Dizzy Gillespie - Buddy Rich
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Duke Ellington Kyle Etges Signature Recordings Cottontail
Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke Ellington, states that Cottontail “opened a window on the future, predicting elements to come in jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more grandiose pieces with more extended forms. -
Academic Catalog 2000-2001
TEACHERSCOLLEGE COLUMBIA UNIVERSITY 2000–2001 Contents 1 Teachers College. Defining the Work of Educators 4 An Introduction to Teachers College 36 Academic Calendar 39 Research and Service Activities 51 The Milbank Memorial Library 53 Computing and Information Services 55 Instruction and Research Support Services 56 Teacher Education Programs and Internships 59 Research Fellowships 59 Student Life and Student Services 62 Faculty 82 Special Term Faculty 92 Trustees and Officers 94 Programs of Study 275 Degree Requirements 278 Registration, Expenses and General Regulation plus Touchtone Services 284 Residence Halls Information 287 Admissions Application Information 290 Student Aid Information 293 Application for Admission 295 Letter of Reference 297 Residence Hall Application 299 Student Aid Application 301 Index Correspondence Directory Notice of Nondiscriminatory Policy How to Get to Teachers College Map TEACHERSCOLLEGE D EFINING THE W ORK OF E DUCATORS Soon after being named president of Teachers College, I received a letter from a well-known educator suggesting the College change its name. The author reasoned that Teachers College is the largest and most comprehensive graduate and professional school of education in the United States. Teachers College focuses on education in the broadest sense of the word—in and out of the classroom and across a lifespan. A third of our students are in teacher preparation programs. Arthur E. Levine, President, Teachers College, The rest are planning on careers in administra- Columbia University tion, policy, research, and teaching in fields rang- ing across education, health, and psychology. The proposal certainly had merit, but it was at the same time impossible. The most valuable possession we have at Teachers College is our name. -
Vut 20140303 – Big Bands
JAMU 20140305 – BIG BANDS (2) 10. Chicago Serenade (Eddie Harris) 3:55 Lalo Schifrin Orchestra: Ernie Royal, Bernie Glow, Jimmy Maxwell, Marky Markowitz, Snooky Young, Thad Jones-tp; Billy Byers, Jimmy Cleveland, Urbie Green-tb; Tony Studd-btb; Ray Alonge, Jim Buffington, Earl Chapin, Bill Correa-h; Don Butterfield-tu; Jimmy Smith-org; Kenny Burrell-g; George Duvivier-b; Grady Tate-dr; Phil Kraus-perc; Lalo Schifrin-arr,cond. Englewood Cliffs, NJ, April 27/29, 1964. Verve V6-8587. 11. A Genuine Tong Funeral – The Opening (Carla Bley) 2:14 Gary Burton Quartet with Orchestra: Gary Burton-vib; Larry Coryell-g; Steve Swallow-b; Bobby Moses-dr; Mike Mantler-tp; Jimmy Knepper-tb,btb; Howard Johnson-tu,bs; Leandro “Gato” Barbieri-ts; Steve Lacy-ss; Carla Bley-p,org,cond. New York, July 1967. RCA Victor LSP 3901. 12. Escalator Over the Hill (Carla Bley) 4:57 Michael Mantler-tp; Sam Burtis, Jimmy Knepper, Roswell Rudd-tb; Jack Jeffers-btb; Bob Carlisle, Sharon Freeman-h; John Buckingham-tu; Jimmy Lyons-as; Gato Barbieri-ts; Chris Woods-bs; Perry Robinson-cl; Nancy Newton-vla; Charlie Haden-b; Paul Motian-dr; Tod Papageorge, Bob Stewart, Rosalind Hupp, Karen Mantler, Jack Jeffers, Howard Johnson, Timothy Marquand, Jane Blackstone, Sheila Jordan, Phyllis Schneider, Pat Stewart-voc; Bill Leonard, Don Preston, Viva, Carla Bley- narrators. November 1968-June 1971, various places. JCOA 839310-2. 13. Adventures in Time – 3x3x2x2x2=72 (Johnny Richards) 4:29 Stan Kenton Orchestra: Dalton Smith, Bob Behrendt, Marvin Stamm, Keith Lamotte, Gary Slavo- tp; Bob Fitzpatrick, Bud Parker, Tom Ringo-tb; Jim Amlotte-btb; Ray Starlihg, Dwight Carver, Lou Gasca, Joe Burnett-mell; Dave Wheeler-tu,btb; Gabe Baltazar-as, Don Menza, Ray Florian-ts; Allan Beutler-bs; Joel Kaye-bass,bs; Stan Kenton-p; Bucky Calabrese-b; Dee Barton-dr; Steve Dweck- tympani,perc. -
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
Robert GADEN: Slim GAILLARD
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN -
Duke Ellington-Bubber Miley) 2:54 Duke Ellington and His Kentucky Club Orchestra
