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Finding Aid for the Sheldon Harris Collection (MUM00682)
University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr. -
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. -
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120825bk Teagarden2 REV 29/3/06 8:46 PM Page 8 Track 14: John Fallstitch, Pokey Carriere, Sid Jack Lantz, trombones; Merton Smith, Vic Rosi, Feller, trumpets; Jack Teagarden, Jose Bob Derry, Bert Noah, Dave Jolley, saxes; Guttierez, Seymour Goldfinger, Joe Ferrall, Norma Teagarden, piano; Charles Gilruth, trombones; Danny Polo, clarinet, alto sax; Tony guitar; Lloyd Springer, bass; Frank Horrington, Antonelli, Joe Ferdinando, alto sax; Art Moore, drums Art Beck, tenor sax; Ernie Hughes, piano; Track 19: Charlie Teagarden, trumpet; Jack Arnold Fishkin, bass; Paul Collins, drums Teagarden, Moe Schneider, trombones; Matty Track 15: John Fallstitch, Pokey Carriere, Matlock, clarinet, tenor sax; Ray Sherman, Truman Quigley, trumpets; Jack Teagarden, piano; Bill Newman, guitar, banjo; Morty Corb, Jose Guttierez, Seymour Goldfinger, Joe Ferrall, bass; Ben Pollack, drums trombones; Danny Polo, clarinet, alto sax; Tony Track 20: Charlie Teagarden, trumpet; Jack Antonelli, Joe Ferdinando, alto sax; Art Moore, Teagarden, trombone; Jay St. John, clarinet; Art Beck, tenor sax; Ernie Hughes, piano; Norma Teagarden, piano; Kass Malone, bass; Arnold Fishkin, bass; Paul Collins, drums Ray Bauduc, drums Track 16: John Fallstitch, Pokey Carriere, Truman Quigley, trumpets; Jack Teagarden, Also available ... Jose Guttierez, Seymour Goldfinger, Joe Ferrall, trombones; Danny Polo, clarinet, alto sax; Tony Antonelli, Joe Ferdinando, alto sax; Art Moore, Art Beck, tenor sax; Ernie Hughes, piano; Perry Botkin, guitar; Arnold Fishkin, bass; Paul Collins, drums Track -
Glenn Miller 1939 the Year He Found the Sound
GLENN MILLER 1939 THE YEAR HE FOUND THE SOUND Dedicated to the Glenn Miller Birthpace Society June 2019 Prepared by: Dennis M. Spragg Glenn Miller Archives Alton Glenn Miller (1904-1944) From Glenn Miller Declassified © 2017 Dennis M. Spragg Sound Roots Glenn Miller was one of the foremost popular music celebrities of the twentieth century. The creative musician and successful businessman was remarkably intuitive and organized, but far from perfect. His instincts were uncanny, although like any human being, he made mistakes. His record sales, radio popularity, and box-office success at theaters and dance halls across the nation were unsurpassed. He had not come to fame and fortune without struggle and was often judgmental and stubborn. He had remarkable insight into public taste and was not afraid to take risks. To understand Miller is to appreciate his ideals and authenticity, essential characteristics of a prominent man who came from virtually nothing. He sincerely believed he owed something to the nation he loved and the fellow countrymen who bought his records. The third child of Lewis Elmer Miller and Mattie Lou Cavender, Alton Glen Miller was born March 1, 1904, at 601 South 16th Street in Clarinda, a small farming community tucked in the southwest corner of Iowa. Miller’s middle name changed to Glenn several years later in Nebraska. His father was an itinerant carpenter, and his mother taught school. His older brother, Elmer Deane, was a dentist. In 1906 Miller’s father took his family to the harsh sand hills of Tryon, Nebraska, near North Platte. The family moved to Hershey, Nebraska, in the fall of 1912 and returned to North Platte in July 1913, where Glenn’s younger siblings John Herbert and Emma Irene were born. -
Settimanale Di Migros Ticino Quello Swing Perduto
