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Oral History T-0001 Interviewees: Chick Finney and Martin Luther Mackay Interviewer: Irene Cortinovis Jazzman Project April 6, 1971
ORAL HISTORY T-0001 INTERVIEWEES: CHICK FINNEY AND MARTIN LUTHER MACKAY INTERVIEWER: IRENE CORTINOVIS JAZZMAN PROJECT APRIL 6, 1971 This transcript is a part of the Oral History Collection (S0829), available at The State Historical Society of Missouri. If you would like more information, please contact us at [email protected]. Today is April 6, 1971 and this is Irene Cortinovis of the Archives of the University of Missouri. I have with me today Mr. Chick Finney and Mr. Martin L. MacKay who have agreed to make a tape recording with me for our Oral History Section. They are musicians from St. Louis of long standing and we are going to talk today about their early lives and also about their experiences on the music scene in St. Louis. CORTINOVIS: First, I'll ask you a few questions, gentlemen. Did you ever play on any of the Mississippi riverboats, the J.S, The St. Paul or the President? FINNEY: I never did play on any of those name boats, any of those that you just named, Mrs. Cortinovis, but I was a member of the St. Louis Crackerjacks and we played on kind of an unknown boat that went down the river to Cincinnati and parts of Kentucky. But I just can't think of the name of the boat, because it was a small boat. Do you need the name of the boat? CORTINOVIS: No. I don't need the name of the boat. FINNEY: Mrs. Cortinovis, this is Martin McKay who is a name drummer who played with all the big bands from Count Basie to Duke Ellington. -
L TRAIN TRACKS South Parkway
Black World Hoyt Fuller, Editor Tan 1950 Negro Digest 1942 Ebony 1945 Park movie theater 1951 Jet 1951 theatrical clientelle Johnson Publishing Eddie Flagg the bellboy Earl Fatha Hines NBC Orchestra & Review "Taking care" of guests c.1928-37 Ritz Lounge Supreme Life Insurance Co. Olivet Baptist Church Grand Terrace Ballroom Ritz Hotel Stelzer's Lounge PERSHING ROAD 3501 South Parkway 3101 S Parkway 3955 S Parkway 31st St 33rd St 35th St 39th St 41st St 43rd St 45th St 47th St South Parkway Blvd South Parkway South Parkway South Parkway South Parkway South Parkway South Parkway South Parkway 3624 S Parkway 4644 S. Grand Boulevard Ida B Wells House Metropolitan Theatre L TRAIN TRACKS Victory Monument c. 1917-30 Metropolitan Theater Erskine Tate Fats Waller L TRAIN TRACKS Bob Schofner leaders charismatic black activist A. Philip Nat "King" Cole Omer Simeon Randolph and former porter Milton "Pee Wee" Jackson Quinn Wilson Webster, head of the Chicago union local Cavel Chilton Wallace Bishop Sammy Stewart Louis Armstrong Clarence Jones and his Syncopators The Brotherhood of Sleeping Car Porters Warwick Hall 543 E. 47th St. 1925 41st St 33rd St 35th St 39th St 47th St Calumet Avenue Calumet Avenue Calumet Avenue Calumet Avenue The Peerless 1924-30's New Grand Terrace Joe "King" Oliver with the Dixie Syncopators Erskine Tate 338 E. 35th St. Palm Tavern 446 E 47th St Plantation Cafe Jabbo Smith Carroll Dickerson's Band 1937 - Earl Hines Dave Peyton Cab Calloway Sammy Stewart Band Sunset Cafe 315-17 E. 35th St. at S. Calumet Miles Davis bebop Buster Bailey poems by Langston Hughes Chicago Renaissance Louis Armstrong Sunset Stompers Charlie Elgar's Band 1921-1937 Boyd Atkins Band white owned Tiny Parham black & tan cabaret L TRAIN TRACKS Earl Hines' band with Dizzy Gillespie and paintings by Archibald Motley Chicago Jazz 35th St. -
Black Lives and Whitened Stories: from the Lowcountry to the Mountains?