MUNI 20070315 DUKE ELLINGTON C D 1 1. East St.Louis Toodle-Oo (Duke Ellington-Bubber Miley) 2:54 Duke Ellington and his Kentucky Club Orchestra. NY, November 29, 1926. 2. Creole Love Call (Duke Ellington-Rudy Jackson-Bubber Miley) 3:14 Duke Ellington and his Orchestra. NY, October 26, 1927. 3. Harlem River Quiver [Brown Berries] (Jimmy McHugh-Dorothy Fields-Danni Healy) Duke Ellington and his Orchestra. NY, December 19, 1927. 2:48 4. Tiger Rag [Part 1] (Nick LaRocca) 2:52 5. Tiger Rag [Part 2] 2:54 The Jungle Band. NY, January 8, 1929. 6. A Nite at the Cotton Club 8:21 Cotton Club Stomp (Duke Ellington-Johnny Hodges-Harry Carney) Misty Mornin’ (Duke Ellington-Arthur Whetsol) Goin’ to Town (D.Ellington-B.Miley) Interlude Freeze and Melt (Jimmy McHugh-Dorothy Fields) Duke Ellington and his Cotton Club Orchestra. NY, April 12, 1929. 7. Dreamy Blues [Mood Indigo ] (Albany Bigard-Duke Ellington-Irving Mills) 2:54 The Jungle Band. NY, October 17, 1930. 8. Creole Rhapsody (Duke Ellington) 8:29 Duke Ellington and his Orchestra. Camden, New Jersey, June 11, 1931. 9. It Don’t Mean a Thing [If It Ain’t Got That Swing] (D.Ellington-I.Mills) 3:12 Duke Ellington and his Famous Orchestra. NY, February 2, 1932. 10. Ellington Medley I 7:45 Mood Indigo (Barney Bigard-Duke Ellington-Irving Mills) Hot and Bothered (Duke Ellington) Creole Love Call (Duke Ellington) Duke Ellington and his Orchestra. NY, February 3, 1932. 11. Sophisticated Lady (Duke Ellington-Irving Mills-Mitchell Parish) 3:44 Duke Ellington and his Orchestra. -
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. -
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. -
Weeksville Lost Jazz Shrines
1 Weeksville Lost Jazz Shrines Annotated Bibliography and Discography Primary Sources Interviews Note: Most of the artists listed below were interviewed over a period of two years (April, 2010 –October, 2011 through Weeksville’s Lost Jazz Shrine Project). Artists interviewed include: Brooklyn natives; longtime Brooklyn residents; or artists who performed frequently at some of Brooklyn's Lost Jazz Shrines and in some cases, continue to perform in Brooklyn. Abdullah, Ahmed. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 46 mins 36 sec. Barnes, Wade E. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 7 December 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 51 min. 26 sec. Barron, Kenny. Oral History Interview. Interviewed by Willard Jenkins. 9 October 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Braithwaite, “Fab 5” Freddie. Oral History Interview. Interviewed by Willard Jenkins and Jennifer Scott. 7 Oct 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 25 mins. 32 secs. Carroll, Alma. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 24 August 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 10 mins. 34 secs. Cheatham, Jo Ann. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. -
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. -
88-Page Mega Version 2016 2015 2014 2013 2012 2011 2010
The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! 88-PAGE MEGA VERSION 2017 2016 2015 2014 2013 2012 2011 2010 COMBINED jazz & blues report jazz-blues.com The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! INDEX 2017 Gift Guide •••••• 3 2016 Gift Guide •••••• 9 2015 Gift Guide •••••• 25 2014 Gift Guide •••••• 44 2013 Gift Guide •••••• 54 2012 Gift Guide •••••• 60 2011 Gift Guide •••••• 68 2010 Gift Guide •••••• 83 jazz &blues report jazz & blues report jazz-blues.com 2017 Gift Guide While our annual Gift Guide appears every year at this time, the gift ideas covered are in no way just to be thought of as holiday gifts only. Obviously, these items would be a good gift idea for any occasion year-round, as well as a gift for yourself! We do not include many, if any at all, single CDs in the guide. Most everything contained will be multiple CD sets, DVDs, CD/DVD sets, books and the like. Of course, you can always look though our back issues to see what came out in 2017 (and prior years), but none of us would want to attempt to decide which CDs would be a fitting ad- dition to this guide. As with 2016, the year 2017 was a bit on the lean side as far as reviews go of box sets, books and DVDs - it appears tht the days of mass quantities of boxed sets are over - but we do have some to check out. These are in no particular order in terms of importance or release dates.