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Discography of the Mainstream Label
Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet -
TOSHIKO AKIYOSHI NEA Jazz Master (2007)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOSHIKO AKIYOSHI NEA Jazz Master (2007) Interviewee: Toshiko Akiyoshi 穐吉敏子 (December 12, 1929 - ) Interviewer: Dr. Anthony Brown with recording engineer Ken Kimery Dates: June 29, 2008 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript 97 pp. Brown: Today is June 29th, 2008, and this is the oral history interview conducted with Toshiko Akiyoshi in her house on 38 W. 94th Street in Manhattan, New York. Good afternoon, Toshiko-san! Akiyoshi: Good afternoon! Brown: At long last, I‟m so honored to be able to conduct this oral history interview with you. It‟s been about ten years since we last saw each other—we had a chance to talk at the Monterey Jazz Festival—but this interview we want you to tell your life history, so we want to start at the very beginning, starting [with] as much information as you can tell us about your family. First, if you can give us your birth name, your complete birth name. Akiyoshi: To-shi-ko. Brown: Akiyoshi. Akiyoshi: Just the way you pronounced. Brown: Oh, okay [laughs]. So, Toshiko Akiyoshi. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Akiyoshi: Yes. Brown: And does “Toshiko” mean anything special in Japanese? Akiyoshi: Well, I think,…all names, as you know, Japanese names depends on the kanji [Chinese ideographs]. Different kanji means different [things], pronounce it the same way. And mine is “Toshiko,” [which means] something like “sensitive,” “susceptible,” something to do with a dark sort of nature. -
Guest Artist Recital: Sara Caswell, Jazz Violin Sara Caswell
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-22-2003 Guest Artist Recital: Sara Caswell, jazz violin Sara Caswell Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Caswell, Sara, "Guest Artist Recital: Sara Caswell, jazz violin" (2003). All Concert & Recital Programs. 3044. https://digitalcommons.ithaca.edu/music_programs/3044 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Improvisation and You Series "Brown Bag Jazz Lunch Concert" Sara Caswell, jazz violin and IC Rhythm Section Steve Brown, guitar Adam Kurland, piano Brian Krauss, bass Tom Kline, drums Swingin' At The Haven Ellis Marsalis Isfahan Edward Kennedy "Duke" Ellington/Billy Strayhorn Useless Landscape Antonio Carlos Jobim/Joao Gilberto Voyage Kenny Barron It Could Happen To You Johnny Burke/Jimmy Van Heusen Kentucky Oysters David Baker Sometime Ago Sergio Mihanovich First Song Charlie Haden Wail Bud Powell or e Fury Sara Caswell Theodore Presser Foundation Rehearsal Hall Tuesday, April 22, 2003 12:00 M. Sara Caswell is an award-winning classical and jazz violinist who spent her formative years under the tutelage of two internationally renowned teachers: Josef Gingold en classical violin and David Baker on jazz improvisation. Her success in both arenas has led Baker to refer to Ms. Caswell as "a brilliant world-class violinist en the threshold of a major career as a classical solo artist" as well as "one of the very best of the present generation of emerging young jazz stars." A graduate o~ Indiana University, which she attended under full scholarship as a Well's Scholar, Sara received Bachelor of Music degrees with High Distinction and an Artist Diploma in both classical violin performance and jazz studies. -
Robert GADEN: Slim GAILLARD
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN -
Oshman Family JCC Welcomes the John Pizzarelli Quartet
MEDIA ALERT Oshman Family JCC Welcomes the John Pizzarelli Quartet Who: Famed jazz guitarist and singer John Pizzarelli, one of the prime interpreters of the Great American Songbook. What: Performing in concert When: Friday, December 11 | 8:00 PM Where: Schultz Cultural Arts Hall of the Oshman Family JCC in Palo Alto, CA Why: Pizzarelli has been called “madly creative” by the Los Angeles Times and “the genial genius of the guitar” by the Toronto Star. After his smash success with the Boston Pops, he was hailed by the Boston Globe for “reinvigorating the Great American Songbook and re-popularizing jazz.” The Seattle Times called him “a tour de force” and “a rare entertainer of the old school.” Using performers like Nat “King” Cole, Frank Sinatra and Joao Gilberto and the songs