DOCSLIB.ORG

Jimmie Noone's Apex Club Orchestra Jazz at the Apex Club Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jimmie Noone's Apex Club Orchestra Jazz at the Apex Club Mp3, Flac, Wma Jimmie Noone's Apex Club Orchestra Jazz At The Apex Club mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Jazz At The Apex Club Country: UK Released: 1965 Style: Dixieland MP3 version RAR size: 1159 mb FLAC version RAR size: 1443 mb WMA version RAR size: 1490 mb Rating: 4.9 Votes: 342 Other Formats: MP4 AIFF MMF DTS AUD AA MP3 Tracklist Hide Credits It's Tight Like That A1 Alto Saxophone – Joe PostonBanjo – Junie CobbClarinet, Leader – Jimmie NooneCornet – George Mitchell Drums – Johnny WellsPiano – Alex Hill*Sousaphone [Brass Bass] – Bill Newton Four Or Five Times A2 Alto Saxophone – Joe PostonBanjo – Bud ScottClarinet, Leader, Vocals – Jimmie NooneDrums – Johnny WellsPiano – Earl Hines Every Evening A3 Alto Saxophone – Joe PostonBanjo – Bud ScottClarinet, Leader, Vocals – Jimmie NooneDrums – Johnny WellsPiano – Earl Hines Apex Blues A4 Alto Saxophone – Joe PostonBanjo – Bud ScottClarinet, Leader, Vocals – Jimmie NooneDrums – Johnny WellsPiano – Earl HinesSousaphone [Brass Bass] – Lawson Buford My Monday Date A5 Alto Saxophone – Joe PostonBanjo – Bud ScottClarinet, Leader, Vocals – Jimmie NooneDrums – Johnny WellsPiano – Earl HinesSousaphone [Brass Bass] – Lawson Buford Oh Sister! Ain't That Hot! A6 Alto Saxophone – Joe PostonBanjo – Bud ScottClarinet, Leader, Vocals – Jimmie NooneDrums – Johnny WellsPiano – Earl HinesSousaphone [Brass Bass] – Lawson Buford San B1 Alto Saxophone, Baritone Saxophone – Eddie PollackBanjo – Wilbur GorhamClarinet, Leader – Jimmie NooneDrums – Johnny WellsPiano – Zinky CohnSousaphone [Brass Bass] – Bill Newton Let's Sow A Wild Oat B2 Alto Saxophone – Joe PostonBanjo – Junie CobbClarinet, Leader – Jimmie NooneCornet – George Mitchell Drums – Johnny WellsPiano – Alex Hill*Sousaphone [Brass Bass] – Bill Newton I Got A Misery B3 Alto Saxophone – Joe PostonBanjo – Junie CobbClarinet, Leader – Jimmie NooneDrums – Johnny WellsPiano – Alex Hill*Sousaphone [Brass Bass] – Bill Newton My Daddy Rocks Me Alto Saxophone – Joe PostonBanjo – Wilbur GorhamBass Trombone – Fayette WilliamsClarinet, B4 Leader – Jimmie NooneCornet – George Mitchell Drums – Johnny WellsPiano – Zinky CohnSousaphone [Brass Bass] – Bill Newton You Rascal You B5 Alto Saxophone, Baritone Saxophone – Eddie PollackBanjo – Wilbur GorhamClarinet, Leader – Jimmie NooneDrums – Johnny WellsPiano – Zinky CohnSousaphone [Brass Bass] – Bill Newton Bring It On Home To Grandma B6 Alto Saxophone, Baritone Saxophone – Eddie PollackBanjo – Wilbur GorhamClarinet, Leader – Jimmie NooneDrums – Johnny WellsPiano – Zinky CohnSousaphone [Brass Bass] – Bill Newton Notes All songs recorded in Chicago between May 1928 and July 1930 Related Music albums to Jazz At The Apex Club by Jimmie Noone's Apex Club Orchestra Jimmie Noone And His Orchestra - Jimmie Noone And His Orchestra Earl Hines / Earl Hines And Orchestra - Nonchalant Man / At The El Grotto Jelly Roll Morton / King Oliver / Sidney Bechet - Kings Of New Orleans Jazz Jimmie Lunceford & His Orchestra - Jimmie Lunceford & His Orchestra Jimmie Lunceford And His Orchestra - Annie Laurie / 'Frisco Fog Earl Hines - Earl ''Fatha'' Hines Jimmie Lunceford & His Orchestra, Louis Prima & His Orchestra - Victory Parade Of Spotlight Bands Earl Hines And His All-Stars - Earl Hines And His All-Stars.
