Dolly HAAS: Bobby HACKETT
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Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N. -
Charles Mcpherson Leader Entry by Michael Fitzgerald
Charles McPherson Leader Entry by Michael Fitzgerald Generated on Sun, Oct 02, 2011 Date: November 20, 1964 Location: Van Gelder Studio, Englewood Cliffs, NJ Label: Prestige Charles McPherson (ldr), Charles McPherson (as), Carmell Jones (t), Barry Harris (p), Nelson Boyd (b), Albert 'Tootie' Heath (d) a. a-01 Hot House - 7:43 (Tadd Dameron) Prestige LP 12": PR 7359 — Bebop Revisited! b. a-02 Nostalgia - 5:24 (Theodore 'Fats' Navarro) Prestige LP 12": PR 7359 — Bebop Revisited! c. a-03 Passport [tune Y] - 6:55 (Charlie Parker) Prestige LP 12": PR 7359 — Bebop Revisited! d. b-01 Wail - 6:04 (Bud Powell) Prestige LP 12": PR 7359 — Bebop Revisited! e. b-02 Embraceable You - 7:39 (George Gershwin, Ira Gershwin) Prestige LP 12": PR 7359 — Bebop Revisited! f. b-03 Si Si - 5:50 (Charlie Parker) Prestige LP 12": PR 7359 — Bebop Revisited! g. If I Loved You - 6:17 (Richard Rodgers, Oscar Hammerstein II) All titles on: Original Jazz Classics CD: OJCCD 710-2 — Bebop Revisited! (1992) Carmell Jones (t) on a-d, f-g. Passport listed as "Variations On A Blues By Bird". This is the rarer of the two Parker compositions titled "Passport". Date: August 6, 1965 Location: Van Gelder Studio, Englewood Cliffs, NJ Label: Prestige Charles McPherson (ldr), Charles McPherson (as), Clifford Jordan (ts), Barry Harris (p), George Tucker (b), Alan Dawson (d) a. a-01 Eronel - 7:03 (Thelonious Monk, Sadik Hakim, Sahib Shihab) b. a-02 In A Sentimental Mood - 7:57 (Duke Ellington, Manny Kurtz, Irving Mills) c. a-03 Chasin' The Bird - 7:08 (Charlie Parker) d. -
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. -
Clarence Williams
MUNI 2017-2 – Flute 1-2 Shooting the Pistol (Clarence Williams) 1:26 / 1:17 Clarence Williams Orchestra: Ed Allen-co; Charlie Irvis-tb; possibly Arville Harris-cl, as; Alberto Socarras-fl; Clarence Williams-p; Cyrus St. Clair-tu New York, July 1927 78 Paramount 12517, matrix number 2837-2 / CD Frog DGF37 3 I’ll Take Romance (Ben Oakland) 2:39 Bud Shank-fl; Len Mercer and His Strings Bud Shank With Len Mercer Strings: Giulio Libano (trumpet) Appio Squajella (flute, French horn) Glauco Masetti (alto sax) Bud Shank (alto sax, flute) Eraldo Volonte (tenor sax) Fausto Pepetti (baritone sax) Bruno De Filippi (guitar) Don Prell (bass) Jimmy Pratt (drums) with unidentified harp and strings, Len Mercer (arranger, conductor) Milan, Italy, April 4 & 5, 1958 LP World Pacific WP-1251, Music (It) EPM 20096, LPM 2052 4-5 What’ll I Do (Irving Berlin) 1:26 / 1:23 Bud Shank-fl; Bob Cooper-ob; Bud Shank - Bob Cooper Quintet: Bud Shank (alto sax, flute) Bob Cooper (tenor sax, oboe) Howard Roberts (guitar) Don Prell (bass) Chuck Flores (drums) Capitol Studios, Hollywood, CA, first session, November 29, 1956 LP Pacific Jazz X-634, PJ 1226, matr. ST-1894 / CD Mosaic MS-010 6-7 Flute Bag (Rufus Harley) 2:06 / 2:15 Herbie Mann.fl; Rufus Harley-bagpipes; Roy Ayers (vibes) Oliver Collins (piano) James Glenn (bass) Billy Abner (drums) "Village Theatre", NYC, 2nd show, June 3, 1967 LP Atlantic SD 1497, matr. 12589 8-10 Moment’s Notice (John Coltrane) 4:58 / 1:04 / 0:52 Hubert Laws-fl; Ronnie Laws-ts; Bob James-p, elp, arranger; Gene Bertoncini-g; Ron Carter-b; Steve -
Download the FLUTE of WAYMAN ALEXANDER CARVER
1 The FLUTE of WAYMAN ALEXANDER CARVER Solographer: Jan Evensmo Last update: July 2, 2011 2 Born: Portsmouth, Virginia, Dec. 25, 1905 Died: May 6, 1967 Introduction: From the very first day I heard Wayman Carver‟s flute on the Spike Hughes sessions, I have been a great fan. Not only was he the first (together with Alberto Socarras) to improvise on flute, but he was more than just a pioneer on that instrument. His soli certainly have lasting qualities for musical and not only for historical reasons. He might have recorded more extensively, if he had chosen an instrument less „modest‟! His sound was probably not among the loudest ones on Chick Webb‟s dancing nights, therefore he never became a „name‟ to the public, not even the general jazz public. I sincerely believe he deserves a solography, although it is much too brief. Some years after writing Wayman Carver‟s solography in 1983 (Jazz Solography Series, Vol. 14), I met his daughter Avis and the whole family in Atlanta, a great pleasure for me! Together we made a website for his 100 years anniversary in 2005. History: Wayman Alexander Carver was bom December 25,1905 in Portsmouth, Virginia. His parents were Alexander and Catherine Carver. Wayman was the second bom of eight children – four boys and four girls. At an early age, Carver showed not only an interest in but talent for music. Both his father and uncle were accomplished musicians who played in the Metropolitan Marching Band of Portsmouth. The band was a combined jazz and marching band composed largely of “earmusicians”. -
