DOCSLIB.ORG

Chronological Discography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. Louis Blues Timely Tunes C-1588 1935 •Danny Barker maintains he was not present at this session, and Dec 27 New York that the banjoist was Arthur Taylor. The Little Ramblers Bill Dillard (1, v); Albert Nicholas (cO;Jack Russin (p); Dantry Barker 1934 (g);Joe Watts (db); Sam Weiss (d); AdrianRollini (vib) Dec28 NewYork 98398-1 The music goes 'round and Buster Bailey and his Seven Chocolate Dandies around Bluebird B-6220 Henry Allen (I); J. C. Higginbotham (tb); Buster Bailey (cO; Benny 98399-1 I'm building up to an awful Carter (as); Charlie Heal (p); Danny Barker (g); Elmer James (db); let-down Bluebird B-6232 Walter Johnson (d); Fletcher Hendmon (a) 98400-1 I'm shooting high Bluebird B-6220 16445-1 Call of the Delta Vocalion 2887 98401 -1 I've got my fingers crossed Bluebird B-6232 16445-2 Call of the Delta Columbia 35677 16446-1 Shanghai Shuffle Vocalion 2887 1936 Oct 12 New York 1935 Henry Allen and his Orchestra Jan 23 New York Henry Allen (t, v); GeneMikell(cO; Tab Smith (as); TedMcRae(ts); Henry Allen and his Orchestra Clyde Hart (p); Dantry Barker(g);John Kirby (db); Cozy Cole (d) Henry Allen (t, v); Pee Wee Erwin (t); George Washington (tb); Buster 20049-1 Midnight Blue Vocation 3339 Bailey (cO; Luis Russell (p); Danny Barker (g); Pops Foster(db); Paul zooso-1 Lost in my dreams Vocation 3340 Barbarin (d) 20051-1 Sitting on the moon Vocalion 3340 16671-1 Believe it, beloved (HA:v) Banner 33337 zoosz-r Whatcha gonna do when there ain't 16671-2 Believe it, beloved (HA:v) EpicLN-3252 no swing? Vocation 3339 16672-1 It's written all over your face (HA:v) Banner 33337 16672-2 It's written all over your face Melotone 91940 1936 t668r-I (We're gonna have) smooth Nov 17 New York sailing (HA:v) Banner 33355 Henry Allen and his Orchestra 16682-1 Whose honey are you? (HA:v) Banner 33355 Probably similar personnel to session o[Oa I2 I9J6 20267-1 Did you mean it? Vocation 3377 1935 zoz68-1 In the chapel in the moonlight Vocation 3377 Oct5 NewYork zoz6g-1 Here's love in your eye Vocation 3389 The Little Ramblers zoz 70-1 When my dream boat comes home Vocation 3389 CHRONOLOGICAL DISCOGRAPHY / 201 1936 21277-1 You'llnevergotoheaven (if Dec 29 New York you break my heart) Vocation 3594 Henry Allen and his Orchestra 21278-1 The Miller's Daughter, Marianne Vocalion 3007 Henry Allm (t, v); Tab Smith (as); Billy Kyle (p); Dan"Y Barlter (g); ?John Williams (Jh); unlmo~~>n (c~ IS, bs, d) 1937 2.0458-1 I adore you Vocation 3422 JulyY NewYork 20459-1 He ain't gotrhythm Vocalion 3432 Mills Blue Rhythm Band 2.0460-1 This year's kisses Vocation 3432 Lucky Millintkr (dir); Charlie Shaven ((}; Carl Warwick((}; Harry 20461-2 Let's put our heads together Vocation 3422 Edison ((};Alfred Cobbs (tb); Wi/burtk Paris (tb); Tab Smith (as); Ben Williams (c/, IS); Eddie Williams (ts); Harold Arnold (ts); Billy Kyle 1937 (p}; Dan"Y Barlter (g); John Williams (Jh); Lester Nichols (d); Feb 11 New York unlmown girl (v); Eli Robinson (tj) Mills Blue Rhythm Band M-545-1 Jammin' for the jackpot (ER:a) Variety 634 Lucky Millintkr (dir); Charlie Shaven ((}; Carl Wa,ick ((};Harry M-546-1 The Image ofYou (v) Variety6o4 Edison((}; San4Y Watson (tb); Wilbur tk Paris (tb); Tab Smith (as); M-547-1 When Irish eyes are smiling