Atkins (A Veteran of [World War I?],[See Notes on His
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2 Tansas Gazette - North East Louisiana
. 2 Tansas Gazette - North East Louisiana ======= Map of North Eastern Louisiana Waterproof, La is in the Southern portion of Tansas Parish, La. It is 199 miles from New Orleans. During the era of the cotton plantations the population of the parish was 90% slaves. There were many dances in the parish's leading cities - Waterproof, Newellton and St. Joseph. There were few concerts given and few organized brass or string bands. Jazz music was first mentioned in the newspaper in 1921. 1881 May 7 - The Ball, Wednesday Night In response to an invitation sent us, we attended the ball given by the Tensas "rifles, at Masonic Hall, on the evening of the 4th. As we predicted last week, everyone who attended had an ice time, and to say that it was a success but faintly expressed it. The band - Kaisers, from Natchez - came on the Rebstock, about 6:30 and about 9 p.m. the ladies and their escorts began to arrive, and despite the warmth of the evening, number of them were soon whirling in the dizzy mazes of the waltz. "From that time until the hour appointed for supper, the dancers held the floor, and "chased the giddy hours with flying fee" to the music of quadrille, heel and toe, the waltz and the Lancers. The assemblage was the largest, we learn, of any that has attended a ball here during the season. 1882 November 4 - Brass Band We learn that the Waterproof Brass Band has organized a series of open-air concerts, in the form of night serenades to their friends in the several neighborhoods in the vicinity of the town. -
The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr. -
Phases of the Moon. RBA Asks If There Wasn't Someone in DA's [Cf
DON ALBERT D ige s t s R. Adamo REELI Check: E.S. Baur SEPT. 18, 1972 Also present: RBA Dblck: RBA RBA asks about a point raised previously by DA concerning the phenomenon of a person changing according to tIie changing phases of the moon. RBA asks if there wasn't someone in DA's band who was like that. DA says it was Geechee [JamesJ Robinson. RBA asks if he is still alive » DA doesn't "know but assumesthat * he is . After GR left DA"s band, he joined Fletcher [Hendersonl's. He was always "a fickle fallow," always wanting to be on the go. [Cf. Walter C. Alien, Hendersonia, on GR] DA guesses that he just kept running; GR wasn't one to correspond much. RBA asks what GR would do when the moon changed. DA explains tliat that was just the band's way of putting it/ a ^S.tfe joke they shared. His attitude would cliange like Dr. Jeckyl and Mr. Hyde. He would go from being friendly to arguing with anyone in the band. For this reason, the members sometimes avoided him. RBA asks if he became argumentative wlien the moon was full. DA says they didn't notice at the time. RBA mentions that people do seem susceptible to mood swings due to factors like the time of day. DA says that's the way GR was--at a certai^ time of the month he would automa- tically change* RBA asks if DA knew the members of the Jay McShann Band * Not well, DA answers; he knew a few of them, and remembers when fn.e- singer Al Hibbler went with McShann. -
Edward “Kid” Ory
Edward “Kid” Ory Mr. Edward “Kid” Ory was born in Woodland Plantation near La Place, Louisiana on December 25, 1886. As a child he started playing music on his own homemade instruments. He played the banjo during his youth but his love was playing the trombone. However, the banjo helped him develop “tailgate” a particular style of playing the trombone. By the time he was a teenager, Ory was the leader of a well-regarded band in southeast Louisiana. In his early twenty’s, he moved to New Orleans with his band where he became one of the most talented trombonists of early jazz from 1912 to 1919. In 1919, Ory relocated to Los Angeles, California for health reasons. He assembled a new group of New Orleans musicians on the West Coast and played regularly under the name of Kid Ory’s Creole Orchestra. There, he recorded the 1920s classics “Shine,” “Tiger Rag,” “Muskrat Ramble,” and “Maryland, My Maryland.” In 1922, he became the first African American jazz bank from New Orleans to record a studio album. In 1925, Ory moved to Chicago and took interest in working on radio broadcasts and recording with names such musicians as Louis Armstrong, Jelly Roll Morton, Johnny Dodds, and many others. During the Great Depression, Ory left music but returned in 1943 to lead one of the top New Orleans style bands of the period until 1961. It was about 1966 when Ory retired and spent his last years in Hawaii. He did, however, play occasionally for special events. One of his last performances was in 1971 when he surprised everyone by coming back to the New Orleans Jazz and Heritage Festival. -
