Louis Armstrong All Stars Satchmo in Pasadena Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Louis Armstrong All Stars Satchmo In Pasadena mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Satchmo In Pasadena Country: Germany Released: 1956 Style: Big Band, Swing MP3 version RAR size: 1469 mb FLAC version RAR size: 1106 mb WMA version RAR size: 1492 mb Rating: 4.7 Votes: 737 Other Formats: AU MMF FLAC ADX RA MP1 AA Tracklist Hide Credits Way Down Yonder In New Orleans A1 Written-By – Creamer*, Layton* You Can Depend On Me A2 Written-By – Carpenter*, Hines*, Dunlop* Just You, Just Me A3 Written-By – Greer*, Klages* Indiana B1 Written-By – McDonald*, Hanley* The Huckle Buck B2 Written-By – Gibson*, Alfred* My Monday Date B3 Written-By – Earl Hines Credits Bass – Arvell Shaw Clarinet – Barney Bigard Drums – Cozy Cole Piano – Earl Hines Trombone – Jack Teagarden Trumpet, Vocals – Louis Armstrong Vocals – Velma Middleton Notes Aufgenommen am 30.1.1951 in America durch Decca Records Inc., New York BIEM Made in Germany Other versions Category Artist Title (Format) Label Category Country Year Louis Armstrong Satchmo At DL 8041 And The All Decca DL 8041 US 1951 Pasadena (LP) Stars* Satchmo At Louis Armstrong Verve B0012372-02, Pasadena (CD, B0012372-02, And The All Records, US 2009 DL 8041 Album, RE, RM, DL 8041 Stars* Decca Dig) Louis Armstrong Satchmo At MCA ORL 8134 And The All Pasadena (LP, ORL 8134 Italy Unknown Coral Stars* Album, RE) Louis Armstrong Satchmo At SDL-10214 And The All Pasadena (12", Decca SDL-10214 Japan Unknown Stars* Album) Louis Armstrong Satchmo At VIM-4621 (M) And The All Pasadena (LP, Decca VIM-4621 (M) Japan 1980 Stars* Mono, RE) Related Music albums to Satchmo In Pasadena by Louis Armstrong All Stars Louis Armstrong All Stars / Louis Armstrong And His Orchestra - Satch And His Trumpet Louis Armstrong And The All Stars - Satchmo At Symphony Hall Louis Armstrong And His Hot Seven - The Louis Armstrong Story, Volume II: Louis Armstrong And His Hot Seven Louis Armstrong - Satchmo . A Musical Autobiography Of Louis Armstrong Satchmo - 50 Jahre Satchmo - Zum Bühnenjubiläum Von Louis Armstrong Louis Armstrong And The All Stars - Satchmo At Symphony Hall Vol.2 Louis Armstrong And The All Stars - Satchmo At Pasadena Louis Armstrong & The All Stars - Satchmo At Pasadena.

Copy Link

Recommended publications

John Colianni Marty Grosz Quintet and His Hot Winds
THE TRI-STATE SKYLARK STRUTTER Member of South Jersey Cultural Alliance and Greater Philadelphia Cultural Alliance VOLUME 19 NUMBER 7 BEST OF SOUTH JERSEY 2008 MARCH 2009 ******************************************************************************************************************************** OUR NEXT CONCERTS SUNDAY, MARCH 15 SUNDAY MARCH 29 2 PM 2 PM JOHN COLIANNI MARTY GROSZ QUINTET AND HIS HOT WINDS BROOKLAWN AMERICAN LEGION HALL Dd CONCERT ADMISSION $20 ADMISSION $15 MEMBERS $10 STUDENTS $10 FIRST TIME MEMBER GUESTS Pay At the Door No Advanced Sales S SAINT MATTHEW LUTHERAN CHURCH JOHN COLIANNI 318 CHESTER AVENUE John Colianni grew up in the Washington, D.C. metro area and first heard Jazz MOORESTOWN, NJ 08057-2590 on swing-era LP re-issues (Ellington, Goodman, Jimmie Lunceford, Count Basie, Armstrong, etc.) in his parents' home. A performance by Teddy Wilson 3 BLOCKS from Main Street in Washington attended by John when he was about 12 years old also left a strong impression, as did a Duke Ellington performance (more later). 1 THE QUINTET : In 2006, looking for an outlet for his high velocity piano for Torme' from early 1991 to mid 1995, touring and recording six albums. improvisations, John formed the John Colianni Quintet. In July 2007, the group recorded its first CD, "Johnny Chops" (Patuxent Records), which was released PLAYERS FEATURED ON JOHN'S CURRENT CD this year. JUSTIN LEES: Justin, whose guitar work is characterized by a bluesy and LES PAUL: Les Paul offered the piano spot in his group to John in August infectiously swinging phrasing and a distinctive tone, is a fresh face on the jazz 2003. Les had not used a pianist in his combo since the 1950s and, in looking scene.