Variety 624 Eddie Williams (fa!); Ronald Haynes (IS); Harold Arnold (IS); Billy M-548-1 CampMeetingJamboree Variety 624 Kyle (p); Dan"Y Barker (g); John Williams (Jh); Lester Nichols (d, vib); Chappie Willet (a) 1937 M-1-2 Blue Rhythm Fantasy Variety 503 July 23 New York M-2-1 Prelude to a Stomp Variety 546 Billy Kyle and his Swing Club Band M-3-2 RhythmJam Variety 546 Charlie Shaven ((}; Tab Smith (as); Ronald Haynes (ts); Billy Kyle M-4-1 Jungle Madness Variety 503 (p); Dan"Y Barlter (g); John Williams (Jh); Fran Mar.r (d); Leon Laftll (v) 1937 M-569-1 Can I forget you? Variety 617 March 4 New York M-570-1 All you want to do is dance Variety 617 Henry Allen and his Orchestra M-571-1 Handle my heart with care Variety 659 Henry Allen (t, v); Buster Bailey (c/); Tab Smith(as); Sonny Fredericks M-572-1 Girl of my Dreams Variety 659 (ts); Billy Kyle (p); Danny Barlter (g); John Williams (Jh); Alphonse Steele(d) 1937 20759-2 Afterlast night with you Vocation 3524 Sepq New York 20760-1 Goodnight, my lucky day Vocation 3490 Henry Allen and his Orchestra 20761-1 There's a kitchen up in heaven Vocation 3490 Henry Allen (t, v); ?Giyn Paque/Edmond Hall (cO; Tab Smith (as); 20762-2 I was hom to swing Vocation 3524 Sammy Davis (ts); Billy K;yle (p); Danny Barker (g); John Williams 1937 (Jh); Alphonse Steele (d) March 18 New York 21630-2 I owe you Vocation 3704 Billy Kyle and his Swing Club Band 21631-2 Have you ever been in love? Vocation 3704 Charlie Shaven ((}; Eddie Williams (cO; Tab Smith (as); Harold 21632-1 Is it love or infatuation? Vocation 3690 Arnold (ts); Billy Kyle (p); Dan"Y Barker (g); John Williams (db); 21633-2 Can I forget you? Vocation 3690 O'Neill Spencer (d); the Palmer Brothen (v) M-278-1 Sundays are reserved (PB:v) Variety 574 1937 M-279-1 Havin' a ball Variety 574 Sept 10 New York M-280-2 Big Boy Blue (PB:v) Variety 531 Chu Berry and his Stompy Stevedores M-281-1 Margie Variety 531 Irving Randolph((}; KegJohnson (tb); ChuBerry (ts); Ben"Y Payne(p, v); Danny Barker(g); Milt Hinton (Jh); Leroy Maxey (d) 1937 M-622-1 ChuberryJam Columbia37571 April28 NewYork M-623-1 Maelstrom Columbia 37571 Mills Blue Rhythm Band M-624-1 My Secret Love Affair (BP:v) Variety 657 Lucky Millintkr (dir); Charlie Shaven ((}; Carl Wa,.ick ((};Harry M-625-1 EbbTide Variety657 Edison((}; Alfred Cobbs (tb); Wilbus tk Paris (tb); Tab Smith (as); Ben Williams (cl, ts); Eddie W.1liams (ts); Harold Arnold (ts); Billy Kyle 1937 (p); Danny Barker (g); John Williams (Jh); Lester Nichols (d, vib); Dec 10 New York Chuck Richards (v) Cab Calloway and his Orchestra M-429-1 The Lucky Swing Variety 604 Cab Calloway (v, dir); Shad Collins((}; Irving Randolph((}; Lammar M-430-1-2 Please pity my heart (CR:v) Rejected Wright((}; Claude Jones (tb); KegJohnson (tb); DePriest Wheeler(tb); M-431-1 Let's get together (LN:vib) Variety 604 Chauncey Haughton (c/, as); Aadrew Brown (cl, as); Ben Webster(ts}; M-432-1-2 Since I've heard it from you Rejected Walter Thomas (ts); Bennie Payne (p, vib); Danny Barker (g); Milt Hinton (db); Leroy Maxey (d) 1937 M-690-1-3 Every day's a holiday (CC:v) Vocation 3896 April29 NewYork M-691-2-3 Jubilee (CC:v) Vocation 3896 Henry Allen and his Orchestra M-692-1 In an old English village Henry Allen (t, v); Glyn Paque (c/); Tab Smith (as); Harold A mold (CC:v) Vocation 3912 (ts}; Luis