National Park Service <Running Headers> <E> U.S. Department of the Interior Historic Resource Study of Black History at Rock Hill/Connemara Carl Sandburg Home NHS BLACK LIVES AND WHITENED STORIES: From the Lowcountry to the Mountains David E. Whisnant and Anne Mitchell Whisnant CULTURAL RESOURCES SOUTHEAST REGION BLACK LIVES AND WHITENED STORIES: From the Lowcountry to the Mountains By David E. Whisnant, Ph.D. Anne Mitchell Whisnant, Ph.D. Primary Source History Services A HISTORIC RESOURCE STUDY OF BLACK HISTORY AT ROCK HILL/CONNEMARA Presented to Carl Sandburg Home National Historic Site In Partnership with the Organization of American Historians/National Park Service Southeast Region History Program NATIONAL PARK SERVICE U.S. DEPARTMENT OF THE INTERIOR NOVEMBER 2020 Cultural Resources Division Southeast Regional Office National Park Service 100 Alabama Street, SW Atlanta, Georgia 30303 (404) 507-5847 Black Lives and Whitened Stories: From the Lowcountry to the Mountains By David E. Whisnant and Anne Mitchell Whisnant http://www.nps.gov Cover Photos: Smyth Servants: Black female servant rolling children in stroller. Photograph, Carl Sandburg National Historic Site archives, (1910; Sadie “Boots” & Rosana [?]). Smyth Servants: Swedish House HSR, p. 22; (Collection of William McKay, great-grandson of the Smyths). Also Barn Complex HSR Fig. 11, p. 7: Figure 11. The Smyths’ servants in front of the kitchen building, ca. 1910. (Collection of Smyth great-grandson William McKay). Sylvene: From HSR, Main House, pp. 10, 37: Collection of Juliane Heggoy. Man and 3: Swedish House HSR, p. 22; (Collection of William McKay, great-grandson of the Smyths). Also Barn Complex HSR Fig. -
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. -
Portraits of Outstanding African American Women. Grades 4-8+
DOCUMENT RESUME ED 406 274 SO 027 046 AUTHOR Metcalf, Doris Hunter TITLE Portraits of Outstanding African American Women. Grades 4-8+. REPORT NO GA-1548; ISBN-1-56417-717-3 PUB DATE 96 NOTE 99p.; Published by Good Apple, an imprint of Modern Curriculum Press, Simon & Schuster Elementary, 299 Jefferson Road, P.O. Box 480, Parsippany, NJ 07054-0480. AVAILABLE FROM Frank Schaffer Publications, 23740 Hawthorne Blvd., Torrance, CA 90505. PUB TYPE Guides Classroom Use Instructional Materials (For Learner) (051) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS American Studies; Biographies; *Black History; *Blacks; Elementary Education; *Females; Modern History; North Americans; Social Studies; *United States History IDENTIFIERS *African Americans ABSTRACT This resource book provides information and activity sheets on the achievements and contributions of exceptional African American women, past and present. The book contains six sections, thematically organized around the central issue(s) affecting the lives of the women featured. Introductory questions, biographical portraits and skill-building activities for grades 4-8 are included for each individual. "They Spoke from Their Hearts" profiles Toni Morrison, Edith Simpson, Dr. Sarah Garland Jones, Dr. Clarice Reid, Mahalia Jackson, and Katherine Dunham. "They Let Nothing Stand in Their Way" examines the contributions of Bessie Coleman, Mary Fields, Phillis Wheatley, Norma Merrick Sklarek, and Cheryl Miller. "They Broke New Ground" focuses on Ella Fitzgerald, Zora Neale Hurston, Judith Jamison, Lena Horne, and Susan Taylor. "They Did Not Bow to Fear" highlights the work of Tina Turner, Clara Brown, Fannie Lou Hamer, Unita Blackwell, and Yolanda King. "They Stood Up for Other People" chronicles the work of Ida B. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor Saxophone Musical Vocabulary
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. GEORGE AVAKIAN NEA JAZZ MASTER (2010) Interviewee: George Avakian (March 15, 1919 – November 22, 2017) Interviewer: Ann Sneed with recording engineer Julie Burstein Date: September 28, 1993 Repository: Archives Center, National Museum of American History Description: Transcript, 112 pp. Sneed: I’m Ann Sneed. We are in Riverdale. We’re interviewing George Avakian. There’s so many things to say about you, I’m just going to say George Avakian and ask you first, why jazz? Avakian: I think it happened because I was born abroad, and among the things that came into my consciousness as I was growing up was American popular music, and then it drifted in the direction of jazz through popular dance bands, such as the Casa Loma Orchestra, which I heard about through the guys who were hanging around the home of our neighbor at Greenwood Lake, which is where we went in the summers. We had a house on the lake. Our next-door neighbors had two daughters, one of whom was my age and very pretty, Dorothy Caulfield, who incidentally is responsible for Holden Caulfield’s last name, because J. D. Salinger got to know her and was very fond of her, named Holden after her family name. These boys came from the Teaneck area of New Jersey. So it was a short drive to Greenwood Lake on a straight line between New York and New Jersey. They had a dance band, the usual nine pieces: three brass, three saxophones, three rhythm. -
