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Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 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]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation 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 Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Tommy Dorsey 1 9
Glenn Miller Archives TOMMY DORSEY 1 9 3 7 Prepared by: DENNIS M. SPRAGG CHRONOLOGY Part 1 - Chapter 3 Updated February 10, 2021 TABLE OF CONTENTS January 1937 ................................................................................................................. 3 February 1937 .............................................................................................................. 22 March 1937 .................................................................................................................. 34 April 1937 ..................................................................................................................... 53 May 1937 ...................................................................................................................... 68 June 1937 ..................................................................................................................... 85 July 1937 ...................................................................................................................... 95 August 1937 ............................................................................................................... 111 September 1937 ......................................................................................................... 122 October 1937 ............................................................................................................. 138 November 1937 ......................................................................................................... -
Fiiilihletter
P.O. Box 240 Ojai, Calif. fiiilihletter 93024--0240 February 1990 Vol. 9 N0. 2 Where’s Georgie? of playing, and even in the curious sense of joy undercolored by darkness. When I asked Miles, famed for purported Gerry Mulligan is trying to fmd the Georgie Auld band book, militancy, if he had listened a lot to Bix, he, far from being so that he can catalogue it. If anyone knows where that offended, answered, "No, but I listened a lot to Bobby Hackett. library is, please drop me a line and I’ll pass it along to Gerry. And he listened to Bix." Furthermore, according to Gil Evans -- whom Miles once described to me as his best friend -- one Bix and Bill of the influences on Miles was Harry James who, when he One afternoon in 1958 I sat in a Paris cafe with the French turned away from lugubrious ballads and broad vibrato, was a critic and composer Andre Hodeir, author of Jazz: Its Evolu- hot and hard and dazzling jan player. Rex Stewart, a writer tion and Essence. Americans incline to be flattered by as well as a cornet player, had much to say on the impact of European praise, and Hodeir’s book caused a stir in the jazz Bix Beiderbecke. Saxophonist Billie Mitchell told me that his intellectual community in the United States -- not the music- big early influence was Artie Shaw. Artie Shaw told me that ians, to be sure, but editors and writers on the subject. he spent his early days trying to play like Bix on a saxophone. -
King Oliver, Jelly Roll, and Satchmo 14 3 Bix, Austin High, and Chicago Style 31 4 Pops and Smack 41
THE JAZZ AGE This page intentionally left blank ARNOLD SHAW THE JAZZ AGE Popular Music in the 1920's Oxford University Press New York Oxford OXFORD UNIVERSITY PRESS Oxford New York Toronto Delhi Bombay Calcutta Madras Karachi Petaling Jaya Singapore Hong Kong Tokyo Nairobi Dar es Salaam Cape Town Melbourne Auckland and associated companies in Berlin Ibadan Copyright © 1987 by Ghita Milgrom Shaw First published in 1987 by Oxford University Press, Inc., 200 Madison Avenue, New York, New York 10016 First issued as an Oxford University Press paperback, 1989 Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press, Inc. Library of Congress Cataloging-in-Publication Data Shaw, Arnold. The Jazz Age. Bibliography: p. Includes index. 1. Music, Popular (Songs, etc.)—United States—History and criticism. 2. Jazz music—United States. 3. Musical revue, comedy, etc.— United States. 4. United States—History—1919-1933. I. Title. ML3477.S475 1987 780'.42'0973 86-33234 ISBN 0-19-503891-6 ISBN 0-19-506082-2 (pbk.) Lyrics from "Night and Day" by Cole Porter © 1921 Warner Bros. Inc. (Renewed). All Rights Reserved. Used by permission. "I've Come to Wive it Wealthily in Padua" by Cole Porter, Copyright © 1948 by Cole Porter. Copyright Renewed & Assigned to John F. Wharton, as Trustee of the Cole Porter Musical & Literary Property Trusts. Chappell & Co., Inc., owner of publication and allied rights throughout the world. -
