DOCSLIB.ORG

Summer 2014 Rambler 2.Pmd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Summer 2014 Rambler 2.Pmd In Search of Sponsors ... and a Sponsorship Program Coordinator JAZZ RAMBLER Many have responded to our Published by America’s Finest City Dixieland Jazz Society • San Diego, CA • www.SDjazzfest.org Annual Appeal. We appreciate $5.00 Per Issue Summer (August) 2014 Vol. XXXII No. 3 very much each and every donation, large and small. As in previous years, sponsors Swinging Skunks, Sweethearts of bands and guest artists help to offset ever increasing expenses to And Great Jazz at Fest # 35 bring the finest talent to our annual You don’t have to be a swing new to the Festival, featuring three dancer to enjoy the Red Skunk talented vocalists (Janet Hammer, Festival. Sponsorships and Band. However, if you do like to Shelley Smith and Kim Royster) donations can be made online at lindy hop, you will have plenty of who perform the music of the www.SDjazzfest.org company at the 35th Annual San Andrews Sisters, accompanied by Sponsors enjoy the following Diego Jazz Fest (Nov. 26 - 30, at San Diego’s own High Society complementary benefits: the Town & Country Resort & Jazz Band. • 5-day Festival badge Hotel)! The Skunks are a favorite A different kind of tribute — to • Reserved seating of swing dancers up and down the the Rockabilly sounds of Jerry • Sponsors’ reception West Coast, though the band is Lee Lewis, Elvis Presley, Carl • Access to musicians’ hospitality also capable of packing venues Perkins, Johnny Cash and others room with fans who enjoy just listening — will be played by the Memphis • Sponsor recognition to a distinctive mixture of Gypsy Boys. According to Susan Raines • 1-year Society membership Jazz, Swing and Trad. Led by of the Sacramento Examiner, the AFCDJS encourages our guitarist/vocalist Molly Chaffin Memphis Boys “stole the show” patrons, organizations and Reeves, the Red Skunks are a continued on page 3 corporations to be a sponsor of the popular draw at festivals and are 35th San Diego Jazz Fest. usually tapped to play at least a The AFCDJS You may also want to consider couple of sets that are specifically Monthly Concert Series aimed at swing dancing. The the AFC Dixieland Jazz Society in Great bands, some of your favorites Skunks will be featured at the your estate planning. AFCDJS is a and some new ones, are on tap for the SDJF Swing Extravaganza on Sunday concerts, so mark the dates on 501(c)3 non-profit organization. Saturday, Nov. 29, playing Over the past few years, Jim your calendar. For August through opposite Josh Duffee’s November, the bands and dates will be: McNaughton has done a superb Graystone Monarchs. job as Sponsorship Program Just before the Swing Aug. 17 - Titanic Jazz Band Coordinator. The Society owes Extravaganza begins, SDJF Sept. 21 - Dixie Express Jim a huge debt of gratitude for patrons will enjoy hearing the Oct. 19 - Heliotrope Ragtime Orch. continued on page 4 Sweethearts of Swing — an act Nov. 16 - Sue Palmer / Motel Swing ~ ~ ~ ~ ~ The Mississippi Room at the Lafayette Hotel & Suites 2223 El Cajon Blvd., San Diego, CA Take I-805, exit El Cajon Blvd West. The Lafayette Hotel is 2 blocks West of Texas Street. The Mississippi Room is located downstairs, in the northwest corner of the building. Enter from the El Cajon Blvd. entrance door. Sunday concerts are a great time to share our wonderful music with friends and family, so invite them to come to a concert with you. Maybe they will even join the Society! And don’t forget to bring along something for the Youth Programs donation drawing. All concerts are from 1-4pm. Food and Bar Service Available. Red Skunk band appearing at Fest #35 sure to please listeners and dancers JAZZ RAMBLER Jazz Alive — Here, There, Everywhere SUMMER (AUG.) 2014 VOL. XXXII - NO. 3 (To have events included in the Jazz upcoming gigs. More info Larry (858) The JAZZ RAMBLER is published quarterly for Rambler or on the AFCDJS website, 277-5294. www.highsocietyjazzband.com $15 per year ($20 foreign) by America’s Finest City Dixieland Jazz Society. Address all cor- submit updates by the 28th of each LAKESIDE JAZZ CLUB respondence to P.O. Box 880387, San Diego, month to Myrna Goodwin at 1st Sundays (951-245-9504), Lake CA 92168-0387. [email protected].) America’s Finest City Dixieland Jazz Society is Elsinore Elks Club, 33700 Mission Trail, a Non-Profit 501 (c)3 organization. For infor- Wildomar, CA, 1:30-4:30 pm (Featured mation about the Society, call (619) 297-5277. RAGTIME BANJO BAND band at 3pm) Website: www.SDjazzfest.org Museum of Making Music, Aug. 29, August 3 — 2nd Hand Brass Band Fax number (619) 297-5281. Single copy 6-8pm. 5790 Armada Dr., Carlsbad September 7 — TBA price $5.00. Editorial contributions welcome. www.museumofmakingmusic.org Contents of Jazz Rambler are copyrighted October 5 — Jazz Generation JB © (2014) by America’s Finest City Dixieland DIXIE EXPRESS November 2 — Jazz Party (Multiple Jazz Society and may not be reprinted Bands) without permission. Jazz Publications and Twilight in Balboa Park Concert. Jazz Club Newsletters may reprint articles Organ Pavilion, August 7, 6:15pm provided the following credit is included: Fuddruckers, Wednesdays, 6-8pm, JAZZ ASSOCIATION OF “Reprinted from the Jazz Rambler, San 5500 Grossmont Center Dr., La Mesa. GREATER SAN DIEGO Diego, California.” The Jazz Rambler and http://www.dixieexpressjbsandiego.com Concert Schedule: www.jazz4u.org Society functions are funded in part by the [email protected] or (619) 561-8236 or 760-753-0456 or 858-459-2559. City of San Diego Commission for Arts and Culture. SAN DIEGO BANJO BAND RAMONA SENIOR CENTER BOARD OF DIRECTORS McDonald’s at El Cajon Blvd. & 54th Fridays, George Newman, Dixieland Bill Adams, President St. every Tuesday from 5:30-7:30pm and “oldies” piano, 11:30am-1pm. Myrna Goodwin, Secretary Musicians welcome, 434 Aqua Lane, Gretchen Haugen, Treasurer UPTOWN RHYTHM MAKERS Ramona, (619) 876-4300 X146 Alice Contreras, Curtis McKee, Ruthe First Friday of each month, 8-11pm, Monteith, Jim McNaughton, Bob Claire de Lune, 2906 University Ave. Solsbak, Carey Jo Thoza. ThirdThursday of each month, 7:30- RAMONA TERRACE ESTATES AFCDJS STAFF 9:30pm, Black Cat Bar, 4246 University Dixieland to Rock & Roll, Fridays, Paul Daspit, Executive Director Ave. San Diego. www.facebook.com/ 3-5pm, musicians welcome, (760) 315- Hal Smith, Artistic Director URMjazz 2912, 1212 “H” St. #152, Ramona Crystal Solsbak, Office Manager RAMBLER STAFF SOUTH BAY JAZZ RAMBLERS GOLDEN EAGLES Editor: Jay F. Levine First Monday of each month, 6-8pm, Sundays, 1-4pm, call for dates. Staff Writers: Paul Daspit • Myrna Goodwin Grossmont Fuddruckers, 5500 Steamer’s Restaurant, 138 W. Hal Smith • Jim McNaughton Grossmont Center Dr., La Mesa Commonwealth Ave. in Fullerton. Call Staff Photographers: Jerry Jones, Dave for info at (626) 799-1761 Long, Alex Matthews BAYSIDE DIXIE STOMPERS Advertise in the Rambler Tuesdays, 6-8pm, Fuddruckers, 8285 CJ SAMS and KATIE CAVERA Mira Mesa Blvd., San Diego, CA Curley’s Café, 1999 E. Willow (at Advertising in the Jazz Rambler is one of Cherry), Signal Hill, CA. Free. the best ways to reach a large exclusive audience REY VINOLE’S DIXIELAND Wednesdays. Best to confirm dates and of Trad Jazz fans. With our circulation of times. Info: www.katiecavera.net. approximately 2,000 and an estimated reader- WORKSHOP ship of 3,500, you will be reaching thousands Tuesdays, 7-9 pm, The Orchard, 4040 Hancock, San Diego (858) 581-9293. ROYALE GARDEN DIXIE BAND of people who are interested in all aspects of 1st & 3rd Mon., 7pm, El Patio Traditional Jazz. Restaurant, 1750 W. La Palma Ave., The Rambler is published quarterly. Dead- THE SAINTS Anaheim. More info – 951-898-2174 lines are the 5th of the month, prior to the date St. Paul’s Villa Senior Facility, of issue. Feb. 1, May 1, Aug. 1 and Nov. 1. 