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The Homepage of the Allotria Jazz Band. What Have You Found?
Welcome to the homepage of the Allotria Jazz Band. What have you found? The site of one of the most successful traditional jazz bands of Central Eu- rope. The Allotria Jazz Band has been performing Classic Jazz for decades and in the jazz scene the band‘s name represents „The Fine Notes of Classic Jazz“. As to the name: We think of jazz as American music, yet „Allotria“ doesn‘t really sound Anglosaxon/American. So what is the connec- tion between „Allotria“ and jazz? For over a century there has been an artist association named „Allotria“. A jazz club named „Al- lotria“ existed from the nineteen-sixties to then nineteen-nineties, and the Allotria Jazz Band has been around for more than 40 years. All of these institutions using the term „Allotria“ as part of their name are from Munich, Germa- ny. Translated from the Greek, „allotrios“ literally means „strange, foreign“. Today in the Bavarian/Bayuwarian sense it means: mischief, fooling around, kid- ding. In the English sense it means: All that jazz! So you see, it all fits together. In fact, the name of the band derives from the jazz club „The Allotria“ in Munich where the band played as the house band for many years. But if you know the his- tory of the band and the cha- racter of its music, it‘s true: „Nomen est Omen“. „Al- lotria“ is not so much a name as a state of 7 musicians, who always enjoy playing music, are constantly up for a joke and ready for musical adventure. -
Intermission
INTERMISSION June 2012 Edition Larry Ward, Editor at [email protected] NEXT MEETING “D” DAY SUNDAY, JUNE 17 WED., JUNE 6 www.nojcsc.org FATHER’S DAY, SUNDAY, JUNE 17 FLAG DAY, THURSDAY, JUNE 14 June 2012 Office of the President The very existence of the Intermission is being threatened by the sudden departure of our Intermission Editor, Larry Ward. Larry is unable to continue due to pressing personal commitments. The person(s) to replace Larry must have a reporter’s flair for producing articles and items of interest that relate to our Club and to Jazz. They will work closely with our outside computer consultant on final assembly and production of the magazine. Larry estimates that the average time it takes him to produce the Intermission every month is approximately twenty hours. In order to keep continuity of the Intermission for our July edition we must be able to have the new person(s) in place and in training before June 17th. Please call me at 949 498 9301 or email me at [email protected] for more discussion if you have a seri- ous interest. In closing, I would like to say ‘thank you’ to all the volunteers who come together to make our Club what it is and a special thank you to all of the musicians who practice their instruments in dark closets, bathrooms and anywhere they can whilst risk- ing serious personal injury from their neighbours, friends and families in their pursuit of music perfection. (I know that I keep repeating this paragraph but it is that important.) Keep “Classic Jazz live, if we don’t who will”? “The Beat Goes On” John Hockins - President YOUR ATTENTION PLEASE!!! PIZZA PARTY!!! The Club meeting on June 17th happens to fall on Father’s Day, so the Club will celebrate this grand occasion by serving PIZZA and other GOODIES to one and all. -
The Sam Eskin Collection, 1939-1969, AFC 1999/004
The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia. -
Download Booklet
120762bk DorseyBros 14/2/05 8:43 PM Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Available in the Naxos Jazz Legends and Nostalgia series … 8.120625* 8.120628 8.120632* 8.120681* 8.120697* 8.120746* * Not available in the USA NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 120762bk DorseyBros 14/2/05 8:43 PM Page 2 THE DORSEY BROTHERS Personnel Tracks 1, 3 & 4: Bunny Berigan, trumpet; Tracks 8-11: Manny Klein & unknown, trumpet; ‘Stop, Look and Listen’ Original 1932-1935 Recordings Tommy Dorsey, trombone; Jimmy Dorsey, Tommy Dorsey, Glenn Miller, trombones; clarinet, alto sax; Larry Binyon, tenor sax; Jimmy Dorsey, clarinet, alto sax; unknown, alto Whether you call them The Fabulous or The over to the newly formed American Decca label. Fulton McGrath, piano; Dick McDonough, sax; Larry Binyon (?), tenor sax; Fulton Battling Dorsey Brothers, Tommy (1905-1956) In the two knock-down drag-out years that guitar; Artie Bernstein, bass; Stan King, drums McGrath (?), piano; Dick McDonough, guitar; and Jimmy Dorsey (1904-1957) were major followed, the Dorseys produced some Track 2: Bunny Berigan, trumpet; Tommy Artie Bernstein (?), bass; Stan King or Ray influences on the development of jazz in the outstanding and exciting jazz, all the while Dorsey, trombone; Jimmy Dorsey, clarinet; McKinley, drums 1920s and ’30s. -
