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¶7櫥«Q }欻' / * #376;扎 #732;†
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 -
Jazzletter PO Box 240, Oiai CA93024-0240
GerE Lrc Ad Libitwm & Jazzletter PO Box 240, Oiai CA93024-0240 Rodin, Dick Morgan, Benny Goodman and Glenn Miller had The Glenn Miller Years II a suite. We all moved into that, practically the whole band, with the exception of Pollack, sleeping on chairs, couches, of the apartment was 1411' The Pollack band was booked to play at the Little Club on the floor, anywhere. The number came up: Room l4l l,with Benny 44th Street in New York, and opened there in March 1928. And that is how that title We hadbeen out ofwork about five weeks Bud Freeman years later recalled that the band's personnel at Goodman's Boys. home and said, 'I've got a recording date that time included himself, Gil Rodin, and Benny Goodman when Benny came can get some money, buy some food, on saxes; Glenn on trombone, Al Harris on trumpet, Jimmy with Brunswick. We McPartland playing jazzcornet, Goodman's brother Harry on eat."' least in that period of the big bands, bass, Vic Briedis on piano, Dick Morgan on guitar, and of (Jazz mtsicians, at have always found charming and course Pollack on drums. had a term, that I for one to staying in someone else's hotel Freeman said, "We were only there a couple of months and inventive: they referred paying for it as "ghosting.") were continually getting in trouble with the boss. We were room without registering or o'We Miller, myself and two or jusl an independent bunch of individuals and were always made that date. Goodman, playing different kinds of numberclike Blue and fluffing the boss off and getting just as fed up with him as he three more, we named Room l4l l. -
THE JERRY GRAY STORY – 1947 [Updated Jun 15, 2018 – Version JG.002E]
THE JERRY GRAY STORY – 1947 [Updated Jun 15, 2018 – Version JG.002e] January 26, 1947 [Sunday]: Jerry Gray arranged tunes made famous by Glenn Miller for New York City-based “Here’s To Ya” broadcast over the CBS radio network, January 26, 1947, 2:30 – 3:00 pm local time, performed by the Phil Davis Orchestra [including Trigger Alpert and Bernie Privin] and the Hires Hands vocal group [including Bill Conway]. Sponsored by Hires Root Beer. Moonlight Serenade – arranged by Jerry Gray Don’t Sit Under The Apple Tree – arranged by Jerry Gray Moonlight Cocktail – arranged by Jerry Gray A String Of Pearls – arranged by Jerry Gray Serenade In Blue – arranged by Jerry Gray In The Mood – arranged by Jerry Gray Chattanooga Choo Choo – arranged by Jerry Gray _______________ Harrisburg Telegraph [Harrisburg, Pennsylvania], Jan 18, 1947, Page 19: NEW SUNDAY MUSICAL SHOW HEARD ON WHP ‘Here’s To Ya’ Opens Jan. 26; Stars Louise Carlyle, Phil Hanna, Phil Davis “Here’s To Ya,” sparkling half-hour of popular and familiar music, featuring Contralto Louise Carlyle, Baritone-Emcee Phil Hanna, Phil Davis’ orchestra, and the Hires Hands singing group, starts on the Columbia network and WHP Sunday, January 26, 2:30-3 p.m. “Here’s To Ya” will be the first of a series of new shows to be added to the WHP schedule during the first few weeks of 1947 daytime schedule. Time and all information on the new programs will be announced in the near future on this page. Louise Carlyle, feminine star of “Here’s To Ya,” got her first big break several years ago as vocalist with her brother Russ’ orchestra. -
How the Crosby Band Got Started HOW DO YOU KNOW
>• 1.1941 Chicago. June 1, 1940 CROSBY ANNIVERSARY ISSUE DOWN BEAT on that. In fact, it has been his genial nature and his willingness to let some of the more technical ‘Got to Feel How the Crosby Band Got Started problems be handled by others in • the band better qualified that has Choice of Three ers. We were guaranteed $5,000 been the biggest factor in the suc in two weeks by Cork and believe cess of the band. Well to me, we earned it. Then came two We play the music we like—the Leaders Offered weeks at Tybee Beach in Savan- music we feel. We don’t call it nah, our first location. It was a “2-beat” or “4-beat” or anything Play Well’ BY GIL RODIN terrific click, much to our surprise, else. It’s just the music we like. and Willie Harr, who operated the Matty Matlock and Bob Haggart BY EDDIE MILLER bat Tommy was busy and I had to Beach, recommended us for the have the ability to write down There isn’t any two ways about talk with Cork O’Keefe. That was Adolphus Hotel in Dallas. what we all agree is the music we it—tiie boys in a band must feel when Rockwell-O’Keefe was begin- That also was a fine date. should play. And we just go ahead well in order to play well. One of oing to be a big booking combine. Everyone seemed to go for the and play it. the big reasons why the Crosby Cork listened to some of our rec band. -