Steve Bunker: the Civil War on the Western Plains
April 2018 Vol XXXIII, No 8 Thurs April 12 Steve Bunker: The Civil War on the Western Plains (Editor’s NOTE: Due to the snowstorm on March 8, Steve Bunker’s talk was cancelled and rescheduled for April. See President’s note for update on Ned Smith’s talk.) The War of the Rebellion in the West has been largely overlooked, overshadowed by dramatic campaigns in the East. But from western Kansas to New Mexico, and north to Minnesota, war was fought in encounters as strategically important as any larger battles in the East. Steve Bunker gets some helpful Confederate and Union forces not only fought bitterly with advice on gathering rations for his each other, but Mexican‐Americans and Native Peoples along regiment of 1st Maine cavalry with some of the first organized “colored” units, found re‐enactors. themselves caught up in a confused struggle of changing loyalties and conditions that did not end with the surrenders in 1865 back East. While heroes were made and new states were created, terrible massacres and what anyone today would consider to be war crimes were common. The Civil War easily bled into the subsequent Indian Wars, involving many of the same people. We can never cover the whole war in the West in one hour but we can examine some important events. We will talk about the Texan invasion of New Mexico and characters like Kit Carson and John Chivington; the tragedy of Chief Black Kettle; the Maine sea captain who anchored Kansas for the Union; the extraordinary march of the California volunteers, and the recent reenactment of a forgotten march and battle in what is now Wyoming. -
Figurative Language Worksheet #1 Alliteration, Hyperbole, and Personification
Name:_____________________ Week 4 Day 1 Figurative Language Worksheet #1 Alliteration, Hyperbole, and Personification Figurative language is used in all kinds of writing, but is most commonly found in poetry. Figurative language is a way for the writer to add more detail to their writing as well as some extra creativity. For today’s worksheet, you are going to be identifying which of the following three figurative language techniques, alliteration, hyperbole, or personification, are being used in each example sentence. Alliteration: The repetition of the first consonant sound, meaning the first letter or sound of a word. ● Example: She sells sea shells by the sea shore. ● Why is this alliteration? ○ The majority of the words in this sentence all start with the letter “s” Hyperbole: An extravagant statement; an over exaggeration used to emphasize a point. ● Example: I’m so hungry I could eat a horse! ● Why is this hyperbole? ○ The person isn’t actually going to be able to eat a horse, they are just exaggerating how hungry they are. Personification: A figure of speech in which an inanimate object (something that isn’t alive) is given human qualities or abilities. ● Example: The flower danced in the breeze ● Why is this personification? ○ Flowers don’t have legs, so they can’t actually dance. The figure of speech is being used to describe what the flower looks like in the wind. Directions: For the following sentences, say which of the three types of figurative language listed above is being used. After writing what type of figurative language it is, then explain why. -
The Secrets of Mary Bowser Teaching Guide
Instructor’s Guide to William Morrow Paperbacks: 9780062107909 These materials were written by Lois Leveen, et al. The Secrets of Mary Bowser Teaching Guide Table of Contents: A Note to Teachers: ................................................................................................................................................. 3 Key Themes and Issues: ........................................................................................................................................ 3 School Success Strategies and Personal Reflection .................................................................................... 4 Connecting to Contemporary Issues ................................................................................................................. 7 Literary Studies and Critical Reading............................................................................................................ 10 Understanding Historical Issues ..................................................................................................................... 12 Assignments from Across the Disciplines ................................................................................................... 15 Social Sciences .............................................................................................................................................. 15 Humanities .................................................................................................................................................... -