Adéla Jonášová
Wikipedista:Alfi51 Žiji v Českém Těšíně. Aleš Havlíček Jsem důchodce a rád si hraji s počítačem. Články mnou založené Alannah Currie Aldeburgh Angie Dickinson Alexandre Francois Debain Alex Sadkin Andělín Grobelný Adéla Jonášová Anita Carter Axel Stordahl The Beatmen Beatles For Sale Bedřich Havlíček Berthold Bartosch Biela voda (přítok Teplice) Billy Vera Bob Chester Bobbi Kristina Brown Bobby Vee Bobby Vinton Carlene Carter Carl Perkins Chuck Jackson Dana Vrchovská Eydie Gormé Emil Vašek Festival Kino na hranici Flora Murrayová Frankie Avalon Frank P. Banta French press Aleš v roce 2008 George Dunning George Botsford Gene Greene Hal Základní informace David Hans Mrogala Harmonium Harry James Helen Carter Help! (album) Howard Deutch Ida Münzbergová Narození 21. dubna 1951 Ina Ray Hutton Ipeľská pahorkatina Ivana Ostrava, Česko Wojtylová Izabela Trojanowska Jakub Mátl James Scott Žánry pop, blues (hudebník) Jan Hasník Javorianska hornatina Jerzy Povolání hudební skladatel, počítačový Kronhold Jimmy Durante John Keeble José Feliciano Joseph Lamb Judy Clay June Hutton Jungle fanatik a wikipedista Funk Kateřina Kornová Koruna (hudba) Kunešovská Nástroje kytara hornatina Ladislav Báča Largo (Florida) LaVerne Sophia Aktivní roky dosud Andrews Les Brown (hudebník) Let It Be (album) Louis Manžel(ka) Dagmar Krzyžánková Prima Louisa Garrett Andersonová Madelyn Deutch Maggi Hambling Martha a Tena Maxene Angelyn Andrews Děti Aleš, Martin Mezinárodní divadelní festival Na hranici Millicent Garrett Rodiče Bedřich Havlíček, Fawcett Mira Kubasińska Mud -
A Biographical Sketch Native-Texan Louise Tobin Hucko
Louise Tobin Hucko: A Biographical Sketch Native-Texan Louise Tobin Hucko (b. 1918, Aubrey, TX) grew up in Denton in a large family that sang and played music together. She was the fourth youngest of eleven children and the only one to make music her profession. Louise remembers the teenagers playing ukuleles on the porch and rushing home from school at lunch to listen to Louis Armstrong on the radio. After winning a CBS Radio Talent Contest in 1932, she toured the larger Texas cities as part of the Interstate Theatre Circuit, singing with society dance orchestras, led by such figures as Hyman Charninsky and Al Kvale. After joining Art Hicks and His Orchestra in 1934, she met Harry James who was playing first trumpet. This ensemble was one of several Texas territory bands of the 1930s that ventured outside the state in hopes of reaching a national audience. In late 1934-early 1935 they made their way to Albany, New York, with stops in Oklahoma and Ohio. By this time Benny Goodman had hit; the swing era had begun. Shortly after their arrival in New York, the Art Hicks Orchestra disbanded. A very young Louise, age 15, and Harry, who had just turned 18 married in May 1935. The newlyweds, who kept the elopement a secret from her family, were now looking for work. Harry accepted an offer to play third trumpet with the Herman Waldman Orchestra back down south in Shreveport. “He hated it and actually lost his lip for awhile!,” Louise recalls. With the help of Texan-band leader, Ligon Smith, Louise found work around Texas, singing with orchestras led by Smith, Charlie Davis, and Carlos Shaw. -
BENNY GOLSON NEA Jazz Master (1996)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BENNY GOLSON NEA Jazz Master (1996) Interviewee: Benny Golson (January 25, 1929 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: January 8-9, 2009 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 119 pp. Brown: Today is January 8th, 2009. My name is Anthony Brown, and with Ken Kimery we are conducting the Smithsonian National Endowment for the Arts Oral History Program interview with Mr. Benny Golson, arranger, composer, elder statesman, tenor saxophonist. I should say probably the sterling example of integrity. How else can I preface my remarks about one of my heroes in this music, Benny Golson, in his house in Los Angeles? Good afternoon, Mr. Benny Golson. How are you today? Golson: Good afternoon. Brown: We’d like to start – this is the oral history interview that we will attempt to capture your life and music. As an oral history, we’re going to begin from the very beginning. So if you could start by telling us your first – your full name (given at birth), your birthplace, and birthdate. Golson: My full name is Benny Golson, Jr. Born in Philadelphia, Pennsylvania. The year is 1929. Brown: Did you want to give the exact date? Golson: January 25th. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Brown: That date has been – I’ve seen several different references. Even the Grove Dictionary of Jazz had a disclaimer saying, we originally published it as January 26th. -