Russell (p); Danny Barker (g); John Williams (Jh); Paul M-693-1 Oustan)errorinthenews Barbarin (d) (CC:v) Vocation 3912 21070-1 Sticks and Stones Vocation 3564 M-694-1 A Minot Breakdown (Rusrle of 21071-I-2 Meet me in the moonlight Vocation 3574 Swing) Rejected 21072-1 Don'tyou care what anyone M-695-1 Bugle Blues Vocation 4019 says? Vocation 3574 2 1073-1 A Love Song of Long Ago Vocation 3564 1938 Jan 26 New York 1937 Cab Calloway and his Orchestra June 19 New York Same personnel as session ofDec 10 1937 Henry Allen and his Orchestra M-743-1 OneBigUnionforTwo(CC:v) Vocation 3970 Same personnel as session ofApri/29 193 7 M-744-1 Doing the reactionary (CC:v) Vocation 3970 21275-2 Till the clock strikes three Vocation 3607 M-745-2 Rusrle of Swing Vocation 4144 21276-2 The Merry-go-round broke down Vocation 3594 M-746-1 Three swings and out Vocation 3995 202 / A LIFE IN JAZZ M-747-I l like music (with a swing M-gro-1 Tee-urn, tee-urn, tee-i, Tahiti like that) (CC:v) Vocation 3995 (CC:v) tee-i, Tahiti M-748-I Foolin'withyou(CC:v) Vocalion 40I9 M-911-I Angels with dirty faces Oune Richmond:v) Vocalion 4498 1938 March 23 New York 1938 Cab Calloway and his Orchestra Nov9 NewYork Samepenonne/ as session of Dec 101937 Ethel Waters, accompanied by Eddie Mallory and his Orchestra M-787-I Azure Vocation 4100 Ethel Waten (v); Eddie Mallory(!); Shirley Clay (t.); Tyree Glenn (tb, M-788-I
Load more

Recommended publications
  • Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel
    Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel Suhadolnik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Musicology) in the University of Michigan 2016 Doctoral Committee: Associate Professor Charles Hiroshi Garrett, Chair Professor David Ake, University of Miami Associate Professor Stephen Berrey Associate Professor Christi-Anne Castro Associate Professor Mark Clague © Sarah Ezekiel Suhadolnik 2016 DEDICATION To Jarvis P. Chuckles, an amalgamation of all those who made this project possible. ii ACKNOWLEDGEMENTS My dissertation was made possible by fellowship support conferred by the University of Michigan Rackham Graduate School and the University of Michigan Institute for the Humanities, as well as ample teaching opportunities provided by the Musicology Department and the Residential College. I am also grateful to my department, Rackham, the Institute, and the UM Sweetland Writing Center for supporting my work through various travel, research, and writing grants. This additional support financed much of the archival research for this project, provided for several national and international conference presentations, and allowed me to participate in the 2015 Rackham/Sweetland Writing Center Summer Dissertation Writing Institute. I also remain indebted to all those who helped me reach this point, including my supervisors at the Hatcher Graduate Library, the Music Library, the Children’s Center, and the Music of the United States of America Critical Edition Series. I thank them for their patience, assistance, and support at a critical moment in my graduate career. This project could not have been completed without the assistance of Bruce Boyd Raeburn and his staff at Tulane University’s William Ransom Hogan Jazz Archive of New Orleans Jazz, and the staff of the Historic New Orleans Collection.