2340 4th Ave., San Diego. Friday, 2-3:30 pm, (619) 384-7574. Musicians, dancers, CROWN CITY DIXIELAND Advertising Rates BAND Full page — $275.00 listeners invited. Wednesdays from 6:30-9pm, Burger One Half page — 150.00 Continental Restaurant, Pasadena (626) One Third page — 110.00 PARAGON JAZZ BAND 792-6634 One Quarter page — 85.00 Paradise Village, 2700 East 4th One Eighth page — 50.00 National City; Aug. 15, Sept. 19, Nov. 21, Dec. 19, 3-5pm BALDY MOUNTAIN SWING For a rate sheet, write AFCDJS, P.O. St. Paul’s Villa, Thurs. (except 2nd 1st and 3rd Thursdays, 8-10:30pm, at Box 880387, San Diego, CA 92168-0387 Thurs.) 6:30-8pm, 2340 4th Ave., San Diego. The Press, 129 Harvard Ave., Claremont or call (619) 297-5277. La Mesa Adult Center, 8450 La Mesa Info: (909) 625-4808 AFCDJS is a member of: Blvd., La Mesa, Aug. 1, Oct. 31, Dec. 5, 7-10pm More Info: 619 435-3931 or SOUTHSIDE CHICAGO SEVEN • International Association of [email protected] Mondays, 7-10 pm, at Le Carousse Classic Jazz Festivals Roughe, White Lane, Bakersfield. Info: • San Diego Regional Chamber of Commerce HIGH SOCIETY JAZZ BAND (909) 625-4808 • San Diego Convention & Visitors Bureau Check the website schedule for continued on page 4 PAGE 2 SUMMER (AUGUST) 2014 JAZZ RAMBLER Skunks . In Memoriam Continued from front page Barbara Moore at this year’s Sacramento Music 1941 - 2014 Festival. Prepare yourself for Barbara Moore, a long-time high-energy rocking sounds! resident of San Diego who played Another “must-hear”at the a significant role in AFCDJS, 2014 Festival is the sensational passed away on May 14. Barbara clarinetist and saxophonist Chloe and her husband Doug truly Feoranzo, returning to perform enjoyed dancing, going on jazz in San Diego after a year’s cruises, and attending traditional absence.
Load more

Recommended publications
  • 2 Tansas Gazette - North East Louisiana
    . 2 Tansas Gazette - North East Louisiana ======= Map of North Eastern Louisiana Waterproof, La is in the Southern portion of Tansas Parish, La. It is 199 miles from New Orleans. During the era of the cotton plantations the population of the parish was 90% slaves. There were many dances in the parish's leading cities - Waterproof, Newellton and St. Joseph. There were few concerts given and few organized brass or string bands. Jazz music was first mentioned in the newspaper in 1921. 1881 May 7 - The Ball, Wednesday Night In response to an invitation sent us, we attended the ball given by the Tensas "rifles, at Masonic Hall, on the evening of the 4th. As we predicted last week, everyone who attended had an ice time, and to say that it was a success but faintly expressed it. The band - Kaisers, from Natchez - came on the Rebstock, about 6:30 and about 9 p.m. the ladies and their escorts began to arrive, and despite the warmth of the evening, number of them were soon whirling in the dizzy mazes of the waltz. "From that time until the hour appointed for supper, the dancers held the floor, and "chased the giddy hours with flying fee" to the music of quadrille, heel and toe, the waltz and the Lancers. The assemblage was the largest, we learn, of any that has attended a ball here during the season. 1882 November 4 - Brass Band We learn that the Waterproof Brass Band has organized a series of open-air concerts, in the form of night serenades to their friends in the several neighborhoods in the vicinity of the town.
