DOCSLIB.ORG

Porgy and Bess Composer: George Gershwin Section of the Work to Be

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Porgy and Bess Composer: George Gershwin Section of the Work to Be Title: Porgy and Bess Composer: George Gershwin Section of the work to be studied: ‘Summertime’ Interpretation in performance 1: Leontyne Price, from 1:11 to 4:32, Porgy and Bess: High Performance, RCA Interpretation in performance 2: Billie Holiday, The Quintessential Billie Holiday, Vol. 2: 1936, Columbia, this recording is also available on a number of compilation CDs. Score: Summertime, single for voice and piano. Alfred Publishing. (AP.VS5985) The following notes are designed to inform discussion. They are not to be considered as representative of the VCAA or amuse. The notes are to be used as starting points. Paul Curtis 2009 Briefly: Gershwin completed the work in September 1935 following 20 months of work. The show opened on 30 September 1935 at Boston’s Colonial Theatre. The show opened in New York at the Alvin Theatre on 10 October. The show ran for only 124 shows at the Alvin. The critical reaction was mixed and the entire monetary investment was lost. Gershwin wrote the following defense of his work: It is true that I have written songs for Porgy and Bess. I am not ashamed at writing songs at any time so long as they are good songs. In Porgy and Bess I realized that I was writing an opera for the theatre and without songs it could be neither of the theatre nor entertaining from my viewpoint. But songs are entirely within the operatic tradition. Many of the most successful operas of the past have had songs….Of course, the songs in Porgy and Bess are only a part of the whole…I have used symphonic music to unify entire scenes. (Robert Kimball, program notes 1989, Australian production). Gershwin died without seeing the success of his work: he died in 1940. Context and details of Gershwin: First produced in Boston and New York by the Theatre Guild in 1935. The work was not a great success and closed after only 124 performances. Price: recorded 1963, RCA Victor orchestra (won a Grammy); Leontyne Price undertook the role of Bess in the 1952 revival of the show, to much acclaim. Holiday: Recorded: New York, July 10, 1936 Billie Holiday (vocals), Bunny Berigan (trumpet), Artie Shaw (clarinet), Joe Bushkin (piano), Dick McDonough (guitar), Pete Peterson (bass), Cozy Cole (drums) Billie Holiday (vocals), Bunny Berigan (trumpet), Artie Shaw (clarinet), Joe Bushkin (piano), Dick McDonough (guitar), Pete Peterson (bass), Cozy Cole (drums) Recorded: New York, July 10, 1936 Billie Holiday was not the first jazz artist to record "Summertime" (Bob Crosby recorded a transcription version five months earlier) but hers was the first recorded for 78s and probably did more than any other version to establish the song as a potential jazz standard. For any listener of the time who had heard "Summertime" in its operatic version, Holiday's rendition was a shock—raw and dirty with the rasp of Bunny Berigan's trumpet echoed in Holiday's voice. Holiday jettisons nearly the entire melody, flattening out the melodic contour to fit her voice and her artistic sense, and behind her, Berigan and Artie Shaw jam away, sensing even then that this new Gershwin song with its easy harmonic sequence would be a natural for the jazz repertoire Bibliography http://www.jazz.com/music/2008/7/29/billie-holiday-summertime accessed February 09 The Penguin Guide to Jazz One of Holiday’s innovations was to suggest a role for the signer which blended in with the rest of the musicians, improvising a line and taking a ‘solo’ which was as integrated as anything else on the record. On her earlier sides with Wilson as leader, she was still credited as responsible for the ‘vocal refrain’; but the later titles feature ‘Billie Holiday And Her Orchestra’. She starts some records and slips into the middle of others, but always there’s a feeling of a musician at ease with the rest of the band and aware of the importance of fitting into the performance as a whole. Her tone, on the earlier sides, is still a little raw and unformed and the trademark rasp at the edge of voice – which she uses to canny effect on the later titles – is used less pointedly; but the unaffected styling is already present, and these are indications of her mastery of time even at the very beginning. While the most obvious characteristic of her singing is the lagging behind the beat, she seldom sounds tired or slow to respond, and the deeper impression is of a vocalist who knows exactly hoe much time she can take. She never scats, rarely drifts far from the melody, and respects structure and lyrical nuance, even where – as has often been remarked – the material is less than blue-chip. But her best singing invests the words with shades of meaning which vocalists until that point had barely looked at” she creates an