of composers from Richard Rodgers, George Gershwin to James Taylor, Antonio Carlos Jobim and Lennon & McCartney as touchstones, John Pizzarelli has established himself as one of the prime interpreters of the Great American Songbook and beyond, bringing to his work the cool jazz flavor of his brilliant guitar playing and singing. In addition to being a bandleader and solo performer, John has been a special guest on recordings for major pop artist such as James Taylor, Natalie Cole, Kristin Chenoweth, Tom Wopat, Rickie Lee Jones and Dave Von Ronk, as well as leading jazz artists like Rosemary Clooney, Ruby Braff, Johnny Frigo, Buddy DeFranco, Harry Allen and, of course, Bucky Pizzarelli. He was featured opposite Donna Summer, Jon Secada and Roberta Flack on the GRAMMY® Award-winning CD, Songs from the Neighborhood: The Music of Mr. -
Lancaster County, PA Archives
Fictitious Names in Business Index 1917-1983 Derived from original indexes within the Lancaster County Archives collection 1001 Hobbies & Crafts, Inc. Corp 1 656 1059 Columbia Avenue Associates 15 420 120 Antiquities 8 47 121 Studio Gallery 16 261 1226 Gallery Gifts 16 278 1722 Motor Lodge Corp 1 648 1810 Associates 15 444 20th Century Card Co 4 138 20thLancaster Century Housing County,6 PA332 Archives 20th Century Television Service 9 180 222 Service Center 14 130 25th Hour 14 43 28th Division Highway Motor Court 9 225 3rd Regular Infantry Corp 1 568 4 R's Associates 16 227 4 Star Linen Supply 12 321 501 Diner 11 611 57 South George Street Associates 16 302 611 Shop & Gallery 16 192 7 Cousins Park City Corp 1 335 78-80 West Main, Inc. Corp 1 605 840 Realty 16 414 A & A Aluminum 15 211 A & A Credit Exchange 4 449 A & B Associates 13 342 A & B Automotive Warehouse Company Corp 1 486 A & B Electronic Products Leasing 15 169 A & B Manufacturing Company 12 162 A & E Advertising 15 54 A & H Collectors Center 12 557 A & H Disposal 15 56 A & H Drywall Finishers 12 588 A & L Marketing 15 426 A & L Trucking 16 358 A & M Enterprises 15 148 A & M New Car Brokers 15 128 A & M Rentals 12 104 A & P Roofing Company 14 211 A & R Flooring Service 15 216 A & R Nissley, Inc. Corp 1 512 A & R Nissley, Inc. Corp 1 720 A & R Nissley, Inc. Corp 2 95 A & R Tour Services Co. -
HA-Bio New 2010
Howard Alden- Jazz Guitarist “He may be the best of his generation,” writes Owen Cordle in JAZZ TIMES. George Kanzler of the NEWARK STAR LEDGER proclaims that he is “the most impressive and creative member of a new generation of jazz guitarists.” And Chip Deffaa of the NEW YORK POST observes that he is “ ...one of the very finest young guitarists working today.” It seems that the only thing regarding Howard Alden on which the critics have debate is whether the remarkable jazz guitarist is one of the best or simply the best. Born in Newport Beach, California, in 1958, Howard began playing at age ten, inspired by recordings of Louis Armstrong, Count Basie and Benny Goodman, as well as those by guitarists Barney Kessel, Charlie Christian, Django Reinhardt and George Van Eps. Soon he was working professionally around Los Angeles playing in groups ranging from traditional to mainstream to modern jazz. In 1979, Alden went east, for a summer in Atlantic City with vibraphone legend Red Norvo, and continued to perform with him frequently for several years. Upon moving to New York City in 1982, Aldenʼs skills, both as soloist and accompanist, were quickly recognized and sought-out for appearances and recordings with such artists as Joe Bushkin, Ruby Braff, Joe Williams, Warren Vache` and Woody Herman. He has continued to win accolades from critics and musicians alike, adding Benny Carter, Flip Phillips, Mel Powell, Bud Freeman, Kenny Davern, Clark Terry, Dizzy Gillespie and George Van Eps, as well as notable contemporaries such as Scott Hamilton and Ken Peplowski to his list of impressive credits. -
Contents About the Author
