DOCSLIB.ORG

U.K. Telegraph: 100 Best Jazz Recordings (Pdf)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
U.K. Telegraph: 100 Best Jazz Recordings (Pdf) 4 Jelly Roll Morton: grace of amuch smaller group. Volumes 1-5 (JSP 1926- Sevendecades later,this music 1930) deleted still sounds fresh minted. Jelly Roll wasapool-shark, 11 Billie Holiday&Lester hustler and pimp, but also the Young: AMusical finest pianist to come out of Romance (Columbia 1937- Telegraph NewOrleans and the first great 57) £5.86, RRP £8.99 composer/arranger in jazz, Holiday’s voice and Young’s above all in these recordings. saxophone made awonderfully 5 JohnnyDodds: compatible musical couple, both 100 DefinitiveDodds (Retrieval wry,tender,vulnerable and 1926-7) £10.76, RRP £11.99 beautiful. This compilation 18:33:52; Skirling and insistent in the contains some of their most upper register,plumyand fluid delightful encounters, plus one in the lower, Dodds’s clarinet poignant reunion. 2009 wasamong the most 12 DjangoReinhardt and e compelling voices to emerge Stéphane Grappelli: 03, b st from NewOrleans. Swing from Paris (ASV 6 Louis Armstrong: The 1935-39) £6.84, RRP £8.99 Nov Complete Hot Fiveand Reinhardt’s Roma guitar and Hot SevenRecordings Grappelli’s lilting violin both draw (Columbia 1925-9) deleted on European musical traditions, The Old Testament of jazz in but fuse with American jazz in a Date: j which the youthful Louis combination that is propulsive, Armstrong emergeslikea filled with joie de vivre and is a prophet, filled with powerand just irresistible. mm); z glorious eloquence. His example 13 BennyGoodman: At z influenced almost all of 20th- Carnegie Hall 1938 century popular music. (Columbia 1938) deleted recordings 7 Fletcher Henderson: This renowned concert marked 311.00 ILLUSTRATIONS JiM FLORa Tidal Wave (GPR 1930) the arrival of big-band jazz as x From Ella to Billie, Coltrane to Ellington, NewOrleans £9.78, RRP £10.99 the major form in popular music. With performances such as It also includes aspontaneous to newworld… To mark the start of the London Jazz Down South Camp Meetin’ masterpiece in the piano (included on this), Henderson’s improvisation by Jess Stacy Festival, Martin Gayfordselects the heart-stopping, band led the way to the big era. on Sing, Sing, Sing. hellzapoppin’ music no fanshould be without He also employedsome of the 14 Fats Waller: The Best best soloists in NewYork, of Fats Waller (RCA ecorded jazz is still under acenturyold, butin 1 King Oliver: King Coleman Hawkins 1929-42) deleted Format:(230.00 alittle overnine decades an enormous quantity Oliver’s Creole Jazz Band: among them. Waller wasamaster Rof music has amassed.To absorb and assess even The Complete Set (1923- 8 Duke pianist in the asubstantial proportion of it requires alifetime of listening. 24) Retrieval, £12.72, RRP Ellington: driving Harlem What follows is astrictly chronological roll-call of £14.99 Masterpieces style known as acknowledged jazz masterpieces, together with –itis Listen through the dim and 1926-1949 ‘stride’, but he was hoped –some outstanding performances that will be less distant acoustic sound –the (Proper Box25) also agreat spirit: familiar even to adedicated fan. It’sworth noting that early first great series of jazz £16.62, RRP £16.99 carefree, insouciant ORa jazz, and agreat deal of the classic middle period, too,is recordings –and youwill It’s impossible to choose and Falstaffian. FL nowout of copyright and sometimes available in a encounter the intricate and from the cornucopia of 15 Lionel Hampton and MEs Ja bewildering variety of permutations.The reissues noted joyous sound of NewOrleans at magnificent explorations of his Orchestra: 1938-9 F aremerely suggestions. its absolute peak. mood and tone-colour that (Classics) £10.76, RRP EO TaT 2 Bessie Smith: Complete Dukerecorded between the late £10.99 Es The London Jazz Festival runs from this Fridayuntil Recordings (FrogVols 1-8 