[Show full text]
Dizzy Gillespie and His Orchestra with Charlie Parker, Clyde Hart, Slam Stewart, Cozy Cole, Sonny Stitt, Milt Jackson, Al Haig, Thelonious Monk, Sid Catlett, Etc
lonoital Sem.iom 1W! and his Orchestra DIZZIE GILLESPIE CHARLIE PARKER CLYDE HART SLAM STEWART COZY COLE SONNY STITT AL HAIG MILT JACKSON THELONIOUS MONK DAVE BURNS SID CATLETT SAGA6920 L WORLD WIDE 6900 Sidney Bechet Album (Recorded New York SIDE ONE 1945/1947) with Mezz Mezzrow, Hot Lips Page, Will Bill HE BEEPED WHEN HE SHOULD Davidson, etc. HAVE BOPPED (a) GROOVIN' HIGH (b) 0, 6901 Louis Armstrong Volume 1 (Recorded New M York 1938/1947) DIZZY ATMOSPHERE (b) with Jack Teagarden, Bud Freeman, Fats Waller, 00 BOP SH'BAM (c) and his Orchestra Bobby Hackett, etc. OUR DELIGHT (d) 6902 Duke Ellington — His most important Second ✓-SALT PEANUTS (f) War Concert (1943) with Harold Baker, Taft Jordan, Ray Nance, Jimmy Hamilton, etc. SIDE TWO 6903 Count Basie at the Savoy Ballroom (1937) ONE BASS HIT part two (a) In the restless, insecure world of jazz, fashions change with embarr- Despite the scepticism of many of his colleagues, Gillespie and the with Buck Clayton, Ed Lewis, Earl Warren, Lester Young, etc. ALL THE THINGS YOU ARE (b) assing frequency, and reputations wax and wane with the seasons. band, were successful. The trumpeter only stayed for six months, ✓ HOT HOUSE (e) Comparatively few artists have succeeded in gaining universal, con- however, and was soon in the record studios, cutting three of the 6904 Louis Armstrong — Volume 2 (Recorded New THAT'S EARL, BROTHER (c) sistent respect for their musical achievements, and still fewer have tracks on this album, 'Groovin' High', 'Dizzy Atmosphere', and 'All York 1948/1950) with Jack Teagarden, Earl Hines, Barney Bigard, THINGS TO COME (a) been able to reap the benefits of this within their own lifetime.
[Show full text]
“Big Chief” Moore, in New York a Few Weeks Earlier on January 16
WIND12413 ITF Douglas Yeo ITA.qxp_Layout 1 5/22/17 11:24 AM Page 1 July 2017/ Volume 45, Number 3 / $11.00 Denson Paul Pollard — Page 36 Douglas Yeo Depends on Yamaha “Yamaha trombones are the most flexible, finely engineered and well-made instruments INTERNATIONALINTERNATIONAL I have ever played. They allow my musical voice to be expressed beautifully every time I have a trombone in my hands.” Douglas Yeo Visit 4wrd.it/yeoITA2 for details World-renowned Bass Trombonist ASSOCIATION JOURNAL THETHE QUARTERLYQUARTERLY PUBLICATIONPUBLICATION OFOF THETHE ITAITA Take it, Big Chief! An Appreciation of Russell Moore Photo credit: Timothy Hutchens INTERNATIONAL TROMBONE ASSOCIATION JOURNAL The Quarterly Publication of the ITA Volume 45, Number 3 / July 2017 General News — Page 6 The International Trombone Association is Dedicated to the Artistic Advancement of Trombone Teaching, Performance, and Literature. Contents Features Take It, Big Chief: An Appreciation of Russell Moore ITA JOURNAL STAFF by Douglas Yeo .............................................................. 18 Managing Editor A Conversation with Denson Paul Pollard Diane Drexler by Douglas Yeo ................................................................ 36 3834 Margaret Street, Madison, WI 53714 USA / [email protected] Associate Editors Feature Stories – Bruce Gunia Departments [email protected] Announcements ...................................................................... 2 Jazz – Antonio Garcia President’s Column - Ben van Dijk ..........................................