Load more

Recommended publications
  • 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]
  • Download Booklet
    120699bk Bechet 3 22/5/03 11:09 am Page 2 6. One O’Clock Jump 2:25 14. Save It Pretty Mama 2:51 Personnel (Count Basie) (Don Redman–Paul Denniker–Joe Davis) Victor 27204, mx BS 046833-1 Victor 27240, mx BS 053434-1 16 November 1938: Sidney Bechet, clarinet, 6 September 1940 (tracks 13-15): Rex Stewart, Recorded 5 February 1940, New York Recorded 6 September 1940, Chicago soprano sax; Ernie Caceres, baritone sax; Dave cornet; Sidney Bechet, clarinet, soprano sax; Bowman, piano; Leonard Ware, electric guitar; Earl Hines, piano; John Lindsay, bass; Baby 7. Preachin’ Blues 3:02 15. Stompy Jones 2:47 (Sidney Bechet) (Duke Ellington) Henry Turner, bass; Zutty Singleton, drums Dodds, drums Bluebird B 10623, mx BS 046834-1 Victor 27240, mx BS 053435-1 5 February 1940: Sidney Bechet, clarinet, soprano 8 January 1941: Henry Allen, trumpet; J. C. Recorded 5 February 1940, New York Recorded 6 September 1940, Chicago sax; Sonny White, piano; Charlie Howard, Higginbotham, trombone; Sidney Bechet, 8. Shake It And Break It 2:54 16. Coal Black Shine 2:43 electric guitar; Wilson Myers, bass; Kenny clarinet; James Tolliver, piano; Wellman Braud, (Friscoe Lou Chicha–H. Quaill Clarke) (John Reid-Sidney Bechet) Clarke, drums bass; J. C. Heard, drums Victor 26640, mx BS 051222-1 Victor 27386, mx BS 058776-1 4 June 1940: Sidney de Paris, trumpet; Sandy 28 April 1941: Gus Aiken, trumpet; Sandy Recorded 4 June 1940, New York Recorded 8 January 1941, New York Williams, trombone; Sidney Bechet, clarinet, Williams, trombone; Sidney Bechet, soprano sax; 9.
    [Show full text]
  • The Strutter VOLUME 22 NUMBER 7 Traditional Jazz in the Philadelphia Tri-State Area March 2012
    “Best of South Jersey” 2008 - 2011! The Strutter VOLUME 22 NUMBER 7 Traditional Jazz in the Philadelphia Tri-State Area March 2012 OUR NEXT CONCERT TRI-STATE JAZZ SOCIETY On March 18, Emily Asher says, The Garden Party Presents will play a variety of hot jazz and early swing, their instrumentation and concept influenced by EMILY ASHER’S GARDEN PARTY Louis Armstrong's Hot Fives and Sevens, Armstrong's All-Stars, and Eddie Condon's classic recording groups. Their repertoire will also include material from the heart of the West Coast Dixieland revival, Lu Watters' Yerba Buena Jazz Band. Trombonist and vocalist Emily Asher is a rising musical personality in New York, leading the Garden Party and The Emily Asher Quartet and making regular appearances with the Brooklyn- based Baby Soda Jazz Band. She toured North America with the ground-breaking Mighty Aphrodite Jazz Band and Europe with New Orleans’ Tuba Skinny. See Asher on Page 2 CONCERT ADMISSION $20 ADMISSION $10 FIRST TIME ATTENDEES & MEMBERS HIGH SCHOOL/COLLEGE STUDENTS WITH Emily Asher, trombone, leader ID AND CHILDREN WITH PAYING ADULT ADMITTED FREE Bria Skonberg, trumpet Pay At the Door - No Advance Sales Dan Levinson, clarinet Gordon Webster, piano In This Issue… Sean Cronin, bass Kevin Dorn, drums Looking Ahead ............. Page 2 American Rag ............... Page 2 Sunday, March 18, 2012 Barnes Review ............. Page 2 2:00 p.m. – 5:00 p.m. Spirits Of Rhythm ......... Page 3 Community Arts Center Help Wanted ................. Page 4 Upcoming Events ......... Page 5 414 Plush Mill Road Wallingford, PA Directions on Page 7 The Strutter is published by Tri-State Jazz Society, Inc.