MONEY JOHNSON: Duke's New Trumpet by Stanley Dance Book to Study
MONEY JOHNSON: Duke's New Trumpet By Stanley Dance book to study. He progressed so rapidly Lips Cole was one of the trumpet*, that within a few months, he began to we had a fine drummer too. We used to play in Eddie and Sugar Lou's professional call him Pretty Daddy." group. Eddie Fennell sang and played gui• Johnson was with Calhoun's band at tar, and Sugar Lou Morgan played piano. least two years and says that it was with They rehearsed and played afterhours him that he thinks he first used a plunger parties at the house of Johnson's aunt, mute, something occasioned by Calhoun's around the corner from his mother's. He'd copying Ellington's jungle-sound arrange• go there on weekends or after school and ments. He left to play with John White, a remembers how "they'd dance at the par• trumpeter, who had a band about the size ties and have food, and the tunes would if Calhoun's. White could play all of be like You Rascal, You; Shine; Peanut .Armstrong's solos "and play them well, not Vendor; and Chinatown. My family used louse them up," Johnson said. White had a to buy Louis Armstri'P.g's records of those strong lip, he said, and "he'd play them numbers, and a next-door neighbor used to three or four times a night. It was amaz• let me borrow other records to study. ing. His mother was a schoolteacher and "Eddie and Sugar Lou's band played by he never wanted to go no place. -
Istreets] Rampart Street; Then He Went Back to New Orleans University
PRESTON JACKSON Also present: William Russell I [of 2]-Digest-Retyped June 2, 1958 Preston Jackson was born in the Carrollton section of New Orleans on January 3, 1904 at Cherokee and Ann [now Garfield] Istreets] (according to his mother). He went to "pay" school, then to Thorny Lafon [elementary] School, then to New Orleans University (WR says Bunk Johnson went there years before), which was at Valmont and St. Charles. His family are Methodist and Catholic. PJ moved to the Garden District; he attended McDonogh 25 School, on [South] Rampart Street; then he went back to New Orleans University [High s ]t School Division?] . In about 1920 or 1921, PJ told Joe Oliver he was thinking of taking up trombone; Oliver advised him to take clarinet instead, as PJ was a good whistler and should have an instrument more maneuver- able than the tromboneo Having decided on clarinet, PJ was surprised by his mother, wlio secretly bought him a trombone (August, 1920 or 1921) - PJ found but later that William Robertson, his first teacher, and a trombonist, had bought the horn for PJ's mother (Robertson was from Chicago) . PJ studied with Robertson for about six months; when he had had the horn for about nine months, he was good enough to be invited to play in the band at [Quinn's?] Chapel, where he remained four or five months, playing in the church band. Then PJ met some New Orleans friends and acquaintances/ including Al and Omer Simeon (from the "French part of town"), Bernie Young and 1 PRESTON JACKSON 2 I [of 2]-Digest--Retyped June 2. -
“Ory's Creole Trombone”-- Kid Ory (June 1922) Added to the National Registry: 2005 Essay by David Sager
“Ory's Creole Trombone”-- Kid Ory (June 1922) Added to the National Registry: 2005 Essay by David Sager Kid Ory In mid-summer 1922, and with very little ballyhoo and promotion, a pair of enterprising African- American brothers brought out this pioneering and essential jazz recording, one that would define New Orleans-style jazz and serve as a model for future performers of that genre. John and Benjamin “Reb” Spikes—songwriters, publishers, vaudeville performers, and owners of a music store and a small amusement park in Los Angeles—were well connected in black show business and well aware of the enormous musical contributions being made by folks from New Orleans. “Ory’s Creole Trombone”—and its reverse side, “Society Blues”—are commonly referred to as the first jazz record by African Americans. Actually, it is not, for that distinction must