DOCSLIB.ORG

Read the Full Liner Notes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Read the Full Liner Notes During a 2004 concert at the Steinway-Haus Hunter (1895-1984), and Ida Cox (1896- from Jones included having Rose trade scat- horns and strings, but arranger Burr gives the You Are Near Me), and Stanley Adams gave “CAN’T WE BE FRIENDS,” by in Düsseldorf, Germany, jazz and blues singer 1967)—were full-time singers who wrote ted fours with drummer Allison Miller on “I’M present version a George Shearing flavor English lyrics and a new title and meaning George Gershwin associate Kay Swift Pamela Rose performed eight songs in a row some of their own material. And carrying IN THE MOOD FOR LOVE” (something with his piano-vibes-guitar voicings. (Another to it in 1934, the year the Dorsey Brothers and her lyricist husband, prominent New by women composers. Although she hadn’t the tradition into the present century instrumentalists, not vocalists, usually do with Fisher-Roberts composition, “You Always Hurt Orchestra (with singer Bob Crosby) first made York banker James Paul Warburg, was first consciously planned the set that way, it with three original compositions is Rose drummers). Rose and Jones the One You Love,” it a hit. Rose takes the tune at a relaxed tempo performed in 1929 by Libby Holman in The wasn’t entirely by happenstance, as the herself. She also has launched a web handpicked the players for was a hit in 1945 for and really lets it breathe. Little Show on Broadway. Rose learned it San Francisco vocalist had long held a keen site—www.wildwomenofsong.com—filled each selection, drawing producer Jones’s late from Ella Fitzgerald and Louis Armstrong’s “AND THEN SOME,” by the team of Vee interest in women songwriters, particularly with fascinating details about the women on musicians who often father, bandleader Spike classic 1956 duet recording. In Rose’s Lawnhurst and Tot Seymour, is perhaps the those of the Tin Pan Alley and classic blues eras. represented on the disc. perform with Rose around Jones). lightly swinging treatment, trumpeter Mike least-known standard of the bunch, although San Francisco—pianists John Olmos offers a tip of the hat to Satchmo. Thunderous applause followed Rose’s With depth of feeling, crystalline enunciation, “DOWN HEARTED bandleader Ozzie Nelson hit the top of the R. Burr and Tammy Hall, announcement that every tune she’d sung refined musical sensibility, and rich, inviting BLUES” was written charts with it in 1935. Originally written with “CLOSE YOUR EyES,” from 1933, organist Wayne De La Cruz, was composed by a woman. The same thing alto tones, Rose offers fresh, frequently ex- and recorded by Alberta a 2/4 bounce, Burr’s piano trio provides a is perhaps the best of the many tunes and guitarists Danny Caron began happening back home in the San quisite, takes on the 11 standards presented Hunter in 1922, but it loose, ethereal groove behind Rose’s heart- written by Bernice Petkere, who in her day and Mimi Fox, among them— Francisco area. “I would say,” she explains, in WILD WOMEN OF SONG. Much of was Bessie Smith who felt vocal. was known as “the Queen of Tin Pan Alley.” and out-of-towners Catingub “‘the last six songs you heard were written the musical variety that makes the album such had a massive hit with Rose's organ combo alternates between an (from Los Angeles) and Miller Lyricist Dorothy Fields is represented by by women.’ The place would go crazy. I think a rewarding listening experience stems from it that same year. Rose’s Afro-Cuban groove and 4/4 swing, much (from New York). two selections: “A FiNE ROMANCE,” people really are surprised to realize that the the mind of producer Leslie Ann Jones, one of rendition features pia- as the song itself draws on the tension written with Jerome Kern and introduced contributions of women to these songs that the most successful and respected recording The program opens with nist Hall. “She’s a singer’s between major and minor keys. by Fred Astaire in the 1936 film Swing Time, we love and revere are so strong, yet we engineers in the business, with a resumé that “I DON'T KNOW friend,” Rose says. “Her and “I’M IN THE MOOD FOR LOVE,” Rose’s own three compositions—“I’M don't know their names. It became a little includes work with such renowned interpreters ENOUGH ABOUT harmonic approach is written with Jimmy McHugh and first NOT MissiNG YOU” (written with