DOCSLIB.ORG

Harold MABERN: Teo MACERO

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Harold MABERN: Teo MACERO This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Harold MABERN: "Workin' And Wailin'" Virgil Jones -tp,flh; George Coleman -ts; Harold Mabern -p; Buster Williams -b; Leo Morris -d; recorded June 30, 1969 in New York Leo Morris aka Idris Muhammad 101615 A TIME FOR LOVE 4.54 Prest PR7687 101616 WALTZING WESTWARD 9.26 --- 101617 I CAN'T UNDERSTAND WHAT I SEE IN YOU 8.33 --- 101618 STROZIER'S MODE 7.58 --- 101619 BLUES FOR PHINEAS 5.11 --- "Greasy Kid Stuff" Lee Morgan -tp; Hubert Laws -fl,ts; Harold Mabern -p; Boogaloo Joe Jones -g; Buster Williams -b; Idriss Muhammad -d; recorded January 26, 1970 in New York 101620 I WANT YOU BACK 5.30 Prest PR7764 101621 GREASY KID STUFF 8.23 --- 101622 ALEX THE GREAT 7.20 --- 101623 XKE 6.52 --- 101624 JOHN NEELY - BEAUTIFUL PEOPLE 8.33 --- 101625 I HAVEN'T GOT ANYTHING BETTER TO DO 6.04 --- "Remy Martin's New Years Special" James Moody Trio: Harold Mabern -p; Todd Coleman -b; Edward Gladden -d; recorded December 31, 1984 in Sweet Basil, New York it's the rhythm section of James Moody Quartet 99565 YOU DON'T KNOW WHAT LOVE IS 13.59 Aircheck 99566 THERE'S NO GREEATER LOVE 10.14 --- 99567 ALL BLUES 11.54 --- 99568 STRIKE UP THE BAND 13.05 --- "Lookin' On The Bright Side" Harold Mabern -p; Christian McBride -b; Jack DeJohnette -d; recorded February and March 1993 in New York 87461 LOOK ON THE BRIGHT SIDE 5.37 DIW 614 87462 MOMENT'S NOTICE 5.25 --- 87463 BIG TIME COOPER 8.04 --- 87464 AU PRIVAVE 6.12 --- 87465 LOVE IS A MANY SPLENDORED THING 5.11 --- 87466 IT'S A LONESOME OLD TOWN 9.23 --- 87467 TOO LATE, FALL BACK BABY 6.57 --- 87468 OUR WALTZ 4.23 --- "Don't Know Why" Harold Mabern -p; Nat Reeves -b; Joe Farnsworth -d; recorded April 06, 2003 in Avatar Studio, NYC 82978 EDWARD LEE 6.19 Venus 82979 DANCE WITH ME 6.35 --- 82980 MY FAVORITE THINGS 5.18 --- 82981 DON'T KNOW WHY 4.39 --- 82982 DREAMY 6.27 --- 82983 CABU 6.11 --- 82984 THE SURREY WITH THE FRINGE ON TOP 6.16 --- 82985 NIGHTLIFE IN TOKYO 6.09 --- 82986 BLUES FOR DAVID 5.00 --- 82987 MY SHINING HOUR 4.33 --- ------------------------------------------ Teo MACERO: Teo MAcero -ts; Lenny Dejay -accor; Louis Labella -b; Charles Mingus -b,cello; Ed Shaughnessy - d; recorded December 05, 1953 in New York 44813 THOU SWELL (schlechte Tonqualität) 3.18 Debut LP6 "Teo" Teo Macero -ts; Teddy Charles -vib; Mal Waldron -p; Addison Farmer -b; Jerry Segal -d; recorded April 27, 1957 in Hackensack NJ /*kopflastige Musik :-|*/ 22142 GHOST STORY 6.32 Prest PRLP7104 22143 PLEASE DON'T GO NOW 6.46 --- 22144 JUST SPRING 4.54 --- 22145 STAR EYES 7.18 --- 22146 POLODY 5.16 --- 22147 WHAT'S NOT 5.16 --- "Acoustical Suspension" Mike Nock, Mal Waldron -p; Teo Macero -comp; pubished 1985 30033 SILENT SUMMER 3.01 Doctor Jazz FW 40111 Lionel Hampton -vib; Gato Barbieri, Bill