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Aint Gonna Study War No More / Down by the Riverside
The Danish Peace Academy 1 Holger Terp: Aint gonna study war no more Ain't gonna study war no more By Holger Terp American gospel, workers- and peace song. Author: Text: Unknown, after 1917. Music: John J. Nolan 1902. Alternative titles: “Ain' go'n' to study war no mo'”, “Ain't gonna grieve my Lord no more”, “Ain't Gwine to Study War No More”, “Down by de Ribberside”, “Down by the River”, “Down by the Riverside”, “Going to Pull My War-Clothes” and “Study war no more” A very old spiritual that was originally known as Study War No More. It started out as a song associated with the slaves’ struggle for freedom, but after the American Civil War (1861-65) it became a very high-spirited peace song for people who were fed up with fighting.1 And the folk singer Pete Seeger notes on the record “Waist Deep in the Big Muddy and Other Love Songs”, that: "'Down by the Riverside' is, of course, one of the oldest of the Negro spirituals, coming out of the South in the years following the Civil War."2 But is the song as we know it today really as old as it is claimed without any sources? The earliest printed version of “Ain't gonna study war no more” is from 1918; while the notes to the song were published in 1902 as music to a love song by John J. Nolan.3 1 http://myweb.tiscali.co.uk/grovemusic/spirituals,_hymns,_gospel_songs.htm 2 Thanks to Ulf Sandberg, Sweden, for the Pete Seeger quote. -
The Jody Williams Story
THE JODY WILLIAMS STORY Howlin’ Wolf, Jody Williams, Earl Phillips and Hubert Sumlin. Chicago circa mid 1950s. From the B&R Archives. Interview by Mike Stephenson y name is Joseph Leon Williams, that’s the styles because some of the people who were around also impressed me. People who I played with I’d pick up a little bit here and there because at that name my mother gave me. I’ve been called age I was trying to learn all I could. When I got started on guitar, Bo Diddley a little of everything over the years, but taught me how to tune the guitar to an open E. He taught me how to play the M bass background but his playing was limited, I wanted to learn more. I was Jody is a nickname. When I started recording, if hungry for knowledge on the guitar so I would hang around in the clubs and they had put Joe Williams on the record they might stuff like that. You could say I was getting on the job training. have confused me with the singer Joe Williams I started to come into contact with more and more people. I don’t recall how I got into the studio but I went to Chess Studios first around 1956. Willie Dixon who was with Count Basie! So people would have helped me. This is the guy who wrote many tunes, matter of fact he wrote the been buying his recordings thinking it was me and first tune that I recorded and he’s playing on it – ‘Lookin’ For My Baby’ (Blue Lake 116). -
Jump Blues, Club Blues, and Roy Brown Rob Bowman
