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Duke Ellington Monument Unveiled in Central Park Tatum, Elinor
Document 1 of 1 Duke Ellington monument unveiled in Central Park Tatum, Elinor. New York Amsterdam News [New York, N.Y] 05 July 1997: 14:3. Abstract A monument to jazz legend Duke Ellington was unveiled at Duke Ellington Circle on the northeast corner of Central Park on Jul 1, 1997. The jet black, 25-ft-high memorial was sculpted by Robert Graham and depicts Ellington, standing by his piano. The statue is a gift from the Duke Ellington Memorial Fund, founded by Bobby Short. Full Text Duke Ellington monument unveiled in Central Park The four corners of Central Park are places of honor. On the southwest gateway to the park are monuments and a statue of Christopher Columbus. On the southeast corner is a statue of General William Tecumseh Sherman. Now, on the northeast corner of the park, one of the greatest jazz legends of all time and a Harlem hero, the great Duke Ellington, stands firmly with his piano and his nine muses to guard the entrance to the park and to Harlem from now until eternity. The monument to Duke Ellington was over 18 years in the making, and finally, the dream of Bobby Short, the founder of the Duke Ellington Memorial Fund, came to its fruition with the unveiling ceremony at Duke Ellington Circle on 110th Street and Fifth Avenue on Tuesday. Hundreds of fans, family, friends and dignitaries came out to celebrate the life of Duke Ellington as he took his place of honor at the corner of Central Park. The jet black, 25-foot-high memorial sculpted by Robert Graham stands high in the sky, with Ellington standing by his piano, supported by three pillars of three muses each. -
Boston Symphony Orchestra Concert Programs, Summer, 1991, Tanglewood
/JQL-EWOOD . , . ., An Enduring Tradition ofExcellence In science as in the lively arts, fine performance is crafted with aptitude attitude and application Qualities that remain timeless . As a worldwide technology leader, GE Plastics remains committed to better the best in engineering polymers silicones, superabrasives and circuit board substrates It's a quality commitment our people share Everyone. Every day. Everywhere, GE Plastics .-: : ;: ; \V:. :\-/V.' .;p:i-f bhubuhh Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President T Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, V ice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Avram J. Goldberg Mrs. August R. Meyer Peter A. Brooke Mrs. R. Douglas Hall III Mrs. Robert B. Newman James F. Cleary Francis W. Hatch Peter C. Read John F. Cogan, Jr. Julian T. Houston Richard A. Smith Julian Cohen Mrs. BelaT. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Mrs. Eugene B. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930
ABSTRACT HUMANITIES DECUIR, MICHAEL B.A. SOUTHERN UNIVERSITY AT NEW ORLEANS, 1987 M.A. THE UNIVERSITY OF CALIFORNIA, BERKELEY, 1989 THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 Committee Chair: Timothy Askew, Ph.D. Dissertation dated August 2018 This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du i Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of blacks in America as the sole theme. ii THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY MICHAEL DECUIR DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA AUGUST 2018 © 2018 MICHAEL DECUIR All Rights Reserved ACKNOWLEDGEMENTS My greatest debt of gratitude goes to my first music teacher, my mother Laura. -
Frank Driggs Collection of Duke Ellington Photographic Reference Prints [Copy Prints]
Frank Driggs Collection of Duke Ellington Photographic Reference Prints [copy prints] NMAH.AC.0389 NMAH Staff 2018 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 .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents note................................................................................................ 2 Biographical/Historical note.............................................................................................. 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 3 Series 1: Band Members......................................................................................... 3 Series 2: Ellington at Piano...................................................................................... 5 Series 3: Candid Shots............................................................................................ 6 Series : Ellington -
Otto Hardwick Duke Ellington´S Sweet Alto Saxophonist