Quello swing perduto Settantacinque anni or sono in questo periodo ancora ci si interrogava su cosa ne fosse stato di Glenn Miller / 17.02.2020 di Enza Di Santo In quei giorni di metà dicembre del 1944, su nord e centro Europa le condizioni metereologiche erano pessime. Il 15 dicembre la nebbia avvolse le coste inglesi e si estese lungo il Canale della Manica, ma il «Norseman» Noorduyn UC-64 monomotore decollò lo stesso per Parigi, destinazione che avrebbe raggiunto poco meno di due ore più tardi attraversando una rotta sicura. A bordo del velivolo militare, il Pilota J. Morgan, il Tenente Colonnello N.F. Baesell e il Maggiore Anton Glenn Miller incaricato dell’intrattenimento delle truppe alleate in Inghilterra e a capo della Air Force band. Miller avrebbe dovuto esibirsi con la sua grande orchestra nella Capitale francese da poco liberata dai tedeschi, ma non ci arrivò mai. Del Norseman si persero le tracce. La scomparsa del Maggiore, annunciata solo alla vigilia di Natale, ebbe un notevole impatto mediatico: nell’era dello swing, durante la grande depressione, Glenn Miller, arrangiatore, trombonista e soprattutto capofila della più famosa big band di quei tempi, era svanito nel nulla, lasciando il silenzio nelle sale da ballo frequentate dai soldati che avevano smarrito uno dei simboli della loro generazione. Che fine aveva fatto l’artista che tra 1939 e il 1942 aveva venduto più dischi di tutti? La nebbia aveva inghiottito il compositore per il quale era stato ideato il disco d’oro, premio assegnatogli nel 1942 per aver raggiunto, in soli 3 mesi, il milione di copie venute del 78 giri di Chattanooga Choo Choo e I Know Why. -
The Strutter VOLUME 22 NUMBER 4 Traditional Jazz in the Philadelphia Tri-State Area December 2011
“Best of South Jersey” 2008 - 2011! The Strutter VOLUME 22 NUMBER 4 Traditional Jazz in the Philadelphia Tri-State Area December 2011 OUR NEXT CONCERTS TRI-STATE JAZZ SOCIETY Roberts Duo... the musical intuition between the Presents two is truly miraculous!" and Renée Silberman reviews a London/Ontario concert as "a spine THE ORTNER-ROBERTS DUO tingling fusion of Klezmer and Creole magic." German-born clarinetist Susanne Ortner and American jazz pianist Tom Roberts met in Pittsburgh while performing in 2006 and formed the Ortner-Roberts Duo in 2007, melding the two supposedly unrelated musical and cultural influences of Harlem Stride Piano and Klezmer to form a whole new style they affectionately call "Yiddish/Creole Fusion." The Roberts have thoroughly immersed themselves in the music of the '20s, '30s, and '40s as well and painstakingly recreate the music of Benny Goodman, Jelly Roll Morton, Artie Shaw, and Sidney Bechet among others, evoking "the thicksweet air of New Orleans or the glamour of a shimmering dancehall... in Chicago or New York City." See them in concert at www.youtube.com/watch?v=ee23Y8k5- Susanne Ortner-Roberts, clarinet YY&feature=related. Tom Roberts, piano CONCERT ADMISSION Sunday, December 11, 2011 $20 ADMISSION $10 FIRST TIME ATTENDEES & MEMBERS 2:00 p.m. – 5:00 p.m. HIGH SCHOOL/COLLEGE STUDENTS WITH ID AND CHILDREN WITH PAYING ADULT Saint Matthew Lutheran Church ADMITTED FREE Pay At the Door - No Advance Sales 318 Chester Avenue Moorestown, NJ 08057 In This Issue… Directions on Page 7 Looking Ahead .............. Page 2 Pittsburgh-based Susanne Ortner-Roberts and Tom American Rag .............. -
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. -
Newsletter Jump