Document generated on 09/27/2021 9:27 p.m. Canadian University Music Review Revue de musique des universités canadiennes Post-World War II Rhythm and Blues: Jump Blues, Club Blues, and Roy Brown Rob Bowman Volume 17, Number 1, 1996 Article abstract The classification of different styles of North American popular music has URI: https://id.erudit.org/iderudit/1014691ar often been problematic. This paper investigates some of the music referred to DOI: https://doi.org/10.7202/1014691ar as rhythm and blues (r & b) in the late 1940s and early 1950s by specifically looking at the works of one of the music's leading practitioners of the time, Roy See table of contents Brown. Brown recorded both jump and club blues between 1947 and 1955, placing fifteen records in the Top 20 of the Billboard rhythm and blues charts. For the purposes of this paper fifty-four of the seventy-four songs that Brown Publisher(s) recorded in this period were analyzed with respect to structure, performing force, performance style, tempo, arrangement, bass lines, approach to the beat, Canadian University Music Society / Société de musique des universités rate of singing, vocal ornamentation, and lyric content and structure. Three canadiennes main subdivisions were found within Brown's repertoire, all connected to social behaviour, namely, dance. In the process, a basic biography of Brown is ISSN provided and his influence on many subsequent rhythm and blues and rock and roll performers is contextualized. 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Bowman, R. (1996). Post-World War II Rhythm and Blues: Jump Blues, Club Blues, and Roy Brown. -
Artist with Title Writer Label Cat Year Genre
Artist With Title Writer Label Cat Year Genre Notes Album Synopsis_c Anonymous Uncle Tom’s Cabin No Label 0 Comedy Anonymous - Uncle Tom’s Cabin, No Label , 78, ???? Anonymous The Secretary No Label 0 Comedy Anonymous - The Secretary, No Label , 78, ???? Anonymous Mr. Speaker No Label 0 Comedy Anonymous - Mr. Speaker, No Label , 78, ???? Anonymous The Deacon No Label 0 Comedy Anonymous - The Deacon, No Label , 78, ???? Anonymous First Swimming Lesson Good-Humor 10 0 Comedy Anonymous - First Swimming Lesson, Good-Humor 10, 78, ???? Anonymous Auto Ride Good-Humor 4 0 Comedy Anonymous - Auto Ride, Good-Humor 4, 78, ???? Anonymous Pioneer XXX, Part 1 No Label 0 Comedy Anonymous - Pioneer XXX, Part 1, No Label , 78, ???? Anonymous Pioneer XXX, Part 2 No Label 0 Comedy Anonymous - Pioneer XXX, Part 2, No Label , 78, ???? Anonymous Instrumental w/ lots of reverb No Label 0 R&B Anonymous - Instrumental w/ lots of reverb, No Label , 78, ???? Coy and Helen Tolbert There’s A Light Guiding Me Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - There’s A Light Guiding Me, Chapel Tone 775, 78, ???? Coy and Helen Tolbert Old Camp Meeting Days R. E. Winsett Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - Old Camp Meeting Days (R. E. Winsett), Chapel Tone 775, 78, ???? Donna Lane and Jack Milton Henry Brandon And His Orchestra Love On A Greyhound Bus Blane - Thompson - Stoll Imperial 1001 0 Vocal Donna Lane and Jack Milton - Love On A Greyhound Bus (Blane - Thompson - Stoll), Imperial 1001, 78, ???? G. M. Farley The Works Of The Lord Rural Rhythm 45-EP-551 0 Country G. -
James R. and Susan Neumann Jazz Collection Series 3: Concert Programs, 1942-2009 and Undated
