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PREVIEW PREVIEW Previewstrictly on the Surface, ‘The Platters Rock’ Just Doesn’T Sound Right
PREVIEW PREVIEW PREVIEWStrictly on the surface, ‘The Platters Rock’ just doesn’t sound right. During the mid-to-late 1950s, the ultra- polished vocal group was the epitome of cool, velvet-smooth harmonizing as they cranked out an avalanche of smash ballads under the supervision of manager Buck Ram. Filmmakers cast them as the relatively safe and sedate antidote to the otherwise steamy sounds dished up in the memorable films ‘Rock Around the Clock,’ ‘The Girl Can’t Help It,’ ‘Rock All Night,’ ‘Carnival Rock,’ and ‘Girls Town,’ their segments allowing overheated teenagers a chance to to. They’d started out as an R&B vocal group cool down a bit in their sweaty theater seats. before magnificently crossing over to the pop realm, and that early training never deserted Yet a close examination of their mammoth them altogether. catalog for Chicago’s Mercury Records reveals a surprising number of up-tempo The quintet’s unusual four-guys-and-one- gems that entirely legitimize the concept of gal lineup was influential in itself, mirrored this collection. You may not recognize all by a number of African American vocal of the titles at first glance, but taken as a groups that followed in their wake (most whole they confirm that The Platters could notably Smokey Robinson’s Miracles). But indeed rock whenever Ram allowed them very few outfits could boast the presence of 5 a stratospheric lead tenor the equal of The Bass singer Herb Reed was the first Platters’ Tony Williams, whose powerful, member that we now revere as a Platter to PREVIEWgymnastic vocal flights approximated a ride come into the fold. -
Tenor Saxophone Mouthpiece When
MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, -
Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection. -
Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne -
Rhythm & Blues Rhythm & Blues S E U L B & M H T Y
64 RHYTHM & BLUES RHYTHM & BLUES ARTHUR ALEXANDER JESSE BELVIN THE MONU MENT YEARS CD CHD 805 € 17.75 GUESS WHO? THE RCA VICTOR (Baby) For You- The Other Woman (In My Life)- Stay By Me- Me And RECORD INGS (2-CD) CD CH2 1020 € 23.25 Mine- Show Me The Road- Turn Around (And Try Me)- Baby This CD-1:- Secret Love- Love Is Here To Stay- Ol’Man River- Now You Baby That- Baby I Love You- In My Sorrow- I Want To Marry You- In Know- Zing! Went The My Baby’s Eyes- Love’s Where Life Begins- Miles And Miles From Strings Of My Heart- Home- You Don’t Love Me (You Don’t Care)- I Need You Baby- Guess Who- Witch craft- We’re Gonna Hate Ourselves In The Morn ing- Spanish Harlem- My Funny Valen tine- Concerte Jungle- Talk ing Care Of A Woman- Set Me Free- Bye Bye Funny- Take Me Back To Love- Another Time, Another Place- Cry Like A Baby- Glory Road- The Island- (I’m Afraid) The Call Me Honey- The Migrant- Lover Please- In The Middle Of It All Masquer ade Is Over- · (1965-72 ‘Monument’) (77:39/28) In den Jahren 1965-72 Alright, Okay, You Win- entstandene Aufnahmen in seinem eigenwilligen Stil, einer Ever Since We Met- Pledg- Mischung aus Soul und Country Music / his songs were covered ing My Love- My Girl Is Just by the Stones and Beatles. Unique country-soul music. Enough Woman For Me- SIL AUSTIN Volare (Nel Blu Dipinto Di SWINGSATION CD 547 876 € 16.75 Blu)- Old MacDonald (The Dogwood Junc tion- Wildwood- Slow Walk- Pink Shade Of Blue- Charg ers)- Dandilyon Walkin’ And Talkin’- Fine (The Charg ers)- CD-2:- Brown Frame- Train Whis- Give Me Love- I’ll Never -
Summer 2020.Indd
