2016 Hall of Fame Inductees
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24Th Annual Dixieland Jazz Festival June 26, 27, 28, 29, 2014 Saint Martin’S University Macus Pavilion 5300 Pacific Ave
24th Annual Dixieland Jazz Festival June 26, 27, 28, 29, 2014 Saint Martin’s University Macus Pavilion 5300 Pacific Ave. SE • Lacey, Washington www.olyjazz.com FOUR VENUES • ONE SITE Great Bands • Large Dance Floors • Swing Set Jazz Festival Dance Lessons - Hal & Georgia Myers, California Nearby Hotels • Shuttle Service Available • Parasol Parades RV Accommodations • Tickets Available at Door INFORMATION: Charlotte Dickison - 360-943-9123 Email: [email protected] RV PARKING: Pat Herndon - 360-956-7132 Email: [email protected] www.olyjazz.com Great Bands plus special set: Tribute to Ray Smith Parmount Jazz Band buck creek evergreen classic grand dominion high sierra ivory & gold* jerry krahn & katie cavera titan hot seven* tom hook/terriers tom rigney flambeau uptown lowdown west end wolverines yerba buena stompers eddie erickson* brady mckay* Festival Times Special Events Kick-Off Party June 26 - 7pm - 10:30pm June 26 ................. 7pm - Kick off party June 26 .............................Kick off party Saint Martin’s University June 27 ..................11:00am - 10:45pm ($15.00 at the door) Marcus Pavilion June 28 .....................9:30am - 11:00pm June 27 ... Farmers Market - 11am-2pm ($15 at the door) June 29 ........................9:30am - Gospel June 29 ...........Sunday Gospel - 9:30am Bands (subject to change) HIgh Sierra • Tom Hook/Terriers Festival ....................10:45am - 3:45pm After Glow Party - 5pm - Tugboat Annies Grand Dominion Shuttle service - 1 hour before event start Food & beverages available Area Hotels (ask for Jazz Rates) Area Hotels (ask for Jazz Rates) Comfort Inn* ................................................................... $99.99 Double Tree Inn by Hilton............................................ $129.00 Lacey • 360-456-6300 Olympia • 360-570-0555 Comfort Inn Tumwater* ................................................ -
Newsletter November 2007
November 2007 Newsletter ------------------------------------ Yesterday & Today Records 255A Church St Parramatta NSW 2150 Phone/fax: (02) 96333585 Email: [email protected] Web: www.yesterdayandtoday.com.au --------------------------------- Post 1 cd $2/2cd $3/ 3-4 cds $6.00 1 dvd $4.50 2-3 dvds $6.00 ------------------------------------------- The year ends and there are so many great releases herein that I’d almost declare it the best newsletter I’ve had. It may very well be the last as well, but as I used to say in my previous career “nothing is certain on the waterfront” and nothing is certain here as well. It has been just shy of 19 years and it doesn’t get easier. It is like the old adage “between a rock and a hard place” in that there have never been a better lot of artists than there are now: Dale Watson, Justin Trevino, Amber Digby, Ron Williams etc yet the major label music scene is, for a lack of a better word stuffed. Yet some people are impossible to convince. Some people refuse to take anything but the CMT route. It wouldn’t matter if I said Ron Williams’ is the best cd I have had this year and is right up there with the best ever of Mark Chesnutt, Keith Whitley and co. If you watch CMT and enjoy it then I will sell you a share in the Sydney Harbour Bridge. If you watch it and question its merit we have the answers for you. Please read on. ----------------------------------- Ron Williams – “Texas Style” $32 If anything beats this as album of the year I will be very surprised. -
TEXAS MUSIC SUPERSTORE Buy 5 Cds for $10 Each!