Bix Beiderbecke Leon Bismark Beiderbecke Was an American Jazz
Bix Beiderbecke Leon Bismark Beiderbecke was an American jazz cornetist, jazz pianist, and composer. Born March 10, 1903 Davenport, Iowa, US Died August 6, 1931 (aged 28) Years active 1924–1931 Labels Columbia/SME Records With Louis Armstrong and Muggsy Spanier, Beiderbecke was one of the most influential jazz soloists of the 1920s. His turns on "Singin' the Blues" and "I'm Coming, Virginia" (both 1927), in particular, demonstrated an unusual purity of tone and a gift for improvisation. With these two recordings, especially, he helped to invent the jazz ballad style and hinted at what, in the 1950s, would become cool jazz. "In a Mist" (1927), one of a handful of his piano compositions and one of only two he recorded, mixed classical (Impressionist) influences with jazz syncopation. A native of Davenport, Iowa, Beiderbecke taught himself to play cornet largely by ear, leading him to adopt a non-standard fingering some critics have connected to his original sound. He first recorded with Midwestern jazz ensembles, The Wolverines and The Bucktown Five in 1924, after which he played briefly for the Detroit- based Jean Goldkette Orchestra before joining Frankie "Tram" Trumbauer for an extended gig at the Arcadia Ballroom in St. Louis. Beiderbecke and Trumbauer joined Goldkette in 1926. The band toured widely and famously played a set opposite Fletcher Henderson at the Roseland Ballroom in New York City in October 1926. In 1928, Trumbauer and Beiderbecke left Detroit to join the best-known and most prestigious dance orchestra in the country: the New-York-based Paul Whiteman Orchestra. Beiderbecke's most influential recordings date from his time with Goldkette and Whiteman, although they were generally recorded under his own name or Trumbauer's. -
November 2020 Candlelight: Love in the Time Of
Issue XXII November 2020 Candlelight: Love in the time of Suggestions for best listening: a relaxed setting, perhaps Cholera; a cd review late evening with a special person and your favorite by F. Norman Vickers beverage. Congratulations, Pete Malinverni; we look forward to your next jazz innovation. This CD will be placed in the Jazz Room at downtown West Florida Public Library for patron check-out. Help support Jazz Pensacola's continued efforts to put on events after a forced 7 month hiatus! A purchase of this hoodie not only makes a great addition to your wardrobe, but also helps support our events! Visit www.customink.com/ fundraising/jazz-pensacola- covid for purchasing information. Candlelight: Love in the Time of Cholera CD cover. Enjoy fun, food, and friendship by Tom Bell It was with some excitement and anticipation when this Many members as well as non-members attend our Jazz CD arrived in my box for review. I was familiar with Pete Malinverni’s career as jazz pianist, composer-arranger and that so many of us have acquired for free is the meeting educator. In addition, I was aware that he is music director ofPensacola new friends. functions Once for the the friendship music and chain food. is An started, extra benefit it can for a Baptist as well as a Jewish congregation in the New continue endlessly. York City area. So, now he comes up with a duo recording Case in point: About a decade ago, I and my wife attended with a classical violinist, Julie Kurtzman. a Gumbo at Seville Quarter. -
Covers a Lot of Musical Territory, and Many of Its Varied Styles Are
A covers Ja lot of musical territory,Z andZ many of its varied styles are represented here. Stride piano from the 1920s rubs shoulders with swing from the 1940s, classic combo sounds from the 1950s, salsa-flavored dance music, and recently created pieces that stretch the very boundaries of jazz. All of these were recorded by "Prof." Keith O. Johnson, some live, some in studios, some in concert halls with superb acoustics – always with his own microphones, cables and electronics. The earliest was done with his first hand-built analogue tape recorder sporting three channels; the most recent with cutting-edge high-resolution digital technology. We hope you'll find much to enjoy in this generous overview of RR's constantly-growing catalogue of jazz. 1 RHEE WAAHNEE (B. Dillard) The Red Norvo Quintet from The Forward Look, RR-8 recorded live, 1957 Red Norvo, vibes; Jimmy Wyble, guitar Jerry Dodgion, reeds; Red Wooten, bass John Markham, drums 2 I'M GOIN’ TO SEE MY MA (Fats Waller) Dick Hyman, piano from Dick Hyman Plays Fats Waller, RR-33 3 TRIBUTE TO DOLLAR BRAND (Donna Viscuso) The Blazing Redheads from Crazed Women, RR-41 Donna Viscuso, reeds; Klaudia Promessi, saxophone; Danielle Dowers, drums; Michaelle Goerlitz, percussion 4 NOTHIN’ TO DO BLUES (Mike Garson) from Wind Beneath My Wings, need photo RR-121 (a compilation for Sping, 2010) Mike Garson, piano; Brian Bromberg, bass Billy Mintz, drums; Bob Shephard, saxophone Rick Zunigar, guitar; Bob Summers, trumpet 5 I WANT A LITTLE GIRL (Murray Mincher & Billy Moll) Clark Terry, trumpet & vocal Bob Lark / DePaul University Big Band from The Chicago Sessions, RR-111 6 YOU'RE DRIVING ME CRAZY / MOTEN SWING (W. -