go to Wilbur Sweatman and his Jass Band for a Pathe recording made in the spring of 1917. The Ory recordings are the first recordings of black/Creole New Orleans jazz, though, due to their loose feel and hot nature, many think of these as the first recognizable jazz performances on record. They are certainly the first jazz recordings made on the west coast. In 1921, the Spikes brothers composed and published the song “Someday Sweetheart,” which would become a perennial favorite among jazz bands. When singer Alberta Hunter recorded it for the newly-formed black owned-and-operated Black Swan label, the brothers took special notice of its success. With the growing popularity of “race records”--those aimed at the black audience--the enterprising brothers went into the record business. -
Classical Studies. He Played In\^ Fraternity Band at College. He
WILLIAM RUSSELL also ptesent; August 31, 1962 Reel I-Digest-Retype William R. Hogan 1L Paul R. Crawford First Proofreading: Alma D. Williams William Russell was born February 26, 1905, in Canton, Missouri, on the Mississippi River. His first impressive musical experiences were hearing tlie calliopes on the excursion and show boats which ^ came to and by Canton. He first wanted to play bass drum when lie heard the orchestra in his Sunday School, but he began playing violin when he was ten. His real name is Russell William Wagner. In about 1929 Tne began writing music; Henry Cowell published some of his music in 1933 and WR decided the use of the name Wagner 6n music would be about equal to writing a play and signing it Henry [or Jack or Frank, etc,] Shalcespeare, so he changed his name for that professional reason. His parents are of German ancestry. His father had a zither, which WR and a brother used for playing at .r concerts a la Chautauqua. He remembers hearing Negro bands on the boats playing good jazz as early as 1917 or 1915, and he was fascinated by it, although he felt jazz might contaminate his classical studies. He played in\^ fraternity band at college. He y studied chemistry at college although his main interest was music, He went to Chicago to continue studying music in 1924, and he says 1^e didn't have sense enough to go to the places where King Oliver/ the New Orleans Rhythm Kings, and others were playing then, and he has since regretted that. -
Nebraska Traditional Music and Dance Forms
Folk Arts • Traditional Arts • Folklife Curriculum Unit • Grades 6–8 nebraskafolklife.org A Sampling of Nebraska Traditional Music and Dance Forms African and African American Traditional Music and Dance African Music and Dance Nebraska has gained a substantial number of immigrants from several African countries in the past few years. Sizeable communities of Sudanese live in Omaha and Lincoln, for example. Below are just two examples of African music and dance forms present in the state. Charles Ahovissi of Lincoln, Nebraska is originally from Benin. He performs traditional African dances from his homeland Michael Opoku and Ashanti – Michael Opoku of Lincoln Nebraska is a native of Accra, Ghana in West Africa. He is a multi-instrumentalist and band leader and his group Ashanti plays both traditional Ghanaian music and more contemporary numbers. Ashanti also features traditional dances from Ghana and other areas of Africa. Michael is an artist in schools for the Nebraska Arts Council, and teaches classes on African drumming and cultural traditions. African American Blues The blues is a distinctive traditional style of music that uses “blue notes” (sung or played at a lower pitch than those of the major scale) to emphasize the sadness of its subject matter. The most classic form of the blues has three lines of lyrics and is and played with a 12 bar chord progression. Eight bar blues songs are also common. The blues was created by African American musicians in the rural south in the latter half of the 19 th century. Many of Nebraska’s African Americans moved to the state from southern states and larger northern cities such as Chicago and Kansas City to find jobs in meat packing and other industries between the turn of the 20 th century and the 1940s. -
