Council Briefed on Katerra, SMART Terminal
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Duke Ellington Kyle Etges Signature Recordings Cottontail
Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke Ellington, states that Cottontail “opened a window on the future, predicting elements to come in jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more grandiose pieces with more extended forms. -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
American Music Review the H
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Spring 2013 Invisible Woman: Vi Redd’s Contributions as a Jazz Saxophonist By Yoko Suzuki, University of Pittsburgh The story of alto saxophonist Vi Redd illustrates yet another way in which women jazz instrumentalists have been excluded from the dominant discourse on jazz history. Although she performed with such jazz greats as Count Basie, Max Roach, Dizzy Gillespie, and Earl Hines, she is rarely discussed in jazz history books except for those focusing specifically on female jazz musicians. One reason for her omission is that jazz historiography has heavily relied on commercially produced recordings. Despite her active and successful career in the 1960s, Redd released only two recordings as a bandleader, in 1962 and 1964. Reviews of these recordings, along with published accounts of her live performances and memories of her fellow musicians illuminate how Redd’s career as a jazz instrumentalist was greatly shaped by the established gender norms of the jazz world. Elvira “Vi” Redd was born in Los Angeles in 1928. Her father, New Orleans drummer Alton Redd, worked with such jazz greats as Kid Ory, Dexter Gordon, and Wardell Gray. Redd began singing in church when she was five, and started on alto saxophone around the age of twelve, when her great aunt gave her a horn and taught her how to play. Around 1948 she formed a band with her first husband, trumpeter Nathaniel Meeks. She played the saxophone and sang, and began performing professionally. -
Trumpeter Scotty Barnhart Appointed New Director of the Count Basie Orchestra
September 23, 2013 To: Listings/Critics/Features From: Jazz Promo Services Press Contact: Jim Eigo, [email protected] www.jazzpromoservices.com Trumpeter Scotty Barnhart Appointed New Director of The Count Basie Orchestra For Immediate Release The Count Basie Orchestra and All That Music Productions, LLC, is pleased to announce the appointment of Scotty Barnhart as the new Director of The Legendary Count Basie Orchestra. He follows Thad Jones, Frank Foster, Grover Mitchell, Bill Hughes, and Dennis Mackrel in leading one of the greatest and most important jazz orchestras in history. Founded in 1935 by pianist William James Basie (1904-1984), the orchestra still tours the world today and is presently ending a two-week tour in Japan. The orchestra has released hundreds of recordings, won every respected jazz poll in the world at least once, has appeared in movies, television shows and commercials, Presidential Inaugurals, and has won 18 Grammy Awards, the most for any jazz orchestra. Many of its former members are some of the most important soloists, vocalists, composers, and arrangers in jazz history. That list includes Lester Young, Billie Holiday, Harry “Sweets” Edison, Jo Jones, Frank Foster, Frank Wess, Thad Jones, Joe Williams, Sonny Payne, Snooky Young, Al Grey, John Clayton, Dennis Mackrel and others. Mr. Barnhart, born in 1964, is a native of Atlanta, Georgia. He discovered his passion for music at an early age while being raised in Atlanta's historic Ebenezer Baptist Church where he was christened by Dr. Martin Luther King, Jr.He has been a featured trumpet soloist with the Count Basie Orchestra for the last 20 years, and has also performed and recorded with such artists as Wynton Marsalis, Marcus Roberts, Frank Sinatra, Diana Krall, Clark Terry, Freddie Hubbard, The Duke Ellington Orchestra, Nat Adderley, Quincy Jones, Barbara Streisand, Natalie Cole, Joe Williams, and many others. -
Great American Jazz Series