Glenn Miller's
n Dec. 15, 1944, it had been raining in Eng- land for three days. The regular military shuttle Oflights to France were canceled. Maj. Glenn Miller waited impatiently, eager Glenn Miller’s to get to Paris to make arrangements for a Christmas performance by his Army Air Forces band. Air Force Odyssey When the opportunity arose to hitch a ride across the English Channel on a small single-engine airplane, he leapt at it. The aircraft was a UC-64 Noorduyn Norseman, the military version of a Canadian bush plane. Miller did not fully understand the risk he was tak- ing, nor did he know that the pilot was exceeding his clearance, which was for local flying only. The airplane took off into the fog from a field north of London at 1:55 p.m. and disappeared into history. For a while, there was hope that it might have landed somewhere, but it did not turn up. Eighth Air Force officially declared the aircraft missing and made a public announcement on Christmas Eve. Glenn Miller was at the peak of his fame. He had been the most popular bandleader in America before he joined the Army in 1942. In 1940 alone, his records sold almost three million copies and he had 31 hits in the Top 10 that year. His AAF band, formed in 1943, was an all-star team. Miller had his pick of top musicians who had been drafted into the armed forces. He was able to pull in several former members of his own band and others who had played with Benny Goodman, Tommy Dorsey, and Artie Shaw. -
Big Band Jump
BIG BAND JUMP NEWSLETTER BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE Atlanta, GA 30355 PAID Atlanta, GA Permit No. 2022 BIG BAND JUMP NEWSLETTER VOLUME XLVII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1996 our impression of Jo Stafford is that’s she’s a business JO STAFFORD INTERVIEW like person with no pretensions. Down-to-earth might be another way to describe our reaction to the conversation. The Background Her voice seems deeper than it was during her singing years; she admits to having Jo Stafford has been in the mu been a “dedicated smoker”until sic business since the ’30s, when just ten years ago. Our first she began her professional ca question concerned Jo’s life be reer with two older sisters. fore she became one of the Pied Pauline and Christine, as one of Pipers. a trio at a time when sister acts (the Andrews Sisters, the The Interview Boswell Sisters) were popular. How did you get into The Stafford Sisters worked in southern California on radio and music? in movie musicals until 1938 I had two older sis when Jo became the only girl ters, quite a bit older, singer with a group of seven 11 and 14 years older than I. men who called themselves the They were already in local ra Pied Pipers. dio in Long Beach, California and finally came up to Holly Jo is a native of California, where her Tennessee bom wood, doing radio in and around Los Angeles. When I parents moved just before she was bom in 1917. -
17. Big Bands of the 19505
17. Big Bands of the 19505 he big bands were losing their great popularity in Anthony, meanwhile went into the Navy in 1942 for the early 1950s for many reasons, most of them four years. Teconomic. But there were a number ofbig bands After World War II, Anthony returned to Cleveland, still recording and some were still touring. Two of the formed another band, and signed a contract with Capitol most popular were from Greater Cleveland and one, Records. It was during this period, the late 1940s, that launched in 1952, performed not only for a high school there was a revival of Glenn Miller music. Anthony prom in Cleveland, but also with the Cleveland began playing many of the old Miller tunes, including Orchestra. his own arrangement of "Tuxedo Junction." His band was not playing much jazz, but it did swing at times and Ray Anthony