    [Show full text]
  • Guide to Ella Fitzgerald Papers
    Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 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..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996.................................................................
    [Show full text]
  • The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr.
    [Show full text]
  • Finding Aid for the Sheldon Harris Collection (MUM00682)
    University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr.
    [Show full text]
  • Dear Friends, in Keeping with the Nostalgic Themes with Which We
    Dear friends, In keeping with the nostalgic themes with which we normally open these Activity Pages, I thought I’d tell you a story about young love – its excitement, its promise, and its almost inevitable woes. It’s a true story, one from my own past. And it begins at Roller City, a roller skating rink located, in those distant days, on Alameda Avenue just west of Federal Boulevard in Denver, Colorado. It was a balmy Friday night when I first spied my Cinderella – a lovely, lithe thing with a cute smile, pink ribbons in her blonde hair, and very “girly” bons bons of matching color hanging on the front of her white roller skates. It might have been love at first sight but certainly by the time we skated hand in hand under the multi-colored lights in a romantic “couples skate,” I was a goner. Indeed, I fell more madly in love than I had at any other time in my whole life. I was 10 years old. I drop in that fact because it proved to be the relevant point in the impending tragedy of unrequited love. For you see, it turned out there was an unbridgeable gap in our ages. I was just getting ready to go into the 4th grade whereas I learned she was going into the 5th grade! Yipes! I had fallen for an older woman! How could I break it to her? And how would I deal with the rejection I knew must follow? I was in a terrible jam and so…and I’m not proud of it…I made up a lie.
    [Show full text]
  • QUASIMODE: Ike QUEBEC
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ QUASIMODE: "Oneself-Likeness" Yusuke Hirado -p,el p; Kazuhiro Sunaga -b; Takashi Okutsu -d; Takahiro Matsuoka -perc; Mamoru Yonemura -ts; Mitshuharu Fukuyama -tp; Yoshio Iwamoto -ts; Tomoyoshi Nakamura -ss; Yoshiyuki Takuma -vib; recorded 2005 to 2006 in Japan 99555 DOWN IN THE VILLAGE 6.30 99556 GIANT BLACK SHADOW 5.39 99557 1000 DAY SPIRIT 7.02 99558 LUCKY LUCIANO 7.15 99559 IPE AMARELO 6.46 99560 SKELETON COAST 6.34 99561 FEELIN' GREEN 5.33 99562 ONESELF-LIKENESS 5.58 99563 GET THE FACT - OUTRO 1.48 ------------------------------------------ Ike QUEBEC: "The Complete Blue Note Forties Recordings (Mosaic 107)" Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Milt Hinton -b; J.C. Heard -d; recorded July 18, 1944 in New York 34147 TINY'S EXERCISE 3.35 Blue Note 6507 37805 BLUE HARLEM 4.33 Blue Note 37 37806 INDIANA 3.55 Blue Note 38 39479 SHE'S FUNNY THAT WAY 4.22 --- 39480 INDIANA 3.53 Blue Note 6507 39481 BLUE HARLEM 4.42 Blue Note 544 40053 TINY'S EXERCISE 3.36 Blue Note 37 Jonah Jones -tp; Tyree Glenn -tb; Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Oscar Pettiford -b; J.C. Heard -d; recorded September 25, 1944 in New York 37810 IF I HAD YOU 3.21 Blue Note 510 37812 MAD ABOUT YOU 4.11 Blue Note 42 39482 HARD TACK 3.00 Blue Note 510 39483 --- 3.00 prev. unissued 39484 FACIN' THE FACE 3.48 --- 39485 --- 4.08 Blue Note 42 Ike Quebec -ts; Napoleon Allen -g; Dave Rivera -p; Milt Hinton -b; J.C.