Oberlin Conservatory Library Special Collections James R. and Susan Neumann Jazz Collection Series 3: Concert Programs, 1942-2009 and undated P a g e | 1 Event Title or Performer Name Date Physical Extent AACM Festival 1985, 1990 Julian "Cannonball" Adderley All Star Musical Festival Oct 15 and 16, 1959 American Festival of Music 1959-1963, 1965 Ann Arbor Blues and Jazz Festival 1970, 1973 Antibes/Juan les Pins Festival 1966, 1967, 1969 Arbors Jazz 2 folders Louis Armstrong 3 folders Astrodome Jazz Festival Atlanta Jazz Festival Atlantic City Jazz Festival Atlantic Mutual Jazzfest Pearl Bailey Josephine Baker Banlieues Bleues Chris Barber Count Basie 2 folders Bay Area Jazz Festival 1972-1973 Beaulieu Jazz Festival 1960 Sidney Bechet Louis Bellson Belvedere Jazz Festival Tony Bennett Bergamo Jazz 1998 Berkley Jazz Festival 1976, 1984 Berkshire Music Barn 1958 Berliner Jazztage 1968 Berliner Jazz Tage 1970 Bill Berry and the L.A. Band Big Band Sounds 1942 Big Broadcast 1944 The Big Rhythm and Blues Show Oberlin Conservatory Library l 77 West College Street l Oberlin, Ohio 44074 l [email protected] l 440.775.5129 Oberlin Conservatory Library Special Collections James R. and Susan Neumann Jazz Collection Series 3: Concert Programs, 1942-2009 and undated P a g e | 2 The Big Show 1957, 1965 The Biggest Show of… 1951-1954 Birdland 1956 Birdland Stars of… 1955-1957 Art Blakey's Jazz Messengers Blue Note Boston Globe Jazz Festival Boston Jazz Festival Lester Bowie British Jazz Extravaganza Big Bill Broonzy Les Brown and His Band of Renown -
NOVEMBER 1986 on Occasion, Special-Interest Publications Like Interfacing Equipment, and So On
in this issue . VOL. 10, NO. 11 Features Cover Photo by Rick Mattingly Columns EDUCATION ELECTRONIC INSIGHTS Midi And The Electronic Drummer: Part 2 by Jim Fiore 40 IN THE STUDIO Working With Arrangers/Producers Mattingly by Ndugu Chancler 42 Rick THE MACHINE SHOP by Living With The Machine by Simon Goodwin 56 Photo BASICS Working With A Metronome by Kenny Zail..... 64 ROCK 'N' JAZZ CLINIC Playing Around With Time by Rod Morgenstein 72 JAZZ DRUMMERS' WORKSHOP JOE MORELLO A Melodic Approach To Soloing When it comes to technique, Joe Morello is in a class by by Stanley Ellis 80 himself, and his work with the Dave Brubeck Quartet proved that he knew how to use that technique musically. Now, as a ROCK CHARTS teacher, Morello is passing down his expertise to a new Mel Gaynor: "Alive And Kicking" generation of drummers. by Andy Rankin 96 by Rick Mattingly 16 CONCEPTS Getting Unstuck DAVID UOSIKKINEN by Roy Burns . 110 CLUB SCENE Although the Hooters seemed to suddenly come out of nowhere, drummer David Uosikkinen explains the years of Hearing Aid development that led to the group's unique sound. by Rick Van Horn 112 by Robert Santelli 22 EQUIPMENT STAYING IN SHAPE: SETUP UPDATE Terry Bozzio And Rick Marotta 74 ELECTRONIC REVIEW TIPS FROM THE PROS Simmons SDS1000 And Rack PART 2 by Bob Saydlowski, Jr 114 The finest drummers in the business share the exercises, diets, JUST DRUMS 118 and warm-ups that keep them in top physical condition. by Ron Spagnardi 26 PROFILES UP AND COMING BARRIEMORE Marillion's Ian Mosley BARLOW by Susan Alexander 38 His experiences with such artists as Jethro Tull, Yngwie Malmsteem, and Robert Plant have given Barrie Barlow some NEWS strong opinions about the current state of music—opinions UPDATE 6 that he's happy to share without pulling punches, INDUSTRY HAPPENINGS 116 by Teri Saccone 30 DEPARTMENTS EDITOR'S OVERVIEW 2 GENE CHRISMAN READERS' PLATFORM 4 His name might not be on the tip of every drummer's tongue, but the list of artists that Gene Chrisman has recorded with is ASK A PRO 10 a virtual Who's Who of the music business. -
