A Program&ResidencyGuideFor:Presenters, Teachers, Administrators,Parents &Children Programs forYoungerAudiences Bradley N.Litwin

Stride

photo by Jody Kolodzey

Bradley N. Litwin Programs for Younger Audiences

Ragtime Jazz Stride Blues

Information for Presenters, Teachers, Administrators, Parents & Children

Table of Contents:

3. Why is this music important?

3. Curriculum Connections

6. The Historical Context

8. Sample Topics & Questions for Classroom Workshops

9. Activity Suggestions

10. Audience Expectations

11. About Bradley N. Litwin

12. What Kids Would Like To Know About Bradley N. Litwin

13. Repertoire Highlights

14. Online Music Listings

15. Historical Writers & Performers

16. Bibliography

16. Online Resource Links

17. Available Funding

This document is available as a PDF download at www.jujubee.com/edguide

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This guide is intended for educational presenters, teachers, administrators, parents and children who will host or attend my presentations. If you have any questions about this material, please feel free to give me a call or email: 215.224.9534 [email protected].

Q. Why are Blues, Ragtime and Jazz music important?

In short, they are a common thread that binds much of our shared culture. The unlikely story of these primal art forms is a wide-open window through which we can explore our social heritage, community and historical connections, and celebrate the African- American contribution to mainstream culture.

“Roots” music is the basis of much of American , including Blues, Jazz, Rock & Roll, Country, Western, Gospel, , Disco, Rap, Hip Hop and R&B. All these musical styles rely on the melodic, harmonic, and rhythmic components of earlier musical . Examining these connections provides a wonderfully novel vehicle for presenting a number of subject areas, including: history, geography, science, mathematics, English and, of course, music, itself.

For educators, Litwin’s programs offer interactive, fun, interdisciplinary ways to approach all kinds of subject matter, while addressing the academic arts curriculum requirements, specifically mandated by the state of Pennsylvania. Residencies are tailored to dovetail with current, school, grade-level, or class specific curricula. The following schedule of activities represents an example ten day program:

Day 1: Concert - A general repertoire survey of Blues, Ragtime and Jazz music, from the early 1900s to the late 1930s, including a cursory discussion of roots origins and musical idiosyncrasies, interspersed throughout the presentation

Day 2: Arrival Of The Back Beat, Interactive Lecture/Demonstration, Part I - the emergence of African American rhythms from the 1880s - 1900, including interactive exploration of beat stresses in field hollers, call & response, folk songs, rural blues, and ragtime

Day 3: The Back Beat Comes To The Front, Interactive Lecture/Demonstration Part II - the black Diaspora of the mid 1910s, the convergence of technology, race records, radio, vaudeville, and the emergence of jazz.

Day 4: The Beat Goes On, Interactive Lecture/Demonstration Part III - biographies, anecdotes, demonstrations, images and recordings from legendary performers of the 1920s and 1930s

Day 5: Discovering Blues Poetry: Part I - the poetry in blues lyrics are examined, including structure, meter, stress, symbolism through signifying, etc. A blues lyric is

3 Bradley N. Litwin Programs for Younger Audiences composed by the class. Start of student assignment: create their own blues lyric for next class.

Day 6: Discovering Blues Poetry: Part II - writing assignments are reviewed and discussed. Chord and melodic concepts are demonstrated and explored: identifying the lyrical mood, use of minor and major keys set mood, how melodic tension and release sets the listener’s expectation.

Day 7: Blues Poetry & Composition: Part III - selected student lyrics are put to music for group to sing-along. Students perform their works for one and other. Discussion of what makes a successful or compelling song.

Day 8: Visual Expressions, Part I: An examination of "Modern" objects and images, from Art Neuveau, Art Deco and Bauhaus, discussed in context with "The ." Sheets of various blues and jazz song lyrics are distributed, from which students select verses that suggest strong visual ideas. Selected verses are cut out into strips or other interesting shapes.

Day 9: Visual Expressions, Part II: Music-inspired Imagery is explored through the making of a poster. Art materials, paint, paper, colored pencils, cuttings, etc, are juxtaposed with song lyric snippets, to create thought provoking visual works. If time permits, a multimedia presentation is made by panning a video camera across the mounted, finished works, while the playing of resource music enhances the nuance of each image.