ambiguity between what the words say and what she might be thinking which is very hard to distil. And that is the core of Holiday’s mystique. Coupled with the foggy, baleful [menacing, sinister], somber quality of her tone, it creates a vocal jazz which is as absorbing as it is enduring. ++++ Holiday recorded this in New York in July 1936. So it's the young Billie's voice that I always prefer--sultry and yearning and girlish--and she swings it about like a sparkling beaded handbag. The band's (including Artie Shaw on clarinet) martial rat-ta-tat beat and New Orleans-flavored horns give this "Summertime" a hurried street parade feel or play to a decadent afternoon tea dance of wilted flowers, damp limbs and furtive cocaine sniffing. ++++++ Birth name: Eleanora Fagan Gough Name change: Changed her name to "Billie Holiday" because of her admiration for film star "Billie Dove." She was also known as "Lady Day." Birth date: April 7, 1915 Birth place: Philadelphia, Pennsylvania Death date: July 17, 1959 Death place: New York City, New York Burial location: Saint Raymond's Cemetery in Bronx County, NY Famous Tagline: "Lady Sings the Blues" Spouse: Louis McKay http://www.cmgww.com/music/holiday/about/fastfacts.htm 28/07/09 accessed February 2009 Billboard 20 Sep 1947 http://books.google.com.au/books?id=QyAEAAAAMBAJ&pg=PA48&dq=bill ie+holiday+singing+summertime&lr=&ei=7FFuSoarEYvKlQSTh83tDg 28/07/09 The Jazz Book: From New Orleans to Rock and free Jazz Berendt, Joachim, trans. Dan Morgenstern, Helmut & Barbara Bredigkeit …Billie Holiday, who was among the first to realize the potential of the microphone for a completely new use of the singing voice. It has been said that Billie Holiday’s style, which at the time was felt to be new and “Revolutionary,” consisted mainly in “microphonizing” the voice – in a way of singing unthinkable without the microphone. This “microphonic” style has become so commonplace for all kinds of popular music that hardly anyone mentions it. pg. 44 ++++ Billie was the embodiment of a truth first expressed – I believe- by Fats Waller….: in jazz if does not matter what you do, but how you do it. ….She made her most beautiful recordings in the thirties with [Teddy] Wilson and Lester Young. And in the intertwining of the lines sung by Billie Holiday and the lines played by Lester Young, the question which is lead and which is accompaniment-which line is vocal and which instrumental-here becomes secondary. Billie Holiday is the great songstress of understatement. Her voice has none of the volume and majesty of Bessie Smith. It is a small, supple, sensitive voice –yet Billie sang a song which, more than anything sung by Bessie Smith and the other female blues singers, became a musical protests against racial discrimination…. Billie Holiday’s way of understatement is more effective than the grandest gesture and the most passionate, unrestrained expression. The restraint and caution of understatement are more powerful. Listening to Billie Holiday, one felt that everything really was much more weighty than she stated it, and so each listener was forced to supply from within what he required for a full emotional measure. Thus the avalanche of internal activity one always heard about when Billie Holiday appeared was set into motion. Yet there is also pathos in Billie Holiday’s singing…. A cool tenor saxophone was almost always the yardstick for comparisons with good modern ballad singing until the late fifties, and this, too, may be traced back to Billie Holiday. Billie’s singing has the elasticity of Lester Young’s tenor playing-and she had this elasticity prior to her first encounter with Lester. Billie was the first artist in all of jazz-not just the first woman or the first jazz singer- in whose music the influence of the saxophone as the style and sound-setting instrument becomes clear. And this took place, only seemingly in paradoxical fashion, before the beginning of the saxophone era, which actually only began with the success of Lester Young in the early forties….Modern jazz really began in the realm of song, with Billie Holliday. pp. 328-9 ++++ In the last years of her life, Billie Holiday’s voice was often a mere shadow of her great days. She sang without the suppleness and glow of the earlier recordings; her voice sounded worn, rough and old. Still, her singing had magnetic powers. It is extraordinary to discover just how much a great artist has left when voice and technique and flexibility have failed and nothing remains except the spiritual power of creativity and expression. Billie Holiday stands at the center of great jazz singing. Her important recordings with Teddy Wilson, Lester Young, and other greats of the Swing era are convincing testimony to the fact that the dilemma of jazz singing affects only lesser practitioners.
Load more

Recommended publications
  • 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.