Grandladyjazz00teagrich.Pdf
University of California Berkeley of California Regional Oral History Office University California The Bancroft Library Berkeley, Norma Teagarden GRAND LADY OF PIANO JAZZ With Introductions by Cyra McFadden and Marilyn Unsworth Interviews Conducted by Caroline Crawford 1992-1994 Copyright 1994 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well -placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Norma Teagarden dated March 28, 1994. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley. -
Tommy Dorsey
Glenn Miller Archives TOMMY DORSEY 1 9 3 9 Prepared by: Dennis M. Spragg CHRONOLOGY Part 1 - Chapter 5 Updated March 16, 2021 Table of Contents January 1939 3 February 1939 20 March 1939 29 April 1939 37 May 1939 44 June 1939 59 July 1939 73 August 1939 86 September 1939 109 October 1939 125 November 1939 135 December 1939 144 2 January 1939 January 1, 1939 (Sunday) Midnight - 12:30 am Hotel New Yorker New York (CBS) (WABC) sustaining broadcast January 2, 1939 (Monday) 11:00-11:30 pm Hotel New Yorker New York (Mutual) (WOR) sustaining broadcast Personnel Add Nat Leslie, arranger January 4, 1939 (Wednesday) 8:30 - 9:00 pm “The Raleigh and Kool Show” 79A NBC Radio City New York (NBC-Red) (WEAF) broadcast Bud Collyer, announcer Nat Leslie, arranger The Pied Pipers (Josephine Stafford, John Huddleston, Hal Hopper, Chuck Lowry, Bud Hervey, George Tait, Woody Newbury, Dick Whittinghill), guests I’m Gettin’ Sentimental Over You - opening theme, Two Cigarettes In The Dark Humoresque - Paul Weston arrangement What Do You Know About Love? – Edythe Wright, vocal It’s A Killer – Nat Leslie arrangement Let’s Stop The Clock Judgment Day Is Coming – Deane Kincaide arrangement Russian Lullaby, Down Home Rag – Deane Kincaide arrangement Symphony In Riffs – Benny Carter arrangement I’m Gettin’ Sentimental Over You - closing theme January 4, 1939 (Wednesday) 11:30 pm – Midnight “The Raleigh and Kool Show” 79B Western Feed NBC Radio City New York (NBC-Red) broadcast January 6, 1939 (Friday) 11:30 pm – Midnight Hotel New Yorker New York (CBS) (WABC) sustaining broadcast 3 January 7, 1939 (Saturday) 11:00 - 11:30 pm Hotel New Yorker New York (Mutual) (WOR) sustaining broadcast January 8, 1939 (Sunday) Midnight - 12:30 am Hotel New Yorker New York (CBS) (WABC) sustaining broadcast Broadcast cancelled - see Variety article, following. -
Third Dixie Jubilee
195'1 Chicago, October 6, 1950 NEWS Chicago—Here are just a couple of thr fine hund- that lack); Benny Goodman, clarinet; I-nrry Binyon, t«*nor; Gil made by the band. Second pic is of his 1940 band, which (Moe) have been led by Ben Pollack during his lengthy career. Rodin, alto« Dick Morguu. guitar; Jack Teagarden, trom- didn't ever record. It include» girl vocalist Armide; Graham at the Thr tir»l pic, taken in 1928 »potted the following: the late bon«*: n very slim, youthful Jimmy MePurtiand, trumpet, Stevenson, drums; Bed Dorris, -econd from left in the sax sms n Vic Briedis, pianos Al Beller, violin (to the right of Pol- nnd Ray Bauduc, drums. This is taken from a movie short section, and Carroll Thompson, guitar. ballroom operators decided they than he loafed, and he managed io We find him at Sebastian’s Cotton is anc had to cut the budget and Pollack keep going even during the period club in Culver City, L A. suburb, moved east with that band in the when the depression had put many in 1936, making his third return to On Wheels Third Dixie latter part of 1925. He and his musicians on the dole. Dunng the the coast (he had flopped ir a re fellow musicians expected the bund years of around 1931 to 1935 the turn >late at the Venice ballroom stud to be an immediate sensation. It band had taken on an interesting in 1928), and this time with what Jubilee Set was not. It would be just about 10 aspect in the presence of such mu- probably was the greatest band, Hollywood -The Third Annua! ‘ullack years before a former Pollack side icians as Matty Matlock, Eddie musically, of his career. -