    [Show full text]
  • JUKEBOX JAZZ by Ian Muldoon* ______
    JUKEBOX JAZZ by Ian Muldoon* ____________________________________________________ n 1955 Bill Haley’s Rock Around the Clock was the first rock and roll record to become number one on the hit parade. It had made a stunning introduction in I the opening moments to a film called Blackboard Jungle. But at that time my favourite record was one by Lionel Hampton. I was not alone. Me and my three jazz loving friends couldn’t be bothered spending hard-earned cash on rock and roll records. Our quartet consisted of clarinet, drums, bass and vocal. Robert (nickname Orgy) was learning clarinet; Malcolm (Slim) was going to learn drums (which in due course he did under the guidance of Gordon LeCornu, a percussionist and drummer in the days when Sydney still had a thriving show scene); Dave (Bebop) loved the bass; and I was the vocalist a la Joe (Bebop) Lane. We were four of 120 RAAF apprentices undergoing three years boarding school training at Wagga Wagga RAAF Base from 1955-1957. Of course, we never performed together but we dreamt of doing so and luckily, dreaming was not contrary to RAAF regulations. Wearing an official RAAF beret in the style of Thelonious Monk or Dizzy Gillespie, however, was. Thelonious Monk wearing his beret the way Dave (Bebop) wore his… PHOTO CREDIT WILLIAM P GOTTLIEB _________________________________________________________ *Ian Muldoon has been a jazz enthusiast since, as a child, he heard his aunt play Fats Waller and Duke Ellington on the household piano. At around ten years of age he was given a windup record player and a modest supply of steel needles, on which he played his record collection, consisting of two 78s, one featuring Dizzy Gillespie and the other Fats Waller.
    [Show full text]
  • Louis Armstrong
    A+ LOUIS ARMSTRONG 1. Chimes Blues (Joe “King” Oliver) 2:56 King Oliver’s Creole Jazz Band: King Oliver, Louis Armstrong-co; Honore Dutrey-tb; Johnny Dodds-cl; Lil Hardin-p, arr; Arthur “Bud” Scott-bjo; ?Bill Johnson-b; Warren “Baby” Dodds-dr. Richmond, Indiana, April 5, 1923. first issue Gennett 5135/matrix number 11387-A. CD reissue Masters of Jazz MJCD 1. 2. Weather Bird Rag (Louis Armstrong) 2:45 same personnel. Richmond, Indiana, April 6, 1923. Gennett 5132/11388. Masters of Jazz MJCD 1. 3. Everybody Loves My Baby (Spencer Williams-Jack Palmer) 3:03 Fletcher Henderson and his Orchestra: Elmer Chambers, Howard Scott-tp; Louis Armstrong-co, vocal breaks; Charlie Green-tb; Buster Bailey, Don Redman, Coleman Hawkins-reeds; Fletcher Henderson-p; Charlie Dixon- bjo; Ralph Escudero-tu; Kaiser Marshall-dr. New York City, November 22-25, 1924. Domino 3444/5748-1. Masters of Jazz MJCD 21. 4. Big Butter and Egg Man from the West (Armstrong-Venable) 3:01 Louis Armstrong and his Hot Five: Louis Armstrong-co, voc; Edward “Kid” Ory-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; May Alix-voc. Chicago, November 16, 1926. Okeh 8423/9892-A. Maze 0034. 5. Potato Head Blues (Armstrong) 2:59 Louis Armstrong and his Hot Seven: Louis Armstrong-co; John Thomas-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; Pete Briggs-tu; Warren “Baby” Dodds-dr. Chicago, May 10, 1927. Okeh 8503/80855-C. Maze 0034. 6. Struttin’ with Some Barbecue (Armstrong) 3:05 Louis Armstrong and his Hot Five.