    [Show full text]
  • The American Legion [Volume 120, No. 3 (March 1986)]
    ! IT IS NO U.S. MILITARY SECRET! fAVY You can't buy a better designed pair of shoes for Fit and Comfort and LAST While they last m I Long Wear than this world famous classic designed for and by the m GET 2 Pairs U.S. Navy! Now Haband, the mail order people from Paterson, NJ, far $55 SHOES IHI WM I have a huge surplus on hand and available to the general public — while they last — only $27.95 a pair! ^HABAND 265 N. 9th St., Paterson, N.J. 07530 Genuine Leather Uppers! Genuine Leather Sole! Aye Aye, Sir! Send me pairs of these Navy Last Shoes as specified below. ir Genuine Rubber Heel! Genuine Goodyear Welt Construction If you can act at once, here is the FIND YOUR SIZE HERE best shoe value you could see in *tAiirMr /irfrir\ ADD $1 PtR PAIR MEDIUM (D) WIDTH *WIDE (EEE) — FOR WIDE SIZtS lifetime ! At $27.95 a pair, 6y2-7-7y2-8-8y2-9-9y2 6y2-7-7y2-8-8y2-9-9y2 you can afford the 10-10y2-11-12-13 10-10y2-11-12-13 very best. Order on money-back STYLE — approval Black Oxford Mail this Black Loafer coupon today Black "Velcro®" Strap I Qluarantee: if upon receipt, I do not choose to wear the $ 2.40 shoes, I may return them within 30 days for a full refund 'wide width Size Charge of every penny I paid you. TOTAL PAYMENT ENCLOSED Or Charge: DVisa DMC Acct. # Exp. Date [ STATE ZIP HABAND is a conscientious family business, serving 9th Street I 265 N.
    [Show full text]
  • Tommy Dorsey 1 9
    Glenn Miller Archives TOMMY DORSEY 1 9 3 7 Prepared by: DENNIS M. SPRAGG CHRONOLOGY Part 1 - Chapter 3 Updated February 10, 2021 TABLE OF CONTENTS January 1937 ................................................................................................................. 3 February 1937 .............................................................................................................. 22 March 1937 .................................................................................................................. 34 April 1937 ..................................................................................................................... 53 May 1937 ...................................................................................................................... 68 June 1937 ..................................................................................................................... 85 July 1937 ...................................................................................................................... 95 August 1937 ............................................................................................................... 111 September 1937 ......................................................................................................... 122 October 1937 ............................................................................................................. 138 November 1937 .........................................................................................................
    [Show full text]
  • Download Booklet
    120762bk DorseyBros 14/2/05 8:43 PM Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Available in the Naxos Jazz Legends and Nostalgia series … 8.120625* 8.120628 8.120632* 8.120681* 8.120697* 8.120746* * Not available in the USA NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 120762bk DorseyBros 14/2/05 8:43 PM Page 2 THE DORSEY BROTHERS Personnel Tracks 1, 3 & 4: Bunny Berigan, trumpet; Tracks 8-11: Manny Klein & unknown, trumpet; ‘Stop, Look and Listen’ Original 1932-1935 Recordings Tommy Dorsey, trombone; Jimmy Dorsey, Tommy Dorsey, Glenn Miller, trombones; clarinet, alto sax; Larry Binyon, tenor sax; Jimmy Dorsey, clarinet, alto sax; unknown, alto Whether you call them The Fabulous or The over to the newly formed American Decca label. Fulton McGrath, piano; Dick McDonough, sax; Larry Binyon (?), tenor sax; Fulton Battling Dorsey Brothers, Tommy (1905-1956) In the two knock-down drag-out years that guitar; Artie Bernstein, bass; Stan King, drums McGrath (?), piano; Dick McDonough, guitar; and Jimmy Dorsey (1904-1957) were major followed, the Dorseys produced some Track 2: Bunny Berigan, trumpet; Tommy Artie Bernstein (?), bass; Stan King or Ray influences on the development of jazz in the outstanding and exciting jazz, all the while Dorsey, trombone; Jimmy Dorsey, clarinet; McKinley, drums 1920s and ’30s.
