Eddie Durham Jazz Celebration 2019 Transcript
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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. -
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell Glenn Miller Original release label “Sun Valley Serenade” Though Glenn Miller and His Orchestra’s well-known, robust and swinging hit “In the Mood” was recorded in 1939 (and was written even earlier), it has since come to symbolize the 1940s, World War II, and the entire Big Band Era. Its resounding success—becoming a hit twice, once in 1940 and again in 1943—and its frequent reprisal by other artists has solidified it as a time- traversing classic. Covered innumerable times, “In the Mood” has endured in two versions, its original instrumental (the specific recording added to the Registry in 2004) and a version with lyrics. The music was written (or written down) by Joe Garland, a Tin Pan Alley tunesmith who also composed “Leap Frog” for Les Brown and his band. The lyrics are by Andy Razaf who would also contribute the words to “Ain’t Misbehavin’” and “Honeysuckle Rose.” For as much as it was an original work, “In the Mood” is also an amalgamation, a “mash-up” before the term was coined. It arrived at its creation via the mixture and integration of three or four different riffs from various earlier works. Its earliest elements can be found in “Clarinet Getaway,” from 1925, recorded by Jimmy O’Bryant, an Arkansas bandleader. For his Paramount label instrumental, O’Bryant was part of a four-person ensemble, featuring a clarinet (played by O’Bryant), a piano, coronet and washboard. Five years later, the jazz piece “Tar Paper Stomp” by Joseph “Wingy” Manone, from 1930, beget “In the Mood’s” signature musical phrase. -
Leonard Ware
1 The GUITAR of LEONARD WARE Solographer: Jan Evensmo Last update: April 30, 2015 2 Born: Richmond, Virginia, Dec. 28, 1909 Died: March 30, 1974 Introduction: Leonard Ware was one of the first jazz performers on the electric guitar, and that fact should be enough reason for a solography! And after I heard his recording debut session with Sidney Bechet, he was definitely a candidate for further studies! History: Originally an oboeist - studied at Tuskegee. Switched to guitar in the early 1930s and formed own highly successful trio which played many residencies in New York during the late 1930s and early 1940s. Recorded with other leaders including Sidney Bechet (1938), Herbie Fields (1944), Don Byas (1945), etc., etc. Left full-time music many years ago to work for the New York Postal authorities. (ref. John Chilton). 3 LEONARD WARE SOLOGRAPHY SIDNEY BECHET & HIS ORCHESTRA NYC. Nov. 16, 1938 Sidney Bechet (cl, sop), Ernie Caceres (bar), Dave Bowman (p), Leonard Ware (el-g), Henry Turner (b), Zutty Singleton (dm), The Two Fishmongers (vo-duet). Four titles were recorded for Vocalion: 924-1 What A Dream Solo 14+8 bars, (bar) on bridge. (FM) 924-2 What A Dream As above. (FM) 925-1 Hold Tight Solo 16 bars. (M) 925-2 Hold Tight As above. (M) 926-1 Jungle Dreams Solo 16+8 bars, (bar) on bridge. (FM) 927-1 Chant In The Night Solo 32 bars with (bar) acc. (M) This is a real swing session!! The great Sidney Bechet really jumps with this group, and Ernie Caceres shows that he is one of the finest baritonesax performers in swing era. -
Charlie Christian