Evans, John Stubblefield -ts; Dave Valentin -fl; Dave Liebman -ss; Alex Foster -as; Mike Nock -syn; Jorge Dalto -p; Larry Coryell, Ryo Kawasaki -g; Lincoln Goines -b; Buddy Williams -d; Carol Steele -perc; Teo Macero -arr,comp; pubished 1985 30026 THE MAN WITH THE HORN 7.56 --- 30027 SLOW AND EASY 4.10 --- 30028 ACOUSTICAL SUSPENSION 6.11 --- 30029 HEY MAN WHAT'S HAPPENIN' 4.36 --- 30030 SUN RAYS 5.20 --- Teo Macero -as,ts,arr,comp; Dave Liebman -ss; Carlos Ward -as; Orlando Digirolamo -accordion; Cecil McBee -b; pubished 1985 30031 8 MINUS 10 2.52 --- Dave Valentin -fl; Dave Liebman -ss; Mike Nock -kb; Jorge Dalto -p; Ryo Kawasaki -g; Alyrio Lima, Carol Steele -perc; Buddy Williams -d; Teo Macero -comp,arr; pubished 1985 30032 SUMMER RAIN 6.37 --- ------------------------------------------ MACHITO: Mario Bauza, Frank Davilla, Bobby Woodlen -tp; Gene Johnson, Fred Skerritt -as; José Madera, Flip Phillips -ts; Leslie Johnakins -bs; René Hernandez -p; Robert Rodriguez -b; Machito -marimba; José Mangual -bgo; Luis Miranda -conga; Ubaldo Nieto -timb; recorded December 20, 1948 in New York 5682 TANGA #2 4.56 Verve 3145216612 5683 TANGA #3 (fp out) 7.00 Clef EPC500 44597 TANGA 5.12 Clef MGC511 44598 CARAVAN 3.21 --- "Cubop City" Flip Phillips -ts; Machito -ldr,maracas; Ubaldo Nieto -timb; Luis Miranda -conga; José Mangual - bongos; recorded February 11, 1949 in New York, Bob City Broadcast 26349 BUCABU 3.55 Tumbao TCD012 26350 ONE O'CLOCK LEAP (_Will Bradley's Band; Ella Fitzgerald -scat vo;) 3.54 --- Mario Bauza, Frank Davilla, Bobby Woodlen -tp; Gene Johnson, Fred Skerritt -as; José Madera -ts; Leslie Johnakins -bs; René Hernandez -p; Robert Rodriguez -b; José Mangual -bgo; Luis Miranda - cga; Ubaldo Nieto -timb; Machito -mar; Graciela -vo,claves; recorded March 19, 1949 in New York, Bob City Broadcast 26222 BLEN, BLEN, BLEN 4.22 --- 26306 SI SI, NO NO 7.19 --- 26308 VACILANDO 3.24 --- Mario Bauza, Frank Davilla, Bobby Woodlen -tp; Gene Johnson, Fred Skerritt -as; José Madera -ts; Leslie Johnakins -bs; René Hernandez -p; Robert Rodriguez -b; José Mangual -bgo; Luis Miranda - cga; Ubaldo Nieto -timb; Machito -mar; Graciela -vo,claves; recorded March 29, 1949 in New York, Bob City Broadcast 26220 HOWARD'S BLUES (Howard McGhee -tp; Brew Moore -ts;) 4.45 --- 26312 LLORA TIMBERO 4.22 --- 26313 SI SI, NO NO 9.05 --- Mario Bauza, Frank Davilla, Bobby Woodlen -tp; Gene Johnson, Fred Skerritt -as; José Madera -ts; Leslie Johnakins -bs; René Hernandez -p; Robert Rodriguez -b; José Mangual -bgo; Luis Miranda - cga; Ubaldo Nieto -timb; Machito -mar; Graciela -vo,claves; recorded April 02, 1949 in New York, Bob City Broadcast 26221 CUBOP CITY (Howard McGhee -tp; Brew Moore -ts;) 9.06 --- 26346 EL REY DEL MAMBO 4.15 --- 26347 BOP CHAMPAGNE 5.14 --- Mario Bauza, Frank Davilla, Bobby Woodlen -tp; Gene Johnson, Fred Skerritt -as; José Madera -ts; Leslie Johnakins -bs; René Hernandez -p; Robert Rodriguez -b; José Mangual -bgo; Luis Miranda - cga; Ubaldo Nieto -timb; Machito -mar; Graciela -vo,claves; recorded April 23, 1949 in New York, Bob City Broadcast 18839 INDIANOLA (Howard McGhee -tp; Brew Moore -ts;) 4.46 --- 18840 HOW HIGH THE MOON (Howard McGhee -tp; Brew Moore -ts;) 3.32 --- "Bop City" Howard McGhee, Mario Bauza, Frank Davilla, Bobby Woodlen -tp; Gene Johnson, Fred Skerritt - as; Brew Moore, José Madera -ts; Leslie Johnakins -bs; René Hernandez -p; Robert Rodriguez -b; Milt Jackson -vib; José Mangual -bgo; Luis Miranda -cga; Ubaldo Nieto -timb; Machito -mar; recorded May 07, 1949 in New York 19308 BOPPIN' THE VIBES 1.54 Spotlite SPJ138 "Cubop City" Mario Bauza, Frank Davilla, Bobby Woodlen -tp; Gene Johnson, Fred Skerritt -as; José Madera -ts; Leslie Johnakins -bs; René Hernandez -p; Robert Rodriguez -b; José Mangual -bgo; Luis Miranda - cga; Ubaldo Nieto -timb; Machito -mar; Graciela -vo,claves; recorded November 14, 1950 in New York, Bob City Broadcast 26348 TANGA 5.25 Tumbao TCD012 "The Music of Chico O'Farrill" Mario Bauza, Frank Davila, Bobby Woodlen, Harry Edison, Al Stewart -tp; Fred Skerritt, Gene Johnson -as; José Madera, Sol Rabinowitz -ts; Leslie Johnakins -bs; René Hernandez -p; Roberto Rodriguez -b; Buddy Rich -d; José Mangual -bgo; Luis Miranda -cga; Ubaldo Nieto -timb; Graciela, Machito -vo; Chico O'Farrill -arr; recorded December 21, 1950 in New York 30325 CANCION - MAMBO I - MAMBO II 15.10 Clef MGC505 Mario Bauza, Frank Davila, Bobby Woodlen, Harry Edison, Al Stewart -tp; Fred Skerritt, Gene Johnson -as; José Madera, Sol Rabinowitz -ts; Leslie Johnakins -bs; René Hernandez -p; Roberto Rodriguez -b; Buddy Rich -d; José Mangual -bgo; Chano Pozo, Luis Miranda -cga; Ubaldo Nieto - timb; Graciela, Machito -vo; Chico O'Farrill -arr; recorded December 21, 1950 in New York 30326 6/8 - JAZZ - RHUMBA ABIERTA 26.56 --- "Afro Jazziac" Machito and his Afro Cuban Jazz Ensemble: feat. Curtis Fuller -tb; Herbie Mann -fl; Johnny Griffin - ts; no more details; recorded 1958 in New York Very bad sound! 94008 AFRICAN FLUTE 2.58 Roulette R52026 94009 BACAO 4.32 --- 94010 CARABUNTA 3.43 --- 94011 AFRO JAZZIAC 4.22 --- 94012 RING A LEVIO 2.41 --- "Machito at the Crescendo" Jimmy Zito -tp; Aaron Sachs -ts; Graciela Perez, Machito -vo; no more detais; recorded 1960 to 1961 in Live, "Crescendo", Hollywood 81093 PACHANGA A LA CRESCENDO 3.21 GNP 58 81094 MANGOS 3.01 --- 81095 MAGGIE'S MAMGO 3.07 --- 81096 VARSITY DRAG MAMBO 3.19 --- 81097 CUBAN FANTASY 4.54 --- 81098 NO TIENE TELERANA 3.08 --- 81099 VEN CONMIGO GUAJIRA 3.09 --- 81100 BERNIE AND THE WOLF 3.10 --- 81101 EL COLUMPIO 3.19 --- 81102 AYER LO VI LLORAR 3.20 --- 81103 TODO ES 3.37 --- 81104 JAMAICUBA 3.17 --- 81105 ALMA CON ALMA 3.18 --- 81106 MI OTONO 2.18 --- 81107 ALMENDRA 2.36 --- 81108 PENT UP HOUSE 3.32 --- "Machito and his Salsa Big Band" Machito -ldr,vo,perc; Paula Grillo -vo; Tony Cofresi, Alfredo Chocolate Armenteros, Shunzu Ono, Jeff Davis -tp; Mark Friedman, Ed Covi -as; Ken Hitchcock -ts; Pete Miranda -bs; William Rodriguez -p; Nelson Gonzales -b; Ray Romero, T.C. Ramos, Mario Grillo -perc; recorded February 1982 in Loenen a/d Vecht,NL real name of Machito is Raul Grillo 2183 EL AS DE LA RUMBA 5.02 Timeless SJP 161 2184 QUIMBOMBO 4.31 --- 2185 PINIERO TENIA RAZON 4.59 --- 2186 YERBERO 5.48 --- 2187 CASO PERDIDO 3.55 --- 2188 SAMBIA 11.25 --- 2189 MANICERO 2.11 --- ------------------------------------------ Theo MACKEBEN: Vocalion Band; Dirigent: Theo Mackeben; Refraingesang: Erwin Bolt; recorded July 1929 in Berlin 105047 LIEBST DU MICH DENN GAR NICHT MEHR? 2.52 1455A8610 Orchestrola 2249 Theo Mackeben mit seinem Jazz-Orchester; recorded November 1929 in Berlin 105058 A PRECIOUS LITTLE THING CALLED LOVE 3.02 10609 Ultraphon
Load more

Recommended publications
  • Booker Little
    1 The TRUMPET of BOOKER LITTLE Solographer: Jan Evensmo Last update: Feb. 11, 2020 2 Born: Memphis, April 2, 1938 Died: NYC. Oct. 5, 1961 Introduction: You may not believe this, but the vintage Oslo Jazz Circle, firmly founded on the swinging thirties, was very interested in the modern trends represented by Eric Dolphy and through him, was introduced to the magnificent trumpet playing by the young Booker Little. Even those sceptical in the beginning gave in and agreed that here was something very special. History: Born into a musical family and played clarinet for a few months before taking up the trumpet at the age of 12; he took part in jam sessions with Phineas Newborn while still in his teens. Graduated from Manassas High School. While attending the Chicago Conservatory (1956-58) he played with Johnny Griffin and Walter Perkins’s group MJT+3; he then played with Max Roach (June 1958 to February 1959), worked as a freelancer in New York with, among others, Mal Waldron, and from February 1960 worked again with Roach. With Eric Dolphy he took part in the recording of John Coltrane’s album “Africa Brass” (1961) and led a quintet at the Five Spot in New York in July 1961. Booker Little’s playing was characterized by an open, gentle tone, a breathy attack on individual notes, a nd a subtle vibrato. His soli had the brisk tempi, wide range, and clean lines of hard bop, but he also enlarged his musical vocabulary by making sophisticated use of dissonance, which, especially in his collaborations with Dolphy, brought his playing close to free jazz.
    [Show full text]
  • Victory and Sorrow: the Music & Life of Booker Little
    ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA 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 & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P.
    [Show full text]
  • Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK
    [Show full text]
  • 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.