2 THE SERIOUS GUITARIST | EsseNtiaL BOOK OF Gear CONTENTS About the Author ..................................................... 3 2000 and Beyond ............................................38 Part 3: The Technical Stuff ..................................82 Introduction .............................................................. 4 Amp Modeling ...............................................39 The Science of Sound .....................................82 Guitar Apps ...................................................39 Vibrations........................................................82 Part 1: The History of Guitar Gear ...................... 5 8- and 9-String Guitars ...............................39 Amplitude and Types of Waves .................82 The1930s ............................................................. 5 Guitar-Based Video Games ......................40 Overtones (Harmonics) ..............................82 The First Electric Guitars .............................. 5 Look, Ma, No Amp! ......................................40 Modulation .....................................................83 The First Amplifiers ........................................ 6 Fractal Audio Systems Axe-FX II ..............40 The Order of Effects ....................................83 Early 7-String Guitar ...................................... 8 Looking Ahead ..............................................41 Understanding Guitar Amps ..........................84 Early Talk Box .................................................. 8 Tube Amps .....................................................84 -
June 2020 Volume 87 / Number 6
JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
Polish Musicians Merge Art, Business the INAUGURAL EDITION of JAZZ FORUM SHOWCASE POWERED by Szczecin Jazz—Which Ran from Oct
DECEMBER 2019 VOLUME 86 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
334 XIII. Revivals and Recreations; The
XIII. Revivals and Recreations; The Sociology of Jazz By the early 1970s, as we have seen, jazz was in a state of stylistic chaos. This was one reason why the first glimmers of “smooth jazz” came about as both an antidote to fusion and an answer to “outside jazz.” But classical music was also in a state of chaos. The majority of listen- ers had become sick of listening to the modern music that had come to dominate the field since the end of World War II and had only become more abrasive and less communicative to a lay audience. In addition, the influx of young television executives in that period had not only led to the cancellation of many well-loved programs who they felt only appealed to an older audience demographic, but also the chopping out of virtually all arts programming. Such long-running programs as The Voice of Firestone and The Bell Telephone Hour were already gone by then. Leonard Bernstein had been replaced at the New York Philharmonic by Michael Tilson Thomas, an excellent conductor but not a popular communicator, and thus CBS’s “Young People’s Con- certs” no longer had the same appeal. In addition, both forms of music, classical and jazz, were the victims of an oil shortage that grossly affected American pressings of vinyl LPs. What had once been a high quality market was now riddled with defective copies of discs which had blis- ters in the vinyl, scratchy-sounding surfaces and wore out quickly. Record buyers who were turned off by this switched to cassette tapes or, in some cases, the new eight-track tape format. -
The Jody Williams Story
THE JODY WILLIAMS STORY Howlin’ Wolf, Jody Williams, Earl Phillips and Hubert Sumlin. Chicago circa mid 1950s. From the B&R Archives. Interview by Mike Stephenson y name is Joseph Leon Williams, that’s the styles because some of the people who were around also impressed me. People who I played with I’d pick up a little bit here and there because at that name my mother gave me. I’ve been called age I was trying to learn all I could. When I got started on guitar, Bo Diddley a little of everything over the years, but taught me how to tune the guitar to an open E. He taught me how to play the M bass background but his playing was limited, I wanted to learn more. I was Jody is a nickname. When I started recording, if hungry for knowledge on the guitar so I would hang around in the clubs and they had put Joe Williams on the record they might stuff like that. You could say I was getting on the job training. have confused me with the singer Joe Williams I started to come into contact with more and more people. I don’t recall how I got into the studio but I went to Chess Studios first around 1956. Willie Dixon who was with Count Basie! So people would have helped me. This is the guy who wrote many tunes, matter of fact he wrote the been buying his recordings thinking it was me and first tune that I recorded and he’s playing on it – ‘Lookin’ For My Baby’ (Blue Lake 116).