Aug. 1977 Vol. 7 No.8 PRJC Special for August

Total Page:16

File Type:pdf, Size:1020Kb

Aug. 1977 Vol. 7 No.8 PRJC Special for August Aug. 1977 Vol. 7 No.8 PRJC Special for August: The Jazz Minors At Marriott Twin Bridges Sat. Aug. 6, 1977 9-1 Members $4, nonmemhers $5 W t £ & ^ G a & wPjgfflk ^ b F k 5^j^R ^ w P ^ 5f\jj^ -^otk *9\®?^ *%?** ^Sof^ •^Sbt^- ^tuP* ^Sor^ ^T®r^ MEMBERSHIP APPLICATION, POTOMAC RIVER JAZZ CLUB (Please print or type) NAME STREET CITY STATE $ ZIP PHONE NO. OCCUPATION (Opt.) RECORD COLLECTOR ( ) YES MUSICIAN? (What instruments?) * MEMBER OF ORGANIZED BAND? '^ 5 '" INTERESTED IN ORGANIZING OR JOINING ONE? INTERESTED IN JAMMING OCCASIONALLY?_ — READ MUSIC? ( ) YES DESCRIBE YOUR JAZZ INTERESTS BRIEFLY (What styles interest you, etc.) [ ] Individual membership - $7.50 per year. Member is eligible for all benefits of the PRJC, including all discounts offered and the right to vote in the general election and to hold office in the club. [ ] Family membership - $10.00 per year. Both husband and wife are eligible for benefits described above. Children under 18 are eligible for all discounts. (A single person buying a family membership is eligible for all benefits described above; discounts offered will be extended to one guest when that guest accompanies the member.) I enclose check payable to the Potomac River Jazz Club for the option checked above. Signature________________ Mail to: Doris B. Baker Membership Secretary 7001+ Westmoreland Rd. Falls Church, Va. 2201+2 Buzzy's Gig Ends Tail gate Rambling: One of the longest running gigs in PRJC history, long predating the club's exis­ Vol. 7 No. 8 tence, came to an apparent end in mid- August 1977 July, when the Stutz Bearcat JB got the Editor - Ted Chandler pink slip from Buzzy's Pizza Warehouse Contributing Editors - A1 Webber in Annapolis. Citing economics as the Dick Baker reason, management indicated satisfaction Ed Fishel with the band, but pointed to lack of Cover Art - Kevin Mitchell parking space and a location off the PRJC President - Harold Gray beaten track as factors militating against large enough crowds to maintain the gig. TR is published monthly for members of Few of what crowds did gather each the Potomac River Jazz Club, a nonprofit week were PRJC members. group, dedicated to preservation of The Stutz Bearcats, whose personnel traditional jazz and its encouragement had remained remarkably constant over the in the Washington-Baltimore area. Signed past year, have developed into a hard­ articles appearing in TR represent the hitting, crisp band with a metronomic views of their authors alone and should rhythm section and a tight, often uproar­ not be construed as club policy or ious front line. opinion. Led by clarinetist Chuck Brown, the Articles, letters to the editor, and band includes Joe Shepherd - tpt; Gerry ad copy (no charge for members' personal Nichols - tbn; John True - po; Bill ads) should be mailed to the editor at: Nelson- bass; and Gil Brown - drums. The 7160 Talisman Lane band, formed as the Basin St. JB, was Columbia, Md. 210^5 originally put together by the late Lou Weinberg from musicians who got togethet- • • • • at the PRJC open jam session. It was the latest in a long succession of trad­ The RECORD CHANGER L i v e s itional bands that have occupied Buzzy's I cannot think of any announcement bandstand as far back as 1962, by some that would make me prouder than this: accounts. The Stutz band had been at the Starting with this issue of TR, we pizza joint for two years. are happy to announce the reprinting The folding of the Buzzy's gig leaves of historical material of great import­ traditional jazz in parlous condition ance from the pages of the late Gordon in Maryland. About the only Maryland Gullickson's great magazine, The Record gigs left for PRJC bands are the South­ Changer. Material included in this ern Comfort engagement at Shakey's in first of a continuing series is a report Rockville and the continuing gig of the of an interview with the Black composer Bay City 7 at Baltimore’s Nobska Rest­ of Jazz Me Blues and many other classic aurant . a A jazz songs, Tom Delaney, and one of TR Goes 3rd Class a series of columns that appeared in With this issue of TR, you will be the Record Changer by Gully's good friend, receiving it by Third Class mail Roy Carew. Both of these features rather than by First Class. This is an appeared originally in 19^ . experiment to see if, by use of this Some heartfelt thanks are due to a _ kind of mail service we can expand our number of people involved in