The Inventory of the Sylvia Dee Collection #451
The Inventory of the Sylvia Dee Collection #451 Howard Gotlieb Archival Research Center Accession number 451 DEE, SYLVIA (1914-1967) Gift of Dr. Edward Proffitt (Son of Sylvia Dee) June 1970 Manuscripts Box 1 A) Novels. 1) SHERLOCK THE ANT. Carben typescript with some holograph corrections, 110 pp. 2) THE STREAM OF LIFE (A PSYCHIC JOURNEY). a) 2 carbon typescript, 57 pp. each. b) Typescript with some holograph corrections, Ca. 50 pp. 3) THE TWILIGHT YEARS. a) Typescript, 237 pp. b) "Chapter Seven". Typescript with holograph corrections, 17 pp. Box 2 4) MR. NORTHRUP' S ARK. Typescript, 267 pp. B) Short Stories. In alphabetical order. 1) "Be It Ever So Humble". Typescript with holograph corrections, 16 pp. 2) "Confirmed Bachelor". a) Typescript with holograph corrections, 16 pp. b) Cousins, Margaret to Crain, Maurice (Agent). 1 TLS, February 9, 1959. 3) "Forty". a) typescript with holograph corrections, 20 pp. b) Typescript, 22 pp. 4) "How I Lost All My Disillusions". Typescript with holograph corrections, 28 pp. 5) "The Intruder". Typescript with holograph corrections, 21 PP· page 2 DEE, SYLVIA Gift of Dr. Edward Proffitt, J une 1970 6)"Je m' appelle Julie" . Typescript with hol ograph corrections, 19 pp . 7) "Kepeskenton is a very small town ... " . Typescript with a few hologr aph corrections, 25 pp . 8) "An Old, Beat-Up Jalopy". _Typescript with holograph corrections, 15 pp. 9) "The Picture ''. a) Typescr¥ ; 24 pp . b) Typescript with holograph correct ions, 15 pp. 10) "Second Honeymoon". Typescript with holograph corrections, 12 pp . 11) "That Old Feeling" . a) Typescript, 25 pp. b) Typescript with holograph corrections, 17 pp. -
WDAM Radio's History of Elvis Presley
Listeners Guide To WDAM Radio’s History of Elvis Presley This is the most comprehensive collection ever assembled of Elvis Presley’s “charted” hit singles, including the original versions of songs he covered, as well as other artists’ hit covers of songs first recorded by Elvis plus songs parodying, saluting, or just mentioning Elvis! More than a decade in the making and an ongoing work-in-progress for the coming decades, this collection includes many WDAM Radio exclusives – songs you likely will not find anywhere else on this planet. Some of these, such as the original version of Muss I Denn (later recorded by Elvis as Wooden Heart) and Liebestraum No. 3 later recorded by Elvis as Today, Tomorrow And Forever) were provided by academicians, scholars, and collectors from cylinders or 78s known to be the only copies in the world. Once they heard about this WDAM Radio project, they graciously donated dubs for this archive – with the caveat that they would never be duplicated for commercial use and restricted only to musicologists and scholarly purposes. This collection is divided into four parts: (1) All of Elvis Presley’s charted U S singles hits in chronological order – (2) All of Elvis Presley’s charted U S and U K singles, the original versions of these songs by other artists, and hit versions by other artists of songs that Elvis Presley recorded first or had a cover hit – in chronological order, along with relevant parody/answer tunes – (3) Songs parodying, saluting, or just mentioning Elvis Presley – mostly, but not all in chronological order – and (4) X-rated or “adult-themed” songs parodying, saluting, or just mentioning Elvis Presley. -