cause to bring out these writers’ names and of the Great American Songbook as Rosemary YOU.” Written by Peggy one of a kind.” performed by Frances Langford in the 1935 Wayne De La Cruz and Danny Caron), to tell people a little bit about them.” Clooney, Michael Feinstein, and Carmen McRae, Lee and her then-husband, Another classic blues, Ida film Every Night About Eight. Rose swings “BRUisED AROUND THE HEART” as well as with many leading lights of jazz, Dave Barbour, it was WILD WOMEN OF SONG, Rose’s fifth Cox’s “WILD WOM- both of them hard. (with Mimi Fox), and “IF YOU’RE SO pop, rock, R&B, and women’s music. Among recorded by Lee in 1946 and album, is a collection of 14 songs by 13 EN (Don’T Have the SPEciaL” (with Caron, De La Cruz, and Jones’s numerous suggestions was hiring Matt was the first of her many “My SILENT LOVE,” by Dana Suesse different women. Songwriting was the Blues),” dates to 1924. her 20-year-old daughter Emma Dinkelspiel)— Catingub to write arrangements and play piano self-penned hits. Catingub’s (“The Girl Gershwin”) and lyricist Edward primary occupation of eight: Bernice Rose’s modern version provide intriguing insight into romantic rela- and saxophones for parts of the project. blues-bitten alto solo is one Heyman, was a hit for Ruby Newman in Petkere (1901-2000), Doris Fisher (1915- boasts a boogaloo beat and a robust trombone tionships and place Rose within the tradition of the disc’s instrumental highlights. 1932. Although attracted to the song by 2003), Dana Suesse (1909-1987), Dorothy The son of and former musical director for solo by Doug Beavers. of the women songwriters she so lovingly Billy Eckstine’s lushly orchestrated 1946 Fields (1905-1974), Kay Swift (1897-1993), the late jazz singer Mavis Rivers, Catingub had Rose was initially drawn to “THAT celebrates. She may not be a wild woman, but The prolific Mexican composer Maria Grever version, Rose decided to strip it to its Vee Lawnhurst (1905-1992), Tot Seymour worked with Jones and vocalist Dianne Reeves OLE DEVIL CALLED LOVE”— her singing and songs sure are wonderful. wrote “WHAT A DiFF’RENCE A Day essentials by doing it as a duet with guitarist Cause wild women don’t worry, (1889-1966), and Maria Grever (1894-1951). on the soundtrack of the 2006 motion picture melody by Doris Fisher, words by Allan Roberts— MaDE” as “Cuando Vuelva a tu Lado” (When Mimi Fox. —Lee Hildebrand Three—Peggy Lee (1920-2002), Alberta Good Night, and Good Luck. Other input by Billie Holiday’s 1946 Decca recording with Wild women don’t have the blues... - Ida COX .
Load more

Recommended publications
  • Christopher A. Reynolds Collection of Women's Song
    http://oac.cdlib.org/findaid/ark:/13030/kt1t1nf085 No online items Inventory of the Christopher A. Reynolds Collection of Women's Song Sara Gunasekara & Jared Campbell Department of Special Collections General Library University of California, Davis Davis, CA 95616-5292 Phone: (530) 752-1621 Fax: (530) 754-5758 Email: [email protected] © 2013 The Regents of the University of California. All rights reserved. Inventory of the Christopher A. D-435 1 Reynolds Collection of Women's Song Collector: Reynolds, Christopher A. Title: Christopher A. Reynolds Collection of Women's Song Date (inclusive): circa 1800-1985 Extent: 15.3 linear feet Abstract: Christopher A. Reynolds, Professor of Music at the University of California, Davis, has identified and collected sheet music written by women composers active in North America and England. This collection contains over 3000 songs and song publications mostly published between 1850 and 1950. The collection is primarily made up of songs, but there are also many works for solo piano as well as anthems and part songs. In addition there are books written by the women song composers, a letter written by Virginia Gabriel in the 1860s, and four letters by Mrs. H.H.A. Beach to James Francis Cooke from the 1920s. Physical location: Researchers should contact Special Collections to request collections, as many are stored offsite. Repository: University of California, Davis. General Library. Dept. of Special Collections. Davis, California 95616-5292 Collection number: D-435 Language of Material: Collection materials in English Biography Christoper A. Reynolds received his PhD from Princeton University. He is Professor of Music at the University of Californa, Davis and author of Papal Patronage and the Music of St.