this project. service to you while maintaining some Among them: Ruth Gullickson, Gully's wife, kind of reliable mailing schedules. who gave her permission for use of these This will allow us to expand the historic articles; Orin Keepnews, who size of TR modestly from time to time bought the Record Changer from Gully and as occasion may warrant, and include who added his okay to the project; Jeff new features. Bates, who procured clearances and helped One thing, however, should be kept select material, and Rod Clarke, who in mind. With first class mail, we made the material in his files at the received undeliverable copies back. National Museum of Traditional Jazz Under the new system this is no longer available. Incidentally, Rod is missing possible, so unless you tell us, we some issues of the Record Changer, and will have no way of knowing whether asks that people search their attics you have moved or otherwise are not for copies they might be willing to receiving your TR. Also, there may donate to the Museum. TC A A be times when TR is a day or so later ■ than you normally receive it. These NEEDED: Picnic workers for Sat. Sept. 17• drawbacks, however, are minor and the All kinds of tasks - volunteers needed. possibility for a bigger, better TR Call Fred Wahler - 89^-6370. is the main reason for the move. A ▲ -3 But On The Other Hand An Editorial Outcry booth, there would be 17-year-old Johnny Just about the precise place where you Windhurst keeping up with the band on drive onto the on-ramp of the Mass. his cornet mouthpiece. Ruby Braff would Turnpike heading west from Boston's usually drop in and we'd groan a little Copley Square, I always say the brief­ because he still had not learned to est kind of RIP prayer. control his horn very well and was At that point, you drive across the not one of our favorites at the time. place where the bandstand used to be at One time Neil Hefti was there as a the Copley Terrace. The Copley (pronoun­ spectator and a number of us bullied ced COP-lee, never ever COPE-lee, for him into sitting in (a hopper, Hefti was God's sake) Terrace reached its zenith contemptuous of traditional jazz). To in the mid-40s, and in that brief period our shocked surprise, he not only knew housed some of the best jazz in a city Muskat Ramble, but took a pretty good which had jumped like mad since the days solo when it came his turn. But he a decade earlier when Bobby Hackett and snarled at us when he came off the Brad Gowans broke things up at the old stand. Theatrical Club (which was even before I don't know what this is all my time!). about. I just got thinking of the The Terrace bandstand was graced by Copley Terrace. people like Frankie Newton and Vic Dick­ A A enson, Joe Marsala, Ed! Hall, Wild Bill Davison, Art Hodes, Freddie Moore, Max Whatever Joe Shepherd did for the Govern­ Kaminsky, Pee Wee Russell, Ruby Braff, ment before he retired recently, it Buzzy Drootin, Bob Wilber, Johnny Wind- should have been in the diplomatic service. hurst, and Shirley Mhore (a tragic young The^ other day, Jazzbo Brown from Black singer who never could lose the Columbia Town asked Joe to frankly rate notion that we who loved her most were his kazoo playing. "well, Jazzbo," Joe seeking to injure her. John Kirby heard said thoughtfully, "I'd rank you about and hired her, but she soon afterward, third in the country." killed herself). Jazzbo could not contain his happi­ The Copley Terrace also was the home ness at the compliment. "Who are the of a band which was a precursor of the others?" He asked. New Black Eagles. The Charlie Vinal Joe smiled upon him and let him have Rhythm Kings were a group of semi-pro i'o ! '^°^n s o n McCree is second, and about musicians holding regular jobs off the 10,000 guys are tied for first," he bandstand. Howie Gadboys, the clarin­ said. etist, was a medical student; bassist A A John Fields and drummer Bill Burch drove EVERY KNOCK'S A BOOST OR (CONCEIVABLY) hacks. The band w a s named after a young VICE VERSA DEPT. That absolutely utterly cat from Quincy, wheelchair-borne - a marvy jazzmag, Jazzology, published by victim of polio. Charlie had recently the devine Bill Bacin said the strangest died but before he left us he established thing in its Apri1-May-June issue, 'wigs. such a reputation that Benny Goodman used It asked a question: "Is Tailgate Ramb- to go down to Quincy to jam with him when lings now a susidiary (sic) of Down Beat*'5" he came though town. The clarinet was TR never reads Down Beat, d'Ears, and Charlie’s axe. hardly ever reads Jazzology.