    [Show full text]
  • The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 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]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph 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 Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr.
    [Show full text]
  • Edward “Kid” Ory
    Edward “Kid” Ory Mr. Edward “Kid” Ory was born in Woodland Plantation near La Place, Louisiana on December 25, 1886. As a child he started playing music on his own homemade instruments. He played the banjo during his youth but his love was playing the trombone. However, the banjo helped him develop “tailgate” a particular style of playing the trombone. By the time he was a teenager, Ory was the leader of a well-regarded band in southeast Louisiana. In his early twenty’s, he moved to New Orleans with his band where he became one of the most talented trombonists of early jazz from 1912 to 1919. In 1919, Ory relocated to Los Angeles, California for health reasons. He assembled a new group of New Orleans musicians on the West Coast and played regularly under the name of Kid Ory’s Creole Orchestra. There, he recorded the 1920s classics “Shine,” “Tiger Rag,” “Muskrat Ramble,” and “Maryland, My Maryland.” In 1922, he became the first African American jazz bank from New Orleans to record a studio album. In 1925, Ory moved to Chicago and took interest in working on radio broadcasts and recording with names such musicians as Louis Armstrong, Jelly Roll Morton, Johnny Dodds, and many others. During the Great Depression, Ory left music but returned in 1943 to lead one of the top New Orleans style bands of the period until 1961. It was about 1966 when Ory retired and spent his last years in Hawaii. He did, however, play occasionally for special events. One of his last performances was in 1971 when he surprised everyone by coming back to the New Orleans Jazz and Heritage Festival.
    [Show full text]
  • Red Hot Songs
    Red Hot Songs 1 2 4 5 A B C D E F G H I J K L M N O P Q R S T U V W Y Z Red Hot Songs - ['] Song Title Artist/Group or Commentary 'Lasses Candy Original Dixieland Jass Band 'Round My Heart Coon Sanders Nighthawks Orchestra 'S Wonderful 'Tain't Clean Boyd Senter Trio http://cij-assoc.com/jazzpages/alphasonglist.html [2003-02-19 00:49:52] The Red Hot Jazz Archive - Songs Red Hot Songs - [1] Song Title Artist/Group or Commentary 1-2-1944 (intro, song - "Valencia") 12-24-1944 (intro, Bing, Pops & The King's Men) 12-28-1938 (intro) 12th Street Blues Anthony Parenti's Famous Melody Boys 12th Street Blues Anthony Parenti's Famous Melody Boys 12th Street Rag Richard M. Jones 18th Street Stomp Fats Waller 18th Street Strut The Five Musical Blackbirds 18th Street Strut The Bennie Moten's Kansas City Orchestra http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/1.html (1 of 2) [2003-02-19 00:50:48] The Red Hot Jazz Archive - Songs 1919 Rag Kid Ory's Creole Orchestra 1943 (Gracie's "Concerto for Scales and Clinker") 19th Street Blues Dodds And Parham http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/1.html (2 of 2) [2003-02-19 00:50:48] The Red Hot Jazz Archive - Songs Red Hot Songs - [2] Song Title Artist/Group or Commentary 29th And Dearborn Johnny Dodds and his Chicago Boys 29th And Dearborn Richard M. Jones' Three Jazz Wizards http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/2.html [2003-02-19 00:51:05] The Red Hot Jazz Archive - Songs Red Hot Songs - [4] Song Title Artist/Group or Commentary 47th Street Stomp Jimmy Bertrand's
    [Show full text]
  • 7. a Pdf-Book About Johnny Dodds
    BY<3. E. LAMBERT 780.92 D6422L 66-08387 Lambert Johnny Dodds KINGS OF JAZZ Johnny Dodds BY G. E. LAMBERT A Perpetua Book A. 5. BARNES AND COMPANY, INC. NEW YORK <) CasseU & Co. Ltd. 1961 PERPETUA EDITION 1961 Printed in the United States of America CONTENTS PART PAGE 1 HIS LIFE 1 2 HIS RECORDINGS 18 3 HIS CONTRIBUTION TO JAZZ 65 SELECTED DISCOGRAPHY 79 6608387 HIS LIFE In the years when New Orleans was the premier centre of jazz that is from around 1900 to the closing of the Story- ville red light district in 1918 it was a city flooded with music. Every possible occasion picnics, advertising, trips on the Mississippi was provided with music; every place of diversion the bars, theatres, brothels and gambling joints had its musicians. Parades by the various organi- zations had their brass bands, which also played for the unique New Orleans funerals, and dance orchestras of all types were to be heard within the city limits. In the Creole and Negro districts there was scarcely a family who did not boast of several part-time musicians, and there were hundreds of skilled local professionals playing in the various parade bands, jazz bands, society bands and riverboat orchestras. To judge from the material collected by later historians, the doings of the favourite musicians of the city were looked upon with the same interest which 1 the mass of people today accord to sporting heroes and popular cinema or television personalities. There were trumpet players known for their vivacious playing and stamina on the long parades, and others who specialized in the dirges played on the way to and at the graveside; one trumpet player will be remembered for his volume and exuberance in the lower-class dance-halls, another for his unique ability and power of expression on the blues.