Day 10: Connections: Students will have been assigned to bring in examples of their favorite music for comparison between: hip hop, rap, soul, rock, country & western, etc and the roots music from which all these current forms inherited the African-American legacy. An open discussion is lead to gather student and teacher feedback, followed by a short, farewell artist's performance.

Evaluation Process

The overall success of such residencies may be gauged in several ways. Children almost always respond positively to this type of music with body movement and interactions with one and other, including: singing, dancing, hand-clapping, singing-along, ham bone, etc. The enthusiasm with which students participate is a strong indicator of cognitive involvement.

Each exercise is designed to entice students a little deeper into the process of music making, while fostering global cognitive development. The combination of lyrics and music with images offers a powerful experience for students who are strong visual learners, and the resulting artifacts can provide positive reinforcement.

Finally, in the last class, a strong indication of success is demonstrated by the students’ ability to draw comparisons and connections from current to past musical forms.

4 Bradley N. Litwin Programs for Younger Audiences Additional Activities:

Music – All Grades: is explored through a combination of vocal and rhythmic exercises, including: hand clapping patterns, melody variations, call & response schemes, harmonic reinforcement, etc. The class is organized into groups, given parts of a chorus to sing in sequence. Further exercises include improvised soloing with a back-up chorus.

Geography – Primary School: The class is asked to locate states on a map of the U.S. from which Mr. Litwin identifies Blues and Jazz artists who were born there, playing examples of their work.

Mathematics – Primary & Middle School: A formal understanding of the structure of music begins with an examination of the basic elements of rhythm, , and tonality. All of these areas involve mathematic concepts, including: arithmetic, diagrams and symbols, fractions, time, logic, etc. Exploration of these topics through a Blues and Jazz performance is a novel vehicle for promoting the practical importance, as well as the recreational value, of math skills.

History – Middle School: We discuss the role of rhythmic expression and communication in African cultures, and its subsequent prohibition by American slave masters. Despite this, strong rhythms remained pervasive in everyday life; expressed in field hollers, work gang chants and religious songs. In class, these rhythms are retraced through interactive demonstration, progressing from early to more contemporary forms.

Science & History – Middle & High School: Advances in technology, combined with historic happenstance, contributed to the creative development and widespread popularization of this music. A timeline can be assembled, illustrating the emergence of the cotton gin, player piano rolls, digital technology, the phonograph, broadcast radio, improvements in recording apparatus, the dust bowl, mass production, etc. in juxtaposition with the evolution of popular music.

Music Students – Middle & High School: Mr. Litwin discusses several technical ways to define or recognize Blues and Jazz. Instantly recognizable musical elements of these forms are the legacy of early and contemporary African and African-American innovation and influence, including: the back beat, syncopated rhythms, pentatonic melodies, use of b7, b5, 9, 11, etc.

Visual Arts – All Ages Truly, endless possibilities present themselves for painting, drawing, photography, sculpture, etc., eliciting students’ impressions of performance and repertoire. Possible activities: drawing/painting class, using Mr. Litwin as a live, performing model; creation of or montages, mixing song lyrics as graphic elements with other visual components; building assemblages or exhibits of Art Deco, early Modernist, and Bauhaus period inspired works, in juxtaposition with a performance of period music, etc.

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The Historical Context – background for educators

Until emancipation of the slaves in 1863, on top of every other human indignity, much of African-born culture endured extraordinarily harsh repression, including those traditions in which drumming played a central role. With the thirteenth amendment, the pent up emotions of an entire race began to find outward release, expression practically unknown for two hundred years. It was bound to have a profound impact on most all who would come to hear it. That primal expression is The Blues.

Though the musical form probably emerged earlier, The Blues came into the national public consciousness at the turn of the 20th century, just as Edison was putting the first electric lights up in and Henry Ford was producing the very popular Model ‘N,’ while contemplating the concept of mass production. Personal accounts of musicians from the time recall hearing Blues “Ditties” perhaps as early as 1903. The music grew out of the rhythms, lyrical patterns and melodic , common among the rural folk traditions of African-Americans, in the Southern US.