Recommended publications
  • 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]
  • George Wein's Dixie-Victors Featuring Ruby Braff
    George Wein's Dixie-Victors The Magic Horn mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Stage & Screen Album: The Magic Horn Country: Canada Released: 1956 Style: Dixieland MP3 version RAR size: 1879 mb FLAC version RAR size: 1285 mb WMA version RAR size: 1808 mb Rating: 4.6 Votes: 870 Other Formats: VOC APE AA VOX XM DMF TTA Tracklist A1 The Magic Horn A2 Sugar A3 Struttin' With Some Barbecue A4 Ain't Gonna Give Nobody None Of My Jellyroll B1 A Monday Date B2 Squeeze Me B3 On The Sunny Side Of The Street B4 Loveless Love B5 Dippermouth Blues Credits Banjo – Danny Barker Baritone Saxophone – Ernie Caceres Bass – Milt Hinton Clarinet – Bill Stegmeyer, Peanuts Hucko Drums – Buzzy Drootin Piano, Creative Director [Musical Director] – George Wein Trombone – Vic Dickenson Trumpet – Jimmy McPartland, Ruby Braff Notes Black label with silver print, white dog logo at top, and "Long Play" at bottom. Studio performances by group assembled for NBC-TV production, "The Magic Horn". Many of the musicians had acting roles in the show, as detailed on the back cover. Other versions Category Artist Title (Format) Label Category Country Year George Wein's Dixie George Wein's Dixie Victors, Ruby Braff - The RCA A10V 0090 A10V 0090 Italy 1956 Victors, Ruby Braff Magic Horn (10", Album, Italiana Mono) George Wein's Dixie- George Wein's Dixie- Victors* Featuring Ruby RCA LPM-1332 Victors* Featuring LPM-1332 US 1956 Braff - The Magic Horn (LP, Victor Ruby Braff Album, Mono) Related Music albums to The Magic Horn by George Wein's Dixie-Victors Ruby Braff & His New England Songhounds - Volume One George Wein And His All-Stars - George Wein Is Alive And Well In Mexico Ruby Braff And Ellis Larkins - 2 X 2 Ruby Braff - Born To Play Ruby Braff Octet - Hey, Ruby! Ruby Braff - Holiday In Braff Various - Jazz A La Midnight Buster Bailey, Vic Dickenson, Marty Napoleon, Arvell Shaw, Rex Stewart, George Wettling, "Pee Wee" Irwin, Claude Hopkins, Milt Hinton - Drum Sticks • Trumpet • And Dixieland.
    [Show full text]
  • Remembering Charles Ellsworth Russell STOMP the 45Th Annual NJJS Pee Wee Russell Memorial Stomp SUNDAY Is All Set to Chase Away Winter’S Chill on Sunday, March 2
    Volume 42 • Issue 2 February 2014 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. PEE WEE Pee Wee Russell, New York City c. 1944-46. Photo by William Gottlieb. RUSSELL MEMORIAL Remembering Charles Ellsworth Russell STOMP The 45th Annual NJJS Pee Wee Russell Memorial Stomp SUNDAY is all set to chase away winter’s chill on Sunday, March 2. Once again presented in MARCH 2 the elegant Grand Ballroom of the Birchwood Manor in Whippany, NJ, this year’s details bands are: Dick Voigt’s Big Apple Jazz Band, David Ostwald’s Louis Armstrong pages Eternity Band, the Keith Ingham Quintet and the Warren Vaché Quintet. More info page 26. 2, 5, 26 New JerseyJazzSociety in this issue: New Jersey Jazz socIety Prez Sez. 2 Bulletin Board ......................2 NJJS Calendar ......................3 Jazz Trivia .........................4 The Mail Bag .......................4 Editor’s Pick/Deadlines/NJJS Info .......6 Prez Sez Crow’s Nest. 46 New Patron Level Benefits ...........47 By Mike Katz President, NJJS Change of Address/Support NJJS/ Volunteer/Join NJJS. 47 NJJS/Pee Wee T-shirts. 48 s this issue of Jersey Jazz is on its way to the New/Renewed Members ............49 APost Office, Jackie Wetcher and I are on our storIes way down to Port Everglades in Fort Lauderdale Pee Wee Preview. ...............cover to leave on a week-long Caribbean jazz cruise, Big Band in the Sky ..................8 which, we have been told, will feature more than Talking Jazz: James Chirillo ...........14 Dan’s Den ........................22 100 jazz musicians, many of them NJJS favorites.