Summer 2020 at | cmu.edu/osher w CONSIDER A GIFT TO OSHER To make a contribution to the Osher Annual Fund, please call the office at 412.268.7489, go through the Osher website with a credit card, or mail a check to the office. Thank you in advance for your generosity. BOARD OF DIRECTORS CURRICULUM COMMITTEE OFFICE STAFF Jim Reitz, President Gary Bates Lyn Decker, Executive Director Allan Hribar, Vice-President Lester Berkowitz Olivia McCann, Administrator / Programs Jan Hawkins, Secretary John Brown Chelsea Prestia, Administrator / Publications Marcia Taylor, Treasurer Maureen Brown Kate Lehman, Administrator / General Office John Olmsted, Past President Flip Conti Ann Augustine Jan Davis Rosalie Barsotti Lyn Decker CATALOG EDITORS Gary Bates Mary Duquin Chelsea Prestia, Editor Jeffrey Holst Anna Estop Olivia McCann Ann Isaac Byron Gottfried Helen-Faye Rosenblum Raja Sooriamurthi Marilyn Maiello Rosalyn Treger Jeffrey Swoger Enid Miller Kate Lehman Randy Weinberg Helen-Faye Rosenblum Mark Winer Judy Rubinstein CONTACT INFORMATION Rochelle Steiner Osher Lifelong Learning Institute Jeffrey Swoger Carnegie Mellon University Rebecca Culyba, Randy Weinberg Associate Provost 4614 Wean Hall and University Liaison 5000 Forbes Avenue Pittsburgh, PA 15213-3815 Please include your return address on all mail sent to the Osher office. Phone: 412.268.7489 Email: [email protected] Website: cmu.edu/osher ON THE COVER The Randy Pausch Bridge connects The Purnell Center and Gates & Hillman Centers and features more than 7,000 programmable (and environmentally friendly) LED lights. The design of the Pausch Bridge pays tribute to all the "penguins" of the world with abstract penguin cut-outs. Randy reminded students that even in dangerous waters, one penguin had to be brave enough to take the first dive. -
Inside & Online
October 3, 2013 1 Pointer View The OCTOBER 3, 2013 Vol. 70, No. 37 ® Duty, Honor, Country PointerServing the U.S. Military Academy and the community View of West Point ® INSIDE & ONLINE www.pointerview.com www.usma.edu GovernmentCadets head to class Wednesday in spite of the government Shutdown shutdown, which has furloughed the majority of the civillian faculty and workforce at the U.S. Military Academy. “While we will continue our education Resources during the shutdown and training mission, our ability to deliver at a Tier 1 education level of quality is significantly degraded www.usma.edu/furlough without our valued civilian employees.” said the Brig. Gen. Timothy Trainor, the Dean of the Academic Board. For a message from the Superintendent and more information on how the government shutdown is affecting the Academy and West Point see pages 2 and 3. PHOTO BY SGT. 1ST CLAss CHRISTOPHER FINCHAM/USMA PAO NCOIC 2 October 3, 2013 News & Features Pointer View Shutdown message from the Superintendent West Point Community Members, diminish the importance of your work to the Army or firefighters, security guards, medical personnel, our mission. We recognize the tremendous hardship utilities and other excepted personnel. As you know, the Department of Defense received on you and your families, and we are doing all we can We respect and admire your patience and instruction to begin an orderly shutdown due to the to both support you personally through this impasse, perseverance through all of this, especially after the government budgetary impasse and the Academy is and to secure salary funding as expeditiously as furloughs over the summer. -
A Commentary Thom Andersen Get out of The