Great American Jazz Series 1989-1991 2004-2005 • Randy Brecker • Dave Brubeck Quartet • Herbie Mann • Terry Harrington • Branford Marsalis • Medesky, Martin, and Wood • Pat Metheny • Rebecca Parris • Marvin Stamm • Kenny Garrett Quartet: Slide Hampton, Bill Watrous, and Claudio Roditi 1991-1992 • Eddie Daniels 2005-2006 • Eliane Elias • Ed Calle • Jimmy Heath Quartet • Poncho Sanchez Latin Jazz Band • Billy Taylor • Béla Fleck and the Flecktones • Clark Terry • Benny Green and Russell Malone 1992-1993 2006-2007 • John Abercrombie • Diane Schuur • Ramsey Lewis • Christian McBride Band • Jim Pryor • Yellowjackets • Marcus Roberts • Doc Severinsen • Jiggs Whigham • Joe Williams 2007-2008 • Cassandra Wilson • Bunky Green • Kurt Elling 1993-1994 • Eddie Gomez Trio with Jimmy Cobb • Brecker Brothers • Mike Stern Trio with Dave Weckl • Kenny Burrell • Tim Hagans • Paquito D’ Rivera • Arturo Sandoval 2008-2009 • Diane Schuur • Dave Douglas • United States Air Force Airmen of Note • Gary Burton • Maria Schneider 1994-1995 • The Mingus Big Band • Louis and Dee Dee Bellson • Dave Brubeck Quartet 2009-2010 • Bunky Green • Carl Allen/Rodney Whitaker Project • Joe Henderson • Bob Bednar • James Moody • Terence Blanchard • Dianne Reeves • Joe Lovano • Kim Richmond & Clay Jenkins 1995-1996 • Toshiko Akiyoshi and Lew Tabakin 2010-2011 • Carmen Bradford and Mulgrew Miller • Scotty Barnhart • Mercer Ellington • John Clayton, Jeff Clayton, and Jeff Hamilton • Herbie Hancock • John Pizzarelli • Tommy Newsom • Richard Stoltzman 1996-1997 2011-2012 • Buddy DeFranco -
Mingus Big Band Teacher Resource Guide 3 3 Table of Contents the University Musical Society’S 2000 - 2001 Youth Education Program
1 1 university musical society 2000-2001 youth education mingus big band teacher resource guide 3 3 Table of Contents the university musical society’s 2000 - 2001 youth education program mingus big band youth performance tuesday, january 16, 2001 hill auditorium, ann arbor Performances of the Mingus Big Band are sponsored by the Detroit Edison Foundation. The media sponsors are WEMU 89.1 FM and WDET 101.9FM. Presented with support from JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts. This performance is co-presented by the U-M Office of Multicultural Initiatives. We are grateful for Youth Education support from the following organizations: Ford Motor Company Fund, Michigan Council for Arts and Cultural Affairs, Heartland Arts Fund, AAA Michigan, Alcan Automotive Products, Ann Arbor Area Community Foundation African-American Endowment Fund, Association of Performing Arts Presenters, Charles Reinhart Company Realtors, Community Foundation of Southeastern Michigan, Consumers Energy Foundation, Detroit Edison Foundation, Doris Duke Charitable Foundation, Dow Automotive, J.F. Ervin Foundation, The Ford Foundation, Forest Health Services / Mary and Randall Pittman, Café Marie / David Loesel, Masco Corporation, Friends of Robert Meredith, National Endowment for the Arts, Pfizer Global Research and Development, Ann Arbor Laboratories, Target, Texaco Foundation, UMS Advisory Committee, Office of the Provost - University of Michigan, and the Wallace-Reader’s Digest Funds. This study guide is a production of the University Musical Society’s Department of Education and Audience Development. It was compiled by Jennie Salmon, Shaila Guthikonda, Kate Meyer, Kristin Fontichiaro, and Ben Johnson. -
Extensions of Remarks
2068 EXTENSIONS OF REMARKS February 10, 1983 EXTENSIONS OF REMARKS PET OWNERSHIP FOR THE EL trained to pick up dropped objects, and he had to turn to public housing, DERLY AND HANDICAPPED-A carry things from one person to an Tammy, was not allowed in. Frank is RIGHTFUL NEED IN FEDERAL other, fetch a newspaper and bark on now forced to hide Tammy until some LY FUNDED HOUSING command for protection or as a call one can be found to adopt the aging for help. Dogs serving the deaf and animal; if not, then he must be put to HON. MARIO BIAGGI disabled are legally recognized in Ari sleep. A humane solution for Tammy, OF NEW YORK zona and California and have the same perhaps, but certainly not for Frank. IN THE HOUSE OF REPRESENTATIVES privileges as seeing eye dogs. As the rental housing demand inten One of the more significant demo sifies, so too does the pressure mount Thursday, February 10, 1983 graphic factors identified in the 1980 for vacancies to be established and too • Mr. BIAGGI. Mr. Speaker, as an census was the dramatic increase in often it is the elderly and disabled original member of the House Select the number of elderly persons living tenant who owns a pet who receives Committee on Aging, I have today re alone. Today in this country, there are the notice for eviction. introduced legislation of special impor 7. 7 million persons aged 65 and over It is important to note that my legis tance to me. The bill would prohibit living alone-this number is roughly lation fully recognizes that pet owner Federal housing assistance to any one-third of the total number of elder ship is not a right without responsibil housing project for the elderly and ly people in this Nation. -
Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures. -
6. Count Basie's Cleveland Connections