Pianist Emmet Cohen ‘Fills in the Gaps’ Between Traditional and Modern Jazz New Release Follows Months of Weekly Online Concerts
THE MAGAZINE OF THE APRIL 2021 NEW JERSEY JAZZ SOCIETY JerseyJazz VOLUME 49 ISSUE 04 EMMET COHEN’S Future Stride TRANSFORMING TRADITION IN THIS ISSUE ARTICLES/REVIEWS COLUMNS 08 Saturdays with 03 All That’s Jazz Ramsey Lewis 05 Editor’s Choice 13 Emmet Cohen’s Future Stride 36 From the Crow’s Nest 17 Jazz History: Scott LaFaro 22 Talking Jazz: John Lee 29 Rising Star: Jocelyn Gould 33 Remembering CORRECTION The bassist who played with Renee Rosnes Carol Fredette at the Paris Philharmonie and the Luxembourg Philharmonie in 2016 was Linda May Han Oh. Her name was misstated on page 14 of the ON THE COVER _ Emmet Cohen. ALL PHOTOS OF COHEN BY TAILI SONG ROTH 38 Other Views March 2021 issue of Jersey Jazz. NJJS.ORG JERSEY JAZZ APRIL • 2021 02 ALL THAT’S JAZZ BY CYDNEY HALPIN pril is Jazz Appreciation it’s potential, summed up and sanc- please contact me at [email protected]. lease join me on Saturday, April Month (JAM). Originally in- tified and accessible to anybody who 17 at 7 p.m. as we present our A tended as a catalyst to encour- learns to listen” — WYNTON MARSALIS osaic™ Box Sets for Sale. P Virtual Social featuring Chris- age people of all ages to actively NJJS has received two in- tian Fabian, Lance Bryant and Ja- participate in jazz, JAM heralds and ersey Jazz magazine is a wonder- M credibly generous dona- son Marsalis in a “conversation and celebrates the extraordinary heri- ful benefit of NJJS membership tions of used Mosaic™ Limited clips” presentation highlighting the tage and history of jazz. -
Classification
>rmNo. 10-300 ^&i-,. AO-1 ^ UNITED STATES DEPARTMENT OF THE INTERIOR SHEET NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS NAME HISTORIC rBix \Beiderbecke i House * t^t 1h&*~- AND/OR COMMONUIHM ""-•-.. — ., . .. :.,.,..„.,„/ LOCATION STREET & NUMBER 1934 Grand Avenue _NOT FOR PUBLICATION CITY. TOWN CONGRESSIONAL DISTRICT Davenport VICINITY OF ol STATE CODE COUNTY CODE Iowa Scott CLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE —DISTRICT —PUBLIC ^-OCCUPIED _ AGRICULTURE —MUSEUM JKBUILDING(S) X_PRIVATE —UNOCCUPIED —COMMERCIAL —PARK —STRUCTURE —BOTH —WORK IN PROGRESS —EDUCATIONAL ^PRIVATE RESIDENCE —SITE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT —RELIGIOUS —OBJECT _IN PROCESS —YES: RESTRICTED —GOVERNMENT —SCIENTIFIC —BEING CONSIDERED — YES: UNRESTRICTED —INDUSTRIAL —TRANSPORTATION _NO —MILITARY —OTHER: [OWNER OF PROPERTY NAME ____Dan Newby________ STREET & NUMBER 1934 Grand Avenue CITY. TOWN STATE Davenport VICINITY OF Iowa LOCATION OF LEGAL DESCRIPTION COURTHOUSE, REGISTRY OF DEEDS,ETC Recorder, Scott County Courthouse STREET & NUMBER CITY. TOWN STATE Davenport Iowa REPRESENTATION IN EXISTING SURVEYS TITLE DATE —FEDERAL —STATE —COUNTY _LOCAL DEPOSITORY FOR SURVEY RECORDS CITY, TOWN STATE ] DESCRIPTION CONDITION CHECK ONE CHECK ONE —EXCELLENT —DETERIORATED —UNALTERED ^ORIGINAL SITE —XGOOD —RUINS X_A|_TERED —MOVED DATE_______ —FAIR _UNEXPOSED DESCRIBE THE PRESENT AND ORIGINAL (IF KNOWN) PHYSICAL APPEARANCE The Beiderbecke house is a straightforward,late-Victorian frame dwelling, located in a residential neighborhood of similar vintage. It is set upon a terrace which rises about 5 feet from street level, and across from a small neighborhood park. The house is 26* wide and 57' deep, with a basically rectangular plan. It has two brick chimneys above an irregular gabled roofline. -
Malcolm Lowry and Jazz
