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Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. MARIAN McPARTLAND NEA Jazz Master (2000) Interviewee: Marian McPartland (March 20, 1918 – August 20, 2013) Interviewer: James Williams (March 8, 1951- July 20, 2004) Date: January 3–4, 1997, and May 26, 1998 Repository: Archives Center, National Museum of American History Description: Transcript, 178 pp. WILLIAMS: Today is January 3rd, nineteen hundred and ninety-seven, and we’re in the home of Marian McPartland in Port Washington, New York. This is an interview for the Smithsonian Institute Jazz Oral History Program. My name is James Williams, and Matt Watson is our sound engineer. All right, Marian, thank you very much for participating in this project, and for the record . McPARTLAND: Delighted. WILLIAMS: Great. And, for the record, would you please state your given name, date of birth, and your place of birth. McPARTLAND: Oh, God!, you have to have that. That’s terrible. WILLIAMS: [laughs] McPARTLAND: Margaret Marian McPartland. March 20th, 1918. There. Just don’t spread it around. Oh, and place of birth. Slough, Buckinghamshire, England. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 WILLIAMS: OK, so I’d like to, as we get some of your information for early childhood and family history, I’d like to have for the record as well the name of your parents and siblings and name, the number of siblings for that matter, and your location within the family chronologically. Let’s start with the names of your parents. -
KEN PEPLOWSKI “Brilliantly Entertaining”. Downbeat Magazine
KEN PEPLOWSKI “Brilliantly entertaining”. DownBeat Magazine, October 2017 “Ken Peplowski is arguably the greatest living jazz clarinetist” Russell Davies, BBC2 August 2013 “When you grow up in Cleveland, Ohio, playing in a Polish polka band, you learn to think fast on your feet”, says Ken Peplowski, who played his first pro engagement when he was still in elementary school. “From my first time performing in public, I knew I wanted to play music for a living.” Ken and his trumpet-playing brother Ted, made many local radio and TV appearances and played for Polish dances and weddings virtually every weekend all through high-school. “That’s where I learned to improvise, ‘fake’ songs, learn about chord changes, etc.- it’s exactly like learning to swim by being thrown into the water!” By the time Ken was in his early teens, he was experimenting with jazz by playing in the school “stage” bands, and also by jamming with many of the local jazz musicians. “By the time I hit high school, I was teaching at the local music store, playing in our family band, and playing jazz gigs around town while still getting up early every day for school.” After a year of college, Ken joined the Tommy Dorsey Orchestra under the direction of Buddy Morrow. “Buddy heard me with my quartet at a Cleveland jazz festival along with Teddy Wilson’s trio and the Dorsey band, and made an offer right then and there for me to not only play lead alto, but to have a feature spot on the clarinet with the rhythm section. -
Twitter: @Hampjazz Facebook: NEW ORLEANS CABO SAN LUCAS
www.uidaho.edu/jazzfest Twitter: @hampjazz Facebook: http://www.facebook.com/hampjazz NEW ORLEANS CABO SAN LUCAS EXPLORE MORE Low Fares to Amazing Places TAMPA/ST. PETERSBURG Explore all of Alaska Airlines’ great DETROIT destinations from Pullman/Moscow, including new fl ights to New Orleans, Tampa and Detroit. All at some of the lowest fares you’ll fi nd anywhere. Explore More. Spend Less.™ alaskaair.com SPEND LESS SAN ANTONIO GENERAL I N FO R TO THE FESTIVAL AT THE UNIVERSITY OF IDAHO! M Welcome A TIO With great pleasure, Mary Beth and I welcome you to the Lionel Hampton Jazz Festival. Now in its 48th year, this signature event is a treasure for the N university, the state and beyond. I attended my first festival last year, and I was thrilled to witness the unique combination of artistic endeavor and education, a dynamic program epitomizing and befitting our Vandal legacy of leadership and innovation. Mary Beth missed the festival last year, so we look forward to enjoying it together this year. The multifaceted celebration of culture and learning earned the Lionel Hampton Jazz Festival the National Medal of the Arts, the first time the nation’s top arts honor has been bestowed on a public university. The festival has also earned the university the Peter McGrath Community Engagement Exemplary Program Award, recognizing institutions that become more involved with their communities through innovative learning, discovery and engagement. In 2014, the Jazz in Schools program, a key piece of the festival, brought the transformative experience of jazz music to 37 area schools and 5,482 students. -