BENNY GOLSON NEA Jazz Master (1996)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BENNY GOLSON NEA Jazz Master (1996) Interviewee: Benny Golson (January 25, 1929 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: January 8-9, 2009 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 119 pp. Brown: Today is January 8th, 2009. My name is Anthony Brown, and with Ken Kimery we are conducting the Smithsonian National Endowment for the Arts Oral History Program interview with Mr. Benny Golson, arranger, composer, elder statesman, tenor saxophonist. I should say probably the sterling example of integrity. How else can I preface my remarks about one of my heroes in this music, Benny Golson, in his house in Los Angeles? Good afternoon, Mr. Benny Golson. How are you today? Golson: Good afternoon. Brown: We’d like to start – this is the oral history interview that we will attempt to capture your life and music. As an oral history, we’re going to begin from the very beginning. So if you could start by telling us your first – your full name (given at birth), your birthplace, and birthdate. Golson: My full name is Benny Golson, Jr. Born in Philadelphia, Pennsylvania. The year is 1929. Brown: Did you want to give the exact date? Golson: January 25th. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Brown: That date has been – I’ve seen several different references. Even the Grove Dictionary of Jazz had a disclaimer saying, we originally published it as January 26th. -
Count Basie and His Bands
NEW YORKJAZZ MUSEUM , . (:OU~T 13A,I~ and 171,13A~u, _.......-- · ' - . -~•,.,. - (:OU~T 13Ail~ and I-iii 13A~l)i Edited by Dan Morgenstern and Jack Bradley Biographies by Bill Esposito Dan Morgenstern Arnold J. Smith © Copyright 1975 by New York Jazz Museum Cover photo/Phil Stern Cover design/ Fran Greenberg WILLIAM "COUNT" BASIE A PROFILE OF HIS LI FE & MUSIC 1904 Born , August 21, at Red Bank, N.J. 1917 Starts as a drummer, switches to piano. 1919-20 Plays in local bands and stage shows in N. Y. and N.J. Takes lessons from Fats Waller. 1925-27 Tours theaters accompanying variety acts: Kate Crippen and Her Kids, Sonny Thompson Band, Gonzelle White. Vaudevillians ; first hears Kansas City style music in Tulsa, Walter Page Blue Devils; Gonzelle White Show folds in Kansas City; Accompanies Whitman Sisters in Kansas City . 1928 Join s Blue Devils in Dallas, Texas in July. 1929 Plays briefly with Elmer Payne and his Ten Royal Americans (summer). 1930 Basie and members of the Blue Devils join Benny Mote.n's band. 1934 Leaves Moten early in year to lead own band (under Mote.n's auspices) in Little Rock, Arkansas, then rejoins Moten. 1935 Death of Moten breaks up the famous Kansas City unit, after working a short time under Mote.n's brother Buster's leadership; returning to Kansas City, · works as a single, then with own trio before jointly leading "Barons of Rhythm" with altoist, Buster Smith. 1936 Broadcasts over Station WIXBY and is heard by John Hammond, famed jazz buff and sponsor, who initiates the band's first national tour; plays at Grand Terrace in Chicago - not a rousing success - then the Vendome Hotel in Buffalo, N.Y. -
A Researcher's View on New Orleans Jazz History
2 TABLE OF CONTENTS Introduction 6 Format 6 New Orleans Jazz 7 Brass & String Bands 8 Ragtime 11 Combining Influences 12 Party Atmosphere 12 Dance Music 13 History-Jazz Museum 15 Index of Jazz Museum 17 Instruments First Room 19 Mural - First Room 20 People and Places 21 Cigar maker, Fireman 21 Physician, Blacksmith 21 New Orleans City Map 22 The People Uptown, Downtown, 23 Lakefront, Carrollton 23 The Places: 24 Advertisement 25 Music on the Lake 26 Bandstand at Spanish Fort 26 Smokey Mary 26 Milneburg 27 Spanish Fort Amusement Park 28 Superior Orchestra 28 Rhythm Kings 28 "Sharkey" Bonano 30 Fate Marable's Orchestra 31 Louis Armstrong 31 Buddy Bolden 32 Jack Laine's Band 32 Jelly Roll Morton's Band 33 Music In The Streets 33 Black Influences 35 Congo Square 36 Spirituals 38 Spasm Bands 40 Minstrels 42 Dance Orchestras 49 Dance Halls 50 Dance and Jazz 51 3 Musical Melting Pot-Cotton CentennialExposition 53 Mexican Band 54 Louisiana Day-Exposition 55 Spanish American War 55 Edison Phonograph 57 Jazz Chart Text 58 Jazz Research 60 Jazz Chart (between 56-57) Gottschalk 61 Opera 63 French Opera House 64 Rag 68 Stomps 71 Marching Bands 72 Robichaux, John 77 Laine, "Papa" Jack 80 Storyville 82 Morton, Jelly Roll 86 Bolden, Buddy 88 What is Jazz? 91 Jazz Interpretation 92 Jazz Improvising 93 Syncopation 97 What is Jazz Chart 97 Keeping the Rhythm 99 Banjo 100 Violin 100 Time Keepers 101 String Bass 101 Heartbeat of the Band 102 Voice of Band (trb.,cornet) 104 Filling In Front Line (cl.