[Show full text]
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
[Show full text]
Tommy Irvine Jazz Collection SPC.2018.038
http://oac.cdlib.org/findaid/ark:/13030/c8g166g7 No online items Inventory of the Tommy Irvine Jazz Collection SPC.2018.038 Jade Delao California State University Dominguez Hills Archives and Special Collections 2018-12-05 University Library South -5039 (Fifth Floor) 1000 E. Victoria St. Carson, CA 90747 [email protected] URL: https://www.csudh.edu/libarchives/ Inventory of the Tommy Irvine SPC.2018.038 1 Jazz Collection SPC.2018.038 Language of Material: English Contributing Institution: California State University Dominguez Hills Archives and Special Collections Title: Tommy Irvine Jazz Collection creator: Cole, Nat King, 1919-1965 creator: Holiday, Billie, 1915-1959 creator: Eckstine, Billy creator: Garner, Erroll creator: Shearing, George creator: Vaughan, Sarah, 1924-1990 Identifier/Call Number: SPC.2018.038 Physical Description: 24 boxes Date (inclusive): 1908-1981, undated Date (bulk): 1940-1953 Language of Material: Collection material is in English. Abstract: This collection contains approximately 444 records held in 76 album sets with performances from musicians, many of which fall under the musical genre of jazz. Most of the records are 10" Shellac, 78 RPMs. Notable musicians featured in this collection include: George Shearing, Billy Eckstine, Nat King Cole, Erroll Garner, Billie Holiday, Sarah Vaughan, and others. Physical Description: Shellac, 10'', 78 RPM Conditions Governing Access There are no access restrictions on this collection. Conditions Governing Use All requests for permission to publish or quote from manuscripts must be submitted in writing to the Director of Archives and Special Collections. Permission for publication is given on behalf of Special Collections as the owner of the physical materials and not intended to include or imply permission of the copyright holder, which must also be obtained.
[Show full text]
Arvell Shaw & the Louis Armstrong Legacy Band
Free to choose Free to dream Free to remember Free to discover 1994 SEASON Free to choose Free to dream Free to remember Free to discover MIKKI SHEPARD/LEONARD GOINES Authors, MIKKI SHEPARD & LEONARD GOINES except where noted Executive Producers Editor, ruDE-LAURE DENIS Program Booklet Design, LOIS PYANOWSKI 1 994 BETTY CARTER: JAZZ AHEAD "95 SEASON The Majestic Thea ter Sat, April 9 - 8:00pm L ~ AND THE Dear Friend: Su n, Apri l 10- 3:00pm r'\ """) MAJESTIC ATA \J I THEATER FLYIN' WEST J In living life, the choices you make, the dreams you dream and the GLANCE (New York Premiere): The Majestic Theater history you remember all join together to make you who you are. 65 1 is a producer and presenter of Tu es, April 19 - 7:00pm arts, education and humanities Wed-Sat, Apri l 20-23- 8:00pm programs which reflect and cele Sat-Sun , April 23-24 - 3:00pm It is the fusion of those choices, dreams and memories that resonate in brate YOU - and your cultural our minds as we look forward to future seasons and programming that iCELEBRACION! heritages and traditions. Home is Downtown Brooklyn's award-win continues to reflect the different faces of you. WILLIE COLON. RAY BARRETIO & HIS ORCHESTRA ning Majestic Theater. Once one of Opera Hou se the borough's great Legitimate the Saturday, April 30- 8:00pm aters and later a popular movie Come and share in all the excitement at 651 this season - from the house, the Majestic is now one of tumultuous Dance of choreographer Donald Byrd; the humor and insight SOUL SISTERS: Brooklyn's finest centers for the of Pearl Cleage's Theater celebrating black women pioneers in America's MARTHA BOWERS performing arts.
[Show full text]
Download Booklet
120665bk Teddy2 23/1/03 4:47 pm Page 2 1. Sweet Lorraine 3:02 8. Too Good To Be True 3:06 16. Where Or When 3:23 19. Just A Mood (Blue Mood) 6:42 (Cliff Burwell–Mitchell Parish) (Clay Boland) (Richard Rodgers–Lorenz Hart) (Teddy Wilson) Brunswick 7520, mx B 17916-1 Brunswick 7663, mx C 1377-2 Benny Goodman Trio Teddy Wilson Quartet Recorded 31 July 1935, New York Recorded 14 May 1936, Chicago Victor 25725, mx BS 015575-1 Brunswick 7973, mx LA 1429-A, 1430-A 2. Body And Soul 3:30 9. Warmin’ Up 3:11 Recorded 29 October 1937, New York Recorded 5 September 1937, Los Angeles (Johnny Green–Edward Heyman–Robert (Teddy Wilson) 17. Coquette 2:43 20. I’ve Found A New Baby 2:40 Sour–Frank Eyton) Brunswick 7684, mx C 1378-1 (Johnny Green–Gus Kahn–Carmen (Jack Palmer–Spencer Williams) Benny Goodman Trio Recorded 14 May 1936, Chicago Lombardo) Brunswick 7926, mx B 21220-1 Victor 25115, mx BS 92705-1 10. Why Do I Lie To Myself About You 3:04 Brunswick 7943, mx LA 1383-A Recorded 1 June 1937, New York Recorded 13 July 1935, New York (Benny Davis–J. Fred Coots) Recorded 30 July 1937, Los Angeles Teddy Wilson & His Orchestra except: 3. Life Begins When You’re In Love 3:03 Brunswick 7699, mx B 19496-2 18. The Hour Of Parting 3:12 Benny Goodman Trio (tracks 2 &16) and (Lew Brown–Victor Schertzinger–Harry Recorded 30 June 1936, New York (Gus Kahn–Mischa Spoliansky) Teddy Wilson Quartet (track 19) Richman) 11.