    [Show full text]
  • Stan Mcdonald, Playing It with Passion
    STAN MCDONALD, PLAYING IT WITH PASSION By George A. Borgman I first heard reedman Stan McDonald in person when he appeared with the New Black Eagle Jazz Band in March 1980 at The Boston Globe Jazz Festival at the Berklee Performance Center in Boston. The fire alarm sounded just before the performance began, and the building was evacuated. My son, Eric, age nine, and I exited through a rear door into an alley where sev- eral Black Eagles were beginning to jam. One of them was Stan McDonald, playing clarinet, and tenor saxophonist Scott Hamilton, also on the festival’s program, soon joined the session. Twenty minutes later everyone returned inside, for the firemen had extinguished a small fire in a floor ashtray in the lobby. Impressed with the jam session, I wrote a letter to the Globe, saying that the best part of the concert was the music in the alley, and the letter was published. In 1981, I received core- spondence from McDonald, inviting me to come to the Sticky Wicket Pub in Hopkinton, Mass., to hear his new Blue Horizon Jazz Band. In a postscript he wrote, "Remember the Alleymo!" When I arrived at the Sticky Wicket, the band was about to begin a tune, and as I walked by the band- stand, I commented, "Remember the Alleymo!" I heard a woman laugh and later discovered she was McDonald's wife, Ellen, the band's diligent manager. - G. Borgman *** Stan McDonald, whose musicianship and playing style have been acclaimed by fellow musicians and critics for more than 30 years, has accumulated a wide and loyal following among traditional jazz fans, as he has worked with various groups, including the New Black Eagle Jazz Band, and he has led his own bands, the Blue Horizon Jazz Band among them.
    [Show full text]
  • How to Use the Holt Handbook CD-ROM Version
    How to Use the Holt Handbook CD-ROM Version Getting to a Chapter or Section The bookmark menu on the left-hand side of the Acrobatâ Readerâ lists the chapters and major sections of the Holt Handbook. To get to a chapter or section, click one of the bookmarks. Getting the Best View of the Pages Before you click a chapter or section bookmark, you can choose the Hide After Use option from the Bookmark pull-down. Then, after you click a bookmark, the bookmark menu will be hidden so that you will have a larger view of the book pages. Getting Around Within a Chapter or Section Once you are in a chapter or section, you can move gradually through each page by using the scroll bar or by using the Page Down and Page Up keys on your keyboard. To move through the chapter or section an entire page at a time, you can use the navigation triangles located in the upper toolbar. Getting to Another Chapter or Section When you are done with a chapter or section, you can go to another chapter or section by clicking a new bookmark from the bookmark menu. If you have hidden the bookmark menu, you can bring it back by clicking on the tab labeled Bookmarks. This tab is located in the upper left-hand side of the screen. Fifth Course Warriner HOLTHOLT HOLT HOLT Grammar • Usage • Mechanics • Sentences Introductory Course First Course Second Course Grammar • Usage • Mechanics • Sentences Third Course Fourth Course Fifth Course Sixth Course Fifth Course PART Grammar, Usage, and Mechanics GO TO: go.hrw.com L L Grammar 1 Parts of Speech Overview 10 Placement of Modifiers
    [Show full text]
  • The Choo Choo Jazzers and Similar Groups: a Musical And