    [Show full text]
  • Instructions for Authors
    Journal of Science and Arts Supplement at No. 2(13), pp. 157-161, 2010 THE CLARINET IN THE CHAMBER MUSIC OF THE 20TH CENTURY FELIX CONSTANTIN GOLDBACH Valahia University of Targoviste, Faculty of Science and Arts, Arts Department, 130024, Targoviste, Romania Abstract. The beginning of the 20th century lay under the sign of the economic crises, caused by the great World Wars. Along with them came state reorganizations and political divisions. The most cruel realism, of the unimaginable disasters, culminating with the nuclear bombs, replaced, to a significant extent, the European romanticism and affected the cultural environment, modifying viewpoints, ideals, spiritual and philosophical values, artistic domains. The art of the sounds developed, being supported as well by the multiple possibilities of recording and world distribution, generated by the inventions of this epoch, an excessively technical one, the most important ones being the cinema, the radio, the television and the recordings – electronic or on tape – of the creations and interpretations. Keywords: chamber music of the 20th century, musical styles, cultural tradition. 1. INTRODUCTION Despite all the vicissitudes, music continued to ennoble the human souls. The study of the instruments’ construction features, of the concert halls, the investigation of the sound and the quality of the recordings supported the formation of a series of high-quality performers and the attainment of high performance levels. The international contests organized on instruments led to a selection of the values of the interpretative art. So, the exceptional professional players are no longer rarities. 2. DISCUSSIONS The economic development of the United States of America after the two World Wars, the cultural continuity in countries with tradition, such as England and France, the fast restoration of the West European states, including Germany, represented conditions that allowed the flourishing of musical education.
    [Show full text]
  • RCA Victor LEJ “Educational Jazz Series” 10 Inch LP
    RCA Discography Part 30 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor LEJ “Educational Jazz Series” 10 Inch LP LEJ 1 – The RCA Victor Encyclopedia of Recorded Jazz Volume 1: A-Bec – Various Artists [1956] Pleasin’ Paul – Henry “Red” Allen/Boogie Woogie – Albert Ammons with Pete Johnson/High Society – Louis Armstrong/Rockin’ Chair – Louis Armstrong/Night Whispers – Buster Bailey with John Kirby//Georgia on My Mind – Mildred Bailey/Between 18th and 19th on Chestnut Street – Charlie Barnet/South – Count Basie/Money is Honey – Count Basie/Nobody Knows the Way I Feel Dis Mornin’ – Sidney Bechet LEJ 2 – The RCA Victor Encyclopedia of Recorded Jazz Volume 2: Bei to Cla – Various Artists [1956] Barnacle Bill the Sailor – Bix Beiderbecke with Hoagy Carmichael and his Orchestra/Sobbin’ Blues – Bunny Berigan and His Orchestra/Shufflin’ at eh Hollywood – Chu Berry with Lionel Hampton and His Orchestra/Ready Eddy – Barney Bigard and His Orchestra/That Da Da Strain – George Brunis with Muggsy Spanier and His Ragtime Band//The Scat Song – Cab Calloway and His Orchestra/Lazy River – Hoagy Carmichael and His Orchestra/Goodbye – Barbara Carroll Trio/My Favourite Blues – Benny Carter and His Orchestra/Buckin’ the Blues – Buck Clayton with Esquire All-American Award Winners LEJ 3 – The RCA Victor Encyclopedia of Recorded Jazz Volume 3: Cli to Dor – Various Artists [1956] Rockin' Chair - Larry Clinton And His Orchestra/Every Time - Al Cohn And His Orchestra/Tip Easy Blues - Lee Collins, Trumpet, Jones And Collins