THOMAS FRASER I #79/168 AUGUST 2003 REVIEWS rQr> rÿ p rQ n œ œ œ œ (or not) Nancy Apple Big AI Downing Wayne Hancock Howard Kalish The 100 Greatest Songs Of REAL Country Music JOHN THE REVEALATOR FREEFORM AMERICAN ROOTS #48 ROOTS BIRTHS & DEATHS s_________________________________________________________ / TMRU BESTSELLER!!! SCRAPPY JUD NEWCOMB'S "TURBINADO ri TEXAS ROUND-UP YOUR INDEPENDENT TEXAS MUSIC SUPERSTORE Buy 5 CDs for $10 each! #1 TMRU BESTSELLERS!!! ■ 1 hr F .ilia C s TUP81NA0Q First solo release by the acclaimed Austin guitarist and member of ’90s. roots favorites Loose Diamonds. Scrappy Jud has performed and/or recorded with artists like the ' Resentments [w/Stephen Bruton and Jon Dee Graham), Ian McLagah, Dan Stuart, Toni Price, Bob • Schneider and Beaver Nelson. • "Wall delivers one of the best start-to-finish collections of outlaw country since Wayton Jennings' H o n k y T o n k H e r o e s " -Texas Music Magazine ■‘Super Heroes m akes Nelson's" d e b u t, T h e Last Hurrah’àhd .foltowr-up, üflfe'8ra!ftèr>'critieat "Chris Wall is Dyian in a cowboy hat and muddy successes both - tookjike.^ O boots, except that he sings better." -Twangzirtc ;w o tk s o f a m e re m o rta l.’ ^ - -Austin Chronlch : LEGENDS o»tw SUPER HEROES wvyw.chriswatlmusic.com THE NEW ALBUM FROM AUSTIN'S PREMIER COUNTRY BAND an neu mu - w™.mm GARY CLAXTON • acoustic fhytftm , »orals KEVIN SMITH - acoustic bass, vocals TON LEWIS - drums and cymbals sud Spedai td truth of Oerrifi Stout s debut CD is ContinentaUVE i! so much. -
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, [email protected] 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 [email protected]. 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. -
H 1916.5 Music: Jazz and Popular Music
Music: Jazz and Popular Music H 1916.5 BACKGROUND: This instruction sheet provides guidelines for assigning headings to jazz and popular music, and for using geographic and chronological subdivisions. 1. Headings. a. Jazz. Assign the heading Jazz, with geographic and chronological subdivisions if appropriate. In addition: (1) Solo jazz. Assign headings of the type Piano music (Jazz) or Guitar music (Jazz) to jazz for a solo instrument. (2) Solo instrument(s) accompanied by jazz ensemble. Assign headings of the type Trumpet with jazz ensemble or Concertos (Piano and saxophone with jazz ensemble) to music for one or more solo instruments accompanied by a jazz ensemble. (3) Genres or styles of jazz. Assign headings for specific jazz genres or styles, such as Big band music; Dixieland music. (4) Jazz vocals. Assign the heading Jazz vocals to songs performed in jazz style by a vocalist or vocal group, with or without accompaniment. b. Popular music. Assign the headings Popular music or Popular instrumental music when more specific headings for style or genre are not appropriate. Judge the portion of a collection sufficient for assigning more specific headings according to standard practice. Assign Popular music to items consisting entirely of vocal music or of both vocal and instrumental popular music. Assign Popular instrumental music to items consisting entirely of instrumental popular music. Subject Headings Manual H 1916.5 Page 1 June 2013 H 1916.5 Music: Jazz and Popular Music 2. Geographic and chronological subdivisions. Use geographic and chronological subdivisions for all items to which the subdivisions apply, collections and individual works. This policy differs from the policy for using geographic and chronological subdivisions under headings for Western art music, which is described in H 1160. -
Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams. -
Folklore______Mmihhhhihhflhi Box 19114,20Th Street Station, W Ashington, DC 20036
Ibe Folklore_______ MMIHHHHIHHflHi Box 19114,20th Street Station, W ashington, DC 20036 j UNBBIHTHI VOLUM E X V I I , NO. 8 APRIL 1981 PHONE (703) 281-2228 Nancy Schatz, Ed it o r Roy Harris Featured in April 10 Program Our April program w ill feature folksinger Roy Harris, Roy, who comes from Nottingham, England, is one of the finest sing ers of traditional songs and ballads. His repertoire is about 80# traditional song with the rest being a mixture of contem porary material, parodies, music hall numbers, even an occa sional popular song from the 1930*s. A ll are presented with a warm, sometimes humorous st yle t h a t 's a l l Royf s own. Roy has been singing full-tim e since 196^ in folk clubs a ll over Europe, Canada, and the United States, He has served as director of the National Folk Festival in Loughborough, Eng land, for four years. He founded the Nottingham tradition al Music Club, He has six solo albums, five of them on the Topic label and one on F e lls id e . The program begins at 8i30 p.m., Friday, April 10, The place* the Washington Ethical Society auditorium, 7750 16th St., N.W. (at Kalmia Rd.) Admission is free to FSGW members, $2 for non-members. Come early to be sure of getting a seat. Battlefield Band to Perform April 18 Battlefield Band can best be described as a high-energy Scottish band. They have just completed their sixth album (Horae Is Where the Van Is, for the Flying Fish label). -