    The Choo Choo Jazzers and Similar Groups: A Musical and Discographical Reappraisal, Part Two By Bob Hitchens, with revised discographical information compiled and edited by Mark Berresford Correction to the preamble to Part 1 of this listing. The words “the late” in connection with Johnny Parth should be deleted. Happily Johnny is going well at around 85 years of age. My apologies for the mistake and for any upset caused. Bob H. Please see Part One (VJM 175) for index to abbreviations and reference sources. GLADYS MURRAY, Comedienne Acc. By Kansas Five Clementine Smith (vcl, comb and paper) acc by: poss Bubber Miley (t) unknown (tb) Bob Fuller (cl) Louis Hooper (p) Elmer Snowden (bj) New York, c. November 24, 1924 5740-5 EVERYBODY LOVES MY BABY (Williams - Palmer) Regal 9760-A Rust: LM? or BM,BF,LH,ES. B&GR: LM or BM??,BF,LH,ES. Kidd: u/k,BF,LH,u/k. Miley disco: BM,u/k (tb)BF,LH,ES. Rains: BM. May be pseudonym for Josie Miles. (David Evans, notes to Document DOCD5518) Miley disco emphasises that other commentators have missed the trombone. So did I. I don’t think BM is here but Rains implies that the label states Miley (VJM157). I agree with KBR and feel that this is the same team as the 21 Nov Edisons. JOSIE MILES – JAZZ CASPER Josie Miles, Billy Higgins [Jazz Casper] (vcl duet) acc by: Bubber Miley (t) Louis Hooper (p) Elmer Snowden (bj) New York, c. November 24, 1924 5741-1-2 LET'S AGREE TO DISAGREE (Smith - Durante) Ban 1499-A Rust: BM or LM,LH,ES.
    [Show full text]
  • Ernesto Caceres “Ernie”
    1 The BARITONESAX of ERNESTO CACERES “ERNIE” Solographers: Jan Evensmo with Arne Bryn and Ola Rønnow Last update: Oct. 7, 2020 2 Born: Rockport, Texas, Nov. 22, 1911 Died: San Antonio, Texas, Jan. 10, 1971 Introduction: The day I heard Ernie Caceres play “Body And Soul” with Eddie Condon, I realized that he was one of the best baritonesax players ever in the swing tradition , regardless of colour. Incredible how such a good musician can be almost forgotten! During the year 1944 he made more beautiful soli on his instrument than most challengers do in a lifetime! Early history: Clarinet from an early age, also studied guitar and saxophone. Worked with local bands from 1928, then worked with the “family” trio. Long spell with brother Emilio’s small band including residencies in Detroit and New York. Joined Bobby Hackett in summer of 1938, played tenorsax in Jack Teagarden’s band from February 1939. Briefly in big band led by Bob Zurke, then with Glenn Miller from February 1940 until summer of 1942. With Johnny Long’s band from March 1943, with Benny Goodman in October 1943. Joined Tommy Dorsey in December 1943. Worked with Benny Goodman and Woody Herman in 1944, U.S. Army service from spring 1945. Took part in many recordings with Eddie Condon alumni during the 1940s and 1950s (ref. John Chilton). Message: I am very sorry I did not realize how fine a clarinet player EC was! When you below find reference to ‘have EC’ it means baritonesax only. However, he may play beautiful clarinet soli, not noted.
    [Show full text]
  • VJAZZ 51 Aug Revision.Pub
    VJAZZ 51 August 2011 Distribution 650 Proactively Collecting, Archiving and Disseminating Australian Jazz I’ve Got One For Ya’ by Graeme Davies. The Lady with the Camera by John Sharpe. Geoffery Orr by Ken Simpson-Bull. Jazz Memories of the USA by Tony Newstead. Standish and Company S&C #7...a Newsletter. Bix Lives At Mittagong And Elsewhere by Bill Brown. A Good Funeral by Lee & Beverley Treanor. Ragtime Pianist Extraordinaire by Gretel James. I’ve Got One For Ya’ by Graeme Davies. The Lady with the Camera by John Sharpe. Geoffery Orr by Ken Simpson-Bull. Jazz Memories of the USA by Tony Newstead. Standish and Company S&C #7...a Newsletter. Bix Lives At Mittagong And Elsewhere by Bill Brown. A Good Funeral by Lee & Beverley Treanor. Ragtime Pianist Extraordinaire by Gretel James. I’ve Got One For Ya’ by Graeme Davies. The Lady with the Camera by John Sharpe. Geoffery Orr by Ken Simpson-Bull. Jazz Memories of the USA by Tony Newstead. Standish and Company S&C #7...a Newsletter. Bix Lives At Mittagong And Elsewhere by Bill Brown. A Good Funeral by Lee & Beverley Treanor. Ragtime Pianist Extraordinaire by Gretel James. I’ve Got One For Ya’ by Graeme Davies. The QUARTERLY MAGAZINE OF THE VICTORIAN JAZZ ARCHIVE INC. PATRON: WILLIAM H. MILLER M.A., B.C.L. (Oxon.) 15 Mountain Highway, Wantirna Melway Ref. 63 C8 (All correspondence to: PO Box 6007 Wantirna Mall, Vic. 3152) Registered No: A0033964L ABN 53 531 132 426 Ph (03) 9800 5535 email: [email protected]. Web page: www.vicjazzarchive.org.au VJAZZ 51 Page 2 Contents Letters to the Editor The VJA Rosstown WHAT’S in a name, as Shakespeare Fundraiser once said.