    [Show full text]
  • Radiocorriere 1977 09
    Il cinema riscopre ' il filone della guerra * £ * 'I* Pino Caruso con le “vedettes” del suo cabaret televisivo ”Uova fatali”: uno sceneggiato di Gregoretti sulla Rete 1 I mostri della burocrazia ! In copertina >i /hobby della poesia, è un tulio nel passato, quando già bravo e ancora scono¬ sciuto trovò lavoro e successo come - cabaretiere •; per i telespettatori è SETTIMANALE DELLA RADIO E DELLA TELEVISIONE l'occasione per conoscere il Baga- anno 54 - n. 9 - dal 27 febbraio al 5 marzo 1977 qlmo e la sua storia Nella nostra copertina Pino Caruso con le f rime- donne di Caruso al cabaret. Evelyn Hanack, Laura Troschel e Marma Direttore responsabile: CORRADO GUERZONI Martoglia (Foto di Glauco Cortinì). ALLA TV - UOVA FATALI - DI BULGAKOV domenica 33-39 giovedì 65-71 Una satira sui mostri generati dalla Guida 41-47 venerdì 73-79 burocrazia di Donata Gianeri 12-15 giornaliera lunedi 81-87 Quel senso di farsa culturale martedì 49-55 sabato di Francesca Sanvitale 14-15 radio e TV mercoledì 57-63 Di eroina si continua a morire 16-17 94-95 di Lina Agostini Lettere al direttore 2-4 C'è disco e disco Rubriche 97 L’ITALIA DEGLI ANNI '30 Dalla parte dei piccoli 5 Le nostre pratiche Fu allora che l'italiano diventò conformista Qui il tecnico 98 di Lelio Basso 18-19 Dischi classici 6 Immagini anche inedite di m. a 18 Ottava nota Mondonotizie 99 Piante e fiori Anche la verità storica è un affare Padre Cremona 7 20-22 di Giuseppe Bocconetti 102 Leggiamo insieme 9 Il naturalista Prima di dire si o no di Luciano Arancio 23-24 104 Linea diretta it Dimmi come scrivi UN NUOVO SPETTACOLO CON PINO CARUSO La TV dei ragazzi 31 L’oroscopo 105 Il cabaret dai sotterranei ai riflettori della TV In poltrona 106 e 111 di Gianni De Chiara 2 Come e perché 91 Un comico serissimo con l’hobby della poesia Il medico 92 Moda 108 Affiliato editore: ERI - EDIZIONI RAI RADIOTELEVISIONE ITALIANA alla Federazione direzione e amministrazione: v.
    [Show full text]
  • The Sam Eskin Collection, 1939-1969, AFC 1999/004
    The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia.
    [Show full text]
  • Discografía De BLUE NOTE Records Colección Particular De Juan Claudio Cifuentes
    CifuJazz Discografía de BLUE NOTE Records Colección particular de Juan Claudio Cifuentes Introducción Sin duda uno de los sellos verdaderamente históricos del jazz, Blue Note nació en 1939 de la mano de Alfred Lion y Max Margulis. El primero era un alemán que se había aficionado al jazz en su país y que, una vez establecido en Nueva York en el 37, no tardaría mucho en empezar a grabar a músicos de boogie woogie como Meade Lux Lewis y Albert Ammons. Su socio, Margulis, era un escritor de ideología comunista. Los primeros testimonios del sello van en la dirección del jazz tradicional, por entonces a las puertas de un inesperado revival en plena era del swing. Una sentida versión de Sidney Bechet del clásico Summertime fue el primer gran éxito de la nueva compañía. Blue Note solía organizar sus sesiones de grabación de madrugada, una vez terminados los bolos nocturnos de los músicos, y pronto se hizo popular por su respeto y buen trato a los artistas, que a menudo podían involucrarse en tareas de producción. Otro emigrante aleman, el fotógrafo Francis Wolff, llegaría para unirse al proyecto de su amigo Lion, creando un tandem particulamente memorable. Sus imágenes, unidas al personal diseño del artista gráfico Reid Miles, constituyeron la base de las extraordinarias portadas de Blue Note, verdadera seña de identidad estética de la compañía en las décadas siguientes mil veces imitada. Después de la Guerra, Blue Note iniciaría un giro en su producción musical hacia los nuevos sonidos del bebop. En el 47 uno de los jóvenes representantes del nuevo estilo, el pianista Thelonious Monk, grabó sus primeras sesiones Blue Note, que fue también la primera compañía del batería Art Blakey.
