sabix [En ligne], 32 | 2002, mis en ligne le 06 janvier 2013, consulté le 19 septembre 2020. URL : http:// journals.openedition.org/sabix/390 ; DOI : https://doi.org/10.4000/sabix.390 Ce document a été généré automatiquement le 19 septembre 2020. © SABIX Les X et le Jazz - Rencontre avec Claude Abadie X 38 1 Les X et le Jazz - Rencontre avec Claude Abadie X 38 Simon Hadrot 1 Parmi les anciens élèves de l'X qui se sont illustrés musicalement, c'est une personnalité incontournable. Clarinettiste depuis 1937, Claude Abadie a occupé le devant de la scène jazzistique française de l'après-guerre. Son orchestre - duquel faisait partie le jeune Boris Vian à la trompette - tourna en France et à l'étranger et remporta à l'époque les prix les plus prestigieux de plusieurs concours d'orchestres amateurs. Bien qu'il soit toujours resté amateur, ses talents de musicien n'ont en rien diminué au fil des années : son tentette actuel est en activité permanente depuis près de trente-cinq ans. -
Discography Compiled by Evert (Ted) Kaleveld and Lily Coleman
Discography Compiled by Evert (Ted) Kaleveld and Lily Coleman Abbreviations ts tenor saxophone arr arranger v vocal as alto saxophone vib vibraphone ~s baritone saxophone vn violin bs bass saxophone wb washboard bj banjo Country of record origin eel celesta (Where no country of origin is given, USA is cl clarinet understood.) d drums E England db double bass F France H flute I Italy flh Hugel hom N Netherlands g guitar Sz Switzerland ldr leader Record types org organ EP 45 rpm extended play p piano ss soprano saxophone (Issue numbers of78 rpm records are shown in roman t trumpet type; those oflong-playing records are shown in italic.) tb trombone 1929 57712-1 Springfield Stomp Victor V 38117 Sep 6 New York Luis Russell and his Orchestra 1931 Bill Coleman, Henry .. Red" Allen (t); J .C. Higgin Sep23 NewYork botham(tb, v); AlbertNicholas(cl, as); Charlie Holmes Don Redman and his Orchestra (as, ss); Teddy Hill (ts); Luis Russell (p, ldr); Walter Bill Coleman, Henry .. Reel" Allen, Leonard Davis (t); Johnson (llj); Pops Foster (db); Paul Barbarin ( d, vib) Claucle]ones, Fred Robinson, Benny Morton (tb); Ed 402938-c The New Call of the Freaks Okeh 8734 ward lnge, Rupert Cole (cl, as); Don Redman (as, v, 402939-c Feeling the Spirit GCH:v) Okeh 8766 ldr, arr); Robert Carroll (ts); Horace Henclerson (p, 402940-b Jersey Lightning Okeh 8734 arr); Talcott Reeves (llj, g); Bob Ysaguirre (db, tuba}; Manzie]ohnson(d, vib); Lois Deppe(v} 1929 E 37222-A I Heard Unissued Sep13 NewYork E 37223-A Trouble, why pick on me? Lou and his Ginger Snaps [ = -
Roger BOURDIN 1923-1976
1 Roger BOURDIN 1923-1976 DISCOGRAPHIE non exhaustive 29/09/2021 (établie par Philippe Bourdin, Dany Lallemand, Evelyne Harambourg, Christian Bonneau, Masaaki Yagishita et Christophe Hénault) VARIÉTÉ Trois fois Grand Prix du Disque (1952, 1954 et 1956), Roger Bourdin aura fait plus qu’aucun autre pour stimuler l’intérêt de la flûte dans la variété. Thanks to Roger Bourdin, three-time Grand Prix du Disque winner (1952, 1954 and 1956), and more than anyone else, the flute suddenly became a major instrument in mainstream music. This discography (as updated and accurate as possible) is a work in progress. New content will be added bit by bit. • DISQUES 78 TOURS DECCA • Jacques Dutailly avec Roger Bourdin et son orchestre Trois fils d'argent (Jacques Dutailly) Dis-moi que tu veux (Jacques Dutailly) Jacques Dutailly (chant) Enregistré en octobre 1952 DECCA - 78 tours, 25cm - MF 36.062 (Numéros de matrice : P 1473-1, P 1474-1) (P.1952) Reprises : Jacques Dutailly et ses chansons DECCA - 33 tours, 25cm - FS 133162 (Numéros de matrice : P. 33.2039, P. 33.2040) Jacques Dutailly - Succès et Raretés MARIANNE MÉLODIE - CD 1187442, Collection “78 tours… et puis s’en vont” (P.2016) Trois fils d'argent figure dans l’anthologie La kermesse aux chansons - Chansons souvenirs 1950-1954 - SÉLECTION DU READER’S DIGEST - 9xLP 653, 5xCassette 654, 6xCD 655 (P.1990) et dans la compilation Nos souvenirs de jeunesse - MARIANNE MÉLODIE - CD 2649044 (P.2009) • Luiz El Grande Sérénade antillaise (Jean-Paul Guilbert) (Samba-Calypso) avec Roger Bourdin (piccolo) La danse à la mode (Luiz Gonzaga) (Baião) Luiz El Grande y su typica Orquesta DECCA - 78 tours - MF 36185 (Numéro de matrice : P 1792) (P.1953) • Freddy Balta La fête des fleurs (Edmundo P. -
Discography Compiled by Bob Weir