    [Show full text]
  • Jazz Upand Down
    Volume 39 • Issue 8 September 2011 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Guitarist Jim Hall warms up for his performance in the Eastman School of Music’s stately Kilbourn Hall at the 10th Xerox Rochester International Jazz Festival in June. Photo by Mitchell Seidel. Jazz Up and Down By Mitchell Seidel f you were going to use two upstate New York jazz festivals in June A week after Rochester shuttered for the year, Saratoga Springs played I as an example of the summer music scene, you’d be hard-pressed to host to its 34th annual jazz festival, sponsored in recent years by come away with a consensus. On one hand, it was robust and getting Freihofer’s. Started as a part of the Newport Jazz Festival in exile by better. On the other hand, it was losing strength. It all depends on George Wein in 1978 before his return to Rhode Island, in its early your venue and point of view. years it could draw about 17,000 people a day for a weekend at the Saratoga Performing Arts Center (SPAC). You can only guess at what The Xerox Rochester International Jazz Festival celebrated its tenth they draw now, because SPAC officials, who used to announce such edition with throngs of street minglers, sold-out concert halls and a figures the day of the event, were still withholding their statistics in sense of optimism that’s rare in these tough economic times. Just a August. Judging from previous figures and the lighter crowd this year, few blocks from the festival site, the city was eagerly tearing down the 5,500 people a day would be a generous guess.
    [Show full text]
  • "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
    Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas.
    [Show full text]
  • James W. Phillips Collection
    JAMES W. PHILLIPS COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Gigi Monacchino, spring 2013 Revised by Gail E. Lowther, winter 2019 1 TABLE OF CONTENTS Description of Collection . 3 Description of Series . 5 INVENTORY Sub-Group I: Composer Subdivision Series 1: Irving Berlin . 7 Series 2: George Gershwin, Victor Herbert, and Jerome Kern . 35 Series 3: Jerome Kern and Cole Porter . 45 Series 4: Cole Porter and Richard Rodgers . 60 Series 5: Richard Rodgers . 72 Series 6: Richard Rodgers and Sigmund Romberg . 86 Sub-Group II: Individual Sheet Music Division . 92 Sub-Group III: Film and Stage Musical Songs . 214 Sub-Group IV: Miscellaneous Selections . 247 2 DESCRIPTION OF COLLECTION Accession no. 2007/8/14 Shelf location: C3B 7,4–6 Physical extent: 7.5 linear feet Biographical sketch James West Phillips (b. August 11, 1915; d. July 2, 2006) was born in Rochester, NY. He graduated from the University of Rochester in 1937 with distinction with a Bachelor of Arts in Mathematics; he was also elected to the academic honors society Phi Beta Kappa. In 1941, he moved to Washington, DC, to work in the Army Ordnance Division of the War Department as a research analyst. He left that position in 1954 to restore a house he purchased in Georgetown. Subsequently, in 1956, he joined the National Automobile Dealers Association as a research analyst and worked there until his retirement in 1972. He was an avid musician and concert-goer: he was a talented pianist, and he composed music throughout his life.