    [Show full text]
  • Rudolph Beaulieu I
    1 RUDOLPH BEAULIEU Also present: William Russell I [of 3]--Digest--Retyped Ralph Collins May 31, 1961 Rudolph Peter Beaulieu was born in New Orleans, on Derbigny ·. between Kerlerec and Columbus (about where Artisan Hall is), on July 23, 1899. RB had two brothers who also played music; Arnold Depass (actually, a half-brother) played drums. (George Guesnon, shown in a photograph, is mentioned.) Depass played with "some of the old aces." RB learned to play on Depass's drums, on the sly until Depass caught him; then Depass told him it was all right for him to play them, told him he should learn to play, and later began sending him on jobs. RB began getting work on his own, and he ( made up a band (he says he has made up four or five bands in his career). RB says he and Martin Gabriel (now away from here) "carried I ' on plenty•). [wofked together a lot?]. WR says a Gabriel married the \ bass player, [August] Lanoix; RB says that she is a sister of Martin; there were other Gabriels in that family; one, Clarence Gabriel, was a fine piano player •.•• [Restricted] RB says he and others, incluiling Clarence Gabriel, Charlie Armstead, and Maurice Durand, [trumpet,] had a band which played "back of Desire Street." He [owner of the place there?] died not long ago. The band worked there about three years. Talk of Durand, who lives [and died] in. California. RB also worked with various other bands, including that of Papa Celestin. RB began playing just about the time Louis Armstrong went to Chicago [1922].
    [Show full text]
  • Echols, E. Wendell (Edward Wendell Glenn), 1926-2010
    ECHOLS, E. WENDELL (EDWARD WENDELL GLENN), 1926-2010. E. Wendell Echols papers, 1942-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Echols, E. Wendell (Edward Wendell Glenn), 1926-2010. Title: E. Wendell Echols papers, 1942-2005 Call Number: Manuscript Collection No. 1207 Extent: 1 linear ft. (2 boxes) Abstract: This collection contains the papers of E. Wendell Echols from 1942-2005, including correspondence, printed material, and material related to Echols's involvement with the George H. Buck, Jr. Jazz Foundation, Audiophile Records, Jazzology Records, and Circle Records. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Purchase, 2011. Citation [after identification of item(s)], E. Wendell Echols papers, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Sarah Quigley, November 2011. This finding aid may include language that is offensive or harmful. Please refer to the Rose Library's harmful language statement for more information about why such language may appear Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. E. Wendell Echols papers, 1942-2005 Manuscript Collection No. 1207 and ongoing efforts to remediate racist, ableist, sexist, homophobic, euphemistic and other oppressive language. If you are concerned about language used in this finding aid, please contact us at [email protected].
    [Show full text]
  • Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
    STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach.
    [Show full text]
  • Because in Church He Would Tell the Brother and Sisters What to Do .. ,;^^
    f rt f y * .. 'f v .'. i'..." Presenti ':Ric'hard B- Alleh* 1 (- ^* i. t .'^. FREDDIE MOORE ^ » f I 1 ' ^- -f; .!. * ^ f tl' '- t- 1. r 1 ....-!:£ ^eel I-Summary-Re typed banny Barker f I ''.I ('' * <'! I + s June 19, 1969 f, / t / .i ''. I * ^ * » v I "('.> ^ -rl^ -I r 1 4 I i The tape was recorded at 115 W» 141st Street in tTew Yofk t . / * 4a * I . .'.t City. Fred Moore is called by most of the people Freddie Moore» I ;( i .'} ^ .*. T Freddie was born in Washington, North Carolina which is sometimes .r f '^ 1. 1 ^ -t Ik called "Little Washington," Nortt-i Carolina; Freddie l/s birthday * I J. * ^ i -1 is August 20, approximately 1900; he is fifty-ei^ht years old new. ,-f ^'};' -^ ^ * "; f* . Freddie is the only one in his family who played or sang* Freddi6 ^ :.^ f '':. s. i.' * ;- '".; .» + *. >-. 1 f ; started off wifh mus 1c as a kid with the carnivals and minstrel T?^ Jf f * t. J » '4 * .'V' h *' I f- shows; he was a hamfat dancer, ie* a buck dancejc, DB "sort of a * ^ ^ ' n \-} .< t 1 ', '1. Not a teal skilljsd 1 jive dancer, buck and wing, cut the fool," r ^ ^ t -.1'. -,. Freddie t I, professional dancer, but what ever came into your mind* " -' 'i f ^ I r .S1 t I r 1 was a black-faced comedian* » ( .h + ^ * t .* I- J »^ The first music Freddie remembers hearing was some of Jelly 1^ .; :^ '"^ It- \ + r-»'" A \ I. J Roll Morton s number s» [Obviously DB and RBA doul^t -bliis] < Of I- t.
    [Show full text]