Artpark Archival Collection at the Burchfield Penney Art Center Archives Gift of Earl W
Artpark Archival Collection At The Burchfield Penney Art Center Archives Gift of Earl W. Brydges Artpark State Park 2013; A2013.017 Title: Artpark Archival Collection Name and Location of Repository: Burchfield Penney Art Center Date: 1970 - 2010 (Inclusive Dates) 1974-2005 (General Bulk Dates) Extent: 118.979 linear feet of textual, photographic and audio-visual materials Name of Creator: Earl W. Brydges Artpark State Park Administrative History: Artpark is currently (as of 2021) a 154-acre State Park along the Niagara River Gorge, located on the American side of the American-Canadian border in Lewiston, NY. It was initially created to develop tourism around local historic attractions and revitalize the area following late 1950s development of the New York State Power Authority power plant in Niagara Falls. Over- developed and costly theater construction under State Senator Earl W. Brydges in this direction of cultural development, said to be modeled after the Saratoga Performing Arts Center, resulted in a consulting emergency between the Natural Heritage Trust, the New York State Office of Parks and Recreation, and national experts and local cultural community leadership. This included the arts administration consulting firm Arts Development Associates (which had helped with the Lincoln Center), and a Steering Committee involving, amongst many, Niagara University Theater director Brother Augustine Towey, C.M., and Haudenosaunee Council on the Arts founder and artist Duffy Wilson. As a result, Artpark (or the Artpark program at the Earl W. Brydges Artpark) emerged from the Niagara Frontier Performing Arts Center, and in 1973 was established as a publicly-funded state park dedicated to all of the arts, with portions of support coming from earned revenue, grants and contributions. -
Page | 1 CURTIS FULLER NEA JAZZ MASTER (2007) Interviewee: Curtis
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. CURTIS FULLER NEA JAZZ MASTER (2007) Interviewee: Curtis Fuller (December 15, 1934 - ) Interviewer: Bill Brower with recording engineer Kennith Kimery Date: September 25-26, 2010 Repository: Archives Center, National Museum of American History Description: Transcript, 89 pp. Curtis Fuller: We might miss a date or two. Brower: From what we’ve already shared off the cuff, I should have just pushed the button and sit back. Curtis Fuller: Let me run my mouth. I like to kick things into perspective. Brower: Okay, it is Saturday, the 25th of September 2010. My name is William A Brower. I’m sitting with Curtis DuBois Fuller conducting an oral history for the Smithsonian Jazz Oral History Program. I’d just like to go back, just for the sake of chronology, let’s start at the beginning. Actually, we were talking about Billie Holliday and what impact she had on you. I’d like you to start with that and maybe go back and give us the contact of why she was so important to you. That will lead us to something about your early life. Curtis Fuller: Okay, I’ll try to shape it this way: Yusef Lateef, I was in New York with him doing early sessions with the Detroit group that he had. I was a part of that. I remember we were recording in “The Center” and “Up Jumped Spring.” I forget the other two, but we did three in one week. -
JACKSON, DELILAH. Delilah Jackson Papers, 1852-2013