SWINGING THE MAELSTROM Malcolm Lowry and Jazz Perle Epstein WHEN DURING THE COURSE of treatment a psychiatrist asked Malcolm LowryΤ to freTHeE associate "anything that comes into your head that begin with Б", Lowry instantly replied, "Bix Beiderbecke." For some reason the psychiatrist would not accept this answer; if he had, he would have learned a great deal about his patient in a short time. Had the therapist been a jazz fan himself, he would have known that Beiderbecke, one of Lowry's lifetime idols, played a brilliant trumpet and died an alcoholic at age twenty-eight. One short step, and he would have understood that in many ways Bix was to jazz what Lowry was to Mterature: an American counterpart, in fact, only a year older (Bix was born in 1903, Lowry in 1904), a restless student with a middle- class upbringing, an alcoholic, a rebellious adolescent who left home to pursue an unconventional career, a musician/nomad who was forever dissatisfied with his work. Both young men had a propensity for seeking out father figures in their respective fields : Bix found his mentor in Frank Trumbauer, a saxophone player who took the young trumpeter under his wing, developed the young man's talent, and improved his technique; Lowry's "literary father" was Conrad Aiken, who — as it is by now well known — sheltered, fed, and unstintingly assisted the budding novelist. Beiderbecke, the archetype for Young Man With a Horn, was an extremely intelligent musician, a man familiar with literature who, after dipping into a musical career at about the same age Lowry set out to sea, attempted to return to college, but whose restless inability to cope with regulations and routine, drove 57 SWINGING THE MAELSTROM him away eighteen days after enrolling; here the young English amateur jazz musician fared better (even during the darkest hours of his life, Lowry somehow managed to draw Herculean draughts of discipline from some underground source) for he emerged from an unhappy stay at Cambridge with his classical tripos, armed and ready to write. -
Jazzletter PO Box 240, Ojai CA 93024-0240
Gene Lees Jazzletter PO Box 240, Ojai CA 93024-0240 August 2000 Vol. 19 No. 8 something crucial — the means by which our experi- The Times and Henry Pleasants ence ofindividual works isjoined to our understanding Part Two of the values they signify.” Now, you may say, My God, man! You woke up Bullshit baffles brains. over that? You forsook your blissful coma over a mere -— Ancient Canadian Aphorism swell in the sea of words? ' But I knew what I was looking at. I realized that In due course I was introduced to William Ronald, a big, without making the slightest effort I had come upon flamboyant, gregarious, loquacious man skilled at charming one ofthose utterances in search ofwhich psychoana- the public on TV and radio talk shows. He wore capes and lysts and State Department monitors ofthe Moscow or funny clothes and had an indisputable flare for drawing if not Belgrade press are willing to endure a lifetime of pictures, at least attention. He vaguely reminded me of the tedium: namely, the seemingly innocuous obiter dicta, poster by Toulouse-Lautrec ofthe songwriter Aristide Bruant. the words in passing, that give the game away. In 1975, twenty years afler The Agony ofModern Music, What I saw before me was the critic-in-chief of Tom Wolfe’s book The Painted Word examined a parallel the New York Times saying: In looking at a painting phenomenon in graphic art. Wolfe wrote: v today, “to lack a persuasive theory is to lack something crucial.” I read it again. It didn’t say “something People don’t read the morning newspaper, Mar- helpful” or “enriching” or even “extremely valuable.” shall McLuhan once said, they slip into it like a warm No, the word was crucial. -
Bix Box Resources
Compiled October 2007 kmo Bix Box Resources Background: In 1971 a band from New Jersey came to Davenport, Iowa to play music at Beiderbecke’s grave in Oakdale Cemetery as a tribute on the fortieth anniversary of Bix’s death. They renamed themselves the Bix Beiderbecke Memorial Jazz Band. A Bix Beiderbecke Memorial Society formed in 1972 and began planning a music festival in Beiderbecke’s honor, which was first held in July 1972. The Davenport Public Library created the “Beiderbecke Room” in early 1972. Library employees recall the room was on the south side of the main floor, where in 2007 a new handicap accessible unisex restroom was installed. Currently research has not located evidence of when the room was dismantled and items were relocated to Special Collections. Perhaps something is in the DPL archives. With such an interest in Beiderbecke, the variety of materials donated to the SC Center eventually needed organization, and a Bix Box was developed. With so many folks handling the materials, it was determined copies of the items should be made and placed in a binder. The binder was cataloged so patrons, volunteers and staff could utilize it rather than risk the integrity of the original items. Binder catalog number: SC 781.65 BIX PHOTOGRAPHS – Plan to scan and document each image to post on the UMVDIA website. Entered into Procite photo database - collection level. Oversize photograph; 20 x 30”; color; print of Bix mural by Loren Shaw Helige Stored in west center flat file, “Accessions – Oversize Photographs” drawer History of mural: