2017 Spring Rambler.Pmd
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HowIBecamea
Jazz Musician
JAZZ RAMBLER
By Chloe Feoranzo
PublishedbyAmerica’sFinestCityDixielandJazzSociety• SanDiego,CA•www.SDjazzfest.org
I remember the first moment I
heard Trad Jazz live. I was 13 years
old and my mother had found an
advertisement in the San Diego
Union Tribune about a Jazz Festival
happening around Thanksgiving and
since we aren’t ones for typical
traditions the two of us decided to
spend part of the holiday weekend at
this Festival.
After an introduction to alto
saxophone in elementary school, I
remained interested in music for a
few years; it seemed to stick more
than other activities. I had just started
getting into jazz, through more
modern means, in school and private
lessons. It was the moment Mom
and I stepped through those lobby
doors, something clicked. Here was
this sound; bright, infectious, a little
unrefined; but, most of all, happy. It
was the most jovial kind of music I
had ever heard. We walked into one
of the venues where Cornet Chop
Suey was playing and you could tell
that each of the musiciansfeltexactly
the same on that stage — laughing
and cracking jokes throughout the
whole set. The audience loved every
minute of the performance.
Spring (May) 2017
$5.00 Per Issue
Vol.XXXV No.2
Syncopated Sounds, Cash Songs
AndMoreatUpcomingFestival#38
include some top-notch guest
musicians, performing many of
Cash’s best-known compositions.
Chloe Feoranzo, Molly Reeves
and the World’s Finest Apples will
debut at the 2017 Festival. Last
year, Chloe performed with New
Orleans pianist Kris Tokarski’s
Quartet. Kris was tremendously
well-received by Festival patrons
and will be returning with his quartet
this year. With Chloe otherwise
occupied, the reed player will be
Jonathan Doyle. Jonathan is one of
the most highly-regarded musicians
in the current Swing Dance scene.
In addition to playing all the reed
instruments, Jon is a composer,
arranger, bandleader (Jonathan
Doyle Swingtet) and also performs
with swing-oriented groups such as
the Brooks Prumo Orchestra,
Michael Gamble’s Rhythm
Serenaders, Thrift Set Orchestra,
Swing Central and others. He has
alsoworkedwithTubaSkinny,Willie
Nelson and Asleep at the Wheel.
Since the last Jazz Rambler was
published, the Yerba Buena
continued on page 3
To celebrate the Centennial of
the first Jazz Record, the Original
Cornell Syncopators have been
invitedtoperformatthe38thAnnual
San Diego Jazz Fest — Nov. 22-26
at the Town & Country Resort &
Convention Center in San Diego’s
Hotel Circle. Led by cornetist Colin
Hancock, these Cornell University
students have spent countless hours
studying the sounds of bands such
as the Original Dixieland Jass Band.
The Syncopators have worked up a
special program entitled “100 Years
of Recorded Jazz,” which will be
presented Friday night at Festival
#38. Also expect to hear music
associated with Kid Ory’s Sunshine
Orchestra, the Original Memphis
Five and other early-day Jazz
pioneers.