Swingville Label Discography
Swingville Label Discography: 2000 Series: SVLP 2001 - Coleman Hawkins and The Red Garland Trio - Coleman Hawkins and The Red Garland Trio [1960] It’s a Blue World/I Want to Be Loved/Red Beans/Bean’s Blues/Blues For Ron SVLP 2002 - Tiny In Swingville - Tiny Grimes with Richardson [1960] Annie Laurie/Home Sick/Frankie & Johnnie/Down with It/Ain’t Misbehaving/Durn Tootin’ SVLP 2003 - Tate's Date - Buddy Tate [1960] Me ‘n’ You/Idling/Blow Low/Moon Dog/No Kiddin’/Miss Ruby Jones SVLP 2004 - Callin' the Blues - Tiny Grimes [1960] Reissue of Prestige 7144. Callin’ the Blues/Blue Tiny/Grimes’ Times/Air Mail Special SVLP 2005 – Coleman Hawkins’ All Stars - Coleman Hawkins with Joe Thomas and Vic Dickenson [1960] You Blew Out the Flame/More Bounce to the Vonce/I’m Beginning to See the Light/Cool Blue/Some Stretching SVLP 2006 - The Happy Jazz of Rex Stewart - Rex Stewart [1960] Red Ribbon/If I Could Be with You/Four or Five Times/Rasputin/Please Don’t Talk About me When I’m Gon/San/You Can Depend on Me/I Would Do Most Anything For You/Tell Me/Nagasaki SVLP 2007 - Buck Jumpin' - Al Casey [1960] Buck Jumpin’/Casey’s Blues/Don’t Blame Me/Ain’t Misbehavin’/Honeysuckle Rose/Body & Soul/Rosetta SVLP 2008 - Swingin' with Pee Wee - Pee Wee Russell [1960] What Can I Say Dear/Midnight Blue/Very Thought of You/Lulu’s Back in Town/I Would Do Most Anything For You/Wrap Your Troubles in Dreams/Englewood SVLP 2009 - Yes Indeed! - Claude Hopkins [1960] It Don’t Mean a Thing/Willow Weep For Me/Yes Indeed/Is It So/Empty Bed Blues/What Is This Thing Called Love/Morning Glory SVLP 2010 – Rockin’ in Rhythm - Swingville All Stars (Al Sears, T. -
UNIVERSITY of CALIFORNIA, SAN DIEGO Grassroots
UNIVERSITY OF CALIFORNIA, SAN DIEGO Grassroots Surrealism: The Culture of Opposition and the Crisis of Development in 1930s California A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Elizabeth E. Sine Committee in charge: Professor Luis Alvarez, Co-Chair Professor Daniel Widener, Co-Chair Professor Dayo F. Gore Professor David G. Gutiérrez Professor Sara Clarke Kaplan Professor Nancy H. Kwak Copyright Elizabeth E. Sine, 2014 All rights reserved. The Dissertation of Elizabeth E. Sine is approved, and it is accepted in quality and form for publication on microfilm and electronically: ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Co-Chair ________________________________________________________________________ Co-Chair University of California, San Diego 2014 iii DEDICATION For my grandma Eileen, mother Shelley, and Nicholas. iv “In some periods and circumstances, the given relationships, socially and politically, seem inert and fixed. Culture signifies the predictable and overpowering reproduction of what ‘is.’ It claims the verities of tradition and authorizes familiar futures from the repetitions of a naturalized past (‘what has always been the case’). -
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. -
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron. -
July-August 2012
July • August, 2012 Issue 343 jazz &blues report now in our 38th year San Francisco Jazz Festival Sonny Rollins July • August 2012 • Issue 343 SFJAZZ ANNOUNCES 30TH ANNIVERSARY SAN FRANCISCO JAZZ FESTIVAL LINEUP FOR FALL 2012 San Francisco - SFJAZZ, one of the nation’s leading non-profit jazz organi- zations, celebrates the 30th anniversary of the San Francisco Jazz Festival this fall, with a star-studded lineup of concerts kicking off on August 25th and running through December 7th. The landmark season will feature shows by Esperanza Editor & Founder Spalding, Sonny Rollins, Ornette Coleman, Diane Reeves, Branford Marsalis, Bill Wahl Gilberto Gil, along with countless