The first published works of Blues music appeared in 1911, among them W.C. Handy’s “Memphis Blues.” “St. Louis Blues,” Handy’s most famous work, was published in 1914, and is still performed widely. That same year, AT&T completed the first trans- continental telephone line, due to the invention of the “Audion” or vacuum tube. The “Tube” would have a monumental effect on communications of every kind, being an essential component required for the transmission of “Broadcast” radio.

Earlier, in the 1890s, Ragtime music emerged as the syncopated interpretations of marches, waltzes, and more European or Classical song forms, disseminated from . One of the most prolific and well-known “Rag” writers of that time was Scott Joplin, who created such familiar works as The Entertainer and Maple Leaf Rag, both published in 1899.

In this era, a piano in the home represented nearly all that might be described as “Home Entertainment.” If you wanted to hear some music, you probably would have played it yourself. Aided and abetted by traveling minstrels and vaudeville performers, the popularity of new music was propagated almost entirely by the efforts of the sheet music publishing industry, until the widespread commercialization of the phonograph in the 1910s. Until surpassed by the guitar in the 1960s, the piano remained the most prevalent instrument in the home.

Though Joplin’s works required a somewhat accomplished player to be performed well, an early form of digital technology allowed some to enjoy flawless performances, without knowing how to play a note. This was accomplished by the player piano, invented around 1900. It included a mechanism that translated punch holes in rolls or cards into piano key strikes, operating on the very same principle as the Jacquard loom of 1735, and even future computer punch cards, digital magnetic and paper tapes, disks, CDs and DVDs.

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In the 1920s & ‘30s, James P. Johnson, , and Willie “The Lion” Smith, all born in the general vicinity of New York city - where Jazz was spreading like wildfire, infused Ragtime with an irresistible rhythmic enhancement, called “Stride.” Instantly recognizable by its rambunctious, octave-jumping bass line, Stride helped propel Ragtime’s popularity into the mid 1940s.

Jazz began to take shape in in the 1910s, emerging as an infusion of Ragtime, with Creole, Caribbean, and Blues rhythms, harmonies, and melodic forms. The music quickly spread north to the major cities, St. Louis, and New York, accompanying an unprecedented, mass migration of African-Americans fleeing from economic disasters in the rural South.1, 2

Early Jazz pioneers included many extraordinary talents, including: soprano saxophonist Sidney Bechet, trumpeters Buddy Bolden, , and , pianist , and composer-arranger , just to name a few.

Fueled by a newfound hunger for the latest phonograph recordings, the mid 1920s saw Jazz become the most popular music in the country, with dozens of ensembles crisscrossing the nation. The popularity of the music was further spread by radio broadcasting and receiver production, the perfection of which owed a lot to military financed development of the technology, just prior, and during World War I. 1927 crowned the decade’s definitive media triumph, with Warner Brothers’ production of “,” the movie’s first “Talkie.”

The “Jazz Age,” also known as the “Roaring Twenties” was a remarkable period, both for the cultural renaissance of the nation, and as a time of unprecedented economic growth. With the First World War over, the country grew a vast middle class population, driving the consumption of mass produced goods. With one car for every five citizens, there were twenty-nine million Fords on the road by 1929.

Despite the immense popularity of Jazz, and its celebrated inventors, African-American musicians did not generally enjoy the quality of lifestyle they were certainly due. This was especially the case as they toured in the South, where racial prejudice and post Civil War resentment still ran high. Though performed by both black and white bands, the color line was rarely crossed in the early days. Segregation was the law of the land, the U.S. Supreme Court decision of Plessy vs. Ferguson having legitimized Jim Crow treatment of African-Americans in 1896. Perhaps the most famous of all Jazz clarinetists and leaders, is credited with the early breach of the race barrier, bringing Lionel Hampton and Teddy Wilson into his band in 1936.

1. Beginning in 1913, a series of disasters devastated the cotton industry. The world market for cotton bottomed out, and boll weevils destroyed many huge plantations. In 1915, severe floods inundated the Mississippi Valley, leaving owners and sharecroppers alike utterly destitute. 2. This migration continued into the 1940s, when the Blues underwent an urban transformation with the advent of the electric guitar.

