News Os Theatres
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
CATALOGUE WELCOME to NAXOS JAZZ LEGENDS and NAXOS NOSTALGIA, Twin Compendiums Presenting the Best in Vintage Popular Music
NAXOS JAZZ LEGENDS/NOSTALGIA CATALOGUE WELCOME TO NAXOS JAZZ LEGENDS AND NAXOS NOSTALGIA, twin compendiums presenting the best in vintage popular music. Following in the footsteps of Naxos Historical, with its wealth of classical recordings from the golden age of the gramophone, these two upbeat labels put the stars of yesteryear back into the spotlight through glorious new restorations that capture their true essence as never before. NAXOS JAZZ LEGENDS documents the most vibrant period in the history of jazz, from the swinging ’20s to the innovative ’40s. Boasting a formidable roster of artists who forever changed the face of jazz, Naxos Jazz Legends focuses on the true giants of jazz, from the fathers of the early styles, to the queens of jazz vocalists and the great innovators of the 1940s and 1950s. NAXOS NOSTALGIA presents a similarly stunning line-up of all-time greats from the golden age of popular entertainment. Featuring the biggest stars of stage and screen performing some of the best- loved hits from the first half of the 20th century, this is a real treasure trove for fans to explore. RESTORING THE STARS OF THE PAST TO THEIR FORMER GLORY, by transforming old 78 rpm recordings into bright-sounding CDs, is an intricate task performed for Naxos by leading specialist producer-engineers using state-of-the-art-equipment. With vast personal collections at their disposal, as well as access to private and institutional libraries, they ensure that only the best available resources are used. The records are first cleaned using special equipment, carefully centred on a heavy-duty turntable, checked for the correct playing speed (often not 78 rpm), then played with the appropriate size of precision stylus. -
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
Wavelength (October 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 10-1981 Wavelength (October 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (October 1981) 12 https://scholarworks.uno.edu/wavelength/12 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Pipes of Pan Presents ... A best seller. versus the best. icro-Acoustics Bose 301 FRM-3dx *33QOOper patr. *34900per pair Compare these two speakers, and you'd probably expect the one on the left - with the lower price - to be the better seller. You'd be right ... but is it the better value? Before you aecide, it pays to consider how much more a little more money will bu~: Comfare bass. The new FRM-3dx uses a twin-ducted enclosure with thicker cabine panels and larger cubic volume for rich, full bass. Compare highs. The new FRM-3dx1s unique Vari-AxiSTM control system, damped isolated tweeter suspension and rim-damped cone give lifelike h1ghs. Compare warranties. The new FRM-3dx is warrantied twice as long. The Micro-Acoustics new FRM-3dx. When you compare, there's really no com parison. Quality worth a 10-year warranty Micro-Acoustics Reg. $349.00 Bose 301" FRM·3dx Tweeter One, fixed. One, rotatable, rim·damped. Tweeter Attached Isolated from SALE NOW directly to baffle. -
Storyville Films 60003
Part 2 of a survey: Content of all Storyville Films DVD series Storyville Films 60003. “Harlem Roots, Vol. 1” - The Big Bands. Duke Ellington Orch. I Got It Bad And That Ain’t Good (2:54)/Bli Blip (2:50)/Flamingo (3:01)/Hot Chocolate (Cottontail) (3:06)/Jam Session (C Jam Blues) (2:50). Cab Calloway Orch.: Foo A Little Ballyhoo (2:48)/Walkin’ With My Honey (2:35)/Blow Top Blues (2:36)/I Was There When You Left Me (2:43)/We The Cats Shall Hep Ya (2:36)/Blues In The Night (3:12)/The Skunk Song (2:59)/Minnie The Moocher (3:01)/Virginia, Georgia And Caroline (2:57). Count Basie Orch.: Take Me Back Baby (2:39)/Air Mail Special (2:51). Lucky Millinder Orch.: Hello Bill (2:56)/I Want A Big Fat Mama (3:01)/Four Or Five Times (2:33)/Shout Sister, Shout 2:40). All are Soundies. DVD produced in 2004. TT: 0.57. Storyville Films 60013. “Harlem Roots, Vol. 2” - The Headliners. Fats Waller Rhythm: Honeysuckle Rose (2:52)/Your Feet’s Too Big /Ain’t Misbehavin’ (2:59)/The Joint Is Jumpin’ (2:46). Louis Armstrong Orch.: When It’s Sleepy Time Down South (3:07)/Shine (2:52)/I’ll Be Glad When You’re Dead You Rascal You (2:45)/Swinging On Nothing (2:53). Louis Jordan Tympany Five: Five Guys Named Mo (2:44)/Honey Chile (2:41)/GI Jive (2:36)/If You Can‘t Smile And Say Yes (2:45)/Fuzzy Wuzzy (2:49)/Tillie (2:26)/Caldonia (2:50)/Buzz Me (2:48)/Down, Down, Down (3:01)/Jumpin’ At The Jubilee (2:34). -
