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Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) "Our subcultural shit-music": Dutch jazz, representation, and cultural politics Rusch, L. Publication date 2016 Document Version Final published version Link to publication Citation for published version (APA): Rusch, L. (2016). "Our subcultural shit-music": Dutch jazz, representation, and cultural politics. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:28 Sep 2021 1.&Community,&scenes&and&narratives& In"1978,"journalists"and"musicians"associated"with"the"Stichting"Jazz"in"the"Netherlands" (Foundation"for"Jazz"in"the"Netherlands,"from"here"on:"SJN)"and"the"Jazz/Press"magazine" published"Jazz-&-Geïmproviseerde-Muziek-in-Nederland,"a"“companion"to"the"Dutch"jazz" -
Where Stars Are Born and Legends Are Made™
Where Stars are Born and Legends are Made™ The Apollo Theater Study Guide is published by the Education Program of the Apollo Theater in New York, NY | Volume 2, Issue 1, November 2010 If the Apollo Theater could talk, imagine the stories it could tell. It The has witnessed a lot of history, and seen a century’s worth of excitement. The theater itself has stood proudly on 125th Street since 1914, when it started life as a burlesque house for whites only, Hurtig & Seamon’s New Burlesque Theater. Dancers in skimpy costumes stripped down to flesh-colored leotards, and comics told bawdy jokes – that is, until then New York City Mayor Fiorello H. LaGuardia made the decision to close down burlesque houses all over the city. When the doors of the burlesque theaters were padlocked, the building was sold. By S ul the time it reopened in 1934, a new name proclaimed itself from the marquee: the 125th Street Apollo Theatre. From the start, the Apollo was beloved by Harlemites, and immediately of became an integral part of Harlem life. When the Apollo first opened, Harlem boasted a lot of theaters and clubs. But many didn’t admit black audiences. Though the musicians who played in the clubs were black, the audiences were often white; the country still had a lot to American learn about integration. But the Apollo didn’t play primarily to whites. As soon as it opened its doors, black residents of Harlem streamed in themselves to enjoy the show. In the early years, the Apollo presented acts in a revue format, with a variety of acts on each bill. -
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
Brevard Live June 2010
Brevard Live June 2010 - 1 2 - Brevard Live June 2010 Brevard Live June 2010 - 3 4 - Brevard Live June 2010 Brevard Live June 2010 - 5 6 - Brevard Live June 2010 June 2010 • Volume 19, Issue 3 • Priceless FEATURES page 51 BREVARD LIVE MUSIC AWARDS SYBIL GAGE The nomination period is over. Thousands Until she was in her early twenties Sybil Columns of fans have nominated their favorite lo- Gage, or as she goes by now and then, Charles Van Riper cal musicians and now the actually voting Miss Feathers, resided in the wonderful- 22 Political Satire process has started. Fill out the ballot. ly diverse city of New Orleans. She now Page 8 lives and performs in Brevard County. Calendars Matt Bretz met up with her at Heidi’s. Live Entertainment, Page 20 CLASSIC ALBUMS LIVE 25 Theatre, Concerts, It’s summer vacation but the music at Festivals, Arts the King Center for the Performing Arts RON TEIXEIRA keeps on going. You can listen to your fa- This piano man ranks right up there as one vorite classic rock albums played note by Brevard Scene of Brevard’s best musicians. A deceptive- What’s hot in note in a live performance at very reason- ly relaxed stylist, the Berklee College of 34 able prices. Music graduate spent nearly 20 years as Brevard Page 11 a studio and jazz musician in New York City, before circling back to his former Out & About home in Florida.. Meet the places and PETER WHITE Page 37 37 the people He has maintained a reputation as one of the most versatile and prolific acous- Sex & The Beach tic guitarists on the contemporary jazz ED’S HEADS Relationship scene. -
The Homepage of the Allotria Jazz Band. What Have You Found?