    [Show full text]
  • A Tommy Ladnier Discography Bo Lindström
    A Tommy Ladnier Discography Bo Lindström Stockholm, February 24, 2015 PREFACE 4 LEGEND USED FOR SOLO DESCRIPTION 5 TEXT CONVENTIONS AND ABBREVIATIONS 5 PART 1 - VERIFIED TOMMY LADNIER RECORDING SESSIONS 7 1. MONETTE MOORE CLARENCE JONES, PIANO, AND PARAMOUNT TRIO 7 2. JELLY ROLL MARTON AND HIS ORCHESTRA 7 3. IDA COX WITH LOVIE AUSTIN AND HER BLUES SERENADERS (VOCAL BLUES) 8 4. IDA COX AND HER BLUES SERENADERS 8 5. IDA COX AND HER BLUES SERENADERS 8 6. OLLIE POWERS' HARMONY SYNCOPATORS 9 7. IDA COX WITH LOVIE AUSTIN AND HER BLUES SERENADERS 10 8. ALBERTA HUNTER AND HER PARAMOUNT BOYS (CONTRALTO WITH ORCHESTRA) 10 9. IDA COX WITH LOVIE AUSTIN AND HER BLUES SERENADERS (VOCAL BLUES) 10 10. MADAME “MA” RAINEY WITH LOVIE AUSTIN AND HER BLUES SERENADERS (VOCAL BLUES) 10 11. EDMONIA HENDERSON WITH LOVIE AUSTIN AND HER BLUES SERENADERS (VOCAL BLUES) 11 12. IDA COX WITH LOVIE AUSTIN AND HER BLUES SERENADERS (VOCAL BLUES) 11 13. MADAME »MA» RAINEY ACC. BY LOVIE AUSTIN AND HER BLUES SERENADERS 11 14. EDMONIA HENDERSON ACC. BY LOVIE AUSTIN AND HER BLUES SERENADERS (VOCAL BLUES) 12 15. GERTRUDE »MA» RAINEY WITH LOVIE AUSTIN'S BLUES SERENADERS (VOCAL BLUES) 12 16. IDA COX WITH LOVIE AUSTIN AND HER BLUES SERENADERS 13 17. EDNA HICKS ACC. BY LOVIE AUSTIN AND HER BLUES SERENADERS 13 18. MA RAINEY AND HER GEORGIA BAND 13 19. ETHEL WATERS WITH LOVIE AUSTIN BLUES SERENADERS 13 20. GERTRUDE »MA» RAINEY WITH LOVIE AUSTIN'S BLUES SERENADERS 14 21. IDA COX WITH LOVIE AUSTIN AND HER BLUES SERENADERS 14 22.