The Many Faces of “Dinah”: a Prewar American Popular Song and the Lineage of Its Recordings in the U.S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE The Many Faces of “Dinah” The Many Faces of “Dinah”: A Prewar American Popular Song and the Lineage of its Recordings in the U.S. and Japan Edgar W. Pope 「ダイナ」の多面性 ──戦前アメリカと日本における一つの流行歌とそのレコード── エドガー・W・ポープ 要 約 1925年にニューヨークで作曲された「ダイナ」は、1920・30年代のアメリ カと日本両国におけるもっとも人気のあるポピュラーソングの一つになり、 数多くのアメリカ人と日本人の演奏家によって録音された。本稿では、1935 年までに両国で録音されたこの曲のレコードのなかで、最も人気があり流 行したもののいくつかを選択して分析し比較する。さらにアメリカの演奏家 たちによって生み出された「ダイナ」の演奏習慣を表示する。そして日本人 の演奏家たちが、自分たちの想像力を通してこの曲の新しい理解を重ねる中 で、レコードを通して日本に伝わった演奏習慣をどのように応用していった かを考察する。 1. Introduction “Dinah,” published in 1925, was one of the leading hit songs to emerge from New York City’s “Tin Pan Alley” music industry during the interwar period, and was recorded in the U.S. by numerous singers and dance bands during the late 1920s and 1930s. It was also one of the most popular songs of the 1930s in Japan, where Japanese composers, arrangers, lyricists and performers, inspired in part by U.S. records, developed and recorded their own versions. In this paper I examine and compare a selection of the American and Japanese recordings of this song with the aim of tracing lines ─ 155 ─ 愛知県立大学外国語学部紀要第43号(言語・文学編) of influence, focusing on the aural evidence of the recordings themselves in relation to their recording and release dates. The analysis will show how American recordings of the song, which resulted from complex interactions of African American and European American artists and musical styles, established certain loose conventions of performance practices that were conveyed to Japan and to Japanese artists. It will then show how these Japanese artists made flexible use of American precedents, while also drawing influences from other Japanese recordings and adding their own individual creative ideas. -
Guide to the Milt Gabler Papers
Guide to the Milt Gabler Papers NMAH.AC.0849 Paula Larich and Matthew Friedman 2004 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Personal Correspondence, 1945-1993..................................................... 5 Series 2: Writings, 1938 - 1991............................................................................... 7 Series 3: Music Manuscripts and Sheet Music,, 1927-1981.................................. 10 Series 4: Personal Financial and Legal Records, 1947-2000............................... -
Chapter Outline
CHAPTER SIX: “IN THE MOOD”: THE SWING ERA, 1935–1945 Chapter Outline I. Swing Music and American Culture A. The Swing Era: 1935–45 1. Beginning in 1935, a new style of jazz-inspired music called “swing” transformed American popular music. 2. Initially developed in the late 1920s by black dance bands in New York, Chicago, and Kansas City 3. The word “swing” (like “jazz,” “blues,” and “rock ’n’ roll”) derives from African American English. a) First used as a verb for the fluid, rocking rhythmic momentum created by well-played music, the term was used by extension to refer to an emotional state characterized by a sense of freedom, vitality, and enjoyment. b) References to “swing” and “swinging” are common in the titles and lyrics of jazz records made during the 1920s and early 1930s. c) Around 1935, the music industry began to use “swing” as a proper noun—the name of a defined musical genre. 4. Between 1935 and 1945, hundreds of large dance orchestras directed by celebrity bandleaders dominated the national hit parade: 1 CHAPTER SIX: “IN THE MOOD”: THE SWING ERA, 1935–1945 a) Benny Goodman b) Tommy Dorsey c) Duke Ellington d) Count Basie e) Glenn Miller 5. These big bands appeared nightly on radio, their performances transmitted coast to coast from hotels and ballrooms in the big cities. 6. Their music was featured on jukeboxes. 7. Many of the bands crisscrossed the country in buses, playing for dances and concerts at local dance halls, theaters, and colleges. 8. The big bands were essentially a big-city phenomenon, a symbol of sophistication and modernity. -