    [Show full text]
  • Ella Fitzgerald Collection of Sheet Music, 1897-1991
    http://oac.cdlib.org/findaid/ark:/13030/tf2p300477 No online items Ella Fitzgerald collection of sheet music, 1897-1991 Finding aid prepared by Rebecca Bucher, Melissa Haley, Doug Johnson, 2015; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2002 The Regents of the University of California. All rights reserved. Ella Fitzgerald collection of sheet PASC-M 135 1 music, 1897-1991 Title: Ella Fitzgerald collection of sheet music Collection number: PASC-M 135 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 13.0 linear ft.(32 flat boxes and 1 1/2 document boxes) Date (inclusive): 1897-1991 Abstract: This collection consists of primarily of published sheet music collected by singer Ella Fitzgerald. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. creator: Fitzgerald, Ella Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright.
    [Show full text]
  • May 2021 NEWSLETTER
    VOLUME 42, NUMBER 8 Formerly New York Sheet Music Society www.APSSinc.org MAY 2021 ALL THAT JAZZ: Marilyn Lester & Danny Bacher An All-Star, Sparkling Afternoon of Music By Jerry Osterberg 1938, has been described Louis Armstrong said: as “The single most “If you have to ask what important jazz or popular jazz is, you’ll never music concert in history.” know.” No questions were Goodman, who played the necessary on the clarinet, alto saxophone, afternoon of April 10, as and baritone sax, began members streamed onto his career at the age of 14, the latest edition of playing in a band which Marilyn Lester’s annual featured Bix Beiderbecke. salute to Jazz. Co-hosted He is best known for his by Danny Bacher, the racially integrated band program featured many of and for catapulting swing the greatest talents of the music to the premiere genre by way of video position of American clips of their music in the late 1930’s performances, together and into the World War II Danny Bacher & Jon Weber with live renditions by era. Although Goodman Bacher, accompanied by dabbled in Bebop for a the irrepressible Jon Weber. Known affectionately as “Floorshow” for while, partly based on an admiration for Gathered within the limitless cloud of his versatility, he was given a horn and Thelonious Monk, he eventually found the Zoom Room, were Louis Jordan, Ray vocal solo by Ellington, appearing in the himself no longer in sync with Monk, Nance, Benny Goodman, Tex Beneke, first recording of “It Don’t Mean a Thing who said: “The piano ain’t got no wrong Jack Teagarden, Louis Armstrong, Dizzy (If It Ain’t Got That Swing).” Nance also notes.” The King of Swing countered with Gillespie, Clark Terry, Louis Prima and created the iconic solo in “Take the A “Basically it’s all wrong.
    [Show full text]
  • Sheet Music Collection Denver Public Library – WHG
    Sheet Music Collection Denver Public Library – WHG This collection contains over 690 individual scores for a large variety of music for many different instruments and vocal parts. Dating from the 1890s into the 1960s, genres include cowboy ballads, movie theme songs, two-steps, foxtrots, polkas, tangos, waltzes, piano studies and rags, choral pieces, school marches, Christmas and religious music, Spanish, Mexican, Native American and Hawaiian songs, military and patriotic pieces, romantic classics and parlor music. Many titles are about Colorado and Denver, and many other western states are included. Notable titles include “Four Pastorales – Music by Cecil Effinger, words by Thomas Hornsby Ferril,” “Colorado Volunteers March - By Oswald H. Richter,” “DeHarport's Practical Method for Tenor Banjo,” “Democratic Fun - A campaign cake walk by Robert Buechel,” “Fremont's Great Republican March,” “Hush My Little Coon,” “If I Had a Wagon, I Would Go To Colorado,” “National Farmers Union - A songbook of the Farmers Educational and Cooperative Union of America,” and “When the Columbines are Blooming in the Colorado Dells.” Sheet Music Collection Last Update 01/14/2020 [approx. 692 titles] These are housed on Level 6, in the “H Range” in the eastern half. [The filing strategy is inconsistent. Most often, items are filed by the first-listed creator name, usually “lyrics” or “words by” names. Some items are filed by the second creator, usually “music by.” Items without noted authors are by title. Items on the list below are by title.] Box 1 A-Bo RgH
    [Show full text]
  • Dave Bennett “Bill Schoening Presents” Burt Wilson