BULLETIN NR 1, JANUARI 2017, ÅRGÅNG 25 Otto Hardwick Duke Ellington´s sweet alto saxophonist I detta nummer / In this issue: 2 Ledare m. m. 3 Recensioner 4 Otto Hardwick 9 Willie Cook with Dizzy Gillespie 10 Willie Cook with Billie Holiday 11 Olle Snismark 12 Milt Hinton and Duke Ellington 13 Other Duke´s Places 14 Nya skivor 15 When Jazz Had The Blues 16 A Swedish singer with Duke Ellington 17 Adelaide Hall 18 Duke Ellington in Europe 20 Kallelse 1-2017 Nu tar vi nya tag Alla våra medlemmar önskas en god den 13 februari engagera två erkänt bra av kassan. Jag känner mig övertygad fortsättning på det nya året. Med det musiker med synnerligen gott renommé. om att årsmötet kommer att godkänna önskar jag även en god fortsättning för Det rör sig om teamet Kjell Fernström vår begäran. Alla årsmöteshandlingar vår förening och att vårt medlemsantal och Mårten Lundgren (se kallelse på kommer att fnnas tillgängliga inför skall öka. Den CD som vi skickade ut sid. 20). Detta innebär att kostnaden för mötet. med förra Bulletinen har rönt ett gott evenemanget höjs och vi tvingas därför När jag ändå är inne på ekonomifrågor mottagande och något annat hade jag höja entréavgiften till 200:-, men vi tror så hoppas jag att alla våra medlemmar inte väntat mig. Den speglade ju en och hoppas att våra medlemmar skall få kommer att använda sig av det höjdpunkt i Duke Ellingtons karriär. Vi valuta för sina pengar. inbetalningskort som bifogades förra räknar med att senast under 2018 kunna Det kommande medlemsmötet är Bulletinen. -
Guide to the Leonard Gaskin Papers
Guide to the Leonard Gaskin Papers NMAH.AC.0900 Vanessa Broussard-Simmons and Dr. Theodore Hudson 2019 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 .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 4 Series 1: Personal Papers, 1937-2006, undated..................................................... 4 Series 2: Diaries and Planners, 1947-2004............................................................. 7 Series 3: Business Records, 1939-2000, undated................................................. 10 Series 4: Photographic Materials, 1956-2003, undated......................................... 12 Series 5: Scrapbooks, 1923-2004, undated.......................................................... -
Chicago Music Communities and the Everyday Significance of Playing Jazz
MUSIC PRACTICES AS SOCIAL RELATIONS: CHICAGO MUSIC COMMUNITIES AND THE EVERYDAY SIGNIFICANCE OF PLAYING JAZZ by John Frederic Behling A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2010 Doctoral Committee: Professor Mark Allan Clague, Chair Professor Paul A. Anderson Professor Kelly M. Askew Professor Charles Hiroshi Garrett Copyright John Frederic Behling 2010 Acknowledgements In this dissertation, I argue that the solos of jazz musicians spring from the practices of the communities in which they live. What holds true for expression and creativity in jazz is no less true of academic research and writing. This dissertation would not be possible without the support and encouragement of many communities and individuals. I thank all the musicians in Chicago who played music with me and welcomed me into their communities. I am especially grateful to Aki Antonia Smith, Edwina Smith, Scott Earl Holman, and Ed Breazeale for befriending me and introducing me to the musicians and communities about whom I write. I am also grateful for the support of my academic community. Kelly Askew introduced me to the anthropological side of ethnomusicology. Her writing showed me what compassionate and concrete ethnography should be like. Paul Anderson’s late night seminars helped me understand that musical practices have philosophical and psychological significance and that jazz criticism is part of a much larger and long- standing intellectual conversation. Charles Hiroshi Garrett, a late addition to my committee, embraced this project with enthusiasm. His generous encouragement and insightful comments are greatly appreciated. -
June 2021 ITG Journal
International Trumpet Guild® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet June 2021 ITG Journal The International Trumpet Guild® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on electronic devices for the sole use of the end-user • Print a single copy of this file • Quote fair-use passages of this file in not-for-profit research papers as long as the ITG Journal, date, and page number are cited as the source. The International Trumpet Guild®, under the umbrella of United States and international copyright laws, prohibits the following without prior writ ten permission from the Publications Editor of the ITG: • Duplication or distribution of this file or its contents in any manner that does not conform with the uses as stated above • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any party, including such a device intended to be used wholly within an institution. By scrolling past this page you agree to the fair use guidelines stated above. http://www.trumpetguild.org This cover sheet must accompany this file. The removal of this information is strictly prohibited and can result in expulsion from the organization and legal action. -