Welcome to the homepage of the Allotria Jazz Band. What have you found? The site of one of the most successful traditional jazz bands of Central Eu- rope. The Allotria Jazz Band has been performing Classic Jazz for decades and in the jazz scene the band‘s name represents „The Fine Notes of Classic Jazz“. As to the name: We think of jazz as American music, yet „Allotria“ doesn‘t really sound Anglosaxon/American. So what is the connec- tion between „Allotria“ and jazz? For over a century there has been an artist association named „Allotria“. A jazz club named „Al- lotria“ existed from the nineteen-sixties to then nineteen-nineties, and the Allotria Jazz Band has been around for more than 40 years. All of these institutions using the term „Allotria“ as part of their name are from Munich, Germa- ny. Translated from the Greek, „allotrios“ literally means „strange, foreign“. Today in the Bavarian/Bayuwarian sense it means: mischief, fooling around, kid- ding. In the English sense it means: All that jazz! So you see, it all fits together. In fact, the name of the band derives from the jazz club „The Allotria“ in Munich where the band played as the house band for many years. But if you know the his- tory of the band and the cha- racter of its music, it‘s true: „Nomen est Omen“. „Al- lotria“ is not so much a name as a state of 7 musicians, who always enjoy playing music, are constantly up for a joke and ready for musical adventure. -
Kenya Special Volume 2 Booklet
In Kenya by the early 1990s, when the cassette and compact disc seemed to have won their battle with vinyl, used records were often thrown away and burned with the rubbish. Almost three decades later, the worldwide renewed interest in musical heritage has ex- tended to Nairobi, where a monthly We Love Vinyl event has been held since 2014, and where new and used turntables have enjoyed a (albeit modest) spike in sales. Young hip hop and dance acts such as Just A Band and Octopizzo even sampled Kenyan grooves from the ‘70s in their songs (“Dunia Ina Mambo” by Cavaliers Band and “You Can Do It” by Slim Ali, respectively). Considering the fact that Kenyan music on vinyl reached peak sales in the late 1970s and early ‘80s, it’s remarkable that thirty years later some of the important players in the industry are still actively selling music, and their catalogues have been preserved. One of them is AI Records (founded by Mike Andrews and previously named AIT), which ran a host of sub-labels specialising in differ- ent languages and styles. Polygram, one of the most active labels throughout the 1980s and ‘90s, sold its musical archive to Tamasha, a company that sells cd compilations and albums through renewed licenses with the original artists or their heirs. In downtown Nairo- bi there’s Assanand music store, a name that goes back more than sixty years, though the original owner retired and the shop was taken over by former employees (a second shop carrying the name was opened just down the block). -
St Valentine's Day 2018
ST VALENTINE’S DAY 2018 Mansion House With Special Guest HUGH LAURIE CMF Team Dr Clare Taylor Managing Director Tabitha McGrath Artist Manager Philip Barrett Executive Assistant Trustees Sir Mark Boleat Sir Roger Gifford Sir Nicholas Kenyon Sir Andrew Parmley Advisory Board Guy Harvey Partner, Shepherd and Wedderburn Wim Hautekiet Managing Director, JP Morgan Alastair King Chairman, Naisbitt King Asset Management Kathryn McDowell CBE Managing Director, London Symphony Orchestra Lizzie Ridding Board Member, City Music Foundation Ian Ritchie Artistic Director and Music Curator, Setubal Music Festival Seb Scotney Editor, London Jazz News Philip Spencer Development Consultant Adrian Waddingham CBE Partner, Barnett Waddingham St Valentine’s Day 2018 2 WELCOME Welcome to the Mansion House and to a celebration of all that is good about life! Not least the wonderful music we are going to hear in the splendour of the greatest surviving Georgian town palace in London. The City Music Foundation – CMF – is just five years old and it was created in this house. Its mission is to turn talent into success by giving training in the “business of music” to soloists and ensembles at the start of their professional careers, as well as promoting them extensively in a modern and professional manner. Several - the Gildas Quartet, Michael Foyle, and Giacomo Smith with the Kansas Smitty’s, are playing for us this evening. This year CMF hopes to move into a more permanent home in the City at St Bartholomew the Less, within the boundaries of St Bartholomew’s Hospital – and within the City of London’s ‘Culture Mile’. This anticipates the relocation of the Museum of London to its new site in Smithfield and the creation of a new Centre for Music on the south side of the Barbican – all exciting developments in the heart of the Capital. -
Jazz, Silence & Poetry