    [Show full text]
  • Jazzflits 01 09 2003 - 01 09 2021
    1 19de JAARGANG, NR. 361 16 AUGUSTUS 2021 IN DIT NUMMER: 1 BERICHTEN 5 JAZZ OP DE PLAAT Eve Beuvens, Steve Cole, Flat Earth Society Orchestra, Ben van de Dungen, Gerry Gibbs e.a. EN VERDER (ONDER MEER): 10 Lee Morgan (Erik Marcel Frans) 16 Europe Jazz Media Chart Augustus 18 J AAR JAZZFLITS 01 09 2003 - 01 09 2021 NR. 362 KOMT 13 SEPT. UIT ONAFHANKELIJK JAZZPERIODIEK SINDS 2003 BERICHTEN CORONA-EDITIE FESTIVAL GENT JAZZ TREKT 20.000 BEZOEKERS In de tien dagen dat Gent Jazz ‘Back to Live’ duurde (van 9 tot en met 18 juli), passeerden zo’n twintigdui- zend mensen de festivalkassa. Van- wege de coronacrisis was op het laatste moment een speciale editie van het jaarlijkse zomerfestival in elkaar gezet met veel Belgische mu- sici. Maar ook de pianisten Monty Alexander, Tigran Hamasyan en ac- cordeonist Richard Galliano kwamen naar Gent. Festivaldirecteur Ber- trand Flamang sprak na afloop van een succesvol evenement. Cassandra Wilson tijdens het North Sea Jazz Festival 2015. (Foto: Joke Schot) Flamang: “In mei leek het er nog op dat deze editie niet zou doorgaan. Maar op CASSANDRA WILSON, STANLEY CLARKE twee maanden tijd zijn we erin geslaagd EN BILLY HART BENOEMD TOT NEA JAZZ MASTER om een coronaveilig evenement op po- ten te zetten.” Bezoekers konden zich Drummer Billy Hart, Bassist Stanley Clarke en zangeres niet vrij bewegen. Ze zaten per bubbel Cassandra Wilson zijn Benoemd tot NEA Jazz Master aan stoelen en tafels onder een giganti- 2022. Saxofonist Donald Harrison ontvangt de A.B. Spell- man NEA Jazz Masters Fellowship for Jazz Advocacy.
    [Show full text]
  • The Recordings
    Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr.
    [Show full text]
  • Lee Morgan Chronology 1956–1972 by Jeffery S
    Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC).
    [Show full text]
  • Marriage, Knowledge, and Morality Among Catholic Peasants in Northeast Brazil
    Marriage, knowledge, and morality among Catholic peasants in Northeast Brazil Maya Miranda Mayblin London School of Economics and Political Science PhD in Anthropology 2005 1 UMI Number: U202031 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U202031 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 "777 £ f B m w i' , \> .- fcconomic awerxx; (b<c b t ° tO Abstract This thesis is an ethnographic study of marriage, religious practice, and concepts of morality among a group of peasant farmers in Northeast Brazil. It investigates how, over the individual life-course, concepts of moral accountability develop and change, and how people negotiate such changes through specific discourses on labour and suffering. Such discourses stem from a particularised Catholic ideology which grows out of the social and economic history of the region. The existential problem of living both morally and productively in the world manifests itself most explicitly in local understandings of marriage; revealing a perceived tension between the states of innocence and knowledge. The thesis shows how this tension feeds into a heightened concern over the various stages of transformation in a person’s life, particularly the transformation from childhood to adolescence.
    [Show full text]
  • Highlights in This Issue
    HIGHLIGHTS IN THIS ISSUE: Jim Cullum talks about Bobby Hackett Woody Herman part of 1945 in review Obscure Kitty Kallen lyrics revealed FIRST-CLASS MAIL U.S. POSTAGE PAID Atlanta, GA Permit No. 2022 BIG BAND JUMP NEWSLETTER VOLUME 104______________________ BIG BAND JUMP NEWSLETTER MAY-JUNE, 2006 JIM CULLUM TALKS professional musician. ABOUT BOBBY HACKETT His early career involved playing guitar and violin in hotel ballroom bands in Providence, Boston and Syra­ The Background cuse, but by 1933 he was play­ ing cornet with a trio at Jim Cullum, of RIVER- WALK Boston’s Crescent Club. By JAZZ public television fame 1936 he was specializing on was a friend of Bobby comet, and by the next year Hackett’s and as such was had moved to New York City. able to give us some valuable He was almost immediately insights into Hackett’s per­ in demand in the new York sonality and background. We Studios, but his bread-and- intersperse his comments with butter jobs were with society additional biographical in­ bands such as Lester Lanin formation about Hackett's and Meyer Davis. He worked varied career and remarkable briefly with Horace Heidt and achievements. led his own group at Nick’s and the Famous Door on 52nd The Story street. BBJ: Cornetist Bobby Even though Bobby Hackett Hackett was one of appeared often in studio ses­ those performers loved by sions arranged by jazz critic everyone, not only for his cor­ Leonard Feather and fre­ net virtuosity but for his gentle quently with Eddie Condon, demeanor. Over the years he played nearly every kind what was to become his most visible performance in of music including small group dixieland, Big Band those years was a salute to Bix Beiderbecke at Benny swing and romantic easy-listening music.
    [Show full text]