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UNION ELECTRIC COMPANY Ing the Letters, Boetic Prepar Ed to L>Egin His Nationwide in Welcoming the Faculty and Students DURHAM, NORTH CAROLINA Auditions
"Baby, Dou'f“ You Cry," “J eys, whv kave been ipiniuag it CAKaiwA niga SATURDAY. SEPT. 10th. 1949 Don’t Care Who Knows” aud aloiost daily ever siiice ite re PAOEWOim Jacqyef To “ Did You See Jackie Robinson lease • couple of months Appear In Hit That Ballf”, appears to uemonstratlog oace more the' have come up with a real smaah power of the disc jockey. Atlanta in “ Lovely In Her Evening Uown,” His Decca record of Dinah Tempted Billie Holiday Wows ATLANTA, Gu — The com the ballad, which ia sung by the ing one-night stand of lUiuois Johnson’s band’s romantic bal- By Religious Jacquet and his high-fyling ladier, Arthur Prysock, is sched Sextete at the Memorial Audi uled for release on September Music Again torium in Atlanta will be mark 15 and tremendous interest al NEW YORK — Diash Wash- Harlem, Broadway ed by an assembly of this city’s ready has been aroused on the top diiiC-Jockeys, who will turn ington, currently holdiug down strength of that one Mutual the top spot in most recohl pop By FLOYD SMELSOH Also appearing the same night out to greet the mighty mile of Network airing. ularity ratings, has for the se NLW-VORK — Billie HoUi- as gai'st artist of the Art Ford the saxophone iu hi*', first local program uver W.IM.X., New appearance. cond time in a year been the re <U>-, ag«iii provf* iHJUvinciofly cipient of a serious offer to en concluai\'ely her right to the York l>aily Ne«s Television. -
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. -
John Pizzarelli and Freddy Cole: Celebrating the Centenary of Nat
TD Jazz Concerts John Pizzarelli and Freddy Cole: Celebrating the centenary of Nat King Cole @ 100 Thursday, February 14, 2019 at 8:00pm Pre-concert Talk at 7:00pm This is the 913th concert in Koerner Hall John Pizzarelli, vocals & guitar Mike Karn, bass Konrad Paszkudzki, piano Freddy Cole, piano & vocals Elias Bailey, bass Randy Napoleon, guitar Quentin Baxtor, drums John Pizzarelli World-renowned guitarist and singer John Pizzarelli, established as one of the prime contemporary interpreters of the Great American Songbook, has expanded that repertoire by including the music of Paul McCartney, Joni Mitchell, Neil Young, Tom Waits, Antônio Carlos Jobim, and The Beatles. Having concentrated on the music of Paul McCartney, Johnny Mercer, and Frank Sinatra over the last two years, Pizzarelli has returned to the bossa nova of Jobim with his 2017 release Sinatra & Jobim @ 50. With co- vocalist Daniel Jobim, grandson of the legendary Brazilian composer, the two explore songs Sinatra and Jobim recorded, as well as add new songs flavoured with the spirit of the classic Francis Albert Sinatra and Antonio Carlos Jobim album. Pizzarelli has toured North America, South America, Asia, and Europe, performing shows centered on Frank Sinatra’s centennial, the songs of Johnny Mercer, and a McCartney program, in which his quartet is joined by strings and a horn section. He also tours on a double bill with pianist Ramsey Lewis. While plenty of jazz greats influenced his work, Nat King Cole has been Pizzarelli’s hero and foundation over the last 25 years. He devoted two albums to his music, Dear Mr. -
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. -
In 191^B Played His First Professional Job. He Bought a Sax on August 3/ and Played His First Job on September 3
PAUL BARNES 1 Reel I [of 2]--Digest-Retype June 16, 1969 Also present; Barry Martyn, Lars Edegran/ Richard B. Alien Paul Daniel Barnes, whose professional name is "Polo" Barnes/ was born November 22, 1903., in New Orleans/ Louisiana. When he was six years old, he started playing a ten cent [tin] fife. This kind of fife was popular in New Orleans. George Lewis, [Emil-e] Barnes and Sidney ^. Bechet and many others also started on the fife. In 191^B played his first professional job. He bought a sax on August 3/ and played his first job on September 3. He had a foundation from playing the fife. As a kid, he played Emile Barnes' clarinet. There were few Boehm system clarinetists then. 'PB now plays a Boehm. Around 1920 PB started playing a Boehm system clarinet, but he couldn't get the hang of it/ so he went back to the sax/ which he played until he got with big bands. He took solos on the soprano sax [and later alto sax], but not on the clarinet. He is largely self-taught. He tooT< three or four saxophone lessons from Lorenzo Tie [Jr.]. Tio was always high. PB learned clarinet from Emile Barnes. PB wanted to play like Sidney Bechet, but he couldn't get the tone. PB played tenor sax around New York/ baritone sa^( [and still occasionally alto]. [Today PB is still playing clarinet almost exclusively--RBA, June 7, 1971<] His first organized band was PB's and Lawrence Marrero's Original Diamond Orchestra. It had Bush Hall, tp/ replaced by Red Alien; Cie Frazier [d]; Lawrence [Marrero] / [bj?]. -