    [Show full text]
  • The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas the the Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas the Dave Oliphant
    Oliphant: The Wisconsin Texas Jazz Nexus The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas The The Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas The Dave Oliphant The institution of slavery had, of course, divided the nation, and Chicago. Texas blacks had earlier followed the cattle trails and on opposite sides in the Civil War were the states of Wis- north, but, in the 1920s, they also felt the magnetic pull of consin and Texas, both of which sent troops into the bloody, entertainment worlds in Kansas City and Chicago that catered decisive battle of Gettysburg. Little could the brave men of the to musicians who could perform the new music called jazz that Wisconsin 6th who defended or the determined Rebels of the had begun to crop up from New Jersey to Los Angeles, beholden Texas Regiments who assaulted Cemetery Ridge have suspected to but superseding the guitar-accompanied country blues and that, one day, musicians of their two states would join to pro- the repetitive piano rags. The first jazz recordings had begun to duce the harmonies of jazz that have depended so often on the appear in 1917, and, by 1923, classic jazz ensembles had begun blues form that was native to the Lone Star State yet was loved performing in Kansas City, Chicago, and New York, led by such and played by men from such Wisconsin towns and cities as seminal figures as Bennie Moten, King Oliver, Fletcher Jack Teagarden, courtesy of CLASSICS RECORDS. Teagarden, Jack Fox Lake, Madison, Milwaukee, Waukesha, Brillion, Monroe, Henderson, and Duke Ellington.
    [Show full text]
  • King Porter Stomp" and the Jazz Tradition* Jazz Historians Have Reinforced and Expanded Morton's Claim and Goodman's Testimony
    JEFFREY MAGEE 23 "King Porter Stomp" and the Jazz Tradition* Jazz historians have reinforced and expanded Morton's claim and Goodman's testimony. The Palomar explosion and its aftershocks have By Jeffrey Magee led some historians to cite it as the birth of the Swing Era, most notably Marshall W. Stearns, who, after tracing jazz's development in 1930-34, could simply assert, "The Swing Era was born on the night of 21 August 1935" (Stearns 1956:211; see echoes of this statement in Erenberg Fletcher won quite a few battles of music with "King Porter Stomp." 1998:3-4, and Giddins 1998:156). Gunther Schuller has called "King And Jelly Roll Morton knew this, and he used to go and say "I made Porter Stomp" one of the "dozen or so major stations in the development Fletcher Henderson." And Fletcher used to laugh . and say "You of jazz in the twenty years between 1926 and 1946" (Schuller 1989:840). did," you know. He wouldn't argue. (Henderson 1975, 1:69) And Goodman's recording, he wrote elsewhere, "was largely responsible for ushering in the Swing Era" (Schuller 1985). One of Morton's many Toward the end of his life in May 1938, Ferdinand "Jelly Roll" Morton recordings of "King Porter Stomp" appeared on the canon-shaping (1890-1941) walked into the Library of Congress's Coolidge Auditorium Smithsonian Collection of Classic Jazz (now out of print), and Henderson's sporting an expensive suit, a gold watch fob and rings, and a diamond- and Goodman's versions may be found on the Smithsonian's Big-Band Jazz studded incisor (Lomax 1993:xvii).
    [Show full text]
  • Kay Kyser in a Reader's Letter Bunny Berigan: Part of 1936 in Music
    Kay Kyser in a reader’s letter Bunny Berigan: part of 1936 In Music Presorted Standard U.S. Postage PAID Atlanta, GA Permit No. 3259 BIG BAWD JUMP N EWSLETTER VOLUME 113 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2007 INTERVIEW - GENE KRUPA The Background We’ve been searching for a Gene Krupa interview to place in this slot since the publication of the BBJ NEWSLETTER began 18yearsago. Quite by accident we were on the mailing list advertising Krupa drum­ sticks and Krupa publications. It is from the “World of Gene Krupa” book we’ve excerpted the following Gene Krupa comments, presented in interview style. BBJ host Don Kennedy interviewed Gene Krupa in 1949 or early 1950 when Krupa was appearing at the Palace Theater in Youngstown, Ohio. The interview was set up for one o’clock in the morning, after the last of the six or seven daily ‘live’ performances between showings of the feature movie. That taped interview has long since been lost, but one distinct memory The young Krupa at work remains: the extremely courteous behavior of Gene came from the Buddy Rogers band. I knew Stan in the Krupa. Kennedy recalls the event. old days when I worked for Red Nichols. THE place then was Plunkett’s (a speakeasy on 53rd Street) and “I was nineteen or twenty and my dad went with me for Stan was a very big name then and much respected by company. While I was setting up that bulky early tape me, not so much for his talent, because I was going the recorder, Gene Krupa talked to my 66 year old dad, a other way for guys like Chick Webb and Tommy Miles.