Charlie Christian Charles Henry “Charlie” Christian (July 29, 1916 – In a 1978 interview with Charlie Christian biographer March 2, 1942) was an American swing and jazz guitarist. Craig McKinney, Clarence Christian said that in the 1920s and '30s Edward Christian led a band in Oklahoma Christian was an important early performer on the electric guitar, and a key figure in the development of bebop and City as a pianist and had a shaky relationship with trum- peter James Simpson. Around 1931, he took guitarist cool jazz. He gained national exposure as a member of the Benny Goodman Sextet and Orchestra from August “Bigfoot” Ralph Hamilton and began secretly schooling the younger Charles on jazz. They taught him to solo on 1939 to June 1941. His single-string technique, com- bined with amplification, helped bring the guitar out of three songs, "Rose Room", "Tea for Two", and "Sweet the rhythm section and into the forefront as a solo instru- Georgia Brown". When the time was right they took him ment. John Hammond[1] and George T. Simon[2] called out to one of the many after-hours jam sessions along Christian the best improvisational talent of the swing era. "Deep Deuce", Northeast Second Street in Oklahoma In the liner notes to the 1972 Columbia album Solo Flight: City. The Genius of Charlie Christian, Gene Lees writes that, “Let Charles play one,” they told Edward. “Ah, nobody “Many critics and musicians consider that Christian was wants to hear them old blues,” Edward replied. After one of the founding fathers of bebop, or if not that, at some encouragement, he allowed Charles to play. -
Eddie Durham Jazz Celebration 2012 Doug Lawrence Count Basie Orchestra -- Saxophonist
Eddie Durham Jazz Celebration 2012 Doug Lawrence Count Basie Orchestra -- saxophonist Rufus Reid Guggenheim Fellow and noted bassist and NEA Jazz Master Dan Morgenstern Friday, February 3, 2012 7:30PM Evans Auditorium Texas State Jazz Orchestra Personnel Saxophone Andres Avila Josue Mora Ricky Ray Hernandez Ezekiel Romo Janelle Martin Trumpets David Sawtelle Jeff Salinas Christin McAlister Nick Barber Rhythm Bass -Patty Perez Guitar - Art Carvajal Guitar - Jonathan Simpson Drums - Brandon Guerra Drums - Luis Pereira Percussion - Jorge Padilla Trombones James Quintero Steven Vogal Brad Miller Luis Rangel Jeremiah Ward- Bass Sponsors include the Texas State School of Music, the Department of History, and Texas State Student Services. Sincere thanks to Marsha Durham for her ongoing support. PROGRAM Opening Comments Dr. Gene Bourgeois Texas State Jazz Orchestra Dr. Keith Winking – Director Featuring Dr. Russell Haight – Saxophone Dr. Andrew Cheatham – Trumpet Time Out – Eddie Durham Every tub – Eddie Durham Lecture by Dan Morgenstern Doug Lawrence – Saxophone With special guest Rufus Reid – Bass And Hank Hehmsoth – Piano * Stephen Summer – Drums * * denotes Texas State Faculty Program to be selected from the following Body & Soul – Johnny Green Cheesecake – Dexter Gordon Gingerbread Boy – Jimmy Heath Moten Swing – Eddie Durham Salt Peanuts – Dizzy Gillespie Speak Low – Kurt Weill Swinging the Blues – Eddie Durham Topsy – Eddie Durham Dan Morgenstern is a Grammy-winning jazz writer and librarian. Born in Germany, he moved to the Unit-ed States in 1947 - a vibrant era for jazz music. After attending Brandeis University, he launched his career as a jazz music journalist in 1958. He went on to write and edit for some of the premier jazz publications in America, including Metronome, Jazz, and Down Beat. -
Jazz Guitar: the History, the Players
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Spring 4-2002 Jazz Guitar: The History, The Players James Aubrey Crawford University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Crawford, James Aubrey, "Jazz Guitar: The History, The Players" (2002). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/528 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. UNIVERSITY HONORS PROGRAM .I 'J SENIOR PROJECT - APPROVAL Name: __~.)~'~~~~C:~~~4~~~~~~~~~---------- ____________________________ __ College: &b + SciCNtc..c..-S Faculty Mentor: -Pcp.y..\ U.4!C I have reviewed this completed senior honors thesis with this student and certify that it is a project com . ors level undergraduate research in this field. Signed: , Faculty Mentor Date: 4 W/ 0:2 Comments (Optional): Jazz Guitar: The History, The Players Jim Crawford Paul Haar, Faculty Mentor, UT Jazz Faculty Thomas Broadhead, Director, University Honors Thanks to Paul Haar of the UT Jazz Facultyfor his help, guidance, and his ability to manufacture time from thin air in order to meet with me. Thanks also goes to Konrad Whitt for allowing me to burn CDs at his expense, and steal his stereo for my presentations. -