History of Barbershop
HISTORY OF BARBERSHOP By David Krause and David Wright Definition of barbershop harmony. Read: Definition of Barbershop Harmony, from the Forward of the Contest and Judging Handbook. The Purpose Of This Course. We will attempt to trace the roots and the evolution of barbershop harmony from well before its actual beginnings up to the present. We will try to answer these questions: What were the tides of history which spawned the birth of the barbershop quartet, and what environment allowed this style of music to flourish? What were its musical forerunners? What are its defining characteristics? What other types of music were fostered contemporaneously, and how did they influence the growth of quartet singing? Which styles are similar, and how are they similar? How did the term "barbershop" arise? How long did the historical era of the barbershop quartet last? What other kinds of music sprang forth from it? Why did the style eventually need preservation? How was SPEBSQSA formed, and how did it become a national movement? What other organizations have joined the cause? How have they coped with the task of preservation? Are current day efforts still on course in preserving the style? How has the style changed since the Society was formed? We will spend the next few hours contemplating and attempting to answer these questions. Overtones. As barbershoppers, we are very conscious of the "ringing" effect which complements our singing. We consider it our reward for singing well- defined pitches in tune. The fact that a tone produced by a voice or an instrument is accompanied by a whole series of pitches in addition to the fundamental one which our ear most easily detects has been known for centuries. -
West Adams Matters
WAHA West Adams Heritage Association February (Winter) 2011 Number 271 West Adams Matters Art in Historic Places Returns on March 26: Celebrate the Arts –– Artists of West Adams Tour WAHA presents the Second Annual Art in Historic Places Tour in its new “home” – the last Saturday in March, from 10 a.m. to 4 p.m. Historic West Adams is becoming a new hotbed for fine art, with a growing number of emerging and established artists who now live and/or work in the community. WAHA and the artists in West Adams have now decided to present an annual tour that opens the doors to our architecturally diverse historic buildings, showcasing an eclectic group of artists’ works in their own homes and studios. The artists work in a wide range of styles and mediums, including painting (abstract and figurative), photo-based media, sculpture, and print/works on paper. The architecture is equally diverse, ranging from Craftsman Bungalows and Spanish Revival villas to commercial buildings erected during L.A.’s 1920s streetcar era, now adaptively reused. And, we did last year, WAHA is creating a “pop up art gallery” at the tour’s starting point. (continued on page 8) GOLDEN STATE MUTUAL BUILDING, MURALS PROPOSED AS CITY LANDMARKS A landmark in Los Angeles’s African American heritage is likely soon to become one of West Adams’ newest designated historic resources, but some of its character-defining elements are in danger of being stripped away. In October 2009, after years of financial difficulties, state insurance regulators seized Golden State Mutual (GSM) Life Insurance, setting in motion a series of events that are now culminating in a nomination of the company’s headquarters building at Adams and Western as a Los Angeles Historic Cultural Monument – and a battle over two well-known, original murals that were designed and installed during construction. -
Scanned Image