    Newsletter of the Sacramento Traditional Jazz Society STJS is a non-profit organization dedicated to the preservation and promotion of traditional jazz music. 2787 Del Monte Street • West Sacramento, CA 95691 • (916) 372-5277 • www.sacjazz.org & .com VOLUME 44 • NO. 1 FEBRUARY 2012 March 11: “39 Going on 40“ Drive Vivian Abraham ........4 Ad rates ............................................................2 Dave Bennett “Bill Schoening Presents” Burt Wilson..........7 Changes to KXJZ / KXPR Cap. Public Radio ......5 Dante Club – info/directions ........................2 swings with Dante Club Notes The Cricket ......................6-8 Future Festivals ............................................12 Goodman & “Get ‘Em on the Boat” Capitol Focus JB .........7 In Loving Memory ........................................15 Dave Bennett In the Months Ahead .....................................2 Fountain Jazz Notes ......................................................12 Membership application .............................16 he classic sound and music of began playing music at age 10 on a Musicians / Music Here & There ..................13 TBenny Goodman are brought clarinet given to him by his grandpar- Notes from the Office Vivian Abraham .........2 to life by Michigan clarinetist DAVE ents. He then taught himself how to Patron Members .............................................7 BENNETT, one of the most talented play Goodman songs by ear, listening President’s Message Tom Duff .......................3 young performers on the jazz festival
    [Show full text]
  • Johnson, Jay Cee (JC) Collection, 1896-1981
    Jay Cee (J. C.) Johnson Collection (September 14, 1896-February 27, 1981) BIOGRAPHICAL NOTE Jay Cee (J. C.) Johnson, a Jazz and Pop composer, was often referred to as the “composer’s ‘composer.’” Johnson was born in Chicago, Illinois, on September 14, 1896, and died on Friday, February 27, 1981, at St. Luke’s Hospital in Manhattan (New York City), at the age of 84. He received early education in the Chicago Public School System. His mother, Ellen, and his father—who worked as a waiter on the railroad, was away from home most of the time—is unknown. J. C. expressed an interest in music at an early age, but his mother, who sang in the church choir, did not encourage her son to pursue a career in music. Later, while studying the violin, a friend began to give him piano lessons, and because of his attention dedication sounds better in learning to play, his mother decided that this would be his instrument of choice. At the age of 19, following the death of his mother, he moved to New York City, where he began to study piano with a man named Sam Patterson. Around 1920, he began to work as a session pianist, working with singers such as Ethel Waters, who sung in his first recorded hit titled “You Can’t Do What My Last Man Did,” and would go on to record many of his songs. Johnson would go on to compose more songs, including his first version of “Travel’ lin All Alone,” with Billie Holliday as vocalist (one of her first significant hit songs).
    [Show full text]
  • PITTSBURGH JAZZ RECORDS and BEYOND, 1950-1985 by Carlos E
    PITTSBURGH JAZZ RECORDS AND BEYOND, 1950-1985 by Carlos E. Peña B.A., University of Pittsburgh, 1998 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Master in Arts University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH Faculty of Arts and Sciences This thesis was presented by Carlos E. Peña It was defended on April 18, 2007 and approved by Andrew Weintraub, PhD, Associate Professor of Music James P. Cassaro, MA, MLS, Adjunct Assistant Professor of Music Thesis Director: Nathan Davis, PhD, Professor of Music ii Copyright © by Carlos E. Peña 2007 iii PITTSBURGH JAZZ RECORDS AND BEYOND, 1950-1985 Carlos E. Peña, M.A. University of Pittsburgh, 2007 Pittsburgh, Pennsylvania has always been a musically fertile city, and it has been the incubator for many of the greatest musicians in the history of jazz. While not a major recording center, Pittsburgh has maintained, since the 1950s, an active recording scene documenting the work of jazz musicians living in the city. Because independent record labels and studios have been the rule in Pittsburgh, many recordings made by great Pittsburgh musicians in Pittsburgh have been overlooked. While jazz musicians have always engaged in diverse musical endeavors, including “popular” music, the aesthetics of jazz and pop grew closer together in the late 1960s with the advent of “fusion” and “funk.” This stylistic cross-fretilization made much of the music of the late 1960s and 1970s difficult to categorize. To try to fit this music into compartments of jazz, rock, pop, or otherwise is counterproductive, undermining the comprehensive study of the period’s music and the work of its musicians.