Johnny O'neal
OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson 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 Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society. -
Charles Ruggiero's "Tenor Attitudes": an Analytical Approach to Jazz
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2016 Charles Ruggiero's "Tenor Attitudes": An Analytical Approach to Jazz Styles and Influences Nicholas Vincent DiSalvio Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation DiSalvio, Nicholas Vincent, "Charles Ruggiero's "Tenor Attitudes": An Analytical Approach to Jazz Styles and Influences" (2016). LSU Doctoral Dissertations. 1. https://digitalcommons.lsu.edu/gradschool_dissertations/1 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]. CHARLES RUGGIERO’S “TENOR ATTITUDES”: AN ANALYTICAL APPROACH TO JAZZ STYLES AND INFLUENCES A Written Document 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 Nicholas Vincent DiSalvio B.M., Rowan University, 2009 M.M., Illinois State University, 2013 May 2016 For my wife Pagean: without you, I could not be where I am today. ii ACKNOWLEDGEMENTS I would first like to thank my committee for their patience, wisdom, and guidance throughout the writing and revising of this document. I extend my heartfelt thanks to Dr. Griffin Campbell and Dr. Willis Delony for their tireless work with and belief in me over the past three years, as well as past professors Dr. -
“Way Down Yonder in Florida…”
Volume 43 • Issue 3 March 2015 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Better known in jazz circles for his swing clarinet playing, Dave Bennett shows off his rockabilly piano chops with his Memphis Speed Kings, augmented by trombonist Bill Allred, and draws a crowd of admiring fans in the wee small hours Sunday morning at the 24th Annual Suncoast Jazz Classic in Clearwater Beach, Florida last November. Photo by Mitchell Seidel. “Way Down Yonder in Florida…” Clearwater’s once all-trad Suncoast Jazz Festival diversifies with rockabilly, country, Texas swing and more…and hits plenty of high notes. Jersey Jazz’s Mitchell Seidel reports. See story on page 26. 46TH Annual Pee Wee Russell Memorial Stomp! March 1 — Details on page 49 JerseyStoriesJazz “classic” is in the eyes (and ears) of the Beholders: The 24th Annual Suncoast Jazz Classic Story and photos by Mitchell Seidel t the Sheraton Sand and major supporters, AKey Resort in Florida, referring to an intense visitors to the lobby bar snowstorm that was might think they were covering northern New caught in some musical York as he spoke. Even time warp. The venue had more to celebrate was the been renamed “Condon’s three-day listing of various Corner” in honor of the bands from across the renowned guitarist while a country that required a roomful of people are three-page grid schedule of singing “When You’re events. “You kind of have Smiling” to a band that to check it like a racing looks like 1920s New form to see where you’re Orleans has conquered 21st going to be” Seymour said. -
SU SIGNS NAME BAND EARL BOSTIC to PLAY at 1955 JUNIOR PROM by JIM PLASTINO Earl Bostic's Background Has News Editor Been Quite Unsual, for a Popular Musician
Seattle nivU ersity ScholarWorks @ SeattleU The peS ctator 3-3-1955 Spectator 1955-03-03 Editors of The pS ectator Follow this and additional works at: http://scholarworks.seattleu.edu/spectator Recommended Citation Editors of The peS ctator, "Spectator 1955-03-03" (1955). The Spectator. 