    [Show full text]
  • Download Booklet
    120665bk Teddy2 23/1/03 4:47 pm Page 2 1. Sweet Lorraine 3:02 8. Too Good To Be True 3:06 16. Where Or When 3:23 19. Just A Mood (Blue Mood) 6:42 (Cliff Burwell–Mitchell Parish) (Clay Boland) (Richard Rodgers–Lorenz Hart) (Teddy Wilson) Brunswick 7520, mx B 17916-1 Brunswick 7663, mx C 1377-2 Benny Goodman Trio Teddy Wilson Quartet Recorded 31 July 1935, New York Recorded 14 May 1936, Chicago Victor 25725, mx BS 015575-1 Brunswick 7973, mx LA 1429-A, 1430-A 2. Body And Soul 3:30 9. Warmin’ Up 3:11 Recorded 29 October 1937, New York Recorded 5 September 1937, Los Angeles (Johnny Green–Edward Heyman–Robert (Teddy Wilson) 17. Coquette 2:43 20. I’ve Found A New Baby 2:40 Sour–Frank Eyton) Brunswick 7684, mx C 1378-1 (Johnny Green–Gus Kahn–Carmen (Jack Palmer–Spencer Williams) Benny Goodman Trio Recorded 14 May 1936, Chicago Lombardo) Brunswick 7926, mx B 21220-1 Victor 25115, mx BS 92705-1 10. Why Do I Lie To Myself About You 3:04 Brunswick 7943, mx LA 1383-A Recorded 1 June 1937, New York Recorded 13 July 1935, New York (Benny Davis–J. Fred Coots) Recorded 30 July 1937, Los Angeles Teddy Wilson & His Orchestra except: 3. Life Begins When You’re In Love 3:03 Brunswick 7699, mx B 19496-2 18. The Hour Of Parting 3:12 Benny Goodman Trio (tracks 2 &16) and (Lew Brown–Victor Schertzinger–Harry Recorded 30 June 1936, New York (Gus Kahn–Mischa Spoliansky) Teddy Wilson Quartet (track 19) Richman) 11.
    [Show full text]
  • October-December 2019 Broadside
    T H E A T L A N T A E A R L Y M U S I C A L L I A N C E B r o a d s I d e Volume XX # 2 October—December 2019 President’s Message Well, it looks like the weather has finally turned a corner and we will get a chance to cool off some, but while the weather may be cooling, the early music concert season is just heating up. We have already had offerings from Les Trois Voix, Amethyst Baroque, and Atlanta Baroque Orches- tra, and coming up during the next couple of months are: Lauda Musicam – November 24 at AEMA MISSION St. Bartholomew’s Episcopal Church, and Festi- It is the mission of the st Atlanta Early Music Alli- Upcoming Events val Singers of Atlanta – December 1 at North- ance to foster enjoyment side Drive Baptist Church. and awareness of the Through December 2019 historically informed ————————————————————— performance of music, Fall is usually a very busy time, with lots of with special emphasis on .Nov. 16: Amethyst Baroque Ensemble music written before 1800. family activities, sporting events, school, and Its mission will be accom- presents Baroque and Beyond, Morning- plished through dissemi- side Presbyterian Church, Atlanta. 7 p.m. holidays, as well as getting together with friends nation and coordination of Suggested admission: $20, $10 AEMA to make and enjoy music. I know that I seem to information, education and ARC members, students and seniors. and financial support. be going in three directions at once, but I hope Nov.