Twenties and the mid-Forties. Hampton, the first vibes THE © This compilation has manyof virtuoso, wasthe leader on ; November 22 at venues throughout the capital. Call 020 1923-33), deleted OM 7324 1880 or visit www.londonjazzfestival.org.uk for Bessie Smith’s recording of the the best. some of the most infectiously further information Twenties –accompanied by 9 Spike Hughes &Benny high-spirited small-group jazz ORa.C JiMFL such musicians as Louis Carter: 1933 (Retrieval) recordings of the swing era y to Armstrong, James PJohnson £10.76, RRP £10.99 featuring various star soloists. TEs up uR Howtobuy these CDs forupto30% off and the sweet-toned trumpeter The British arranger produced 16 Coleman Hawkins: CO 30% Joe Smith –have amatchless some of the most beguiling Body and Soul: The discount ORBis; The Telegraph CD Shop is offering manyofthe CDs stateliness of delivery and arrangements of the early Complete Victor 1012CC-RVUSJ-1-081109-A012C-XX.pdf; on these pages at aspecial discounted price. monumental vocal strength. swing era, performed in New Recordings 1939-56 Call 0844 871 1519 MaNN/C 3 Bix Beiderbecke: Bix York with magnificent solos (RCA)deleted or visit telegraph.co.uk/top100jazz BETT &Tram (JSP 1926-29) from Carter,Coleman Hawkins, Hawkins wasthe first to make The choices marked ‘deleted’ can be purchased or downloaded through the following websites: Amazon.co.uk, £16.62, RRP £17.99 and the trombonist Dicky Wells. great jazz on the tenor ORBis; amazon.com, play.com, the bebopshop.com, discovery- Beiderbeckewas the doomed 10 Count Basie: The saxophone and the first master iON/C Document: records.com; or listen at last.fm Scott Fitzgerald of music. But Original American Decca of the romantic ballad, never CT Terms &conditions Please add 99p p&p per order (call foroverseas postagerates). Fax LLE 01634 832234. Lines areopen 8am-6pm, MondaytoFriday; 10am-4pm Saturdayand beforethe whisky killed him, he Recordings (MCA 1937-39) moreopulently than in his 1939 CO Sunday. Calls cost no morethan 3p per minute from BT landlines (other networksmay vary). introduced anew mood into jazz deleted performance of Body and Soul. sCH Please makecheques payable to ‘The Telegraph’ and send order with payment to: Top100 uT Jazz CDs, Telegraph Music, PO Box2000, Rochester ME1 1TA. Please allow21daysfor –romantic, wistful –onthese Basie’s big band had a 17 SidneyBechet: Jazz delivery.Products arepurchased from, and your contract is with, NMP Ltd not Telegraph N-DE Media Group Limited. performances with the propulsivebeat, acluster of Classics Vols 1&2(1939- TO saxophonist Frankie Trumbauer. great soloists and the easy 51) deleted HuL | 12 | SEVEN | 08.11.09 | telegraph.co.uk seven About the artist:how Jim Flora made jazz come alive ames (Jim) Flora, who drew the wonderful Jillustrations on these pages, created caricatures of jazz legends forColumbia and RCAVictor Records in the Telegraph Forties and Fifties. He lavished album sleevesand print ephemerawith outrageous portraits of jazz giants Louis Armstrong, Gene Krupa, Bing Crosby, BennyGoodman and dozens of their swing and bop-erabrethren. Florareduced these immortals to farcical creatures, with fried-egg eyes, bedspread-pattern skin tints and bonus limbs. ‘I had no idea of likeness at all,’heonce said. ‘I alwaysthought that the 18:24:02; musicians did their thing and it wasmyturn to do my thing.’ Flora(1914-1998) left alegacyofpaintings, sketches, woodcuts and illustrations reflecting this passion forjazz. He recalled aFifties episode: ‘I spent four hours 2009 sketching aDukeEllington recording session. Dukeand Billy Strayhorn were working on atune and couldn’t getitright. Theywould write, then call in the band 03, –who were reading or smoking cigarettes –and the band would play, but it wasn’t right. After four hours, theyhad not recorded one sound. In the end theyrecorded Nov this newpiece and it wasfabulous. And Ihad abunch of sketches.’ Together with BarbaraEconomon, Ihave compiled three anthologies of Flora’s album covers, bizarrewoodcuts and curiously sinister fine art. His work can be viewedand purchased atJimFlora.com and at jimflora.blogspot.com. Date: IRWIN CHUSID mm); Bechet, aclarinettist and anew sensibility into big-band 23 Thelonious Monk: 27 Ella Fitzgerald: asummation of the musical soprano saxophonist, had, to swing –inshort, he invented Genius of Modern PureElla (1950-54) tradition of his nativetown, agreater extent than anyother musical cool. His early Music Vols I&2 deleted Kansas City. performer,that mixtureof recordings, mostly on here, (Blue Note, Ella’s voice wasata 32 The Jazz Messengers: 311.00 arrogance, elation and power remain extraordinarily fresh. 1947-52) Vol1 peak of creamy At the Café Bohemia Vols x known as the ‘rooster crow’. 20 Charlie Christian: The £8.80, RRP perfection when I&2(1955) Vol1£9.78, RRP 18 Jelly Roll Morton: The Genius of the Electric £8.99, Vol2 she made these £9.99, Vol2£9.78, RRP £9.99 Library of Congress Guitar (SonyLegacy1939- £8.80, RRP £8.99 sides with only Drummer Art Blakey led the Recordings (Rounder 41) deleted On these early the dulcet piano Messengers, asort of elite 1938) deleted Christian had atantalisingly sessions Monk gives the accompaniment of Ellis academyofmodern jazz, Jelly Roll’s reminiscences, brief career during which he impression of reinventing music, Larkins: asuperb recital through manyincarnations – spoken, sung and playedinto effectively introduced anew slightly different from the way it of American popular song. none moreimpressivethan this amicrophone areaunique instrument –the electric wasbefore; each piece is tart, 28 Sarah Vaughan: early quintet version, stretching Format:(230.00 autobiographyinsound – guitar –into jazz and a compressed and abit startling. Complete Recordings out at aNew York club. colourful, outrageous, boastful, distinctivestyle, punchyand 24 Miles Davis: Birth of with CliffordBrown (Lone 33 CliffordBrown/Max beautiful and apiece of declamatory.Every note he the Cool (1948-50) £10.76, Hill 1954) deleted Roach: At Basin Street Americana to rank with playedwas memorable. RRP £12.99 With an opera-singer’s range (Emarcy 1956) £9.78, RRP Huckleberry Finn. 21 Charlie Parker: The Bebop wasfast and hot.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Part 2 of Selected Discography
    Part 2 of Selected Discography Milt Hinton Solos Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. This is a chronological list of representative solos by Hinton as a sideman in a variety of settings throughout his career. Although not definitive, Milt was such a consistent soloist that one could cite many other equally accomplished performances. In some cases, particularly from the 1930s when bass solos were relatively rare, the recordings listed contain prominent bass accompaniment. November 4, 1930, Chicago Tiny Parham “Squeeze Me” (first Hinton recording, on tuba) 78: Recorded for Victor, unissued CD: Timeless CBC1022 (Tiny Parham, 1928–1930) January–March 1933, Hollywood Eddie South “Throw a Little Salt on the Bluebird’s Tail” (vocal) “Goofus” CD: Jazz Oracle BDW8054 (Eddie South and His International Orchestra: The Cheloni Broadcast Transcriptions) May 3, 1933, Chicago Eddie South “Old Man Harlem” (vocal) 78: Victor 24324 CD: Classics 707 (Eddie South, 1923–1937) June 12, 1933, Chicago Eddie South “My, Oh My” (slap bass) 78: Victor 24343 CD: Classics 707 (Eddie South, 1923-1937) March 3, 1937 Cab Calloway “Congo” 78: Variety 593 CD: Classics 554 (Cab Calloway, 1934–1937) January 26, 1938 Cab Calloway “I Like Music” (brief solo, slap bass) 78: Vocalion 3995 CD: Classics 568 (Cab Calloway, 1937–1938) August 30, 1939 Cab Calloway “Pluckin’ the Bass” (solo feature —slap bass) 78: Vocalion 5406 CD: Classics
    [Show full text]
  • 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.................................................................