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Topics and Questions That May Be Presented In A Classroom Workshop:

From what group of people did this music arise? Why?

What part of the country did this music come from?

What are the things that make this music different from other music you’ve heard? How is it the same?

How does this music make you feel, when you hear it?

What is “Call and Response?” Do you know games that use this?

Could you have heard this music on TV or the radio?

Do the lyrics in the Blues sound like something else you’ve heard?

What is “signifying?”

Guitar Playing Styles My guitar playing technique is often referred to as “Finger-style.” That means, instead of using a flat pick, I use the fingernails on my right hand to pluck the strings of the instrument. Finger-style playing can have very intricate patterns, resembling what you might hear from a piano. Many of the pieces I perform are adaptations of piano accompaniments. Are there other kinds of guitar music that use “Finger-style” technique? What other kinds of guitar-playing styles are there? Who are your favorite guitar players?

The Rhythm of Blues & Jazz Rhythm and drumming are well-known and powerful components of African culture. Some African societies even developed drumming as a method of long-distance communication, a fact not lost on white slave traders and owners who forbade them from making or using drums in America. A message drum handout sheet is distributed and we explore some hand-clapped, African-style rhythms. These powerful rhythms remained in their everyday lives, and were expressed in field hollers, work gang chants and religious songs. We sing Here Rattler Here with the class contributing hand-clapped and wood block percussion…

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Activity Examples:

Blues Poetry: Look at the poetic structure of Blues lyrics. Listen for the meter and cadence of the rhyming couplets. Notice the anticipatory tension, set by the call and response of the repeated lines, then the release in the final couplet.

I got a kind hearted woman Do anything in this world for me I got a kind hearted woman Do anything in this world for me But these evil hearted women And they will not leave me be! from Kind-hearted Woman, by , recorded in 1936

Write some lyrics for your own Blues song, based on your everyday experience. (Maybe I’ll put one to music when I get there!)

E.g. You know my sister pinched me And I didn’t do a thing Oh yeah, my sister pinched me And I did not do a thing But when Mama comes home She’s gonna hear me sing!

I hate to do my homework When I could be out running ‘round I hate to do my homework When I could be running around I’ll just have to sneak out the back door You know I won’t make a sound!

Musical Rhythms in Blues and Jazz: Listen to some Jazz or blues music recordings in 4/4 or 2/4 time, e.g. Fats Waller’s “Ain’t Misbehavin’.” Notice that the accented (louder or stronger) beat generally falls on the second and/or fourth beats of each measure. What is that called? What is “Syncopation?” What do we mean, when we say something “Swings?”

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Audience Expectations:

Mr. Litwin strives to bring the audience an enjoyable and interactively rewarding experience, hoping that some may come away wanting to find out more about this music. Things that will enhance the younger audience experience include:

Prior class exploration of any of the topics in this booklet

Prior to the presentation, good audience behavior should be discussed. – Specifically: that proper decorum is paramount, even though the interactive nature of the program may become raucous at times. Everyone should have gone to the bathroom.

The host should give an enthusiastic introduction for what is about to be presented, letting the audience know that there will be ample time for questions, towards the end.

The host remains with the audience during the presentation, modeling exemplary audience behavior, engaged with the program.

As a long time presenter of school programs, I understand the challenges of classroom management. Should a child become disruptive, I urge the host to summarily remove that student from the room, as quickly and quietly as possible.

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About Bradley N. Litwin

Singer and guitarist Bradley N. Litwin is an award-winning musician of many talents, whose aim is the broadcast and preservation of the extraordinary invention, passion and humor that is embodied in early vintage, Roots Blues, Ragtime and Jazz. Since this music is seldom encountered in the mass media, helping thread that rich heritage back into the fabric of mainstream consciousness is his labor of love.

Growing up in a family of classical musicians, formally studying violin, piano and voice as a child, Litwin's interest in the guitar took shape in the late 1960's during the momentary re-emergence of Folk and Blues in popular music. A self-taught guitarist, and avid model builder, Mr. Litwin researched and taught himself the luthier’s art of building and repairing guitars, as a teenager.