Discography Compiled by Bob Weir Notes I) The discography excludes Clayton's recordings with Count Basie and Billie Holiday during the period I937-43 (readers are referred to Chris Sheridan's Count Ba.sie: a Rio-discography (Westport, CT, and London, I986) and Jack Millar's Born to Sing: a Disrography ofBillie Holiday (Copenhagen, I979), for these details). Clayton maintains, however, that his first recordings were made in New York with Teddy Wilson and Billie Holiday (the date given by discographers as 25January I937) and not with Basie (given as 2I January 1937); he is sure that Basie's first date was about two weeks after that with Wdson and Holiday. Every other known recording by Clayton, including radio and television broadcasts, transcriptions, film soundtracks and "live" tapes, is listed. (At many sessions in the discography other items were recorded on which Clayton did not play; these are not listed.) 2) Only the first record issue is given. Microgroove issues (shown in italics) are 12" LPs unless otherwise indicated. 3) Where more than one take of a title has been issued, the takes are listed in the sequence of issue. 4) Where a vocalist is listed in the recording group title or at the head of the personnel details, he or she sings on every item in the session. Elsewhere those items with vocalists are indicated by initials immediately after the titles. 5) A question mark after a record company name indicates that the item was issued on a 78, but the record number is not known. A large number of collectors, discographers, writers and record companies have assisted generously with information for the discography. -
Billie Holiday Year of Lady Day
APRIL 2015—ISSUE 156 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BILLIE HOLIDAY YEAR OF LADY DAY SCOTT ROB RAY RED COLLEY MAZUREK RUSSELL GARLAND Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 116 Pinehurst Avenue, Ste. J41 APRIL 2015—ISSUE 156 New York, NY 10033 United States New York@Night 4 Laurence Donohue-Greene: [email protected] Interview : Scott Colley by russ musto Andrey Henkin: 6 [email protected] General Inquiries: Artist Feature : Rob Mazurek 7 by ken waxman [email protected] Advertising: On The Cover : Billie Holiday 8 by alex henderson [email protected] Editorial: [email protected] Encore : Ray Russell 10 by clifford allen Calendar: [email protected] Lest We Forget : Red Garland 10 by stuart broomer VOXNews: [email protected] Letters to the Editor: LAbel Spotlight : Trost 11 by ken waxman [email protected] VOXNEWS 11 by katie bull US Subscription rates: 12 issues, $35 International Subscription rates: 12 issues, $45 For subscription assistance, send check, cash or money order to the address above In Memoriam 12 by andrey henkin or email [email protected] Festival Report Staff Writers 13 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, In Memoriam: Clark Terry 14 Katie Bull, Thomas Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, CD Reviews 16 Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Miscellany Terrell Holmes, Robert Iannapollo, 41 Suzanne Lorge, Marc Medwin, Robert Milburn, Russ Musto, Event Calendar 42 Sean J. O’Connell, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Jazz is a music of longevity. -
Don Byas Was One of Our Great Tenorsax Favourites
1 The TENORSAX of CARLOS WESLEY BYAS “DON” PART 2 (EUROPE 1946 – 1960) Solographer: Jan Evensmo Last update: Feb. 17, 2021 2 Born: Muskogee, Oklahoma, Oct. 21, 1912 Died: Amsterdam, Holland, Aug. 24, 1972 Introduction: As stated in Part 1, Don Byas was one of our great tenorsax favourites. He visited Norway several times, and quite a lot of exciting material exists. He found Europe a nicer place to live and never went back to the U. S.. History: In September 1946 came to Europe as a member of Don Redman’s band and lived in Europe ever since. In 1950 played in Europe with Duke Ellington, also toured with Norman Granz’s ‘Jazz at the Philharmonic’ and visited Britain as a soloist in 1965. Regularly featured at jazz festivals throughout Europe and continued his prolific recording career. Toured as a soloist, working with local rhythm sections. Lived in Holland. (ref. John Chilton). 3 DON BYAS SOLOGRAPHY Continued from USA 1946. JAM SESSION Copenhagen, Sept. 9, 1946 Don Byas (ts), Leo Mathisen (p), probably Niels Foss (b), probably Buford Oliver (dm). Broadcast from Restaurant München: Laura (3:47) Solo 64 bars to coda. (S) Sweet Georgia Brown (3:11) Solo 4 choruses of 32 bars (NC) (first 12 bars missing). Solo 2 choruses to coda. (F) What a way to start the lifelong exile in Europe! First stop, with the Don Redman orchestra, to Copenhagen, Denmark, starts with a jam session produced by The Danish State Radio, just released on a Leo Mathisen CD on Little Beat Records 13001. The two items containing Don Byas are just magnificent, “Laura” in a perfect slow tempo, and “Sweet …” in a very high uptempo which is treated with full sovereignty.