    [Show full text]
  • Ruby Braff Jazz at the Boston Arts Festival Mp3, Flac, Wma
    Ruby Braff Jazz At The Boston Arts Festival mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Jazz At The Boston Arts Festival Country: US Style: Swing MP3 version RAR size: 1431 mb FLAC version RAR size: 1740 mb WMA version RAR size: 1862 mb Rating: 4.8 Votes: 987 Other Formats: XM ADX AUD APE AAC ASF MOD Tracklist A1 High Society A2 At The Jazz Band Ball B When It's Sleepy Time Down South Companies, etc. Record Company – Storyville Records, Inc. Recorded At – Boston Arts Festival Credits Bass – John Fields Clarinet, Tenor Saxophone – Al Drootin Cover – Burt Goldblatt Drums – Buzzy Drootin Piano – George Wein Tenor Saxophone – Samuel Margolis* Trombone – Dick LeFave, Vic Dickenson Trumpet – Ruby Braff Notes Dick LeFave credited for trumpet on the front and trombone on the back recorded 1954 Related Music albums to Jazz At The Boston Arts Festival by Ruby Braff Ruby Braff And Ellis Larkins - Two By Two (Ruby And Ellis Play Rodgers And Hart) Vic Dickenson Septet - Vic Dickenson Septet Volume 4 Serge Chaloff ,and Boots Mussulli featuring Russ Freeman - George Wein Presents Ruby Braff - Swinging With Ruby Braff Vic Dickenson & Joe Thomas - Mainstream - (Vic Dickenson & Joe Thomas & Their All-Star Jazz Groups) Dick Hyman & Ruby Braff - Play Nice Tunes Ruby Braff Octet And Bobby Henderson - Ruby Braff Octet And Bobby Henderson At Newport Ruby Braff Sextet - Little Big Horn Ruby Braff - Bugle Call Rag Pee Wee Russell - We're In The Money.
    [Show full text]
  • The Recordings of Sidney Bechet; in Fact It Does Not Include Much Release Information at All
    The Recordings of SIDNEY BECHET Mal Collins June 2011 Introduction This is not a discography in the most accepted sense of that word: it does not itemise every commercial release of the recordings of Sidney Bechet; in fact it does not include much release information at all. The Recordings here are – at the time of writing, June 2011 - almost all free of recording copyright in many territories: 50 years from the first publication date, recordings may be freely - and legally - used, without paying royalties to the artist (not the case in the USA, and the situation is changing in Europe). This means that it is difficult - not to say impossible - to keep track of the many uses of his work: not only of his classic performances which have been free of this copyright for some time, but also now of his many French recordings, which count for more than 50% of his output. So to detail the original release information is of less and less interest (and this has already been done. None of the original shellac or vinyl releases is available, except as a collector’s item; many CD releases are also no longer available; we are into an era driven by the most popular end of the music market: the digital/download age.So to itemise ALL commercial releases is a thankless task which serves less & less benefit with every year that passes. What this document does do is: to collect together all the known recordings of Sidney Bechet; to clear up a number of anomalies and uncertainties (others will always remain); to identify all the occasions on which he plays soprano sax and/or clarinet; and to fully index all sessions by title and performer.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Antoine Perier and Gérard Dugelay, both France and Kenneth Hallqvist, Sweden January 2019 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by A Perier, G Dugelay and K Hallqvist - page No. 1 INTERNAL INFORMATION Colour markings for physical position: IKEA-boxes for Gerry Mulligan = BLUE Shelves = ORANGE Cupboard = RED Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by A Perier, G Dugelay and K Hallqvist - page No. 2 Search for LPs/CDs: Who's who in JAZZ: LP 21005 - The music of Charles Mingus with Gerry Mulligan LP 21012 - Giants of Jazz, vol.1 with Gerry Mulligan LP 21014 - Giants of Jazz, vol.2 with Gerry Mulligan? Bob Andrew presents Art Peppar - CD Vantage Rec., NORMA(J) CD NOCD-5630 Live at the Lighthouse '52 (January 6, 1952) - Gerry Mulligan should participate!? JAM SESSION AT THE HAIG Vern Smith (tp), Gerry Mulligan (bars), Donn Trenner (p), Harry Babasin (vlc), Wally Sprangler (b), Chico Hamilton (dm) “The Haig”, Los Angeles, CA., June 17, 1952 Get Happy Private recording The Continental As above Pennies From Heaven As above Unknown (ts), Gerry Mulligan (bars), Donn Trenner (p), Howard Roberts (g), Red Mitchell (b), Chico Hamilton (dm) Sweet Georgia Brown Private recording On A Slow Boat To China As above BILLIE HOLIDAY Billie Holiday (vcl), Buck Clayton (tp), Vic Dickenson (tb), Lester Young (ts), Gerry Mulligan (bars), Teddy Wilson (p), Milt Hinton (b), Jo Jones (dm) Newport Jazz Festival, Newport, Rhode Island, July 18, 1954 Billie’s Bounce + unknown titles Voice of America broadcast Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by A Perier, G Dugelay and K Hallqvist - page No.
    [Show full text]