other talented artists. This year’s festival will Layout & Design Bill Wahl feature the following series: Jazz Continuum: Operations Jim Martin • August 25: 2011 Best New Artist Grammy Winner Esperanza Spalding Pilar Martin • September 28: Brecker Brothers Band Reunion with Randy Brecker, Mike Contributors Stern & Dave Weckl Michael Braxton, Mark Cole, Dewey Forward, Nancy Ann Lee, Peanuts, • September 29: ‘80s Miles Revisited, from Miles Smiles with Wallace Roney, Wanda Simpson, Mark Smith, Duane Bill Evans, Robben Ford, Joey DeFrancesco, Darryl Jones & Omar Hakim Verh, Emily Wahl and Ron Wein- • October 5: A solo by Branford Marsalis stock. • October 11: Singular artist Marcus Miller • October 28: Belgian harmonica player Grégoire Maret and his quartet Brilliance From Brazil: Check out our constantly updated website. Now you can search for • October 19: Brazilian pianist Elaine Elias CD Reviews by artists, titles, record • October 25: Musical revolutionary GilbertoPhoto Gil by Martin Philbey labels, keyword or JBR Writers. 15 • November 3: A rare unplugged piano performance by Ivan Lins years of reviews are up and we’ll be Jazz Giants: going all the way back to 1974. -
Year 1963 Dean Martin LP
Year 1963 Dean Martin LP “Dean “Tex” Martin – Country Style” 414 Martin, Dean Dean “Tex” Martin - Country Style Reprise R9-6061 (US) 1.1963 I’m so lonesome I could cry (piano) – Face in a crowd (piano) – Things (background piano) – Room full of roses (no piano) – I walk the line (no piano) – My heart cries for you (piano!!) – Any time (piano) – Shutters and boards (piano) – Blue, blue day (piano?) – Singing the blues (piano) – Hey, Good Lookin’ (no piano) – Ain’t gonna try anymore (piano!!!) – Lots of Leon all over! James Burton on guitar. Rec. date: Face in a crowd - Ain’t gonna try anymore - Shutters & Boards - Singing The Blues - Face In The Crowd - Dec. 20, 1962 The label states that the year of release was 1961!!?? - Arr. & cond. Don Costa – prod. Jimmy Bowen? Bobby “Blue” Bland – LP 645 Bland, Bobby Call On Me/That’s The Way Love Is Duke 360 (US) 2.1963 Leon background piano on both? Dean Martin LP “Dean “Tex” Martin – Rides Again” 543 Martin, Dean Dean “Tex” Martin - Rides Again Reprise R-6085 (US) 4.1963 I’m gonna change everything (no piano) – Candy kisses (piano!!) – Rockin’ alone (in an old rocking chair) (piano) – Just a little lovin’ (background piano) – I can’t help it (if I’m still in love with you) (piano) – My sugar’s gone (piano!!) – Corrine, Corrina (piano!) – Take good care of her (piano) – The middle of the night is my cryin’ time (piano!!) – From lover to loser (piano!) – Bouquet of roses (piano) – Second hand Rose (piano!!) – Lots of Leon all over! Arr. -
Primary Sources: an Examination of Ira Gitler's
PRIMARY SOURCES: AN EXAMINATION OF IRA GITLER’S SWING TO BOP AND ORAL HISTORY’S ROLE IN THE STORY OF BEBOP By CHRISTOPHER DENNISON A thesis submitted to the Graduate School-Newark Rutgers University, The State University of New Jersey In partial fulfillment of the requirements of Master of Arts M.A. Program in Jazz History and Research Written under the direction of Dr. Lewis Porter And approved by ___________________________ _____________________________ Newark, New Jersey May, 2015 ABSTRACT OF THE THESIS Primary Sources: An Examination of Ira Gitler’s Swing to Bop and Oral History’s Role in the Story of Bebop By CHRISTOPHER DENNISON Thesis director: Dr. Lewis Porter This study is a close reading of the influential Swing to Bop: An Oral History of the Transition of Jazz in the 1940s by Ira Gitler. The first section addresses the large role oral history plays in the dominant bebop narrative, the reasons the history of bebop has been constructed this way, and the issues that arise from allowing oral history to play such a large role in writing bebop’s history. The following chapters address specific instances from Gitler’s oral history and from the relevant recordings from this transitionary period of jazz, with musical transcription and analysis that elucidate the often vague words of the significant musicians. The aim of this study is to illustratethe smoothness of the transition from swing to bebop and to encourage a sense of skepticism in jazz historians’ consumption of oral history. ii Acknowledgments The biggest thanks go to Dr. Lewis Porter and Dr.