    [Show full text]
  • Bernice Petkere LATE
    BERNICE PETKERE 1901 – 2000 “Queen of Tin Pan Alley” “I never was pals with the other women composers, or even the male ones. I had a private life…only a couple of music executives ever got what I called ʻfreshʼ with me, and I let them have it, smack in the face like you never saw.” This scrappy, letʼs get down to business attitude surely characterizes composer and lyricist Bernice Petkere (pronounced Pet-Care). She began her show business career early, at age 5 on the Pantages Vaudeville Circuit. Paired up with an aunt, she held up her end of a duo called ʻBaby Dollsʼ. The early push to the stage seemed to suit her very well, as she stayed in show business much of her life. Bernice studied voice at the Henshaw Conservatory of Music in Chicago, and then taught herself to play piano as a teenager. Self taught or no, she was good enough to secure work as a pianist in the music publishing firm of Waterson, Berlin and Snyder in New York. She started writing songs when she was 19 years old, but it wasnʼt until 1931 she published her first song, “Starlight (Help Me Find the One I Love)”, which Bing Crosby recorded. After marrying Fred Berrens (music director at CBS), she worked steadily composing theme music for many radio shows. Teaming up with lyricist Joe Young, Bernice composed “Lullaby of the Leaves“ for the 1932 Broadway revue Chamberlain Brownʼs Scrap Book. Although the show didnʼt last more than a dozen performances, the tune was introduced on the radio by Freddie Berrens and his Orchestra, and there were soon records made by Ben Selvin and Connee Boswell.
    [Show full text]
  • Dissertation Draft
    ABSTRACT Title of Document: THE BIRTH OF JERU: GERRY MULLIGAN‘S EARLY COMPOSING/ARRANGING CAREER (1945-1953) Richard Samuel Fine, Doctor of Philosophy, 2010 Directed By: Professor Richard Wexler School of Music Gerry Mulligan (1927-1996) is undoubtedly the most celebrated baritone saxophonist of all time. For decades, both popular and critics‘ polls consistently recognized him as the best on his instrument. He took first place for forty-three consecutive years (1953-1995) in Downbeat‘s Readers‘ Poll for best baritone saxophonist, and his reviews by critics and fellow performers were, for the most part, laudatory. He performed with such jazz icons as Chet Baker, Dave Brubeck, Miles Davis, Duke Ellington, Dizzy Gillespie, Thelonious Monk, and Ben Webster. Perhaps as a consequence of this recognition as a performer, Gerry Mulligan‘s contributions as a composer and arranger have been overshadowed and therefore less recognized. This is despite the importance of his writing and its influence on the history of modern jazz orchestration. It was as a composer/arranger that he first made his mark, and he would preoccupy himself with writing throughout most of his career. The purpose of this dissertation is to study the history of Gerry Mulligan‘s composing/arranging career starting with his earliest professional writing projects as a teenager (ca 1945) and ending with the dissolution of his first pianoless quartet with Chet Baker (1953). To date, despite the availability of a huge collection of primary sources that Franca Mulligan, Gerry‘s widow, has donated to the Library of Congress, no scholarly study has been undertaken to examine this material, particularly in the context of Mulligan‘s development as composer/arranger.
    [Show full text]