Another Friday night special will
pay tribute to the iconic Man in
Black from Dyess, Arkansas. “Cash
In Hand” will feature guitarist/
vocalist Gino Meregillano who
performs with the Memphis Speed
Kings and leads his own “Lone
Gunmen” Rockabilly combo in
Southern California. The band will
I was instantly hooked to the
quirky melodies of each song and
continued on page 4
Cornell Syncopators to perform at November Festival
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Sidney Bechet Bechet Mp3, Flac, Wma
Sidney Bechet Bechet mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Bechet Country: France Released: 1980 MP3 version RAR size: 1394 mb FLAC version RAR size: 1988 mb WMA version RAR size: 1703 mb Rating: 4.7 Votes: 790 Other Formats: APE WMA MMF MP2 VOC AAC AU Tracklist Hide Credits Sheik Of Araby A1 2:53 Written-By – Wheeler*, Smith*, Snyder* House Party A2 2:36 Written-By – Mezzrow* Lee Ve Blues A3 2:50 Written-By – Mezzrow*, Wilson* Jam Up A4 4:10 Written-By – Mezzrow* Evil Ball Blues A5 2:58 Written-By – Mezzrow*, Wilson* Where Am I A6 4:35 Written-By – Mezzrow*, Bechet* Funky But A7 4:08 Written-By – Mezzrow* Revolutionnary Blues B1 7:36 Written-By – Mezzrow* Fat Mama Blues B2 3:07 Written-By – Mezzrow*, Wilson* Out Of The Galion B3 2:27 Written-By – Mezzrow* Woop This Wolf Away B4 2:55 Written-By – Mezzrow*, Wilson* Blowin The Blues B5 2:55 Written-By – Mezzrow* Hey Dady Blues B6 2:40 Written-By – Mezzrow*, Wilson* In A Mezz B7 2:55 Written-By – Mezzrow*, Price* Barcode and Other Identifiers Rights Society: SAGEM Related Music albums to Bechet by Sidney Bechet Mezz Mezzrow And His Band With Lee Collins And Zutty Singleton - Mezz Mezzrow And His Band Ladnier . Mezzrow . Bechet - The Panassié Sessions The Mezzrow-Bechet Quintet - The King Jazz Story Vol. 7-8 Mezzrow-Saury Quintet - Mezzrow Saury Quintet - Sweet Sue The Mezzrow-Bechet Quintet With Sammy Price - I'm Speaking My Mind Sidney Bechet, Mezz Mezzrow - Blues With Bechet Mezz Mezzrow And His Swing Band - Lost / A Melody From The Sky Mezz Mezzrow And His Orchestra - "Pleyel Concert" The Mezzrow-Bechet Quintet - Bechet-Mezzrow Quintet Mezzrow - The Cross Of Tormention. -
2 Tansas Gazette - North East Louisiana
. 2 Tansas Gazette - North East Louisiana ======= Map of North Eastern Louisiana Waterproof, La is in the Southern portion of Tansas Parish, La. It is 199 miles from New Orleans. During the era of the cotton plantations the population of the parish was 90% slaves. There were many dances in the parish's leading cities - Waterproof, Newellton and St. Joseph. There were few concerts given and few organized brass or string bands. Jazz music was first mentioned in the newspaper in 1921. 1881 May 7 - The Ball, Wednesday Night In response to an invitation sent us, we attended the ball given by the Tensas "rifles, at Masonic Hall, on the evening of the 4th. As we predicted last week, everyone who attended had an ice time, and to say that it was a success but faintly expressed it. The band - Kaisers, from Natchez - came on the Rebstock, about 6:30 and about 9 p.m. the ladies and their escorts began to arrive, and despite the warmth of the evening, number of them were soon whirling in the dizzy mazes of the waltz. "From that time until the hour appointed for supper, the dancers held the floor, and "chased the giddy hours with flying fee" to the music of quadrille, heel and toe, the waltz and the Lancers. The assemblage was the largest, we learn, of any that has attended a ball here during the season. 1882 November 4 - Brass Band We learn that the Waterproof Brass Band has organized a series of open-air concerts, in the form of night serenades to their friends in the several neighborhoods in the vicinity of the town. -
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 contactgradetd@lsu.edu. 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. -
March 1980 the PRESIDENT's CORNER TAILGATE RAMBLINGS VOLUME 10, NUMBER 3 March 1980 This Month's Board Meeting Was Held at the Bratwur Sthaus, As Usual
RaaBuHCS 'J March 1980 THE PRESIDENT'S CORNER TAILGATE RAMBLINGS VOLUME 10, NUMBER 3 March 1980 This month's Board Meeting was held at the Bratwur sthaus, as usual. A nice custom was inaugurated: inscribing the PRJC presidential Editor: Ken Kramer gavel with the p resid en t's name and year of service. The gavel may well prove superfluous Contributing Editors: since committee reports seem very favorable. Mary Doyle Harold Gray Memberships are at all-tim e high — about Joe Godfrey Dick Baker 1,300 members. Financially we are in good George Kay Floyd Levin shape, even after purchasing new sound Vivienne Brownfield equipment, although we have no big source of revenue until the June Boatride. We hope to PRJC President: Mary Doyle break even on PRJC events up to then. (703) 280-2373 Our experts report in glowing terms of Vice President: Ken Kramer great sounds to come from the PRJC's new sound (703) 354-7844 equipment. If you haven't already heard the new system at the Jazzathon, you can hear it TAILGATE RAMBLINGS is the monthly publication with your own ears at the BIX BIRTHDAY PARTY o f the Potomac River Jazz Club. The Club on March 8. Its purchase is due to your past stands for the preservation, encouragement, participation, so enjoy! Good music deserves and advancement o f tra d ition a l ja zz. This good sound. means jazz from 1900 to 1930 in the New Orleans, Chicago, and Dixieland styles, Before adjourning at the unusually early including their various revivals, as well as hour of 9:40, the board made a couple of blues and ra gtim e. -
Whicl-I Band-Probably Sam; Cf
A VERY "KID" HOWARD SUMMARY Reel I--refcyped December 22, 1958 Interviewer: William Russell Also present: Howard's mother, Howard's daughter, parakeets Howard was born April 22, 1908, on Bourbon Street, now renamed Pauger Street. His motTier, Mary Eliza Howard, named him Avery, after his father w'ho di^d in 1944* She sang in church choir/ but not professionally. She says Kid used to beat drum on a box with sticks, when he was about twelve years old. When he was sixteen/ he was a drummer. They lived at 922 St. Philip Street When Kid was young. He has lived around tliere all of his life . Kid's father didn't play a regular instrument, but he used to play on^ a comb, "make-like a. trombone," and he used to dance. Howard's parents went to dances and Tiis mother remembers hearing Sam Morgan's band when she was young, and Manuel Perez and [John] Robichaux . The earliest band Kid remembers is Sam Morgan's. After Sam died, he joined the Morgan band/ witli Isaiah Morgan. He played second trumpet. Then he had his own band » The first instrument he.started on was drums . Before his first marriage, when he got his first drums/ he didn't know how to put them up. He had boughtfhem at Werlein's. He and his first wife had a time trying to put them together * Story about }iis first attempt at the drums (see S . B» Charters): Sam Morgan had the original Sam Morgan Band; Isaiah Morgan had l:J^^i', the Young Morgan Band. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, ccarney@lsu.edu Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 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 contactgradetd@lsu.edu. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation 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 Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
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. -
Dizzy Gillespie and His Orchestra with Charlie Parker, Clyde Hart, Slam Stewart, Cozy Cole, Sonny Stitt, Milt Jackson, Al Haig, Thelonious Monk, Sid Catlett, Etc
lonoital Sem.iom 1W! and his Orchestra DIZZIE GILLESPIE CHARLIE PARKER CLYDE HART SLAM STEWART COZY COLE SONNY STITT AL HAIG MILT JACKSON THELONIOUS MONK DAVE BURNS SID CATLETT SAGA6920 L WORLD WIDE 6900 Sidney Bechet Album (Recorded New York SIDE ONE 1945/1947) with Mezz Mezzrow, Hot Lips Page, Will Bill HE BEEPED WHEN HE SHOULD Davidson, etc. HAVE BOPPED (a) GROOVIN' HIGH (b) 0, 6901 Louis Armstrong Volume 1 (Recorded New M York 1938/1947) DIZZY ATMOSPHERE (b) with Jack Teagarden, Bud Freeman, Fats Waller, 00 BOP SH'BAM (c) and his Orchestra Bobby Hackett, etc. OUR DELIGHT (d) 6902 Duke Ellington — His most important Second ✓-SALT PEANUTS (f) War Concert (1943) with Harold Baker, Taft Jordan, Ray Nance, Jimmy Hamilton, etc. SIDE TWO 6903 Count Basie at the Savoy Ballroom (1937) ONE BASS HIT part two (a) In the restless, insecure world of jazz, fashions change with embarr- Despite the scepticism of many of his colleagues, Gillespie and the with Buck Clayton, Ed Lewis, Earl Warren, Lester Young, etc. ALL THE THINGS YOU ARE (b) assing frequency, and reputations wax and wane with the seasons. band, were successful. The trumpeter only stayed for six months, ✓ HOT HOUSE (e) Comparatively few artists have succeeded in gaining universal, con- however, and was soon in the record studios, cutting three of the 6904 Louis Armstrong — Volume 2 (Recorded New THAT'S EARL, BROTHER (c) sistent respect for their musical achievements, and still fewer have tracks on this album, 'Groovin' High', 'Dizzy Atmosphere', and 'All York 1948/1950) with Jack Teagarden, Earl Hines, Barney Bigard, THINGS TO COME (a) been able to reap the benefits of this within their own lifetime. -
About Jazz New York
July 2010 | No. 99 Your FREE Monthly Guide to the New York Jazz Scene aaj-ny.com KARL BERGER FREEdom In dIscIpLInE JAZZ NEWHOMEGROWN YORK’S ONLY GAZETTE Rufus Reid • John Butcher • NoBusiness • Event Calendar Welcome to AllAboutJazz-New York. This may sound strange after 98 issues and over eight years but you can tell from our new logo that something is different. With this issue, one shy of our Centennial, we are announcing our formal New York@Night separation from the All About Jazz.com website. From now on, we are a 4 completely independent entity (check us out online at aaj-ny.com). What does this mean for you, our valued readers? Not to worry...we will continue to bring you Interview: Rufus Reid the best that New York City has to offer its jazz fans. AllAboutJazz-New York will 6 by Ken Dryden still have its award-nominated feature coverage, slew of timely CD reviews and an Event Calendar matched by no one. And this new arrangement will allow us to Artist Feature: John Butcher expand our mission and better serve the city’s jazz community, the thing that has 7 by Stuart Broomer kept us going for so long. To that end, this month’s issue - which also can be used to fan yourself during On The Cover: Karl Berger the balmy summer days - features articles on vibraphonist/pianist/organizer Karl 9 by Martin Longley Berger (On the Cover), who curates The Stone this month and appears with Encore: Lest We Forget: various groups; ubiquitous bassist extraordinaire Rufus Reid (Interview) who leads his own trio for a weekend at The Kitano and adventurous and experimental 10 Herb Jeffries Illinois Jacquet saxophonist John Butcher (Artist Feature), appearing as part of the Whitney by Marcia Hillman by Donald Elfman Museum’s Christian Marclay: Festival as well as a couple of forays into Brooklyn. -
“Big Chief” Moore, in New York a Few Weeks Earlier on January 16
WIND12413 ITF Douglas Yeo ITA.qxp_Layout 1 5/22/17 11:24 AM Page 1 July 2017/ Volume 45, Number 3 / $11.00 Denson Paul Pollard — Page 36 Douglas Yeo Depends on Yamaha “Yamaha trombones are the most flexible, finely engineered and well-made instruments INTERNATIONALINTERNATIONAL I have ever played. They allow my musical voice to be expressed beautifully every time I have a trombone in my hands.” Douglas Yeo Visit 4wrd.it/yeoITA2 for details World-renowned Bass Trombonist ASSOCIATION JOURNAL THETHE QUARTERLYQUARTERLY PUBLICATIONPUBLICATION OFOF THETHE ITAITA Take it, Big Chief! An Appreciation of Russell Moore Photo credit: Timothy Hutchens INTERNATIONAL TROMBONE ASSOCIATION JOURNAL The Quarterly Publication of the ITA Volume 45, Number 3 / July 2017 General News — Page 6 The International Trombone Association is Dedicated to the Artistic Advancement of Trombone Teaching, Performance, and Literature. Contents Features Take It, Big Chief: An Appreciation of Russell Moore ITA JOURNAL STAFF by Douglas Yeo .............................................................. 