[Show full text]
The Changing Face of Harlem – the Savoy Sessions Dan Morgenstern Grammy Award for Best Album Notes 1976
The Changing Face of Harlem – The Savoy Sessions Dan Morgenstern Grammy Award for Best Album Notes 1976 The history of jazz is often told in terms of geography—a journey from New Orleans to Chicago to Kansas City to New York, and from there, throughout the world. Like any generalization, this way of outlining the music's development has its shortcomings. New York had been a jazz landmark long before it became the chief incubator of a new style eventually called bebop. And for jazz purposes, New York in the main meant Harlem, the largest (and once most glamorous) black metropolis outside Africa. In the '20s, Harlem was practically the entertainment capital of America, if not the western world. “The world's most glamorous atmosphere .... Why, it's just like Arabian Nights,” said young Duke Ellington when first confronted with its splendors in 1923. To the contemporary mind, conditioned to think of Harlem as a “ghetto,” a vast slum, a breeding ground for social ills, this may seem like fantasy. But even today, there are fine streets and houses in Harlem, there is the Apollo Theater (the last remaining bastion of a once proud show business tradition), there are places to eat and drink well, and places to hear music. But sadly, for every one of the latter, there were a couple of dozen in Harlem‘s heyday. These ranged from basement clubs and unpretentious saloons that might feature a piano player and/or a singer to such elaborate operations as the Cotton Club, with its especially composed, staged and choreographed revues featuring the best in black talent and catering exclusively to whites (black show people were allowed to watch).
[Show full text]
Chronological Discography
Chronological Discography arranger g guitar as alto saxophone 0 pipe organ bb brass bass (sousaphone/tuba) p piano bj banjo ss soprano saxophone bs baritone saxophone t trumpet c comet tb trombone cl clarinet ts tenor saxophone d drums v vocals db double bass vib vibraphone dir director vn violin f flute This chronological list contains most known releases on which Danny Barker plays and sings. Titles are given as they appear on the record labels. Where possible, the first issue number is given, but the complexity of subsequent reissues is such that these are not shown. In preparing the list much use has been made of the works cited in the acknowledgment section as well as Stagg and Crump: New Orleans: the Revival (Dublin, 1973). 1931 Ward Pinkett (t, v); Albert Nicholas (cO; Jack Russin (p); Danny ]une9 NewYork Barker(g);Joe Watts (db); Sam Weiss (d) Dave's Harlem Highlights 95337-1 Everything is okey-dokey (WP:v) Bluebird B-6144 Dave Nelson (1, v); Clarence Brereton (t); Melvin Herbert/Harry 95338-1 I'm on a see-saw (WP:v) Bluebird B-6130 Brown (t); Wilbur de Paris (tb); Buster Bailey (cl, as); Glyn Paque (cl, 95339-1 Red sails in the sunset (WP:v) Bluebird B-6131 as); Charles Frazier (ts); Wtryman Caroer (ts, f); Sam Allen (p); 95340-1 Tender is the night (WP:v) Bluebird B-6131 •Danny Barker (bj); Simon Marrero (bb); Gerald Hobson (iii 95341-1 I'mpaintingthetownred 69905-1 Somebody stole my gal Timely Tunes C-1587 (to hide a heart that's blue) Bluebird B-6130 69906-1 Rockin' Chair Timely Tunes C-1576 95342-1 Tap Room Special (Panama) Bluebird B-6193 69907-2 Loveless Love Timely Tunes C-1577 69908-2 St.