ALBUM REVIEWS NewAlbums TOTAL RELEASES: 95 ARTIST TITLE Label 0 Album catalogue number Cassette catalogue number PriceIs) (Dansan DS 053) Prod: Tommy San- DISTRIBUTOR Where.two prices are shown, the first is for album. the second cassette derson Top 20 No vocals on this album, with Weedon ANDREWS SISTERS BEAT ME DADDY, EIGHT TO THE BAR MFP 0 MFP 50556I=TCMFP 50556 1.99/2.25 EMI ART TATUM SOLO MASTERPIECES VOLUME 12 Pablo 0 2310 870 IK108703.34 RCA SIMON AND GARFUNKEL: Thesticking to what he does best. It has a ASIA ASIA Geffen 0 GEF 85577 I= GEF 4085577 CBS Concert In Central Park (Geffen GEFdual appeal, but primarily as an easy - BARBARA MANDRELL THE VERY BEST OF BARBARA MANDRELL Ronco 0 RTL 2069 [7l4CRTL 2069 5.49 96008) Prod: Paul Simon/Art Gar-listening exercise in which Weedon's RONCO BARRY MANILOW BARRY- LIVE IN BRITAIN Arista 0 ARTV41=1ARTVC 4 3.58 POLYGRAM funkel/Phil Ramone/Roy Halee precise, melodic playing is unobtru- BENJAMIN LUXON AS TIME GOES BY Red Seal 0 RCALP 60151= RCAK 60143.04 RCA A double album of the cream of thesively accompanied by keyboards and BING CROSBY &JOE MERCER MR. CROSBY & MR. MERCER MFP 7 MFP 50554 [ERCMFP 505541.99/2.25 EMI S&G and Paul Simon material,re-rhythm on familar material like 'Sail- BUDDY GUY BREAKING OUTJSP 0 JSP 1017 4.99 LUGTONS corded live in September last year.ing', 'Moon River' and 'Spanish Eyes'. BUSHWACKERS BENEATH THE SOUTHERN CROSS CBS 0 CBS 85718 CBS BUZZ ASYLUM Buzz 0 BUZZ 001 2.45 ROUGH TRADE/FRESH/INDIES Tracks include 'Mrs Robinson',But it has also been constructed with B.E.F. -
Count Basie the Board of Directors Mp3, Flac, Wma
Count Basie The Board Of Directors mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: The Board Of Directors Country: Japan Released: 1994 MP3 version RAR size: 1572 mb FLAC version RAR size: 1948 mb WMA version RAR size: 1945 mb Rating: 4.1 Votes: 488 Other Formats: WMA RA AIFF AUD WAV AC3 MOD Tracklist 1 Up A Lazy River 3:27 2 I May Be Wrong But I Think You're Wonderful 3:07 3 Release Me 2:39 4 I Want To Be Happy 1:56 5 Down-Down-Down 2:31 6 The Whiffenpoof Song 3:07 7 I Dig Rock And Roll Music 3:00 8 Tiny Bubbles 3:10 9 December 2:41 10 Let Me Dream 2:46 11 April In Paris 4:03 Companies, etc. Manufactured By – MCA Victor, Inc. Distributed By – MCA Victor, Inc. Credits Alto Saxophone – Bobby Plater, Marshall Royal Arranged By, Conductor – Dick Hyman Baritone Saxophone – Charles Fowlkes* Bass – Norman Keenan Drums – Sol Gubin Engineer – Phil Ramone Flute – Eric Dixon (tracks: 4) Guitar – Freddie Green, Norman Brown Liner Notes – Arnold Shaw Photography By – Charles Stewart* Piano – Count Basie Producer – Teddy Reig, Tom Mack Tenor Saxophone – Eric Dixon, Frank Foster (tracks: 2) Trombone – Bill Hughes , Grover Mitchell, Harlen Floyd*, Dick Boone* Trumpet – Al Aarons, Ernie Royal, Snookie Young*, Gene Goe, Nat Pavone Notes Comes in mini LP replica with OBI & Japanese insert. 20bit K2 mastering. Barcode and Other Identifiers Barcode: 4 988067 016447 Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year Count Basie & Count Basie & The Mills Dot SLPD 506 The Mills Brothers - The Board Of -
101 Perennial Singles Hits
BILLBOARD MUSIC WEEK, 101 Perennial SinglesV Hits For yeerround programming by juke box operators and radio stations, we Records are listed alphabetically by title, with artist and label designated. present below a catalog of standards that can provide consistent earnings Many of these titles are available on other labels and by other artists. We for operators and a wealth el material for discussion by broadcasters. This list--of 101 hits-contains the hard care of these perennials. While space have selected what we think are the recordings most suitable for juke box limitations probibil publication of all standards which could he programmed programming. Although some were originally released a number of years on a year round basis. Ibese should form the nucleus of any Old Standards selection pmd or library. ago, all are kept in constant supply due to steady demands. TITLE, Artist, label & Number TITLE, Artist, Label A Number TIRE. Artist, Label A Number ACROSS THE ALLEY FROM THE ALAMO /DON'T I CAN DREAM, CAN'T I /THE WEDDING OF LiLI SEPTEMBER SONG/LOST IN THE STARS -Wal- BE A BABY, BABY -The Mills Brothers MARLENE - Andrews Sisters (Decca ter uston ( Decca 40001) (Dacca 25516) 24705) 7 ISH-BOOIVEIRTH ANGEL- The Crew Cuts ,I ALLA EN EL RANCHO GRAND AMOR-Bing IF I DIDN'T CARE /WHISPERING GRASS -Ink (Mercury C-30048) Cro ( Decca 23914) Spots ( Decca 23632) SIGNED, SEALED A DELIVERED/FILIPINO BABY AMAPO /MARIA ELENA Jimmy Dorsey I - IF KNEW YOU WERE (OMIN' l'D'VE BAKED -Cowboy Copas (tarday 559) ( Decca 25120) A (AKE /WHEN LOVE HAPPENS TO