    [Show full text]
  • Fabrizio Meloni Clarinettoil Prefazione
    Fabrizio Meloni clarinettoil Prefazione a stesura di questo libro` e stata certamente un’impre- sa lunga e difficoltosa, ma al tempo stesso stimolante ed eccitante. Per un musicista, infatti,` e molto piu` semplice espri- L mersi attraverso la musica, e portare sulla carta sen- sazioni, emozioni o semplici intuizioni tecniche si` e rivelato un compito arduo. Daremo ampio spazio al profilo storico e all’aspetto tecnico (respirazione, emissione, vocalita`), ma cio` che ci siamo prefissi come obiettivo fondamentale` e quello di porci con la massima naturalezza e sponta- neita` nei confronti dello strumento. Creare con uno strumento timbri, suoni e articolazio- ni` e esattamente cio` che gli esseri umani sono in gra- do di produrre anche con la voce; da una semplice pa- rola ad una piu` complessa metamorfosi di dinamiche e colori dalle innumerevoli e repentine alterazioni emo- tive o semplicemente imitative. xiii Prefazione Se tutto cio`chee` nelle nostre facolta` avviene quasi naturalmente, almeno per quanto riguarda il linguag- gio articolato che` e proprio degli uomini, cosı` come per quello figurativo, teatrale e musicale` e il complesso dei mezzi espressivi, dovremmo essere in grado di produr- re un suono cercando di ottenerlo con la massima semplicita`. Proprio questo atteggiamento` e tipico dell’improvvisa- zione come mezzo espressivo nella musica jazz, lin- guaggio che, per il musicista di estrazione classica, risulta a volte difficile da decifrare. L’improvvisazione rappresenta una sorta di transfert verso i confini piu` intimi e le emozioni piu` profonde che solo la padro- nanza assoluta dei ritmi, dei linguaggi piu` complessi e delle contaminazioni stilistiche consente di liberare e ascoltare.
    [Show full text]
  • Clarinet in Oxford Music Online Oxford Music Online
    18.3.2011 Clarinet in Oxford Music Online Oxford Music Online Grove Music Online Clarinet article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/52768 Clarinet (Fr. clarinette ; Ger. Klarinette ; It. clarinetto ). Generic term for a wind instrument sounded by a single beating reed; in the system of Hornbostel and Sachs such an instrument is classified as an AEROPHONE : reedpipe, with a reed consisting of a single percussion lamella. The clarinet of Western art music (from which the generic term is taken) is of essentially cylindrical bore and is made in a variety of sizes and tonalities; the soprano instrument pitched in B , with the ‘Boehm system’ of keywork and fingering, is the most widely used today (see §II below). See also ORGAN STOP . I. General 1. Introduction. A clarinet consists of a closed tube with a single beating reed; such instruments are widely distributed and exist in a variety of forms. The tube is usually cylindrical, but occasionally funnel- shaped or ending in a bell. A clarinet may be idioglot, with the reed cut from the material of the tube itself and left attached at one end (the reed is sometimes held slightly away from the tube by a hair or straw inserted across the slit at the base) or heteroglot, with the reed, often made of a different material, tied or otherwise fastened on. An idioglot reed may be up-cut (with the reed cut upwards) or down-cut (towards the top of the tube, with the vibrating end facing the bottom of the tube). Janet K.