Oran Thaddeus Page “Hot Lips”
1 The TRUMPET of ORAN THADDEUS PAGE “HOT LIPS” Solographer: Jan Evensmo Last updated: March 31, 2020, April 28, 2021 2 Born: Dallas, Texas, Jan. 27, 1908 Died: NYC. Nov. 5, 1954 Introduction: Hot Lips Page was for unknown reasons rather marginally recognized in my Oslo Jazz Circle upbringing, and only later I opened my ears to his fine trumpet playing! Dan Morgenstern’s various liner notes helped a lot too! History: First music lessons from his mother, a former school-teacher. Early efforts on clarinet and saxophone, specialised on trumpet from the age of 12. Joined kids’ band led by bass drummer Lux Alexander. Left music temporarily, attended high school in Corsicana,Texas, left to do manual work in Seminole oil fields in Texas. Became regular member of band accompanying Ma Ra iney, made first visit to New York with Ma Rainey for bookings at the Lincoln Theatre. Worked with a T.O.B.A. circuit touring band, accompanied Bessie Smith, Ida Cox, etc. Joined Troy Floyd Band in San Antonio, also worked in Texas with Sugar Lou and Eddie’s Hotel Tyler Band. Was heard with this band by bassist Walter Page (no relation) and subsequently joined the Blue Devils band early in 1928. Left the band in 1930 to join Bennie Moten’s band, worked mainly with Moten until 1935, after that leader’s death (April 1935) led own quintet in and around Kansas City. Worked as a specialty act with Count Basie at the Reno Club, Kansas City (1936), was signed by manager Joe Glaser and moved to New York. -
Kansas City: the Crossroads of Jazz
Kansas City: The Crossroads of Jazz Kansas City, Wilbur Harrison, 1959 • What makes Kansas City Jazz different from all the other styles of Jazz and Swing? • Riff Based melodies and background figures • Blues coming back to the forefront of the music • Featuring Virtuoso soloists • Driving rhythm always with a sense of motion • Use of head-arrangements: memorized structures embellished on the fly by the musicians; a sort of ensemble based improvisation. • What are the factors that allowed Kansas City Jazz to come to be? • Political/Economic factors such as a lax attitude towards prohibition • Geographical factors such as Kansas City’s central location • Musical factors such as a strong musicians union and well developed music education programs. Tickle Toe, 1940 The Early Bands Bennie Moten’s Kansas City Orchestra 1925 Bennie Moten’s Kansas City Orchestra Vine Street Blues, 1924 • Probably the most influential bandleader in Kansas City Jazz, Pianist Bennie Moten led the most successful of the Kansas City bands. Nearly everyone who would become an important member of the Kansas City bands came though his organization at one point or another. • Early on the scene, with recording dates as early as 1923, Moten was the most established and financially successful of the early Kansas City bands, which enabled him to successfully poach talent from the other KC and territory bands, such as Walter Page’s Oklahoma Blue devils. • This included luminaries such as Count Basie (just known as Bill Basie then), Eddie Durham, Hot Lips Page, Jimmy Rushing, and eventually Walter Page himself. • Hired Bill Basie to play piano because he was too busy with the business side of running his band to always be at the keys. -
"The Texas Shuffle": Lone Star Underpinnings of the Kansas City