Get Out of the Car: A Commentary Thom Andersen Get Out of the Car is a response to my last movie, Los Angeles Plays Itself. I called Los Angeles Plays Itself a ‘city symphony in reverse’ in that it was composed of fragments from other films read against the grain to bring the background into the foreground. Visions of the city’s geography and history implicit in these films were made manifest. Although Los Angeles has appeared in more films than any other city, I believe that it has not been well served by these films. San Francisco, New York, London, Paris, Berlin, Tokyo have all left more indelible impressions. It happens that many film-makers working in Los Angeles don’t appreciate the city, and very few of them understand much about it, but their failures in depicting it may have more profound causes. In Los Angeles Plays Itself, I claimed that the city is not cinematogenic. ‘It’s just beyond the reach of an image.’ Now I’m not so sure. In any case, I became gradually obsessed with making a proper Los Angeles city symphony film. I was aware of a few notable antecedents: L.A.X. by Fabrice Ziolkowski, Mur Murs by Agnès Varda, Water and Power by Pat O’Neill, Los by James Benning. These are all ambitious, feature-length films. My film is shorter (34 minutes), and it concentrates on small fragments of the cityscape: billboards, advertising signs, wall paintings, building facades. Originally it was even narrower. It began as simply a study of weather-worn billboards around Los Angeles. -
Chapter 2: Pop-Rock of the 50S and 60S
The Development of Rock & Roll by Dr. Daniel Jacobson © 2016 All Rights Reserved CHAPTER 2 POP-ROCK OF THE 50S AND 60S INTRODUCTION Softer “pop” music styles have played important roles in the development of rock, especially from c1953 to 1966 and in the early 70s. Various pop-related styles in the 50s and early 60s include: • Doo-Wop (1950s and early ‘60s; combined Pop, Gospel and soft R & B elements) • Teen Idol “Crooners” (late ‘50s/early ‘60s; Dick Clark early rock era; soft R & B) • Surf Music (late ‘50s/early ‘60s) • Brill Building/Aldon Music (‘60s pop; extension of “Tin Pan Alley” tradition) • Early Motown (early 1960s; “Soul-pop” music) I. THE CHANGING OF THE GUARD IN 50s ROCK During the years 1957 to 1961, Rock & Roll lost the impact of at least ten of its most prominent trendsetters. • March 1956: While on his way to perform for The Perry Como Show in New York City, Carl Perkins was involved in a car crash in which he suffered a fractured shoulder and skull. Perkins lost his chance for major fame, and was soon overshadowed by the rise of Elvis Presley. • October 1957: Little Richard renounced Rock and Roll for the ministry of the Seventh Day Adventist Church. • November 1957: Jerry Lee Lewis married his 13-year-old third cousin (while “forgetting” to divorce his first wife.) The scandal that followed destroyed his career. • March 1958: Elvis Presley was drafted into the army, serving in Germany until 1960. • February 1959: a small-plane crash near Fargo, North Dakota killed Buddy Holly, J.P. -
Extra Special Supplement to the Great R&B Files Includes Updated
The Great R&B Pioneers Extra Special Supplement to the Great R&B Files 2020 The R&B Pioneers Series edited by Claus Röhnisch Extra Special Supplement to the Great R&B Files - page 1 The Great R&B Pioneers Is this the Top Ten ”Super Chart” of R&B Hits? Ranking decesions based on information from Big Al Pavlow’s, Joel Whitburn’s, and Bill Daniels’ popularity R&B Charts from the time of their original release, and the editor’s (of this work) studies of the songs’ capabilities to ”hold” in quality, to endure the test of time, and have ”improved” to became ”classic representatives” of the era (you sure may have your own thoughts about this, but take it as some kind of subjective opinion - with a serious try of objectivity). Note: Songs listed in order of issue date, not in ranking order. Host: Roy Brown - ”Good Rocking Tonight” (DeLuxe) 1947 (youtube links) 1943 Don’t Cry, Baby (Bluebird) - Erskine Hawkins and his Orchestra Vocal refrain by Jimmy Mitchell (sic) Written by Saul Bernie, James P. Johnson and Stella Unger (sometimes listed as by Erskine Hawkins or Jmmy Mitchelle with arranger Sammy Lowe). Originally recorded by Bessie Smith in 1929. Jimmy 1. Mitchell actually was named Mitchelle and was Hawkins’ alto sax player. Brothers Paul (tenorsax) and Dud Bascomb (trumpet) played with Hawkins on this. A relaxed piano gives extra smoothness to it. Erskine was a very successful Hawkins was born in Birmingham, Alabama. Savoy Ballroom ”resident” bandleader and played trumpet. in New York for many years. -