Preisgestaltung Liste.Xlsx
Position Schallplatte Preis 1 10 CC - How dare you - FOC, OIS - Mercury 9102 501 - Made in England 8,00 € 2 10 CC - In Concert - Contour CN 2056 - Made in England 8,00 € 3 10 CC - Live and let Live - 2 LP FOC - Mercury 6641 714 - Made in Germany 9,00 € 4 10 CC - Profile - DECCA 6.24012 AL 8,00 € 5 10 psychotherapeutische Behandlungsverfahren 6,00 € 6 38 Special - Rockin' into the night - A&M AMLH 64782 - Made in Holland 15,00 € 7 A Band Called O - Within Reach - UAG 29942 - UK 10,00 € 8 A flock of seagulls - Listen 10,00 € 9 A flock of seagulls - Same - Picture Disc 36,00 € 10 A flock of seagulls - The story of a young heart 13,00 € 11 A Split Second - From the inside 13,00 € 12 A Tribute to Duke Ellington - We love you madly - 2 LP FOC - Verve 2632 022 - Made in Germany 10,00 € 13 A.C. Bhaktivedanta Swami Prabhupada - Krsna Meditation - RKP 1005 12,00 € 14 A.R. Machines - Die grüne Reise, The Green Journey - (Achim Reichel) - Polydor 2459 057 - Made in Germany 60,00 € 15 ABBA - Arrival - Club Edition - Polydor 65 940 9 - Made in Germany 5,00 € 16 ABBA - Greatest Hits Vol. 2 9,00 € 17 ABBA - Super Trouper 9,00 € 18 ABBA - The Album - Dig It PL 3012 - Made in Italy 2,00 € 19 ABBA - The Very Best Of - 2 LP FOC - Polydor DA 2612 032 (on Cover, Labels are different) 5,00 € 20 ABBA - The Visitors 9,00 € 21 ABBA - Voulez Vous 10,00 € 22 Abbi Hübner & the Jailhouse Jazzmen - Same - Storyville 6.23803 18,00 € 23 Abbi Hübner's Low Down Wizards - 1964-1971 - Warnung: Nur für Sammler - PF 085 18,00 € 24 Abbi Hübner's Low Down Wizards - 20 Jahre, -
Otto Hardwick
THE RECORDINGS OF OTTO HARDWICK An Annotated Tentative Discography HARDWICK, Otto ‚Toby‘, born: Washington, D.C., 31st May 1904; died: Washington, D.C., 5th August 1970. Started on string bass at the age of 14, worked with Carroll´s Columbia Orcjestra (c. 1920), then switched to ‚C‘ melody sax. Began gigging with Duke Ellington in and around Washington, also worked for Elmer Snowden at Murray´s Casino, Washington (c. 1922). Went to New York with Duke Ellington in 1923 and shared man oft hat leader´s early experiences – including week with Wilbur Sweatman (March 1923) and residencies with Elmer Snowden – occasionally doubled violin and string bass in the mid-1920s, but specialised on alto sax. Worked regularly with Duke Ellington until the spring of 1928. Went to Paris, worked in band led by bassist John Ricks, led own band and played briefly with Noble Sissle and Nekka Shaw´s Orchestra before returning to New York. Brief stint with Chick Webb (1929), then led own band at the ‚Hot Feet‘ Club, New York (1930), subsequently led at Small´s then worked with Elmer Snowden before rejoining Duke Ellington in spring 1932. Except for brief absencies he remained with Duke until May 1946. Susequently retired from music, worked in hotel management, also ran own farm in Maryland. (John Chilton, Who´s Who in Jazz) This personnelo-discography is based on RUST, JAZZ AND RAGTIME RECORDS 1897 - 1942. Personnels are taken from this source, but modified in the light of earlier or subsequent research or on the strength of my own listening, discussed with our listening group or other interested collectors. -
Guide to the Benny Carter Collection, 1928-2000
Guide to the Benny Carter Collection, 1928-2000 NMAH.AC.0757 Will Crafton, Sara Cromwell, Courtney Egan, Pam Kirby, Nic Netzel, Ben Pubols, Scott Schwartz, and Charissa Threat October 9, 2002 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 .............................................................................................. 1 Biography......................................................................................................................... 1 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Music Manuscripts, 1928-1990s............................................................... 4 Series 2: Newspaper and Magazine Clippings, 1928 - 2000............................... 177 Series 3: Photographs, 1928-1998.....................................................................