    [Show full text]
  • Istreets] Rampart Street; Then He Went Back to New Orleans University
    PRESTON JACKSON Also present: William Russell I [of 2]-Digest-Retyped June 2, 1958 Preston Jackson was born in the Carrollton section of New Orleans on January 3, 1904 at Cherokee and Ann [now Garfield] Istreets] (according to his mother). He went to "pay" school, then to Thorny Lafon [elementary] School, then to New Orleans University (WR says Bunk Johnson went there years before), which was at Valmont and St. Charles. His family are Methodist and Catholic. PJ moved to the Garden District; he attended McDonogh 25 School, on [South] Rampart Street; then he went back to New Orleans University [High s ]t School Division?] . In about 1920 or 1921, PJ told Joe Oliver he was thinking of taking up trombone; Oliver advised him to take clarinet instead, as PJ was a good whistler and should have an instrument more maneuver- able than the tromboneo Having decided on clarinet, PJ was surprised by his mother, wlio secretly bought him a trombone (August, 1920 or 1921) - PJ found but later that William Robertson, his first teacher, and a trombonist, had bought the horn for PJ's mother (Robertson was from Chicago) . PJ studied with Robertson for about six months; when he had had the horn for about nine months, he was good enough to be invited to play in the band at [Quinn's?] Chapel, where he remained four or five months, playing in the church band. Then PJ met some New Orleans friends and acquaintances/ including Al and Omer Simeon (from the "French part of town"), Bernie Young and 1 PRESTON JACKSON 2 I [of 2]-Digest--Retyped June 2.
    [Show full text]
  • “Ory's Creole Trombone”-- Kid Ory (June 1922) Added to the National Registry: 2005 Essay by David Sager
    “Ory's Creole Trombone”-- Kid Ory (June 1922) Added to the National Registry: 2005 Essay by David Sager Kid Ory In mid-summer 1922, and with very little ballyhoo and promotion, a pair of enterprising African- American brothers brought out this pioneering and essential jazz recording, one that would define New Orleans-style jazz and serve as a model for future performers of that genre. John and Benjamin “Reb” Spikes—songwriters, publishers, vaudeville performers, and owners of a music store and a small amusement park in Los Angeles—were well connected in black show business and well aware of the enormous musical contributions being made by folks from New Orleans. “Ory’s Creole Trombone”—and its reverse side, “Society Blues”—are commonly referred to as the first jazz record by African Americans. Actually, it is not, for that distinction must go to Wilbur Sweatman and his Jass Band for a Pathe recording made in the spring of 1917. The Ory recordings are the first recordings of black/Creole New Orleans jazz, though, due to their loose feel and hot nature, many think of these as the first recognizable jazz performances on record. They are certainly the first jazz recordings made on the west coast. In 1921, the Spikes brothers composed and published the song “Someday Sweetheart,” which would become a perennial favorite among jazz bands. When singer Alberta Hunter recorded it for the newly-formed black owned-and-operated Black Swan label, the brothers took special notice of its success. With the growing popularity of “race records”--those aimed at the black audience--the enterprising brothers went into the record business.