In the mid-1970's, having established a stringed instrument making and repair shop, Mr. Litwin became friendly with many, traveling, circuit musicians. Their anecdotes fed his fascination with the genius of those seminal performers of the 1920s–30s, whose recordings he studied intently. Today he presents recreations of these masterworks, along with a few of his own, for enthusiastic audiences all over the United States.

Bradley Litwin is passionate about passing along the rich heritage that Blues and Jazz music has to offer anyone whose heart might be lifted by his gift of enthusiasm, especially the young and the elderly. At home in Philadelphia, Pennsylvania, Bradley lives with wife, Ellen, a gifted potter, ceramic artist, teacher and arts administrator.

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What Kids Would Like To Know About Bradley N. Litwin

We didn’t own a TV set until I was about six or seven years old. It was a black and white model that took awhile to warm up. There was no UHF and no cable; just channels; some that didn’t come in very clearly until you fiddled with the antennae and the tuner.

Occasionally, on Saturday mornings, I would get to see “Our Gang” films, featuring “The Little Rascals.” These short films, and cartoons made in the 1920s and 1930s, have some of the best examples of early Jazz you could hope to hear, as background or “incidental” music. I loved the way that music made me feel – lucky. I didn’t know enough to ask anyone about this music, though, and so I didn’t get to find out what it was for years to come.

My mom used to be an opera singer, and dad played classical violin. In my house, you could hear someone practicing music, most all the time. I was sent for lessons, studying violin, piano and voice, though I much preferred drawing or building model airplanes. I have always loved figuring out what things are made of, and how they work.

When I was about thirteen, I gave up playing classical music in favor of concentrating on the guitar, which I mostly taught myself by experimenting, and trying to imitate what I heard on records. In a way, that was sort of like building model kits, requiring the same sorts of skills: paying attention to detail, and getting things to fit together just right, and reading music notation, the instructions sheet for “assembling” the desired sounds.

When I was a teenager, I put together my love of the guitar with my model building talents, and took on the perfect challenge: making a guitar, from scratch. There was only one book on the subject available, which I studied furiously, and I still had to figure out a lot for myself. My first instrument came out okay, even if it wasn’t perfect, like a factory-made guitar. I wish I still had it.

I started making and repairing instruments for a living, and set up a nice workshop in the state of Vermont. I was mostly interested in pop and , then. My feelings for Jazz, acquired when I was just a tyke, lay sleeping, nearly forgotten. But lucky I was, since my new workshop was right underneath a concert hall, where musicians from all over the country came to perform. Some of them played music like what I’d heard so long ago. What a brilliant surprise that was!

As I became friends with these wonderful musicians, they began to tell me stories about where Blues, Ragtime and Jazz music came from, and about the people who invented and first performed it, so long ago. I haven’t been able to stop playing it, since. I hope that someday, you will find that kind of inspiration. It’s a wonderful gift that you can share with everyone.

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Selected Highlights from Bradley N. Litwin’s Repertoire

See something you’d really like to hear performed? Please let me know!