JACKSON, DELILAH. Delilah Jackson papers, 1852-2013 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Jackson, Delilah. Title: Delilah Jackson papers, 1852-2013 Call Number: Manuscript Collection No. 923 Extent: 47 linear feet (89 boxes), 8 oversized papers boxes and 5 oversized papers folders (OP), 1 extra-oversized paper (XOP), and AV Masters: 20.5 linear feet (21 boxes, LP1, and CLP5) Abstract: Papers collected or created by Delilah Jackson in her research on African American entertainers, including photographs, correspondence, subject files, oral history interviews, and films. Language: Materials primarily in English with some items in French. Administrative Information Restrictions on Access Special restrictions apply:Use copies have not been made for all audiovisual material in this collection. Researchers must contact the Rose Library at least two weeks in advance for access to these items. Collection restrictions, copyright limitations, or technical complications may hinder the Rose Library's ability to provide access to audiovisual material. Terms Governing Use and Reproduction Special restrictions apply: The collection contains some copies of original materials held by other institutions; these copies may not be reproduced without the permission of the owner of the originals. Commercial films located in the audiovisual series may not be reproduced. Printed or manuscript music in this collection that is still under copyright protection and is not in the Public Domain may not be photocopied or photographed. Researchers must provide written authorization from the copyright holder to request copies of these materials. Separated Material The Johnny Hudgins papers were originally part of the Delilah Jackson papers. -
Guide to the W. Royal Stokes Collection of Music Photoprints and Interviews
Guide to the W. Royal Stokes Collection of Music Photoprints and Interviews NMAH.AC.0766 Vanessa Broussard Simmons 2011 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 .............................................................................................. 2 Biographical / Historical.................................................................................................... 3 Arrangement..................................................................................................................... 4 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Photographs of Musicians and Ensembles, circa 1970-2000................... 6 Series 2: Photographs of Performances, 1987-2002; undated.............................. 15 Series 3: Formal and Informal Groups, circa; 1980s-2000; undated...................... 16 Series 4: Photographs of Musicians in Films, Radio, Television and Theater, 1940s-2000; -
Musicians Union of Hollywood
Los Angeles Department of City Planning RECOMMENDATION REPORT CULTURAL HERITAGE COMMISSION CASE NO.: CHC-2017-4331-HCM ENV-2017-4332-CE HEARING DATE: November 16, 2017 Location: 807-831 North Vine Street; TIME: 10:00 AM 808-820 Lillian Way; PLACE : City Hall, Room 1010 5901 West Waring Avenue 200 N. Spring Street Council District: 13 – O’Farrell Los Angeles, CA 90012 Community Plan Area: Hollywood Area Planning Commission: Central Neighborhood Council: Central Hollywood Legal Description: Seneca Heights Tract, Block H, Lots 8-10 and FR13- FR18 PROJECT: Historic-Cultural Monument Application for the MUSICIANS UNION OF HOLLYWOOD REQUEST: Declare the property a Historic-Cultural Monument OWNER: CV 817 Vine St, LLC 601 S. Figueroa Street, Ste. 3400 Los Angeles, CA 90017 APPLICANT: Hollywood Heritage, Inc. 2100 N Highland Avenue Hollywood, CA 90068 RECOMMENDATION That the Cultural Heritage Commission: 1. Take the property under consideration as a Historic-Cultural Monument per Los Angeles Administrative Code Chapter 9, Division 22, Article 1, Section 22.171.10 because the application and accompanying photo documentation suggest the submittal warrants further investigation. 2. Adopt the report findings. VINCENT P. BERTONI, AICP Director of PlanningN1907 [SIGNED ORIGINAL IN FILE] [SIGNED ORIGINAL IN FILE] Ken Bernstein, AICP, Manager Lambert M. Giessinger, Preservation Architect Office of Historic Resources Office of Historic Resources [SIGNED ORIGINAL IN FILE] Melissa Jones, Planning Assistant Office of Historic Resources Attachment: Historic-Cultural Monument Application CHC-2017-4331-HCM 807-831 North Vine Street; 808-820 Lillian Way; 5901 West Waring Avenue Page 2 of 3 SUMMARY The Musicians Union of Hollywood is a two-story commercial building located at 817 Vine Street between Willoughby Avenue and Waring Avenue in Hollywood. -
The Harp in Jazz and American Pop Music Megan A. Bledsoe A