The Pied Piper of Cleveland Was the Title of a Film Produced in November 1955 Documenting the Career of Disc Jockey Bill Randle
The Pied Piper of Cleveland was the title of a film produced in November 1955 documenting the career of disc jockey Bill Randle. The full title of the film is The Pied Piper of Cleveland: A Day in the Life of a Famous Disc Jockey. Arthur Cohen, directed, and Bill Randle produced. The film showcases live performances of Elvis Presley, Bill Haley, Pat Boone, LaVern Baker, Roy Hamilton, Johnnie Ray and others. The original forty‐eight minute film was supposed to be cut down to a twenty minute "short" for national distribution, but has never made it that far. There is some dispute over whether or not this film actually exists, as it was only shown publicly once. Randle has repeatedly asserted that the film does indeed exist. Due to problems over legal ownership, the film has not been officially released, and remains 'misplaced' to this day. It is reported that Universal Studios has the negatives of the film in its vaults. This film is the first on‐screen appearance of Elvis Presley. Weekend Edition ‐ Saturday, October 29, 2005 ∙ Fifty years ago this month, a high school in suburban Cleveland played host to an early concert appearance by Elvis Presley. Cleveland disc jockey Bill Randle regularly used his influence to stage afternoon music assemblies at local high schools, and Elvis' Oct. 20, 1955 performance at Brooklyn High School was captured as part of a documentary about Randle. But, soon after that, the film disappeared and ever since, the missing footage has become the holy grail of Elvis fans. New Jersey musician Chris Kennedy grew up in a family of Elvis fans, and has made it his mission to find the footage. -
THE CLYDE OTIS MUSIC GROUP Inc / TSM
THE CLYDE OTIS MUSIC GROUP Inc / TSM Εκπροσωπούμενο Ρεπερτόριο Works : 230 Για οποιαδήποτε πληροφορία/ αδειοδότηση : [email protected] τηλ. 210 6518511 SONG_ID WORK TITLE / ΤΙΤΛΟΣ ΕΡΓΟΥ WRITERS /ΔΗΜΙΟΥΡΓΟΙ 763877 A Lover's Question Brook Benton (50), Jimmy Williams (50) 763880 After Lovin' You Morris Baily Jr. (33.33), Bobby Martin (33.33), Jean Wells (33.34) 763960 Age Of Miracles, The Belford Hendricks (33.33), Clyde Lovern Otis (33.34), Murray Stein (33.33) 912302 Ain'T It Good Brook Benton (50), Clyde Lovern Otis (50) 769847 Amarosa Clyde Lovern Otis (50), Curtis Ousley (50) 769849 Another Day Another Night Everett John Collins Jr. (33.33), Robert Jenkins (33.33), Brian Keith Morgan (33.34) 763879 Any Other Way Clyde Lovern Otis (100) 764046 As Long As I'M In Your Arms Vincent Corso (50), Clyde Lovern Otis (50) 763881 Baby Brook Benton (100) 929555 Baby Please Be True Brook Benton (50), Clyde Lovern Otis (50) 764047 Baby, You've Got What It Takes Clyde Lovern Otis (50), Murray Stein (50) 912303 Backstabbers Johnathon Marc Blount (50), Maxwell Dixon (50) 764048 Backstage Fred Anisfield (66.67), Willie Denson (33.33) 769895 Bad Boys Omar Williams (100) 763875 Bad Case Of The Blues, A Clyde Lovern Otis (100) 764049 Because Of Everything Belford Hendricks (50), Clyde Lovern Otis (50) 763882 Because You Love Me Brook Benton (50), Clyde Lovern Otis (50) Ronald Baker (16.66), Allan Felder (16.67), J Fisher (2.5), Norman Harris (16.67), Kim Jones (2.5), James Lloyd (5.83), Nashiem Myrick (33.34), A Spain (2.5), 274256 Biggie CHRISTOPHER -