became very popular, making dozens of records and Anthony was born playing countless college proms. For his recording Raymond Antonini in dates, Anthony frequently used top studio jazz Bentleyville, musicians including Conrad Gozzo, Georgie Auld, Pennsylvania January Skeets Herfurt, Mel Lewis and Plas Johnson, who later 20, 1922 and moved played Clevelander Henry Mancini's "Pink Panther to Cleveland with Theme" for the movie soundtrack. Anthony's most his parents and five popular record was the theme song of a popular radio brothers when he and television series Dragnet. was very young. His Leading a band through the 1950s, Anthony helped father, who led a extend the big band era. He eventually settled in band in Cleveland, California and in the 1980s was conducting a mail order gave him trumpet service for big band and jazz records. -
Chronological Discography
Chronological Discography arranger g guitar as alto saxophone 0 pipe organ bb brass bass (sousaphone/tuba) p piano bj banjo ss soprano saxophone bs baritone saxophone t trumpet c comet tb trombone cl clarinet ts tenor saxophone d drums v vocals db double bass vib vibraphone dir director vn violin f flute This chronological list contains most known releases on which Danny Barker plays and sings. Titles are given as they appear on the record labels. Where possible, the first issue number is given, but the complexity of subsequent reissues is such that these are not shown. In preparing the list much use has been made of the works cited in the acknowledgment section as well as Stagg and Crump: New Orleans: the Revival (Dublin, 1973). 1931 Ward Pinkett (t, v); Albert Nicholas (cO; Jack Russin (p); Danny ]une9 NewYork Barker(g);Joe Watts (db); Sam Weiss (d) Dave's Harlem Highlights 95337-1 Everything is okey-dokey (WP:v) Bluebird B-6144 Dave Nelson (1, v); Clarence Brereton (t); Melvin Herbert/Harry 95338-1 I'm on a see-saw (WP:v) Bluebird B-6130 Brown (t); Wilbur de Paris (tb); Buster Bailey (cl, as); Glyn Paque (cl, 95339-1 Red sails in the sunset (WP:v) Bluebird B-6131 as); Charles Frazier (ts); Wtryman Caroer (ts, f); Sam Allen (p); 95340-1 Tender is the night (WP:v) Bluebird B-6131 •Danny Barker (bj); Simon Marrero (bb); Gerald Hobson (iii 95341-1 I'mpaintingthetownred 69905-1 Somebody stole my gal Timely Tunes C-1587 (to hide a heart that's blue) Bluebird B-6130 69906-1 Rockin' Chair Timely Tunes C-1576 95342-1 Tap Room Special (Panama) Bluebird B-6193 69907-2 Loveless Love Timely Tunes C-1577 69908-2 St. -
Peanuts Hucko
L (ft, S UNIVERSITYOF NEWHAMPSHIRE OURSIXTY-FIFTH PROGRAM PEANUTS HUCKO SPONSOFEDBY THEDEPARTMENT OF MUSIC ANDTHE NEW HAMPSHIRE LIBRARYOF TRADMONAL JAZ 8 PM MONDAY ocToBER 30, 1989 STRAFFORDROOM MEMORIALUNION DURHAM.NEW HAMPSHIRE THEARTISTS PEANUTSHUCKO Som€lirnssin nbmenlsin nostalgia,vanily, or exasperation,we ol an oldergeneration are apt to irform erranlyoulh that, in relererrceto ths particularsof lhe realworld, ws hav€'b€en there". Tonighl,in all humilitywe meet someonewho insolaras the possiblerafEe ot experisrrcesin lraditionaliazzis concemed can make lhal statement with impunity; who Elss do )ou knorvthal has bsen both a r€gularmember ol LouisArmslrorE's All Stars ard the directorol the GlennMiller Orchestra?l All of whichlenpts us psdanlicclassroom lp€s lo observelhat to thosewhose limiled refl€c{ion on hislory(iazz or olherwiss)c:rusos lhsm to placopeople in nealcat€gpries, Peanuts Hucko represenls a relreshirEar Uote. MichaelAndrewHucko was bom in Syracuso,NY, in l918. Hestudied wilh privato teacher, movedlo NewYoi( city in 1939,ard begana careerthalhas taken him l.om the larger s,virq sra aggr€gationsof WillBradley, Ray Md(inley, Benny Goodman, and Mifiefsgreal Army Air ForcsBand to the smallorcombos ot JackTeagarden, Eddie Condon, Amsl|ong, andthg Wodd'sG.€atost Jazzband, flavorod with studb workat CBSand ABC, a stintwilh Lawrencs Welk, and recordingin Japan;he l€avesfor appeararrcesin Europeimmediatsly atler this concert.Logond has it thal around1940 Will Bradley lked himbecause, although his lenor sax playingwas satislaclory,he had certaininadequacies on clarinet(l):apparently this condilionwas subssqlently rsmedied,sinc€ Psanutssucceeded Ednund Hall with Louis (1957)and noneother than BuddyDeFranco in fronl ol lhe Millerband (1974),-and the sagaciousL€onard F€alher has proclaimed for encyclopedicalelemity his '...undiminished statu,eas one of ths bestclarinetists in lhe BsnnyGoodman rnold'.