King Oliver, Jelly Roll, and Satchmo 14 3 Bix, Austin High, and Chicago Style 31 4 Pops and Smack 41
THE JAZZ AGE This page intentionally left blank ARNOLD SHAW THE JAZZ AGE Popular Music in the 1920's Oxford University Press New York Oxford OXFORD UNIVERSITY PRESS Oxford New York Toronto Delhi Bombay Calcutta Madras Karachi Petaling Jaya Singapore Hong Kong Tokyo Nairobi Dar es Salaam Cape Town Melbourne Auckland and associated companies in Berlin Ibadan Copyright © 1987 by Ghita Milgrom Shaw First published in 1987 by Oxford University Press, Inc., 200 Madison Avenue, New York, New York 10016 First issued as an Oxford University Press paperback, 1989 Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press, Inc. Library of Congress Cataloging-in-Publication Data Shaw, Arnold. The Jazz Age. Bibliography: p. Includes index. 1. Music, Popular (Songs, etc.)—United States—History and criticism. 2. Jazz music—United States. 3. Musical revue, comedy, etc.— United States. 4. United States—History—1919-1933. I. Title. ML3477.S475 1987 780'.42'0973 86-33234 ISBN 0-19-503891-6 ISBN 0-19-506082-2 (pbk.) Lyrics from "Night and Day" by Cole Porter © 1921 Warner Bros. Inc. (Renewed). All Rights Reserved. Used by permission. "I've Come to Wive it Wealthily in Padua" by Cole Porter, Copyright © 1948 by Cole Porter. Copyright Renewed & Assigned to John F. Wharton, as Trustee of the Cole Porter Musical & Literary Property Trusts. Chappell & Co., Inc., owner of publication and allied rights throughout the world. -
Louis Armstrong and His Hot Five, Opname Voor Het Merk Okeh in Chica- Go, 26 Februari 1926
DE GESCHIEDENIS VAN DE JAZZ (15) zond.13.1.80 - H III: 19.30-20.00 Dat was Simon Korteweg, dit ie de NOS, H III. Nu MdR met: De Gesöhie- denis de van de jazz, deel 15. Louis Armstrong and hi3 Hot Five: Muskrat ramble (Kid Ory) - 5T3"6 - CBS~52TF0~ Louis Armstrong and his Hot Five, opname voor het merk Okeh in Chica- go, 26 februari 1926. Louia Armstrong-trompet, 25 jaar oud, Kid Ory- trombone, 39 jaar oud, en van hem waa dit stuk: "Muskrat ramble". Johnny Dodds-klarinet, 33, Lil Hardin-piano, 25, en Johnny St.Cyr- banjo, {Ei 35 jaar oud. Een alleen op de grammofoonplaat bestaands kwintet van en voor etersolist LouiB Annstrong, dat één keer in het openbaar gespeeld heeft, de dag na die opname-session van de 26ste. De firma Okeh organiseerde de 27ste februari 1926 in het Coliseum een 'Artists Night' om de Okeh race records te promoten, en aan de show deden buiten Louis Armstrong's Hot Five mee: pianist Clarenoe Williams die ook als producer en A & R-man bij Okeh in dienst was, Plournoy Miller en Aubry Lyles van de 'ShuffIe along'-musical uit 1921, het veaudeville duo Butterbeans & Suzie, zangeres Blanche Calloway, pfanist/orkestleider Bennie Moten uit Kanaas City, de zangeres Sippie Wallace en de New Orleans pianist Richard M.Jonea. I Louis Armstrong, de eerste grote, improviserende soliat in de jazz, stond onder exclusief contract bij Okeh, maar maakte toch twee keer opnamen voor Vocalion. Op 28 mei 1926 met Lil's Hot Shota, maar dat | jraHxgKjj was gewoon zijn eigen Hot Pive. -
Fighting Memory: What We're Still Learning About Race, Gender, and the Civil
“Fighting Memory: What We’re Still Learning about Race, Gender, and the Civil War Lois Leveen, University of California Los Angeles Summersell Lecture Series One of the most fun things about going around giving talks is hearing old friends introduce you. I did not know is that alt-academic till just now I thought I was an erst academic, like erstwhile academic. Thank you, Lynn, for the lovely introduction and for having me. So, I’m going to do a talk in three parts today. The first part, I’m going to just give you some background on Mary Bowser. In the second part I'm going to talk about using fiction as a way to teach history with some specific examples, and in the third part, I’m going to reflect on what happens when you do that. How many of you before seeing the poster or hearing about this talk had ever heard of Mary Bowser? The usual number. So, when I was in graduate school working on my dissertation, there was this book that had just come out The Shining Thread of Hope: A History of Black Women in America, and in this book, which is about 300 pages long, there are maybe three or four paragraphs about Mary Bowser. From those paragraphs I learned that Mary Bowser was born into slavery in Richmond, Virginia; she was freed by Bette Van Lew, the daughter of the family that owned her, and sent to the north to be educated; and she later made the rather unusual choice of returning to the south, where during the Civil War, she and Bette worked together in a spy ring for the union.