[Show full text]
Oran Thaddeus Page “Hot Lips”
1 The TRUMPET of ORAN THADDEUS PAGE “HOT LIPS” Solographer: Jan Evensmo Last updated: March 31, 2020, April 28, 2021 2 Born: Dallas, Texas, Jan. 27, 1908 Died: NYC. Nov. 5, 1954 Introduction: Hot Lips Page was for unknown reasons rather marginally recognized in my Oslo Jazz Circle upbringing, and only later I opened my ears to his fine trumpet playing! Dan Morgenstern’s various liner notes helped a lot too! History: First music lessons from his mother, a former school-teacher. Early efforts on clarinet and saxophone, specialised on trumpet from the age of 12. Joined kids’ band led by bass drummer Lux Alexander. Left music temporarily, attended high school in Corsicana,Texas, left to do manual work in Seminole oil fields in Texas. Became regular member of band accompanying Ma Ra iney, made first visit to New York with Ma Rainey for bookings at the Lincoln Theatre. Worked with a T.O.B.A. circuit touring band, accompanied Bessie Smith, Ida Cox, etc. Joined Troy Floyd Band in San Antonio, also worked in Texas with Sugar Lou and Eddie’s Hotel Tyler Band. Was heard with this band by bassist Walter Page (no relation) and subsequently joined the Blue Devils band early in 1928. Left the band in 1930 to join Bennie Moten’s band, worked mainly with Moten until 1935, after that leader’s death (April 1935) led own quintet in and around Kansas City. Worked as a specialty act with Count Basie at the Reno Club, Kansas City (1936), was signed by manager Joe Glaser and moved to New York.
[Show full text]
Geechie“ Fields
THE RECORDINGS OF JULIUS „GEECHIE“ FIELDS An Annotated Tentative Personello-Discography Fields, “Geechie” Julius, trombone, born: Georgia, c. 1903. Was raised in the Jenkins Orphanage, South Carolina, taught trombone by Gene ‘Buddy’ Aiken and Jake Frazier, did regular tours with the Orphanage Band, Settled in New York and worked for various leaders at John O´Connor´s Club (c. 1924). With Earle Howard´s Band at Strand Danceland (late 1926), rejoined Howard briefly in 1927. With Charlie Skeete (1929), Bill Benford´s Band (late 1929-30). Recorded with Jelly Roll Morton in 1928 and 1930; was once married to vocaliste Myra Johnson. Left full-time music in the 1930s, later became a boxing coach and trainer for an athletics club in New York. (John Chilton, Who´s Who of Jazz) STYLISTICS STYLE Fields´ trombone style is – above all – known for his excessive and sometimes rather weird and “primitive” growl playing on Morton´s recordings. This fact obviously led many early researchers/listeners to the conclusion that – whenever a trombonist appeared playing growl outside of the Ellington band – it had to be Geechie Fields. Yet, on some of the few sides he played on outside of the Morton circle he plays in a very cultivated and elegant melodic style, although he is equipped to play powerful stomping in staccato in some later Morton titles. For my estimation, he yet belongs to the group of legato players when suited. Thus, he certainly was a versatile and strong player, unfortunately greatly overlooked in his abilities by the public. For all his earlier assumed recordings with Clarence Williams we have found that this man most probably is George Washington – then with Charlie Johnson – or Henry Hicks in one case.
[Show full text]
Smithsonian Jazz Oral History Interview with Chico Hamilton in His Home on 45Th Street in New York City
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. FORESTSTORN “CHICO” HAMILTON NEA Jazz Master (2004) Interviewee: Foreststorn “Chico” Hamilton (September 21, 1921 – November 25, 2013) Interviewer: Dr. Anthony Brown with recording engineer Ken Kimery Date: January 9-10, 2006 Repository: Archives Center, National Museum of American History Description: Transcript 150 pp. Brown: Today is January 9, 2006. This is the official Smithsonian Jazz Oral History interview with Chico Hamilton in his home on 45th Street in New York City. This is a partnership with the National Endowment for the Arts Jazz Masters program. Good afternoon, Chico Hamilton. If we could begin by you stating your full name and your date and place of birth, please. Hamilton: Oh, I’m not going to tell you that, man. Okay, my name is Foreststorn Chico Hamilton, aka Chico Hamilton. I was born in LA in 1921, September the 21st or 23rd, 1921. Brown: 21st through the 23rd? Hamilton: Well it was either the 21st or 23rd, but I go for the 21. It’s easier to remember, 21. Brown: Why is there a discrepancy of the date? Hamilton: Well there was a discrepancy at that time in LA. You know, I don’t know whether you can remember that far back but because I guess my ethnic background in For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 regards to that being from sort of a multi race family, you know, mixed, so, you know, but anyway – Brown: Were you born in a hospital? Hamilton: I was born upstairs by the kitchen sink and you’re supposed to ask me how do I know, I heard the water running.
[Show full text]