Bill Bailey, Hughie Cannon 1906 – New Orleans era Jazz standard On The Sunny Side of the Street, D. Fields/J. McHugh 1930 – pop Jazz standard One Meatball, Zarret/Singer 1942 – pop Blues , C. Calloway/I. Mills/H. Gaskill 1931 - ’s signature Blues Swing song – contains some obscure drug use references Paper Doll, Johnny Black 1915 – Mills Brothers hit in 1936 Singin’ The Blues ‘til My Baby Comes Home, Lewis/Young/Conrad/Robinson 1929 – 1934 adaptation of Frankie Trumbauer hit Is You Is Or Is You Ain’t My Baby, B. Austin/L. Jordan 1943 – pop swing hit Way Down Yonder in New Orleans, Creamer/Layton 1922 - New Orleans era standard Who’s Honey Are You?, T. Waller/A. Razaff 1934 – Stride Ragtime Ain’t Misbehavin’, T. Waller/A. Razaff/. Brooks – 1929 Stride Ragtime standard Old Rockin’ Chair, H. Charmichael 1930 – pop hit ‘Tain’t Nobody’s Business, P. Grainger/E. Robbins 1923 – Bessie Smith Blues hit CC Rider, Traditional – country Blues Crossroads, Robert Johnson 1936 – Blues standard Love In Vain, Robert Johnson 1936 – Blues standard Baby Please Come Home, C. Williams/W. Warfield 1923 – Bessie Smith Blues hit Police Dog Blues, Blind Blake 1926 – Stride guitar Blues Kind Hearted Woman, Robert Johnson 1936 – Blues standard Early Morning Blues, Blind Blake 1926 – country Blues Key To The Highway, Bill Broonzy/Charlie Segar – country Blues Hey Hey Hey Hey, Blind Blake 1926 – country Blues Daddy’s Feelin’ Blue, Blind Blake 1926 – country Blues Down And Out, Willie Cox – folk Blues standard Louisiana Fairy Tale, Gillespie/Parish/Coots 1935 theme from “This Old House” Too Tight Rag, Blind Blake 1926 – Stride Ragtime West Coast Blues, Blind Blake 1926 – Stride Ragtime Woah! Tillie Take Your Time, Creamer/Layton 1923 – Bessie Smith novelty song Careless Love, Traditional – interpretation of Willie “The Lion” Smith Stride style Freight Train, Elizabeth Cotten 1958 – folksong Crow Jane, Skip James 1931 – country Blues You Rascal You, Sam Theard 1930 – Jazzy wail, mildly bawdy Mr. , Blind Blake 1926 – Ragtime Stride, mildly bawdy St. Louis Got Tickled, interpretation of T.C. Bennett work – Ragtime

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Online resources for Blues, Jazz and Ragtime music

Raymond Scott, Cartoon Jazz Bio & Music Samples - http://raymondscott.com

Carl Stalling - Looney Tunes composer Bio - http://www.awn.com/mag/issue2.1/articles/goldmark2.1.html Music Samples - http://www.amazon.com/exec/obidos/tg/detail/-/B000002MN3/102- 0277541-5387301?v=glance

Little Rascals Info - http://www.fact-index.com/o/ou/our_gang.html Bios - http://www.picking.com/og-bios.html Music Samples - http://www.amazon.com/exec/obidos/tg/detail/-/B000005YQ6/102- 0277541-5387301?v=glance

Betty Boop (somewhat risqué) Music Info & Lyrics - http://www.heptune.com/betty.html

Bix Biederbecke Bio - http://www.redhotJazz.com/bix.html Music Samples - http://www.redhotJazz.com/wolverine.html

Thomas “Fats” Waller Bio & Music Samples - http://www.redhotJazz.com/fats.html

Bessie Smith Bio & Music Samples - http://www.redhotJazz.com/bessie.html

Robert Johnson Bio, etc. - http://www.shs.starkville.k12.ms.us/mswm/MSWritersAndMusicians/musicians/Johnson. html Poetry Lesson Plan - http://xroads.virginia.edu/~MUSIC/Blues/rjlesson.html Music Samples - http://www.amazon.com/exec/obidos/tg/detail/- /B000002757/qid=1094229631/sr=8-1/ref=pd_ka_1/102-0277541- 5387301?v=glance&s=music&n=507846 & http://www.amazon.com/exec/obidos/tg/detail/-/B000002AI3/qid=1094229631/sr=8- 2/ref=pd_ka_2/102-0277541-5387301?v=glance&s=music&n=507846

Louis Armstrong Bio & Music Samples – http://www.redhotJazz.com/louie.html & http://www.redhotJazz.com/lao.html

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Rev. Gary Davis Bio & Music Samples – http://www.revgarydavis.com/

Blind Willie McTell Bio & Music Samples – http://www.blindwillie.com/about/blindwillie.html

Cab Calloway Bio & Samples – http://www.npr.org/programs/jazzprofiles/archive/calloway.html Minnie The Moocher - http://xroads.virginia.edu/~UG03/Jukebox/popups/minnie.html

Historically Important Writers And Performers Of This Music:

(A partial list, in no particular order)