    [Show full text]
  • Price Check 50Mg Viagra
    “salute to the big bands” SPECIAL GUEST, TARYN NEWBORN, VOCALIST AND GEORGIA TECH DANCE ASSOCIATION SWING DANCERS TUESDAY, FEBRUARY 24TH, 2015 7:30 PM FERST CENTER FOR THE ARTS, GEORGIA TECH WWW.MUSIC.GATECH.EDU - WWW.GTCMT.GATECH.EDU PROGRAM IN A MELLOTONE OLIVER NELSON LEAP FROG JOE GARLAND IN A MELLOTONE OLIVER NELSON AMERICAN PATROL GLENN MILLER ARR. JERRY GRAY MOONLIGHT SERENADE GLENN MILLER S’WONDERFUL IRA/GEORGE GERSHWIN ARR. DAVE WOLPE JUMPIN AT THE WOODSIDE COUNT BASIE ARR. SAMMY NESTICO STRING OF PEARLS JERRY GRAY BLUE SKIES IRVING BERLIN ARR. ROGER HOLMES IN THE MOOD ANDY RAZAF & JOE GARLAND Visit us online at: www.gtband.net/jazz-ensemble/ and follow us on Facebook (GT Jazz Studies) GEORGIA TECH percussion ensemble Saxophones Preston Culbertson Mechanical Engineering Ocala, FL Chris Williamson Aerospace Engineering Ringgold, GA Clayton Lawrence Computer Science Marietta, GA Nathan Weiskirch Computer Science Deerfield, IL Kevin Hill Business Tifton, GA Ryan Konopka Mechanical Engineering Ridgefield, CT Nick Doss Chemical & Biomolecular Engineering Johns Creek, GA Trumpets Alex Tompkins Aerospace Engineering Ventura, CA Shan Denman Mechanical Engineering Alpharetta, GA Corey Fogg Electrical Engineering Acworth, GA Robert Friedlander PhD Electrical & Computer Engineering Mequon, WI Katherine Martin Architecture Valdosta, GA Carson Kirby Applied Mathematics Cumming, GA Trombones Gabriel Luebbe Mechanical Engineering Chantilly, VA *Kevin Hyde Atlanta, GA *Wes Funderburk Decatur, GA Rob Rife Materials Science & Engineering Germantown,
    [Show full text]
  • Music As a Bridge and Platform for Personal, Cultural, and Societal Change: the Work of Billie Holiday
    Dominican Scholar Senior Theses Student Scholarship 12-2017 Music as a Bridge and Platform for Personal, Cultural, and Societal Change: The Work of Billie Holiday Adrienne Auer Dominican University of California https://doi.org/10.33015/dominican.edu/2017.HCS.ST.02 Survey: Let us know how this paper benefits you. Recommended Citation Auer, Adrienne, "Music as a Bridge and Platform for Personal, Cultural, and Societal Change: The Work of Billie Holiday" (2017). Senior Theses. 90. https://doi.org/10.33015/dominican.edu/2017.HCS.ST.02 This Senior Thesis is brought to you for free and open access by the Student Scholarship at Dominican Scholar. It has been accepted for inclusion in Senior Theses by an authorized administrator of Dominican Scholar. For more information, please contact [email protected]. Music as a Bridge and Platform for Personal, Cultural, and Societal Change: The Work of Billie Holiday A senior project submitted to the faculty of Dominican University of California in partial fulfillment of the requirements of the Bachelor of Arts in Humanities and Cultural Studies By Adrienne Auer San Rafael, CA December 5th 2017 Robert Bradford, M.A. Adjunct Professor of English and Humanities Chase Clow, Ph.D. Chair, Humanities Division Auer 2 © Copyright 2017 Adrienne Auer Auer 3 ABSTRACT Billie Holiday came into this life faced with many hardships and struggles. She was raised with harsh realities and hard choices inherent in an inequitable culture that allowed discrimination, segregation, disenfranchisement, and continued acts of oppression and brutality. Her life story, her musicality, her songwriting, her autobiography Lady Sings the Blues, and the feeling that she put into almost everything she touched created a lasting legacy.