Bailey: The Texas Shuffle Produced by The Berkeley Electronic Press, 2006 1 'k8 Texas Shume ': Lone Star Underpinnings of the Kansas Civ Jcm Sound Journal of Texas Music History, Vol. 6 [2006], Iss. 1, Art. 3 7he story of Amerlcan juz is often .d~minakdby discussions of New Weans and of juz music's migro- 1 Won up the Mississippi RRlver into the urban centers of New York, Chicago, 1 Philadelphia, Detroit, and St. Louis. I mis narrative, whlle accurate in mony respecis, belies the true I nature of the music and, as with b any broad hisforIca1 generaliizu- tion, contulns an ultimate presump tlve flaw The emergence of jan cannot be aftributed solely fo any single clfy or reglon of he country. Instead, jan music Grew out of he collective experiences of Amerl- k b- .r~& cans from VU~~Wof backgrounds , living ihroughout the ndon.1 The routinely owrlookd conmibutions of T- &m to the dcvclopment of jazz unhmthe ndfor a broader un- of how chis music drew from a wide range of regidinfluenm. As dyas the I920s, mwhg pups of jm musidans, or %tory bands,* whicb indudad a n& of Tarnns, were hdping spread dmughout &t Souktand Miwest in such wwns as Kana City, Daltas. Fort Wod, Mo,Hnumn, Galveston. Sm Antonio, Tulsa, Oklahoma City, and beyond. The w11cctive iducnaof dmc musihbought many things to /bear on the dmeIopment of American jazz, including a cemh smsc of frcwlom md impraviaation dm later would be rcseewd in the erne- of bebop ad in the impromp jam dm,or eonmrs," rhac mn until dawn and helped spdighr youagu arrists and Md, new musical hmuiom.' The Tmas and sourhwesrern jas~ http://ecommons.txstate.edu/jtmh/vol6/iss1/3 2 Bailey: The Texas Shuffle scenes, while not heralded on the same scale as those in New in competitive jam sessions, or cutting contests, which allowed Orleans, Chicago, and New York City, have not gone artists to hone their skills, display their talents, and establish completely unnoticed by scholars. -
Main Artist (Group) Album Title Other Artists Date Cannonball Adderley
Julian Andrews Collection (LPs) at the Pendlebury Library of Music, Cambridge list compiled by Rachel Ambrose Evans, August 2010 Main Artist (Group) Album Title Other Artists Date Cannonball Adderley Coast to Coast Adderley Quintet 1959/62 and Sextet (Nat Adderley, Bobby Timmons, Sam Jones, Louis Hayes, Yusef Lateef, Joe Zawinul) Cannonball Adderley The Cannonball Wes Montgomery, 1960 Adderley Victor Feldman, Collection: Ray Brown, Louis Volume 4 Hayes Nat Adderley Work Songs Wes Montgomery, 1978 Cannonball Adderley, Yusef Lateef Larry Adler Extracts from the film 'Genevieve' Monty Alexander Monty Strikes Ernest Ranglin, 1974 Again. (Live in Eberhard Weber, Germany) Kenny Clare Monty Alexander, Ray Brown, Herb Triple Treat 1982 Ellis The Monty Alexander Quintet Ivory and Steel Monty Alexander, 1980 Othello Molineux, Robert Thomas Jr., Frank Gant, Gerald Wiggins Monty Alexander Ivory and Steel (2) Othello Molineux, 1988 Len Sharpe, Marshall Wood, Bernard Montgomery, Robert Thomas Jr., Marvin Smith Henry Allen Henry “Red” 1929 Allen and his New York Orchestra. Volume 1 (1929) Henry Allen The College Steve Kuhn, 1967 Concert of Pee Charlie Haden, Wee Russell and Marty Morell, Henry Red Allen Whitney Balliett Mose Allison Local Color Mose Allison Trio 1957 (Addison Farmer, Nick Stabulas) Mose Allison The Prestige Various 1957-9 Collection: Greatest Hits Mose Allison Mose Allison Addison Farmer, 1963 Sings Frank Isola, Ronnie Free, Nick Stabulas Mose Allison Middle Class Joe Farrell, Phil 1982 White Boy Upchurch, Putter Smith, John Dentz, Ron Powell Mose Allison Lessons in Living Jack Bruce, Billy 1982 Cobham, Lou Donaldson, Eric Gale Mose Allison Ever Since the Denis Irwin, Tom 1987 World Ended Whaley Laurindo Almeida Laurindo Almeida Bud Shank, Harry quartet featuring Babasin, Roy Bud Shank Harte Bert Ambrose Ambrose and his Various 1983 Orchestra: Swing is in the air Albert Ammons, Pete Johnson Boogie Woogie 1939 Classics Albert Ammons, Pete Johnson, Jimmy Boogie Woogie James F. -