    [Show full text]
  • Classical Studies. He Played In\^ Fraternity Band at College. He
    WILLIAM RUSSELL also ptesent; August 31, 1962 Reel I-Digest-Retype William R. Hogan 1L Paul R. Crawford First Proofreading: Alma D. Williams William Russell was born February 26, 1905, in Canton, Missouri, on the Mississippi River. His first impressive musical experiences were hearing tlie calliopes on the excursion and show boats which ^ came to and by Canton. He first wanted to play bass drum when lie heard the orchestra in his Sunday School, but he began playing violin when he was ten. His real name is Russell William Wagner. In about 1929 Tne began writing music; Henry Cowell published some of his music in 1933 and WR decided the use of the name Wagner 6n music would be about equal to writing a play and signing it Henry [or Jack or Frank, etc,] Shalcespeare, so he changed his name for that professional reason. His parents are of German ancestry. His father had a zither, which WR and a brother used for playing at .r concerts a la Chautauqua. He remembers hearing Negro bands on the boats playing good jazz as early as 1917 or 1915, and he was fascinated by it, although he felt jazz might contaminate his classical studies. He played in\^ fraternity band at college. He y studied chemistry at college although his main interest was music, He went to Chicago to continue studying music in 1924, and he says 1^e didn't have sense enough to go to the places where King Oliver/ the New Orleans Rhythm Kings, and others were playing then, and he has since regretted that.
    [Show full text]
  • A Researcher's View on New Orleans Jazz History
    2 TABLE OF CONTENTS Introduction 6 Format 6 New Orleans Jazz 7 Brass & String Bands 8 Ragtime 11 Combining Influences 12 Party Atmosphere 12 Dance Music 13 History-Jazz Museum 15 Index of Jazz Museum 17 Instruments First Room 19 Mural - First Room 20 People and Places 21 Cigar maker, Fireman 21 Physician, Blacksmith 21 New Orleans City Map 22 The People Uptown, Downtown, 23 Lakefront, Carrollton 23 The Places: 24 Advertisement 25 Music on the Lake 26 Bandstand at Spanish Fort 26 Smokey Mary 26 Milneburg 27 Spanish Fort Amusement Park 28 Superior Orchestra 28 Rhythm Kings 28 "Sharkey" Bonano 30 Fate Marable's Orchestra 31 Louis Armstrong 31 Buddy Bolden 32 Jack Laine's Band 32 Jelly Roll Morton's Band 33 Music In The Streets 33 Black Influences 35 Congo Square 36 Spirituals 38 Spasm Bands 40 Minstrels 42 Dance Orchestras 49 Dance Halls 50 Dance and Jazz 51 3 Musical Melting Pot-Cotton CentennialExposition 53 Mexican Band 54 Louisiana Day-Exposition 55 Spanish American War 55 Edison Phonograph 57 Jazz Chart Text 58 Jazz Research 60 Jazz Chart (between 56-57) Gottschalk 61 Opera 63 French Opera House 64 Rag 68 Stomps 71 Marching Bands 72 Robichaux, John 77 Laine, "Papa" Jack 80 Storyville 82 Morton, Jelly Roll 86 Bolden, Buddy 88 What is Jazz? 91 Jazz Interpretation 92 Jazz Improvising 93 Syncopation 97 What is Jazz Chart 97 Keeping the Rhythm 99 Banjo 100 Violin 100 Time Keepers 101 String Bass 101 Heartbeat of the Band 102 Voice of Band (trb.,cornet) 104 Filling In Front Line (cl.