    [Show full text]
  • The Boswell Sisters 1932-34 Mp3, Flac, Wma
    The Boswell Sisters The Boswell Sisters 1932-34 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Pop Album: The Boswell Sisters 1932-34 Released: 1972 Style: Vocal MP3 version RAR size: 1194 mb FLAC version RAR size: 1197 mb WMA version RAR size: 1650 mb Rating: 4.7 Votes: 505 Other Formats: VQF RA AHX MMF MP4 FLAC VOC Tracklist Hide Credits A1 Was That The Human Thing To Do 3:04 A2 We've Got To Put That Sun Back In The Sky 2:57 A3 There'll Be Some Changes Made 3:05 A4 If It Ain't Love 2:56 A5 Hand Me Down My Walkin' Cane 2:50 A6 Old Yazoo 3:10 A7 We Just Couldn't Say Good-Bye 2:38 B1 Down Amont The Sheltering Palms 2:48 B2 Sentimental Gentleman From Georgia 3:07 B3 Minnie The Moocher's Wedding Day 3:08 B4 Crazy People 2:42 B5 Mood Indigo 3:17 Sophisticated Lady Alto Saxophone – Chester HazlettBanjo – Perry BotkinClarinet, Alto Saxophone – Benny B6 3:08 GoodmanDouble Bass – Dick CherwinTrombone – Charlie Butterfield*Trumpet – Manny WeinstockViolin – Harry Hoffman The Object Of My Affection Clarinet, Alto Saxophone – Frank Schumacher, James BriggsClarinet, Tenor Saxophone – Art Grier, Gordon GreenDouble Bass – Jake Garcia Drums – Billy MarcusGuitar – Wally B7 3:18 HeglinOrchestra – Jimmy Grier's Orchestra*Piano – Ted RepayTrombone – Homer MengeTrumpet – Cliff Barber , Stan Green Violin – Bob Morrow, Dick Weber, Dwight Muma, Henry Jaworski* Credits Alto Saxophone – Jimmy Dorsey (tracks: A1 to A5, B5) Arranged By – Connee Boswell* Clarinet – Jimmy Dorsey (tracks: A1 to A5, A7, B1 to B3, B5) Double Bass – Arthur Bernstein* (tracks:
    [Show full text]
  • Rememberingpeewee
    Volume 40 • Issue 2 February 2012 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Portrait of Pee Wee Russell, Dave Tough, and Max Kaminsky at Eddie Condon's, New York City c. 1946-48. Photo by William Gottlieb. Remembering PeeWee 43rd Annual Pee Wee Russell Memorial Stomp 2012 Pee Wee Set for March 4 Russell efore there was a New Jersey 1970 on the first anniversary of 43rd edition is set for March 4 Memorial B Jazz Society, there was the Russell’s death. Buoyed by the at The Birchwood Manor in Stomp Pee Wee Russell Memorial Stomp. enormous success of that event, Whippany, when five bands will SUNDAY, That first Stomp, organized by and a follow-up in 1971, Stine swing out with five hours of hot MARCH 4 Society co-founder Jack Stine, an and group of jazz fans formed jazz — to the delight of dancers Birchwood admirer and friend of the great the New Jersey Jazz Society in and listeners alike. Complete Manor clarinetist, was presented at the 1972. The annual Stomps have details inside. TICKETS ON SALE NOW. Martinsville Inn on February 15, continued ever since and the see ad Story and photos on page 28. page 7 New JerseyJazzSociety in this issue: NEW JERSEY JAZZ SOCIETY Prez Sez . 2 Bulletin Board . 2 NJJS Calendar . 3 Pee Wee Dance Lessons. 4 Mail Bag. 4 Jazz Trivia . 4 Prez Sez Editor’s Pick/Deadlines/NJJS Info . 6 Crow’s Nest . 50 By Frank Mulvaney President, NJJS New/Renewed Members .
    [Show full text]
  • A Portrait of Glenn Miller
    A PORTRAIT OF GLENN MILLER Alton Glenn Miller (1904-1944) Produced by: DENNIS M. SPRAGG Updated April 2018 1 Alton Glenn Miller, 1904-1944 Produced by Dennis M. Spragg, with commentary from the GMA George T. Simon (1912-2001) Collection and Papers, Edward F. Polic Papers and Christopher Way Collection. Foreword By Harry Lillis “Bing” Crosby (1904-1977) “As the years go by, I am increasingly grateful that I was a tiny part of the era of the great swing bands. This was the golden age of popular music for me. They were all great, but I have to think that the Glenn Miller band was the greatest. Unlike so many of the others, Glenn was not a virtuoso instrumental soloist. And so instead of his horn he did it with great personnel and innovative harmonic experiments producing a sound that was his and his alone. Glenn employed a harmonization that was new and vastly different. If I even attempted a description of what he did, I would be immediately adrift. I think it was the way he voiced his instruments. It was just beautiful. And when you heard the sound, it was recognizable and memorable. It was just Glenn Miller. Glenn as a person was just as memorable. He was a very good personal friend, from the early days on, ever since he performed on some of the records I made with the Dorsey Brothers Orchestra during the early stages of my career. During World War II we were united for the last time, when I sang in London with his great AAF Orchestra.
    [Show full text]