' the Impact of Radio, ' ' ; Motion Pictures, and Television ' ' 5? on the Development 0? Hm; Td Blues and Rock And. Roll Mu
..’ - v w _. _-u-- ---~v--~ . —~-«- - v- vvv' .. - 0 ‘r l vu'w V UVOQ 0 I '1' ‘ V.‘_ 9 I“? . F’f.~'I00-oa~on v. , fwngvgoooqok .9. 'W'-‘ . _ . Q”. .. ‘ '.- . r . l. 7 I . ‘ a. ' . n D I r- ‘ - . G I ‘ THE IMPACT OF RADIO, ' ‘ ; MOTION PICTURES, AND TELEVISION ' ' 5? ON THE DEVELOPMENT 0? HM; TD BLUES AND ROCK AND. ROLL MUSIC ‘ r for the Degree of M. A. ' ' MICHIGAN STATE UNIVERSITY LAWRENCE NEWTON REDD . .. ' u 191 1 . I v r . n . r- , a , I . ,. - I . ‘ . I ' _ . 1 ~ . I _ . ‘ .-- E . ,I -. I ' ‘ I - - ‘ . - _ l fl . .- ' , .9! ‘ __ l ' a , n ' n 0' I _ o o .I ’ . ' " . ' ‘ ‘ ' - - ' I 'n u . I - o I- ' ' - a ‘ . _ _, .I I. ' ' . u ' ' ' - I- " o l _ . _ . ' ' . ' . _ - . ' _ . — ’ ‘ n ' ' ‘ ' . —' . U I . o I v. - ‘ ' 0-0 ' .- . ‘ .. o — g . I.- _ _- l . I .. v- ‘. ‘ .. - 'o ’ ' ' ' '“ . _ . ‘ ._ I. 0-. ' r . ‘ v ' r .. - " - .- . a l , . ' ' - v 1 -o 0 -."°' ""-‘ . c- " .. , . I. o - ' ' ‘ _ _ - I. 4v.~ ' ‘ - . o . r a a . .oa... I-I "I ' ‘ ‘ v. I ' ' ' ' ' ' . r I ‘. .o- ‘ . ' ' ' I . A - C . " ' . .‘.I . .. ‘ '. .. .. .I. .. I ’. I . u I. , . l _ . o . c ,., o . t .. - ..,. "" tv rv' " 'I .'_ ‘ l . ,, . ' ‘ .’ . I 0 "' . - . , . ' . ' ' , . ‘. I. .o ' I’ll .' , . , . .. , - ' I'. " ' ‘ _ _. , - I I :o.r _ , ‘ . I . , ov. r. .. l o ' .. v . ,‘....oo- .9 , .I. , o '. 0. .. .. .. "..., . - .g, .a-. ... .....o .7 .'. a .. ' , o E ‘ l A .,.. I 'I ,. __. ‘ _ .. ,_-'..- - 0’ I- o - .e‘l‘o‘.‘ "P' ' ' " .o-- It ._'."t-.'-".0 l ' ' . ’ . ... ,.,,_.,.I -- n- . -99- .’°Ov‘ . - . on. -
1969 from ELVIS in MEMPHIS 329 Master (Mit Streicher-Overdubs Vom
Papiirs: 76.0 * 72.0 cm - Apmeshana: Perfecting Apmeshana: - cm 72.0 * 76.0 Papiirs: 61184_Bosworth-AdvantMadien - Front Saddle Stitch FB 014 LowRes-DownsamplTo144 2016.12.14. 9:39:35 Black Cyan Magenta Yellow 14 1969 FROM ELVIS IN MEMPHIS Master (mit Streicher-Overdubs vom 7.5.1969, 3:24) The Memphis Record RCA-LP, 1987 Take 6 (komplett, 4:30) From Nashville To Memphis RCA-Box, 1993 Falsche Angabe auf Cover: 3:28. Take 7 Platinum: A Life In Music RCA-Box, 1997 Remix als alternativer Take mit Fadeout, 3:18. Take 7 Suspicious Minds: The Memphis 1969 Anthology RCA, 1999 Remix mit Fadeout, 3:53. Mit One-Liner vor Take 8: Save The Last Take For Me. Proben gekürzt, Take 6 (mit fs Remix) Memphis Sessions FTD, 2001 Master-Mono-Mix wie bei der Single From Elvis In Memphis RCA Legacy, 2009 Das Ende wurde für eine längere Spieldauer dazu geschnitten. Master-Remix 30 #1 Hits RCA, 2002 Elvis’ Harmoniegesang Overdub-Part (1:17) 30 #1 Hits DVD Audio, RCA, 2002 Takes 1-5, komplette Proben, 6-8 (Master-Take) Back In Memphis FTD, 2012 Der 13. Januar 1969 war ein Montag. Um Elvis unterzubringen, musste Chips Moman ein paar bereits geplante Sessions verschieben, darunter auch eine mit Neil Diamond. Der Legende nach stimmte Diamond einer Verlegung zu, wenn Elvis im Gegenzug versprach, einen seiner Songs aufzunehmen. Elvis, dessen Sessions für den Abend gebucht waren, war begeistert als er herausfand, dass Roy Hamilton, sein Idol aus Kindheitstagen, tagsüber im selben Studio arbeiten würde: Es war das perfekte Omen.