The Harp in Jazz and American Pop Music Megan A. Bledsoe A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2012 Reading Committee: Donna Shin, Chair Valerie Muzzolini Gordon Áine Heneghan Program Authorized to Offer Degree: Harp Performance Bledsoe - DMA Harp Performance ©Copyright 2012 Megan A. Bledsoe 2 Bledsoe - DMA Harp Performance University of Washington Abstract The Harp in Jazz and American Pop Music Megan A. Bledsoe Chair of the Supervisory Committee: Assistant Professor of Flute Donna Shin, Chair Instrumental Performance, School of Music The harp has endured a tenuous relationship with the genres of jazz and American popular music throughout history. While a few harpists have enjoyed successful and significant careers in these fields, the harp is largely absent from mainstream jazz and American pop. The purpose of this dissertation is to ascertain a definitive cause for such exclusion and use this information to identify a feasible path toward further integration of the harp in jazz and American pop music. This paper examines the state of the harp in jazz and American pop from various angles, including historical perspective, analytical assessment, and a study which compares harpists’ improvisational abilities to those of their mainstream jazz instrumentalist counterparts. These evaluations yield an encompassing view of the harp’s specific advantages and detriments in the areas of jazz and American pop. The result of this research points to a need for specialization among harpists, particularly in defining new styles. It is evident that harpists’ careers generally necessitate a working knowledge of various styles of music. -
MARIAN Mcpartland, JAZZ PIANIST: an OVERVIEW of a MUSICAL CAREER
MARIAN McPARTLAND, JAZZ PIANIST: AN OVERVIEW OF A MUSICAL CAREER By CLARE HANSSON BA (UQ), MFA (QUT) Associate of the Trinity College of London Licentiate of the Trinity College of London A Thesis submitted for the Award of the Degree of Doctor of Philosophy - 2006 Creative Industries Faculty (Music Discipline) Queensland University of Technology, Australia © Clare Hansson, 2006 KEYWORDS • Marian McPartland (1918 - ) • Marian Page (early stage name) • Margaret Marian Turner (maiden name) • American Jazz History (1946 - 2005) • Biography • Discography • Halcyon Records – Jazz Recording Company • Halcyon Music – Music Publishing Company • Jazz Advocacy • Jazz Analysis • Jazz Broadcasting • Jazz Composition • Jazz Education • Jazz Entrepreneurship • Jazz Journalism • Jazz Performance • Jazz Piano • Jazz Recording • Piano Jazz Radio Program • Web-Based Resource • Women In Jazz i ABSTRACT This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aural and visual presentation. Although not claiming to be exhaustive, this Website brings together a comprehensive collection of data covering all aspects of Marian McPartland’s career. Data have been gathered and collated from material in the public domain, and all such sources are acknowledged and referenced. -
NEW YORK SHEET MUSIC SOCIETY MARCH, 2008 New York President’S Message
New New York Sheet Music Socsileetty e VOLUME 29, NUMBERS6 INCwwwE.NYS1MS.o9rg 80 MARCH 2008 r DEDICATED TO THE PRESERVATION OF CLASSIC POPULAR MUSIC Like Love…The Popular Songs of Andre Previn Like Great: Karen Oberlin By Gregg Culling Our February meeting provided our Another score that I members and guests with a performance have always loved, but that was better than anything I have seen had forgotten that on the current Broadway stages. Karen Previn had Oberlin still holds an audience with her anything to do charm, beauty and talent, just as she did with, is “Good when she performed her Doris Day show for Companions.” s g n i l And “Inside l us a few years ago. Karen knows how to i Daisy Clover!” B grab and hold an audience. No tricks. She e s just came on stage, and started singing Every cabaret o R y “Lose Me Now,” a song Previn wrote with his singer has a b o whack at t once-wife, Dory. In between songs, but not o h every song, we learned a lot about Andre “You’re Gonna P Previn. He had been a child prodigy, and Hear from was doing scores for movies while he was Me,” but Karen showed us how it should be still a teenager, or, rather…barely a teenager. sung. Hollywood had the not-so-bright idea One part of his life was devoted to of putting non-singers (Lee Marvin, Clint conducting the Pittsburgh Symphony Eastwood, Jean Seburg) in the leads for Orchestra (I wonder if he actually lived in “Paint Your Wagon,” so nobody came to see Pittsburgh?) .