    [Show full text]
  • Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
    Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements for the degree of Master of Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney.
    [Show full text]
  • ألبوù… (الألبوù…ات & الجØ
    Lee Konitz ألبوم قائمة (الألبوم ات & الجدول الزمني) Jazz Nocturne https://ar.listvote.com/lists/music/albums/jazz-nocturne-30595290/songs Live at the Half Note https://ar.listvote.com/lists/music/albums/live-at-the-half-note-25096883/songs Lee Konitz with Warne Marsh https://ar.listvote.com/lists/music/albums/lee-konitz-with-warne-marsh-20813610/songs Lee Konitz Meets Jimmy Giuffre https://ar.listvote.com/lists/music/albums/lee-konitz-meets-jimmy-giuffre-3228897/songs Organic-Lee https://ar.listvote.com/lists/music/albums/organic-lee-30642878/songs https://ar.listvote.com/lists/music/albums/lee-konitz-meets-warne-marsh-again- Lee Konitz Meets Warne Marsh Again 28405627/songs Subconscious-Lee https://ar.listvote.com/lists/music/albums/subconscious-lee-7630954/songs https://ar.listvote.com/lists/music/albums/an-image%3A-lee-konitz-with-strings- An Image: Lee Konitz with Strings 24966652/songs Lee Konitz Plays with the Gerry https://ar.listvote.com/lists/music/albums/lee-konitz-plays-with-the-gerry-mulligan- Mulligan Quartet quartet-24078058/songs Anti-Heroes https://ar.listvote.com/lists/music/albums/anti-heroes-28452844/songs Alto Summit https://ar.listvote.com/lists/music/albums/alto-summit-28126595/songs Pyramid https://ar.listvote.com/lists/music/albums/pyramid-28452798/songs Live at Birdland https://ar.listvote.com/lists/music/albums/live-at-birdland-19978246/songs Oleo https://ar.listvote.com/lists/music/albums/oleo-28452776/songs Very Cool https://ar.listvote.com/lists/music/albums/very-cool-25096889/songs
    [Show full text]
  • JAZZ WORTH READING: “THE BOSTON JAZZ CHRONICLES: FACES, PLACES and NIGHTLIFE 1937-1962″ Posted on February 20, 2014
    From Michael Steinman’s blog JAZZ LIVES MAY YOUR HAPPINESS INCREASE. Jazz: where "lives" is both noun and verb JAZZ WORTH READING: “THE BOSTON JAZZ CHRONICLES: FACES, PLACES AND NIGHTLIFE 1937-1962″ Posted on February 20, 2014 Some of my readers will already know about Richard Vacca’s superb book, published in 2012 by Troy Street Publishing. I first encountered his work in Tom Hustad’s splendid book on Ruby Braff, BORN TO PLAY. Vacca’s book is even better than I could have expected. Much of the literature about jazz, although not all, retells known stories, often with an ideological slant or a “new” interpretation. Thus it’s often difficult to find a book that presents new information in a balanced way. BOSTON JAZZ CHRONICLES is a model of what can be done. And you don’t have to be particularly interested in Boston, or, for that matter, jazz, to admire its many virtues. Vacca writes that the book grew out of his early idea of a walking tour of Boston jazz spots, but as he found out that this landscape had been obliterated (as has happened in New York City), he decided to write a history of the scene, choosing starting and ending points that made the book manageable. The book has much to offer several different audiences: a jazz- lover who wants to know the Boston history / anecdotal biography / reportage / topography of those years; someone with local pride in the recent past of his home city; someone who wishes to trace the paths of his favorite — and some obscure — jazz heroes and heroines.
    [Show full text]
  • Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
    Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect.