    [Show full text]
  • Bechet, Noone, Goodman and the Efflorescence of Jazz Clarinet and the Improvised Solo
    On the shoulders of giants: Bechet, Noone, Goodman and the efflorescence of jazz clarinet and the improvised solo A dissertation comprising four CD recordings and exegesis Jonathan Robert Hunt Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide December 2014 TABLE OF CONTENTS CD RECORDINGS .................................................................................................................. iii! LIST OF FIGURES ................................................................................................................. vii! ABSTRACT .............................................................................................................................. ix! DECLARATION ........................................................................................................................ x! ACKNOWLEDGEMENTS ...................................................................................................... xi! INTRODUCTION .................................................................................................................... 1! 1 SIDNEY BECHET ................................................................................................................ 7! 1.1 Background ....................................................................................................................... 7! 1.2 Techniques for Improvisation: Vibrato, Glissando and Growl Tone ..............................
    [Show full text]
  • MR. JOHNSON's BLUES Excerpted from the Guitar Players by James Sallis © 1982 ______
    MR. JOHNSON'S BLUES Excerpted from The Guitar Players by James Sallis © 1982 _____________________ In 1944 Bruce Cook went with his father to a concert sponsored by the Hot Club of Chicago, a program or traditional jazz in the old New Orleans style. The father was a serious jazzman who never made much money at it but played occasionally and practiced over an hour each day, running scales and jamming with records by Bix Beiderbecke, Red Nichols and Louis Armstrong. Ten-year-old Bruce had already found, at the bottom of the drawer, a small stack of records quite different from the ones his father listened to, ruder and more primitive, tunes from people like Tampa Red, Bessie Smith, Cow Cow Davenport. But this was Bruce's first encounter with a bluesman live. Almost thirty years later, in Listen to the Blues, Cook described it. His name was Lonnie Johnson and he was the real thing. ... I remember my own impression in listening to him was that it would be hard to imagine anybody playing better. There is a quality that the real virtuoso communicates, an added dimension to his playing, that makes it immediately and recognizably distinct from that of one who is merely proficient. Lonnie Johnson had it that day, and he may always have had it, for Pops Foster, though then hardly more than a boy, remebered him as "the only guy we had around New Orleans who could play jazz guitar. he was great on guitar. Django Reinhardt was a great jazz player like Johnson." And here he was, at fifty, playing deep rolls and treble runs that he extended with amazing subtlety, torturing out the last nuance of melody from all those simple blues chords.
    [Show full text]
  • Le Facteur Cheval
    Spectacle crée par la Forge, l’Arfi, le Palais Idéal du Facteur Cheval, Jazz RA(s) et Jazz à Vienne • Coproduction CAPV et Service scolaire de la ville de Vienne, avec le soutien du Club Jazz Entreprises et de l’Inspection Académique. Présentent Le Facteur Idéal du Cheval Palais Le projet de la triple rencontre musicale entre les collectifs de la Forge, de l’Arfi et du Facteur Cheval Création Jeune Public Au Théâtre Antique de Vienne Mardi 28 Juin 2011 1 Vous trouverez dans cette présentation un dossier construit de la façon suivante : - Un descriptif général du projet - Une petite biographie de Ferdinand Cheval (le Facteur Cheval) et son œuvre - La présentation de l‟Arfi, de la Forge, et de ses musiciens intervenants - Quelques notions sur la musique jazz Renseignements : Benjamin Tanguy, Léo Leroux : 04 74 78 87 87, [email protected] Bureau de Production : 21, rue des célestes – 38200 Vienne - Une partie pédagogique produite par Joëlle Gonzalez, conseillère pédagogique en éducation musicale, en partenariat avec les intervenants en musique de la CAPV, qui regroupe des pistes de travail approfondies que les professeurs pourront utiliser avec les enfants. Renseignements : Joëlle Gonzalez, conseillère pédagogique en éducation musicale [email protected] - Le secteur musique et cinéma de la bibliothèque municipale de Vienne propose une liste de livres, CD et DVD pour accompagner les professeurs et enfants dans la découverte des univers du Palais Idéal du Facteur Cheval et des artistes participant à la Création Jeune
    [Show full text]