Deep Deuce and the Cultivation of Jazz in Oklahoma
DEEP DEUCE AND THE CULTIVATION OF JAZZ IN OKLAHOMA (TEACHER’S NOTES) Led by certain influential musicians who lived and performed in an area of Oklahoma City called Deep Deuce, jazz music has a significant history in Oklahoma. Deep Deuce, also called “Deep Second,” located just north of Bricktown in downtown Oklahoma City and centered around Northeast 2nd Street, is known for its historical importance as the center for Black culture in Oklahoma City. In the early 1900s, in a segregated Oklahoma City, Deep Deuce became an entertainment and business center for the Black community. The area boasted restaurants, night clubs, barbershops, doctors’ and lawyers’ offices, beauty shops, clothing stores, a cab company, a movie theater, and many other businesses. Additionally, Deep Deuce was a staging ground for the fight for civil rights. The Black Dispatch newspaper, headquartered in Deep Deuce, used the power of the press to fight against segregation in housing, education, transportation, and other public facilities. The Calvary Baptist Church, one of the few buildings in Deep Deuce still remaining today, not only served as the religious center for Oklahoma City’s Black population, but also as a place to organize. The Church served as the site where Oklahoma students planned “sit-ins” at segregated lunch counters and where Dr. Martin Luther King, Jr., spoke at a “freedom rally.” Perhaps most significant, during the 1920s and 1930s, Deep Deuce became a thriving center for jazz music, and its musicians helped shape the future of jazz in Oklahoma and across the nation. Jazz, too, was marked by segregation, so it is not surprising that one of Oklahoma’s earliest and greatest jazz bands, the Oklahoma City Blue Devils, was an all Black band that honed their talents with other Black musicians and primarily played for Black audiences. -
Jazz Jazz Is a Uniquely American Music Genre That Began in New Orleans Around 1900, and Is Characterized by Improvisation, Stron
Jazz Jazz is a uniquely American music genre that began in New Orleans around 1900, and is characterized by improvisation, strong rhythms including syncopation and other rhythmic invention, and enriched chords and tonal colors. Early jazz was followed by Dixieland, swing, bebop, fusion, and free jazz. Piano, brass instruments especially trumpets and trombones, and woodwinds, especially saxophones and clarinets, are often featured soloists. Jazz in Missouri Both St. Louis and Kansas City have played important roles in the history of jazz in America. Musicians came north to St. Louis from New Orleans where jazz began, and soon the city was a hotbed of jazz. Musicians who played on the Mississippi riverboats were not really playing jazz, as the music on the boats was written out and not improvised, but when the boats docked the musicians went to the city’s many clubs and played well into the night. Some of the artists to come out of St. Louis include trumpeters Clark Terry, Miles Davis and Lester Bowie, saxophonist Oliver Nelson, and, more recently, pianist Peter Martin. Because of the many jazz trumpeters to develop in St. Louis, it has been called by some “City of Gabriels,” which is also the title of a book on jazz in St. Louis by jazz historian and former radio DJ, Dennis Owsley. Jazz in Kansas City, like jazz in St. Louis, grew out of ragtime, blues and band music, and its jazz clubs thrived even during the Depression because of the Pendergast political machine that made it a 24-hour town. Because of its location, Kansas City was connected to the “territory bands” that played the upper Midwest and the Southwest, and Kansas City bands adopted a feel of four even beats and tended to have long solos.