    [Show full text]
  • Powell, His Trombone Student Bradley Cooper, Weeks
    Interview with Benny Powell By Todd Bryant Weeks Present: Powell, his trombone student Bradley Cooper, Weeks TBW: Today is August the 6th, 2009, believe it or not, and I’m interviewing Mr. Benny Powell. We’re at his apartment in Manhattan, on 55th Street on the West Side of Manhattan. I feel honored to be here. Thanks very much for inviting me into your home. BP: Thank you. TBW: How long have you been here, in this location? BP: Over forty years. Or more, actually. This is such a nice location. I’ve lived in other places—I was in California for about ten years, but I’ve always kept this place because it’s so centrally located. Of course, when I was doing Broadway, it was great, because I can practically stumble from my house to Broadway, and a lot of times it came in handy when there were snow storms and things, when other musicians had to come in from Long Island or New Jersey, and I could be on call. It really worked very well for me in those days. TBW: You played Broadway for many years, is that right? BP: Yeah. TBW: Starting when? BP: I left Count Basie in 1963, and I started doing Broadway about 1964. TBW: At that time Broadway was not, nor is it now, particularly integrated. I think you and Joe Wilder were among the first to integrate Broadway. BP: It’s funny how it’s turned around. When I began in the early 1960s, there were very few black musicians on Broadway, then in about 1970, when I went to California, it was beginning to get more integrated.
    [Show full text]
  • Good Morning Blues
    STJHUMRev Vol. 1-1 1 Good Morning Blues: The Autobiography of Count Basie as told to Albert Murray, with a new introduction by Dan Morgenstern Da Capo Press, 2002 $17.50 paperback 50 photographs [originally published by Random House, 1985] Reviewed By Paul Devlin Da Capo has just released a new edition of this book which Quincy Jones called "indispensable to any appreciation of our musical culture". This is the story of Count Basie, the legendary piano player and bandleader who was especially known for swinging the blues, as told to Albert Murray between 1978 and 1984, and published to great fanfare and stellar reviews in late 1985. With a new and valuable introduction by Dan Morgenstern, eminent jazz critic and Director of the Institute for Jazz Studies at Rutgers University, Good Morning Blues will hopefully find its place on the bookshelves of young jazz fans. "When Albert Murray told me that he was going to be, as he put it, Count Basie’s co-writer on the great man’s autobiography, I was both baffled and elated", writes Morgenstern in the introduction to what has to be one of the finest American memoirs. "Elated", he continues, because Basie...had for years been stalling journalists and scholars with the excuse that he was saving anything worth talking about for a (hypothetical) book; baffled not so much because I knew Murray had other literary irons in the fire, but because these two, on the face of it, made such an odd couple. Basie was laid back, laconic, taciturn, the incarnation of the man-of-few words, while Murray was intense, animated, a brilliant and enthusiastic talker, a veritable verbalist.
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney 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 History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 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]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation 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 Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • Edinburgh Jazz & Blues Festival Announces Its 2017 Blues Programme
    Edinburgh Jazz & Blues Festival announces its 2017 Blues programme With over 20 blues concerts this year’s programme spans Southern blues, Delta blues, Mississippi blues, Chicago blues, electric blues to acoustic blues. The cast list includes American stars and the best homegrown talent. Born in Vance, Alabama in 1939, Alabama Slim “grew up listening to the old blues since I was a child. I spent summers with my grandparents who had a farm. Them old folks would get to moanin’ while they worked, and I just started moanin’ with them. That’s where I learned to sing”. Alabama Slim is typical of the musicians playing as part of The Music Makers Blue Revue, which has been described as akin to Cuba’s Buena Vista Social Club. As a loose amalgam of elderly Southern blues stars who are on the road together. They make their Scottish debut. They headline the influx of American blues talent which also includes: Texan, Hamilton Loomis who will have you jamming and grooving along with his guitar riffs reminiscent of Kravitz and Stevie Ray Vaughan. His unapologetic sound is classic rock inspired blues at it’s best. Mr Sipp “aka the Mississippi blues child” has a personality full of spirit and a genuine love for the blues. His shows are transformative – taking audiences on a trip back to the heyday of Mississippi blues and the infamous BB King. With roots in gospel, his sound is big, loud and soulful. Idaho born John Nemeth has an astonishing vocal range and top-notch harmonica skills. Winning accolades through the years for his contribution to the blues world, Nemeth delivers electric Blues straight from Memphis.
    [Show full text]