526. http://scholarworks.seattleu.edu/spectator/526 This Newspaper is brought to you for free and open access by ScholarWorks @ SeattleU. It has been accepted for inclusion in The peS ctator by an authorized administrator of ScholarWorks @ SeattleU. Remember Remember Movie SEATTLE UNIVERSITY Your Sunday Night Spectator Mite Cans Vol. XXII SEATTLE, WASHINGTON, THURSDAY, MARCH 3, 1955 No. 19 SU SIGNS NAME BAND EARL BOSTIC TO PLAY AT 1955 JUNIOR PROM By JIM PLASTINO Earl Bostic's background has News Editor been quite unsual, for a popular musician. Born in Tulsa, Okla- Oneof the nation's foremost homa, he attended Creighton Uni- music-makers, Earl Bostic, versity in Omaha for one year and will be the man on the band- then went to Xavier University in stand for Seattle U's Junior New Orleans, La., wherehe gradu- Prom, May ated with a BA degree. Both uni- 27. versities are Catholic, and a nunat Prom Chairman Mike Weber an- Xavier University is credited with nounced yesterday that the con- giving Bostic most of his musical tracts had been signed, after sev- knowledge. eral weeks of negotiations with Earl's life and work have been booking agents in Hollywood. described by some critics as "a Weber and Tom Holt, business fabulous musical career." He has manager, said that Bostic will carry eight pieces withhim for the Seattle U stopover. -
Charlie Christian
Prof. Jeff Campbell Trevor de Clercq 03/05/07 CHARLIE CHRISTIAN CHRONOLOGICAL BIOGRAPHY (based on Broadbent 2003) July 29, 1916: Charlie Christian (hereafter CC) born in Bonham, TX Father is a compressor operator in cotton mill; Mother is a hotel maid c.1918 (age 2): Father loses eyesight; Family moves to Oklahoma City, OK; Father works as a busker on the streets of the city as a guitar player 1926 (age 10): Father dies; CC inherits his father's two guitars 1928 (age 12): CC begins high school; Takes classes with Zelia N. Breaux Oil discovered in Oklahoma City 1930's (teenager): Oklahoma City is a major stopover for bands traveling east and west Deep Deuce area of Oklahoma City becomes a popular jazz neighborhood Older brother Edward becomes an established band leader Western Swing bands feature electric guitar with single-note solos 1932 (age 16): CC meets and jams with Lester Young 1933 (age 17): T-Bone Walker returns to Oklahoma City and jams with CC CC takes bass lessons with Chuck Hamilton 1934 (age 18): CC amplifies his acoustic guitar during gigs with brother Edward 1935 (age 19): CC jams with Cootie Williams as Duke Ellington comes through town CC has a regular gig with Leslie Sheffield and the Rhythmaires 1936 (age 20): CC begins touring the Plains States with various ensembles 1937 (age 21): CC acquires his first electric guitar and amp (Gibson ES150) 1938 (age 22): First recordings of jazz on an electric guitar are made Charlie Parker sees CC play in Kansas City 1939 (age 23): CC returns to Oklahoma City and fronts his own small group Benny Goodman begins recording with various electric guitarists Benny Goodman offers guitar-player Floyd Smith a contract, which is turned down by Smith's manager John Hammond, Goodman's manager, offers CC the job Aug. -
Conn Saxophone Microtuner
THE CONN SAXOPHONE MICROTUNER After a mouthpiece is placed on the neck of a saxophone it is then moved in (farther on) to raise the pitch or out to lower the pitch. The adjustment of the pitch by varying the tubing length by one method or another is common to most wind instruments. In most, if not all, cases the properties of the mouthpieces are not affected. However, as the mouthpiece of a saxophone is moved farther on the neck, the neck then protrudes farther into the mouthpiece, causing a reduction in the chamber volume of the mouthpiece. The chamber volume is believed to affect the intonation, quality, and stability of the notes produced by the saxophone. In July 1919, Conn engineer Edward J. Gulick was granted a patent for a saxophone microtuner, the primary purpose being to provide a convenient means to adjust the overall pitch of the instrument without having to move the mouthpiece on the cork. An apparently unintended benefit was that the mouthpiece chamber volume remains unaffected. This is true provided the mouthpiece is not moved relative to the cork during the tuning process. The microtuner assembly consists of a receiver, a composite piece which I will call the armature, and a collar with a retaining nut. The receiver is an integral part of the saxophone neck and has external threads to accept the collar. An early version of the receiver is shown in Figure 1. The armature is made of three parts. First is a thin-walled cylindrical brass tube which telescopes snugly into the bore of the receiver, Second is an annular flange with a larger external diameter than the receiver. -
Downbeat.Com April 2011 U.K. £3.50
£3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty 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] Classified Advertising Sales Sue Mahal 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, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, 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: Robert 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,