    [Show full text]
  • The Strutter 2008 & 2009! VOLUME 20 NUMBER 3 Traditional Jazz in the Philadelphia Tri-State Area SEPTEMBER 2009
    “Best of South Jersey” The Strutter 2008 & 2009! VOLUME 20 NUMBER 3 Traditional Jazz in the Philadelphia Tri-State Area SEPTEMBER 2009 authority on John Philip Sousa, who led a popular Our Next Concert band that toured the USA from 1892 to 1932, Mr. Rife was the associate producer of the film, “If You Jerry Rife’s Rhythm Kings Knew Sousa,” which aired on the PBS television program, The American Experience as well as the 1992 NJN State of the Arts program, “With Song and Good Cheer.” Currently, he is Chairman of the Fine Arts department at Rider University, and is the conductor of the Sousa-inspired Blawenburg Band. As mentioned earlier, the Rhythm Kings have performed for TSJS audiences in the past, always providing an air of excitement with hot soloists like Messrs. Tobias, Reichlin, and Mercuri. A particularly noteworthy concert took place in 2006, entitled “Spirituality In Rhythm,” which blended traditional sacred hymns in a Jazz context. Jerry Rife, leader and clarinet In addition to leading the Rhythm Kings, Mr. Rife also helmed the 2003 TSJS Jam Session. Dan Tobias, trumpet Pete Reichlin, trombone Brooklawn American Legion Hall, is located at Browning Road and 11 Railroad Avenue, Pat Mercuri, guitar Brooklawn, NJ, just six blocks toward the river at end of Browning from Route 130, at Ponzio‟s, Ed Wise, bass Brooklawn water tower, and Days Inn. This is just Lenny Pucciatti, drums ¾ mile south of Exit 1-C of Route 76; near Walt Whitman Bridge. See our website for directions to this venue. September 20th, 2009, 2PM CONCERT ADMISSION at American Legion Hall $20 ADMISSION Browning Road and 11 Railroad Avenue $15 MEMBERS Brooklawn, NJ 08030 $10 STUDENTS $10 FIRST TIME MEMBER GUESTS Pay At the Door - No Advance Sales The Rhythm Kings have entertained crowds for twenty five years with repeat performances for Tri-State Jazz Society, Pennsylvania Jazz Society, Princeton University, College of New Jersey, many In This Issue… parades, community concerts, and high school traditional jazz educational events.
    [Show full text]
  • Atkins (A Veteran of [World War I?],[See Notes on His
    HAMILTON, CHARLIE 1 Reel I [of 3] March 21j 1965 Also present: William Russell Charles Joseph Hamilton was born April ?8, 1904 in Ama, Louisiana, which is located on the west-side of the [Mississippi] River between West Kenner and Lulingj Ama is abou-b in or I? miles nearer ^Tew Orleans -fchan .^ Hahnville, the parish seat of [st. Charles] Parish, where Ama is located. CH's father was s clarinetist who played with a T^rass band in the area; Professor Jim Humphrey, grandfather of Percy [, Willle J-, and Earl] Humphrey, taught the band. Thelfa-bher told CH of men he played with, including Eddie Atkins [trombone]. whose home was Ama; A-fckins is buried there, Eddi e Atkins (a veteran of [World War I?],[see notes on his tombstone (in ANOJ?) RBA], had a brother named Freddie A-bklns who aspired to play drums, but he gave it up; Freddie new collects for -bhe Good Ci-bizens Insurance Company in New Orleans. A younger brother of Eddie was Garrett Atkins., who was a cooler; when he was about 20 years old, he came to N. 0. and became the chauffeur for Mrs. Edgar B. Stern; Gerrett died about 2 years ago. There 15 also a sister, married to Joe Bennett; the sister now lives in N. 0., and CH thinks she is the only surviving A-bkins [Cf. above] sibling, CH's mother, from Edgard, In S-fc. John [the Baptist] Parish, played piano. When CH was five or six years oldy the father moved the family to N.
    [Show full text]
  • Reengaging Blues Narratives: Alan Lomax, Jelly Roll Morton and W.C. Handy ©
    REENGAGING BLUES NARRATIVES: ALAN LOMAX, JELLY ROLL MORTON AND W.C. HANDY By Vic Hobson A dissertation submitted to the School of Music, In partial fulfilment of the requirements for the degree of Doctor of Philosophy, University of East Anglia (March 2008) Copyright 2008 All rights reserved © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author’s prior, written consent. i Acknowledgments This for me has been a voyage of discovery and I count myself fortunate to have enjoyed the process. This has been due, in no small part, to the support, help and encouragement that I have received along the way. People who, in the early days of my research, had been only names on the covers of books are now real; all have been helpful, most have been enthusiastic and some I now count as friends. The School of Music at the University of East Anglia is a small school in a rapidly expanding university which was led for many years by David Chadd who sadly died before the completion of this work. Fortunately the foundations he laid are secure and I have benefited from the knowledge and experience of all of the staff of the school, in particular my supervisor Jonathan Impett. Among Jonathan’s contributions, above and beyond the normal duties of a PhD supervisor is to have shown faith in a thesis that initially must have seemed rather unlikely.
    [Show full text]