6. Count Basie's Cleveland Connections illiam Basie, pianist and bandleader, was not a In his autobiography, Good Morning Blues, Basie Clevelander, but he certainly perfonned recalled he married the girl from Cleveland in 1943 in Wfrequently in Cleveland and hired a number of Seattle. Their honeymoon was a series ofone-night band Clevelanders to play in his swinging band. Basie' s appearances. strongest tie to Cleveland is frequently forgotten. He The Basie band was working in New York when Katy married a girl from Cleveland and their only child was was about to have a baby. She returned to Cleveland and born here. stayed with her parents. Katy and Bill Basie's only child, Diane Basie, was born in Cleveland. He rushed to Catherine Morgan Basie Cleveland to be with his wife and Catherine Morgan left Cleveland daughter. at the age of 16 in 1931 to become a Later, when they rejoined Basie in dancer. She joined a very popular New York, he said he had vivid vaudeville act, the Whitman Sisters. memories of seeing Katy getting off She was one of three girls in the the plane from Cleveland carrying dance company who called their baby. He said, "It was a special themselves "The Snake Hips thrill bringing my family home from Queens." When they appeared at the the airport that day, Old Base, his Lafayette Theatre in New York City, wife and daughter." there was a jazz band from Kansas They moved into an apartment City on the same bill. The young building near New York' s Central dancer from Cleveland noticed the Park. -
Thad Jones Chronology Copy
Thad Jones Chronology Compiled by David Demsey • 1923/March 28 - Born, Pontiac Michigan; father a lumber inspector for General Motors, had moved to MI from Vicksburg, MS. One of ten children – Thad: “We lost one sister in a drowning accident, and Elvin had a twin brother that died at an early age, but the remaining eight survive.” (Source: liner of H. Jones Have You Met This Jones?) • Professional career began during high school (later 1930s) • C. 1936-7, started to play trumpet at age 14 • C. 1936 in Arcadia Club Band in Pontiac, MI, led by trumpet-playing uncle Bill; band also contained Hank Jones • C. 1939, Formed The Hungry Five, played school dances; contained pianist Vivian Scott, tenorist Dan Turner • Last year in high school (1939?) played in 13-piece band in Saginaw, MI; had first contact with Big Nick Nicolas and Sonny Stitt, formed group with others from Flint, MI, went on road for 2.5 years, broke up in Indianapolis • 1941 traveling with Connie Cornell band through South • 1943 in Dallas for about six months, with band led by altoist Red Calhoun • 1943/December-April 1946 – U.S. Army; first big band experience in G.I. band led by Jack Teagarden, Jr.; arranged for G.I. band that toured with the show “Bedtime Stories” • 1946, formed own band in Oklahoma City • 1946, played in Des Moines with Harold and Seymour Gray for 7 months • 1948, recorded Swing, Not Spring, w/Billy Mitchell, Terry Pollard, piano/vibes; James Richardson? Alvin Jackson?, b; Elvin Jones, d. • 1950-53 formed group with tenor saxophonist Billy Mitchell, also -
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 -
Download the Entire Issue (PDF)
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Sprimg 2013 “Live From The East”: Pharoah Sanders in Brooklyn By Jeffrey Taylor, Brooklyn College, CUNY Though for most jazz historians Brooklyn remains in the shadow of Manhattan, two previous articles in this journal have documented a robust tradition that can be traced back as far as performances by The Creole Band at Coney Island in 1915.1 Though often paralleling musical developments across the East River, Brooklyn jazz has also been shaped by the unique dynamic of the borough’s ethnic and racial makeup, as well as the very spe- cial qualities of its many, often insular, neighborhoods.2 The historically black neighborhood of Bedford-Stuyvesant in central Brooklyn, or “Bed-Stuy” as it is more commonly referred to, has long been a center of jazz, with its “Golden Age” of the 1940s and 1950s seeing performances by first-tier jazz musicians, includ- ing Miles Davis, Dizzy Gillespie, Thelonious Monk, and many oth- ers. Though the popular imagination may now see Bed-Stuy primar- ily as a backdrop for Spike Lee movies, it boasts a black presence that goes far back into the 19th century, with the establishment of communities of freedmen in places such as Weeksville—now part of neighboring Crown Heights. With the construction of the A train in the mid-1930s, which connected Bed-Stuy with Harlem, the neigh- borhood became a cultural mecca that rivaled Manhattan’s larger and more famous African American community.