18 Managing Editor A Conversation with Denson Paul Pollard Diane Drexler by Douglas Yeo ................................................................ 36 3834 Margaret Street, Madison, WI 53714 USA / diane@trombone.net Associate Editors Feature Stories – Bruce Gunia Departments bwgunia@gmail.com Announcements ...................................................................... 2 Jazz – Antonio Garcia President’s Column - Ben van Dijk .......................................... -
Classical Studies. He Played In\^ Fraternity Band at College. He
WILLIAM RUSSELL also ptesent; August 31, 1962 Reel I-Digest-Retype William R. Hogan 1L Paul R. Crawford First Proofreading: Alma D. Williams William Russell was born February 26, 1905, in Canton, Missouri, on the Mississippi River. His first impressive musical experiences were hearing tlie calliopes on the excursion and show boats which ^ came to and by Canton. He first wanted to play bass drum when lie heard the orchestra in his Sunday School, but he began playing violin when he was ten. His real name is Russell William Wagner. In about 1929 Tne began writing music; Henry Cowell published some of his music in 1933 and WR decided the use of the name Wagner 6n music would be about equal to writing a play and signing it Henry [or Jack or Frank, etc,] Shalcespeare, so he changed his name for that professional reason. His parents are of German ancestry. His father had a zither, which WR and a brother used for playing at .r concerts a la Chautauqua. He remembers hearing Negro bands on the boats playing good jazz as early as 1917 or 1915, and he was fascinated by it, although he felt jazz might contaminate his classical studies. He played in\^ fraternity band at college. He y studied chemistry at college although his main interest was music, He went to Chicago to continue studying music in 1924, and he says 1^e didn't have sense enough to go to the places where King Oliver/ the New Orleans Rhythm Kings, and others were playing then, and he has since regretted that. -
A Researcher's View on New Orleans Jazz History
2 TABLE OF CONTENTS Introduction 6 Format 6 New Orleans Jazz 7 Brass & String Bands 8 Ragtime 11 Combining Influences 12 Party Atmosphere 12 Dance Music 13 History-Jazz Museum 15 Index of Jazz Museum 17 Instruments First Room 19 Mural - First Room 20 People and Places 21 Cigar maker, Fireman 21 Physician, Blacksmith 21 New Orleans City Map 22 The People Uptown, Downtown, 23 Lakefront, Carrollton 23 The Places: 24 Advertisement 25 Music on the Lake 26 Bandstand at Spanish Fort 26 Smokey Mary 26 Milneburg 27 Spanish Fort Amusement Park 28 Superior Orchestra 28 Rhythm Kings 28 "Sharkey" Bonano 30 Fate Marable's Orchestra 31 Louis Armstrong 31 Buddy Bolden 32 Jack Laine's Band 32 Jelly Roll Morton's Band 33 Music In The Streets 33 Black Influences 35 Congo Square 36 Spirituals 38 Spasm Bands 40 Minstrels 42 Dance Orchestras 49 Dance Halls 50 Dance and Jazz 51 3 Musical Melting Pot-Cotton CentennialExposition 53 Mexican Band 54 Louisiana Day-Exposition 55 Spanish American War 55 Edison Phonograph 57 Jazz Chart Text 58 Jazz Research 60 Jazz Chart (between 56-57) Gottschalk 61 Opera 63 French Opera House 64 Rag 68 Stomps 71 Marching Bands 72 Robichaux, John 77 Laine, "Papa" Jack 80 Storyville 82 Morton, Jelly Roll 86 Bolden, Buddy 88 What is Jazz? 91 Jazz Interpretation 92 Jazz Improvising 93 Syncopation 97 What is Jazz Chart 97 Keeping the Rhythm 99 Banjo 100 Violin 100 Time Keepers 101 String Bass 101 Heartbeat of the Band 102 Voice of Band (trb.,cornet) 104 Filling In Front Line (cl.