Jukebox Oldies
JUKEBOX OLDIES – MOTOWN ANTHEMS Disc One - Title Artist Disc Two - Title Artist 01 Baby Love The Supremes 01 I Heard It Through the Grapevine Marvin Gaye 02 Dancing In The Street Martha Reeves & The Vandellas 02 Jimmy Mack Martha Reeves & The Vandellas 03 Reach Out, I’ll Be There Four Tops 03 You Keep Me Hangin’ On The Supremes 04 Uptight (Everything’s Alright) Stevie Wonder 04 The Onion Song Marvin Gaye & Tammi Terrell 05 Do You Love Me The Contours 05 Got To Be There Michael Jackson 06 Please Mr Postman The Marvelettes 06 What Becomes Of The Jimmy Ruffin 07 You Really Got A Hold On Me The Miracles 07 Reach Out And Touch Diana Ross 08 My Girl The Temptations 08 You’re All I Need To Get By Marvin Gaye & Tammi Terrell 09 Where Did Our Love Go The Supremes 09 Reflections Diana Ross & The Supremes 10 I Can’t Help Myself Four Tops 10 My Cherie Amour Stevie Wonder 11 The Tracks Of My Tears Smokey Robinson & The Miracles 11 There’s A Ghost In My House R. Dean Taylor 12 My Guy Mary Wells 12 Too Busy Thinking About My Marvin Gaye 13 (Love Is Like A) Heatwave Martha Reeves & The Vandellas 13 The Happening The Supremes 14 Needle In A Haystack The Velvelettes 14 It’s A Shame The Spinners 15 It’s The Same Old Song Four Tops 15 Ain’t No Mountain High Enough Diana Ross 16 Get Ready The Temptations 16 Ben Michael Jackson 17 Stop! (in the name of love) The Supremes 17 Someday We’ll Be Together Diana Ross & The Supremes 18 How Sweet It Is Marvin Gaye 18 Ain’t Too Proud To Beg The Temptations 19 Take Me In Your Arms Kim Weston 19 I’m Still Waiting Diana Ross 20 Nowhere To Run Martha Reeves & The Vandellas 20 I’ll Be There The Jackson 5 21 Shotgun Junior Walker & The All Stars 21 What’s Going On Marvin Gaye 22 It Takes Two Marvin Gaye & Kim Weston 22 For Once In My Life Stevie Wonder 23 This Old Heart Of Mine The Isley Brothers 23 Stoned Love The Supremes 24 You Can’t Hurry Love The Supremes 24 ABC The Jackson 5 25 (I’m a) Road Runner JR. -
The Top Ten Vocal Groups of the Golden '50S
THE Top Ten Vocal Groups of the Golden ‘50s The Great R&B Files (# 6 of 12) Updated December 27, 2018 THE Top Ten Vocal Groups of the Golden ‘50s Rhythm and Blues Harmony Presented by Claus Röhnisch The R&B Pioneers Series - Volume Six of twelve Also read page 1 (86) - Top Rhythm & Blues Records - The Top R&B Hits from 30 classic years of R&B - The John Lee Hooker Session Discography with Year-By-Year Recap - The Blues Giants of the 1950s - Twelve Great Legends - Ten Sepia Super Stars of Rock ‘n’ Roll – Idols making Music Histouy - Transitions from Rhythm to Soul – Twelve Original Soul Icons - The True R&B Pioneers – Twelve Hit-Makers from the Early Years - Predecessors of the Soul Excplosion in the 1960s – Twelve Famous Favorites - The R&B Pioneers Series – The Top 30 Favorites - Clyde McPhartter - the Original Soul Star - The Clown Princes of Rock and Roll: The Coasters - Those Hoodlum Friends – The Coasters The Great R&B-files Created by Claus Röhnisch Find them all at http://www.rhythm-and-blues.info The R&B Pioneers Series – Volume Six of twelve THE Top Ten Vocal Groups of the Golden ‘50s Two great ”reference” books on Doo-Wop: The Doo-Wop Decades, 1945-1965 by B. Lee Cooper and Frank W, Hoffman CSIPP, US 2017 The Top 1000 Doo-Wop Songs by Anthony Gribin and Matthew Schiff Ttgpress, 2014 2 The R&B Pioneers Series – Volume Six of twelve THE Top Ten Vocal Groups of the Golden ‘50s Introduction Of all the countless (and mostly black) vocal groups, who gave us that exciting and wonderful harmony singing in the 1950s, I have selected ten outstanding pioneer R&B groups.