Guide to the John Steiner Collection 1860-2001
University of Chicago Library Guide to the John Steiner Collection 1860-2001 © 2009 University of Chicago Library Table of Contents Acknowledgments 4 Descriptive Summary 4 Information on Use 4 Access 4 Citation 4 Biographical Note 4 Scope Note 7 Related Resources 9 Subject Headings 9 INVENTORY 10 Series I: Personal and Professional 10 Subseries 1: Personal 10 Subseries 2: Professional 12 Subseries 3: Travel 21 Series II: Correspondence 23 Series III: Record Industry and Collecting 43 Subseries 1: Paramount and S/D Records 44 Subseries 2: Record Companies and Catalogs 53 Subseries 3: Recording Equipment and Technology 92 Subseries 4: Album Labels 99 Subseries 5: Album Covers and Record Books 112 Series IV: Musicians and People 118 Subseries 1: Paramount Records Musicians and People 118 Subseries 2: Musicians and People 128 Series V: Clubs, Events and Ephemera 330 Subseries 1: Chicago 331 Subseries 2: Chicago Defender and Chicago Whip 361 Subseries 3: Non-Chicago 361 Subseries 4: Posters 367 Series VI: Photographs 369 Subseries 1: Musicians and People 369 Subseries 2: Locations and Subjects 409 Subseries 3: Slides, Negatives, and Oversize Prints 420 Subseries 4: Scrapbooks 422 Series VII: Subject Files 423 Series VIII: Printed Music 451 Subseries 1: Sheet Music 452 Subseries 2: Song Books 606 Subseries 3: Stock Arrangements 629 Subseries 4: Newspaper Music 640 Subseries 5: Articles and Research 642 Series IX: Publications 647 Subseries 1: Publications 647 Subseries 2: Oversize Publications 686 Series X: Artifacts 699 Series XI: Audio-Visual 702 Series XII: Oversize 703 Descriptive Summary Identifier ICU.SPCL.STEINERJ Title Steiner, John. Collection Date 1860-2001 Size 331.25 linear feet (471 boxes) Repository Special Collections Research Center University of Chicago Library 1100 East 57th Street Chicago, Illinois 60637 U.S.A. -
The Strutter VOLUME 21 NUMBER 4 Traditional Jazz in the Philadelphia Tri-State Area December 2010
“Best of South Jersey” 2008 - 2010! The Strutter VOLUME 21 NUMBER 4 Traditional Jazz in the Philadelphia Tri-State Area December 2010 OUR NEXT CONCERT Al Harrison has toured extensively with orchestras such as the Ward Marsten, Mike Carney, THE AL HARRISON Phil Giordano, Scott Romig, Bill Newnam, and DIXIELAND BAND Midnight Sun Orchestras. Venues include performing at the Kimmel Center in downtown Philadelphia, and at several casinos in Atlantic City, New Jersey, including the Showboat Casino. He played Dixieland on the historic steamboat Delta Queen, and has backed up such greats as Tony Bennett, Billy Daniels, Jack Jones, and Sammy Davis, Jr. The Al Harrison Dixieland Band was formed in 2007. They have performed two concerts in the Regol Concerts Peerless Performances series (11/18/07 and 11/22/09). CD recordings of these concerts are available. The band has performed for Tri-State Jazz Society in Brooklawn, NJ and for Al Harrison at TSJS concert, Brooklawn,NJ, July,2009 Cape May Traditional Jazz Society in 2009 and 2010. Al Harrison, trumpet, cornet, CONCERT ADMISSION flugelhorn $20 ADMISSION $10 FIRST TIME ATTENDEES & MEMBERS Gil Bennett, clarinet HIGH SCHOOL/COLLEGE STUDENTS WITH ID AND CHILDREN WITH PAYING ADULT Fred Scott, trombone ADMITTED FREE Dave Posmontier, piano Pay At the Door - No Advance Sales Jim Parker, tuba Lew Leabman, drums In This Issue… Sunday December 12th, 2010 Looking Ahead.............. Page 2 1:30 p.m. - 4:00 p.m. American Rag ............... Page 2 Review .......................... Page 2 (Please note time change) Irving Fazola ................. Page 3 First Unitarian Church, Sunnybrook Ballroom ... Page 4 730 Halstead Road, Obituary ....................... -
Jazzmastersofthe20s.Pdf