BIG BAUD NEWSLETTER JUMP VOLUME XXXIII BIG BAND JUMP NEWSLETTER JULY-AUGUST 1994 Famous Door, where several radio broadcasts a week INTERVIEW CAPSULES spread the word about Count Basie’s exciting new band. It occurred to us that only the first subscribers to the The Scene BBJ NEWSLETTER, which began with the March- April issue o f1989, have had the advantage o f reading It was between sets at a dance featuring the Count Basie some o f the initial interviews. Rather than repeat them, Band and the guys were all outside taking a smoke and but to still give newer readers an opportunity to enjoy talking, but we caught the Count in the kitchen behind their comments, we offer these mini-interview com the ballroom. ments from two o f the music personalities featured in the first six months o f the BBJ NEWSLETTER. Basie leaned on a counter, relieving his legs of the weight, and was matter-of-fact, apparently not enjoying COUNT WILLIAM BASIE being interviewed. We later learned of his shyness, giving us the illusion that he didn’t want to be inter viewed, when in fact he later mentioned the value of such conversations. The year was 1971. The Interview Capsule BBJ: How did your theme, ONE O’CLOCK JUMP originate? CB: Well, that started in Kansas City. We were doing that number for some time without a name, and then we happned to be on the air at that time, too. We actually had a name for the tune, but it couldn’t be used in public. -
Clean” Version of the Index, with Just the Titles, Composers, and Recordings Listed
Updated 14 March 2021 INDEX of 3,836 TUNE TITLES and COMPOSERS (Stomp Off 1001 - 1436) Four-digit numbers are Stomp Off record numbers. Recordings may be available on CD or as MP3 downloads at stompoffrecords.com. A prefix of CD before the album number in this index means that that tune is found on the CD version only; C indicates that the tune is found on the cassette version only. Subtitles are shown in ( ); alternative titles are in [ ]; *indicates pseudonym for composer—see list at end. [NOTE: This is the “clean” version of the index, with just the titles, composers, and recordings listed. If you want to see the research notes that were behind this information, you can find them at http://stompoff.dickbaker.org/Stomp%20Off%20Index.pdf.] A Huggin’ and A Chalkin’ Ace of Rhythm (Jabbo Smith) Africana (A New “Booster”) (see Huggin’ and Chalkin’) Black Eagle JB 1065 (M. L. Lake) State Street Aces 1106 Pierce College Symphonic Winds 1297 A Major Rag (Tom McDermott) Original Salty Dogs JB 1233 Tom McDermott 1024 After All I’ve Done for You Ace of Spades (Billy Mayerl) (Tiny Parham) Á Solas (Butch Thompson) Tony Caramia 1313 Scaniazz 1004 Butch Thompson 1037 Achin’ Hearted Blues (Clarence After Awhile (Bud Freeman– Abide with Me (Henry F. Lyte– Williams–Spencer Williams– Benny Goodman) William H. Monk) Clarence Johnson) Louisiana Washboard Five 1398 Grand Dominion JB 1291 Hot Antic JB 1099 After Hours (James P. Johnson) About a Quarter to Nine Dick Hyman 1141 Keith Nichols 1159 (Al Dubin–Harry Warren) Gauthé’s Creole Rice YBJB 1170 After the Ball (Charles K. -
IN MEMORIAM Just out of High School
Page Two KISKI MINUTES December 16, 1943 KISKI MINUTES Editor-in-Chief John Holt Record Review Library Club To Associate Editor David Martens Editorial Board Lucien Jones, Chairman Chicago Jazz Classics Continue Plays Thomas Smyth, Secretary During the last few months Moore, Chantler, McGowan, Lodge, McGuire Decca has been reissuing some Continuing the hectic program Business Manager John Thompson albums of old jazz records under of the pre-Thank’sgiving period, Staff Typist Ralph Chilcott the Md Brunswick label. Four of the Literary Club under the fan these platters, released under the atic leadership of Lucien Jones, name of Benny Goodman and His Chairman; Fritz Blatt, secretary; Boys, were made by eight boys and Jerry Holt, treasurer, stumb IN MEMORIAM just out of high school. They les weakly on. The members re were at the time (1928-29) all covering from the effects of the members of Ben Pollack’s great “Bon Ton” episode, have been band. Wingy Manone and Jimmy racking their brains out to con Mac Partland alternated on cor tinue the spasmotic entertainment. net. Glenn Miller tried vainly to The first raido play of the year, play jazz on his slip-horn, but he “Bon Ton”, seems to have been r did a good job of arranging some generally misunderstood, judging 5 .4. of the slow numbers. Benny from the casual comments and Goodman, then only eighteen years queries aroused by this “play”, old, played piano; Dick Morgan, the general effect was one of veil guitar; Harry Goodman, (Benny’s ed secrecy. The combination of brother), bass; Bob Conselman Lucien Jones, the calm vocabulary played drums on most of the rec spitting devil and Fritz Blatt, who ords, but Ray Bauduc, later te through practically the whole lat become the core of Bob Crosby’s ter part of the play was intoxicat “Bob Cats”, played on a few of ed (too many bumpers of Mois them. -
About Benny Goodman 1909 – 1986
About Benny Goodman 1909 – 1986 Benny Goodman grew from the humblest of beginnings to earn the well-deserved title “King of Swing” for his contribution to bringing jazz into the commercial mainstream. He was one of 12 children of Jewish immigrants, raising their children in a three story tenement building in a Chicago ghetto. Mr. Goodman took his boys to the free band concerts in Douglas Park and built into them an appreciation for band music. When the local synagogue began lending out instruments and giving lessons for 25 cents a week, Benny was on his way to leaning to play the clarinet. Benny showed exceptional talent and went on to private lessons. By age 14 he was supplementing the family income by playing in the dance halls of Chicago’s south side. By age 15 he had dropped out of school and was playing professionally, and at age 16, he traveled with the Ben Pollack band to Los Angeles and settled in California. In 1934, at age 25, he moved to New York and put together his own band, and the “Swing Era” was born. He headlined on a new radio program called “Let’s Dance” which broadcast from New York all night long. The Big Band sound gained national exposure and Benny Goodman played to sold-out houses in Los Angeles, Chicago, New York and cities in between. In 1938 he achieved his dream of playing Carnegie Hall, and the live recording of that concert became one of the best selling jazz albums of all time. Benny Goodman never looked back. -
GLENN MILLER Biography
GLENN MILLER Biography February 5, 1940 Glenn Miller and his orchestra recorded the big-band classic "Tuxedo Junction." April 2, 1942 Glenn Miller and his orchestra recorded "American Patrol" at the RCA Victor studios in Hollywood. "A band ought to have a sound all of its own. It ought to have a personality." - Glenn Miller Alton Glenn Miller was born in Clarinda, Iowa on March 1, 1904. But it was in North Platte, Nebraska, several years later that Glenn actually got his musical start when, one day, his father brought home a mandolin. Glenn promptly traded it for an old battered horn, which he practiced every chance he got. In fact his mother worried, "It got to where Pop and I used to wonder if he'd ever amount to anything." In 1923, Miller entered the University of Colorado, although he spent more time traveling to auditions and playing where and whenever he could. After flunking three of his five courses one semester, Glenn dropped out to concentrate on his career as a professional musician. He toured with several orchestras and ended up in Los Angeles where he landed a spot in Ben Pollack's group, a band that included a guy named Benny Goodman. Here, Miller also got the chance to write some arrangements. Arriving in New York City, he soon sent for, and married his college sweetheart, Helen Burger in 1928, and for the next three years, earned his living as a free-lance trombonist and arranger. Miller played and recorded with the likes of Tommy and Jimmy Dorsey (who on several of their records, featured an up-and-coming singer by the name of Bing Crosby), Gene Krupa, Eddie Condon and Coleman Hawkins.