FOREWORD by Tom Miller
Dave Stogner Only A Memory Away - The Dave and Vi Stogner Story (A history of his music and their romance) FOREWORD By Tom Miller It could have been disconcerting for the young fiddle player on the stage. Early evening in an empty honky-tonk, it's still light out. It's the beginning of the 1980's and we are in the middle of the Urban Cowboy scare. “Hat Acts” were all the rage at that time, too. Resistol rock and roll babies are playing Country music to thin air. The front door is open--there is no way to stop the momentum of Dave Stogner's entrance. The erect sixty-something cowboy with the square jaw marches directly to the middle of the sunken dance floor at O.T. Price's Music Hall and kneels, elbow on higher knee, hand on chin, eyes fixed on young fiddle player. Rodin's ”Thinker,” Stogner's “Fiddle Contemplator.” No sense being rattled. The fiddler played right to the chiseled Western Swing bandleader. If there is a big linebacker you might as well run right at him, if you can't get around him. Stogner was not moving. My attention turned to making sure we had enough Jack Daniels and beer stocked for the night--bartending was my intro to the concert coordinating business. A few minutes later Dave walked directly toward me at the bar, wearing a Texas sized grin spanning Waco to Juarez. The fiddle player that night would do just fine. I was in my late twenties and loved all kinds of music, except most produced pop stuff. -
August 2012 Newsletter
August 2012 Newsletter ------------------------------------ Yesterday & Today Records P.O.Box 54 Miranda NSW 2228 Phone: (02) 95311710 Email:[email protected] www.yesterdayandtoday.com.au ------------------------------------------------ Postage Australia post is essentially the world’s most expensive service. We aim to break even on postage and will use the best method to minimise costs. One good innovation is the introduction of the “POST PLUS” satchels, which replace the old red satchels and include a tracking number. Available in 3 sizes they are 500 grams ($7.50) 3kgs ($11.50) 5kgs ($14.50) P & P. The latter 2 are perfect for larger interstate packages as anything over 500 grams even is going to cost more than $11.50. We can take a cd out of a case to reduce costs. Basically 1 cd still $2. 2cds $3 and rest as they will fit. Again Australia Post have this ludicrous notion that if a package can fit through a certain slot on a card it goes as a letter whereas if it doesn’t it is classified as a “parcel” and can cost up to 5 times as much. One day I will send a letter to the Minister for Trade as their policies are distinctly prejudicial to commerce. Out here they make massive profits but offer a very poor number of services and charge top dollar for what they do provide. Still, the mail mostly always gets there. But until ssuch times as their local monopoly remains, things won’t be much different. ----------------------------------------------- For those long term customers and anyone receiving these newsletters for the first time we have several walk in sales per year, with the next being Saturday August 25th. -
March, April, May 2013 Vol. 31 No. 1 March
MARCH, APRIL, MAY 2013 VOL. 31 NO. 1 George Strait Bids An Emotional Farewell To Oklahoma City On His “The Cowboy Rides Away Tour” By Brandy McDonnell…The Daily McBride opened her 70-minute crowd- declared McBride, who looked sassy in a Oklahoman warming set with the feisty toe-tapper red leather jacket over black jeans, a black The King of Country took on the role of “When God-Fearin’ Women Get the Blues” scooped-neck top and tall black boots with “The King of Broken Hearts” Saturday skinny skyscraper heels. night, bidding an emotional and engaging The Kansas native told the packed house farewell to Oklahoma City. that one of her favorite parts of planning George Strait embarked on his “The Cow- a tour is choosing cover songs, and she boy Rides Away Tour” Friday night with a wowed the crowd with her crystalline coun- home-state show in Lubbock, Texas. The try version of Etta James’ “At Last” and got second stop on his 2013-14 farewell trek fans wailing along with a medley of the Cat was the sold-out Chesapeake Energy Arena, Stevens classic “The First Cut Is the Deep- where he has reigned as a top concert draw est” and Tom Petty’s “Free Fallin’.” since the venue opened in 2002. “We’re not clapping; we’re snapping. It’s As usual, Strait put on a frills-free show the new thing. All the cool kids are do- designed to spotlight outstanding singing, ing it,” she quipped before launching into songwriting and musicianship. He and his a lively rendition of “King of the Road,” excellent opening act, Martina McBride, paying double tribute to her tourmate and along with their strong respective bands, the late, great Erick-bred singer-songwriter performed in the round on a massive Roger Miller. -