to ". a superior introduction that pivotal jazz decade." -Playboy Louis Armstrong Earl "Fatha" Hines * Bix Beiderbecke Fletcher Henderson James P. Johnson * JackTeagarden Bessie Smith Eddie Lang. Don Redman Fats Waller The Chicagoans These are the jazz greats presented, ". not just personally and his- to itself . torically, but with careful attention the music ."Ebony "Human qualities are examined with warmth and clarity, as is the socio-musical background of each musician ... an honest and sensi- tive approach . ." The New York Post The 1920s witnessed a spirit of comradeship among jazz musicians, barriers of a powerful spirit that overcame the public apathy toward honest jazz, callousness in the music business, racial prejudice, and two economic depressions. Richard Hadlock examines the individual recordings of each important jazz musician of the time, giving us sensible analyses of style, devoid of the usual myths, cliches, and oversenti mentality. Out-of-print books and collector's records are listed for those who would like to dig deeper into what is I "the Jazz Age." The Jazz I RICHARD HA, aminer and a tributortoDow 100726 COLLIER BOOKS 866 THIRD AVENUE, NEW YORK.N.Y. 10022 THE MACMILLAN JAZZ MASTERS SERIES Martin Williams, General Editor JAZZ MASTERS OF THE TWENTIES JAZZ MASTERS OF THE THIRTIES JAZZ MASTERS OF THE FORTIES JAZZ MASTERS OF THE FIFTIES JAZZ MASTERS IN TRANSITION 1957-69 JAZZ MASTERS OF NEW ORLEANS ./ I // MASTERS OFTHE TWENTIES by Richard Hadlock COLLIER BOOKS A Diuiston of Macmillan Publishing Co., Inc. NEW YORK COLLIER MACMILLAN PUBLISHERS LONDON Excerpt from Jazt: Its Evolution and Essence by Andre Hodeir, Trans- lated David the Grove Press, by Noakes, copyright 1956 by Used by from the Blues Mezz Mezzrow and Bernard Excerpt Redly by Wolfe, copy- Random Inc. -
Iazzletter PO Box 240, O)Ai CA 93024-0240
G€ne Lrc Ad Libitum G Iazzletter PO Box 240, O)ai CA 93024-0240 network radio broadcasting. Thoughts for the Day Not that there was no social dancing in the nineteenth century. But the forms of it were sedate, quite different from what came about in the band era. To oversimplify' the early two Iltith the perfervid languageJlying about inwhat has become years of the twentieth century saw the popularity of The Land oJ' Unending Electiort, I am reminded of two kinds of dance: intimate face-to-face dance to slow music. came have the unfortunate pe r t inen t o b s ervations : and athletic dancing that to the Victorian designation 7 itterbugging. With the death of Whenever morality is based on theology, whenever right era, the slower dancing was often considered scandalous, for move is made dependent on divine authority, the most immoral, it permitted a man and woman to hold each other and unjust, infamous things can be justified and established. with bodies touching, and everybody knew what that didto Ludwig Feuerbach, philosopher, 1804-1872 you. The jitterbugs came to seem more outrageous. They had - a love for fast numbers, and the more skilled and adventur- Every gun that is made, every warship launched, every ous of them were extraordinary athletes. Since I was never to them rocket fired signifies, in the final sense, a theft from those who much of a dancer at any tempo, I paid little attention a joke, and hunger and are not fed, those who are cold and not clothed. -
Interview with Bob Crosby Mail About Actor Ken
Interview with Bob Crosby Mail about actor Ken Curtis of Gunsmoke fame Review of new a'o biography of Kay Kyser BIG BAND JIMP N EWSLETTER V O L U M E 126 BIG BAND JUMP NEW SLETTER JANUARY-FEBRUARY, 2010 INTERVIEW - BOB CROSBY BC: I was the seventh kid in my family. Dad was a bookkeeper and didn’t make much money so I was picking cucumbers for twenty-five cents an hour. I In our 1989 interview with Bob Haggart, the bass player, got a telegram from Anson Weeks asking me if I would composer and arranger with the Bob Crosby Band, he come and sing with the orchestra. I stayed with Anson pointed out that Bob Crosby was simply the front man off and on for a year and then left him at the Aragon and not responsible for the band’s music. That being Ballroom in Chicago to join the Dorsey Brothers. said, a great deal of the success of any organiza B B J : I understand Tommy tion is its public perception Dorsey was a real and Bob Crosby gave the task master. band an aura of friendli ness and warmth. Fact is, BC: W ell, more than Gil Rodin’s organizational that. He inhibited a skills and Bob Haggart’s lot of people. And also I felt that musical talents were the as a singer I was not qualified to powers behind the up take the place of Bing Crosby and front Crosby public pres with the Dorsey band I was sing ence. ing songs out of my range.