W.C. Handy Bessie Smith Frankie Trumbauer Ethel Waters Chic Webb Charlie Patton Lovie Austion Alberta Hunter Don Redmond Robert Johnson Blind Blake Stuff Smith Skip James Joe Venutti Johnny Dodds Blind Willie McTell Django Reinhardt James P. Johnson Stephan Grappelli Jelly Roll Morton Count Bassie Thomas “Fats” Waller Willie “The Lion” Smith Art Tatum Louis Armstrong Art Blakey Max Roach Lonnie Johnson Clifford Brown Mississippi John Hurt John Coltraine Huddie Leadbetter (Leadbelly) Muddy Waters Artie Shaw Lightning Hopkins Benny Goodman Mance Lipscomb Teddy Wilson Charlie Christian Sam Chatmon Count Bassie Lionel Hampton Ella Fitzgerald Bix Biederbeck Frank Trumbauer Dizzie Gillespie

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Bibliography:

Davis, Francis. The History of the Blues. Hyperion 1995 Cohn, Lawrence. Nothing But the Blues. Abbeville Press 1993 Burns, Ken. Jazz (documentary film series). PBS 2001. also www.pbs.org/Jazz Crow, Bill. Jazz Anecdotes. Oxford University Press 1990 Hentoff & McCarthy. Jazz. Holt, Reinhardt & Winston 1959

Online Resources: http://www.redhotJazz.com - fantastic site for bios and music samples http://www.tvhandbook.com/History/History_radio.htm - history of radio development http://www.tvhandbook.com/History/History_timeline.htm - timeline of broadcasting http://library.thinkquest.org/27629/themes/media/mdtimeline.html - timeline of media http://www.pbs.org/wgbh/amex/rescue/sfeature/radio.html - history of radio development http://history.acusd.edu/gen/recording/notes.html - history of recording technology http://www.cbc.ca/50tracks/timeline.html - timeline & history of recording technology http://www.lsjunction.com/people/joplin.htm - Scott Joplin bio, etc. http://www.notationmachine.com/how_to_read_sheetmusic/dotted_notes_- _reading_complicated_syncopation.htm - music reading: syncopation http://cnx.rice.edu/content/m11422/latest/ - message drum handout sheet http://cnx.rice.edu/content/m11872/latest/ - talking drums handout sheet http://www.pianoparadise.com/joplin.html - Scott Joplin biography http://nc.essortment.com/historypiano_resc.htm - history of the piano http://econ161.berkeley.edu/TCEH/Slouch_roaring13.html - Ford’s mass production http://www.factmonster.com/spot/bhmcities1.html - mass migration of 1915 http://www.africana.com/research/encarta/tt_372.asp - history of Jazz http://www.austinlindy.com/benny_goodman.htm - Benny Goodman story http://memory.loc.gov/ammem/lohtml/lomaxstategenre.html - Library of Congress archives of ’s Southern recording trips, complete online access to recordings

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Arts Residency Funding is Available!

Bradley N. Litwin is an adjudicated roster member of several organizations that provide matching funds or support for his performances and residencies. These include:

Pennsylvania Performing Arts on Tour PennPAT is a granting organization dedicated to the advancement of Pennsylvania resident artists. They provide matching funds for artists’ fees and related presenters’ expenses, especially where the arts activity will benefit the general community, at large. Non-profit organizations in PA, OH, NJ, NY, DE, VA, MD, WV, NC and the US Virgin Islands are generally eligible to apply. For more information, please visit www.pennpat.org or call 215.496.9424.

Philadelphia Arts in Education Partnership PAEP is the regional branch of the Arts in Education Partnership program, administered by the Pennsylvania Council on the Arts. The program provides matching funds to educational institutions in Philadelphia, Bucks, Montgomery, and Delaware counties of Pennsylvania, primarily in-school based residency programs of ten days or longer. For more information, please visit www.paep.net or call 215.717.6596

Pennsylvania Humanities Council - Commonwealth Speakers Funding for single event performances before qualifying groups in Pennsylvania, such as schools, libraries, community and civic associations, etc. Visit www.pahumanities.org or call 215.925.3054

Young Audiences of Eastern Pennsylvania YAEP is a clearing house for Eastern Pennsylvania artists who offer in-school, educational programs in the arts and humanities. www.yaep.org or call 215.772.0460

Bradley N. Litwin 6505 N. Fairhill St. Philadelphia, PA 19126 (215) 224.9534 [email protected] www.bradlitwin.com ©2004, 2005 Bradley N. Litwin, all rights reserved

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