Jazz, Silence & Poetry Jennifer Cochran & Gateway Band Friday March 30thth, 2018 at 1:00 p.m. Trinity Cathedral 2230 Euclid Avenue Cleveland, Ohio 44115 216-771-3630 Free Will Offering Child Care Available Good Friday Blues & Lamentations Gateway Band: Jennifer Cochran, vocalist LR Smith, piano Christopher Burge, Saxophone George Lee, Bass Michael Janowitz, drums Bill Drake, Guitar Ryan Cochran, Jesus Timothy Cochran, Pilot __________________________________________________________________________________ The People remain seated throughout Come Sunday (Instrumental)…………….………………….……...……...Duke Ellington (1899-1974) Jesus Walked This Lonesome Valley……………...……….… Words and Music American Folk Hymn Opening Prayer (All say together) …………………………...Lyrics to Ellington’s “Come Sunday” . Oh, dear Lord I've loved God almighty, God up above Please, look down and see my people through. I believe the sun and moon will shine up in the sky When the day is grey it's just clouds passing by. God will give peace and comfort to every troubled mind Come Sunday, oh come Sunday, that's the day. Often we feel weary but God knows our every care Go to God in secret, God will hear every prayer. The leaves in the valley they neither toll nor spin And flowers bloom in spring and birds sing. Up from dawn till sunset we work hard all the day Come Sunday, oh come Sunday that will be the day. __________________________________________________________________________________ Chant (All sing together) ……………………………………………………………...Jacques Berthier (Silence) The Passion (Compiled from the Gospels of Matthew, Mark, Luke & John) Narrator: When Jesus had finished praying, he and his disciples went into the garden where they often met. Judas had promised to betray Jesus, so he went there with soldiers. -
ART FARMER NEA Jazz Master (1999)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ART FARMER NEA Jazz Master (1999) Interviewee: Art Farmer (August 21, 1928 – October 4, 1999) Interviewer: Dr. Anthony Brown Dates: June 29-30, 1995 Repository: Archives Center, National Museum of American History Description: Transcript, 96 pp. Brown: Today is June 29, 1995. This is the Jazz Oral History Program interview for the Smithsonian Institution with Art Farmer in one of his homes, at least his New York based apartment, conducted by Anthony Brown. Mr. Farmer, if I can call you Art, would you please state your full name? Farmer: My full name is Arthur Stewart Farmer. Brown: And your date and place of birth? Farmer: The date of birth is August 21, 1928, and I was born in a town called Council Bluffs, Iowa. Brown: What is that near? Farmer: It across the Mississippi River from Omaha. It’s like a suburb of Omaha. Brown: Do you know the circumstances that brought your family there? Farmer: No idea. In fact, when my brother and I were four years old, we moved Arizona. Brown: Could you talk about Addison please? Farmer: Addison, yes well, we were twin brothers. I was born one hour in front of him, and he was larger than me, a bit. And we were very close. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: So, you were fraternal twins? As opposed to identical twins? Farmer: Yes. Right. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
Bannockburn Live: a Feast of Food, Music and History
NATIONAL TRUST FOR SCOTLAND CALL TO ARMS UPDATE - 28 June 2013 Bannockburn Live: A feast of food, music and history Bannockburn Live welcomes Scotland’s Clan Societies, providing an opportunity for visitors to trace their Scottish roots and offering societies an opportunity to represent their Clans, meet friends old and new and to be a part of history. Medieval warriors, families, clans and history fans will be standing shoulder to shoulder this time next year at the National Trust for Scotland’s Bannockburn Live event. Taking place over Saturday 28, Sunday 29 and Monday 30 June 2014, the event will commemorate the 700th anniversary of the battle of Bannockburn, and mark the opening of the new state-of-the-art visitor centre at the heritage site. A year ahead of Bannockburn Live, the Trust has unveiled initial programme information, and tickets are now on sale (28 June 2013). Ticketing includes an exclusive offering for Clan Societies, with the chance to purchase pitches within tented structures for the 3-days as part of a bespoke “Clan Village”. We understand the urgency of Clans being able to book a pitch soon so that groups can arrange travel and accommodation. The Trust has already received interest from many Clan Societies and event organisers will be responding to each enquiry individually with an application questionnaire. If you have not already emailed us to register your interest in taking part, please answer the Call to Arms on www.battleofbannockburn.com by 15th July 2013. Please note the importance of registering as soon as possible as spaces are limited. -
Evaluation of the Cultural Pathfinder Programme in Scotland in Programme Pathfinder Cultural the of Evaluation
Evaluation of the Cultural Pathfinder Programme in Scotland Evaluation of the Cultural Pathfinder Programme in Scotland Programme Pathfinder Cultural the of Evaluation ISSN 0950 2254 ISBN 978-0-7559-7535-8 ISBN 978 0 7559 7535 8 Price £5.00 www.scotland.gov.uk/socialresearch The text pages of this document are produced from 100% Elemental Chlorine-Free material. 9 780755 975358 The paper carries the Nordic Ecolabel for low emissions during Culture Art and production, and is 100% recyclable. RR Donnelley B60717 05/09 EVALUATION OF THE CULTURAL PATHFINDER PROGRAMME IN SCOTLAND EKOS Scottish Government Social Research 2009 Further copies of this report can be obtained from: Scottish Government Social Research rd 3 Floor West Rear St Andrew’s House Regent Road EDINBURGH EH1 3DG Tel: 0131 244 7560 Fax: 0131 244 5393 Email: [email protected] Website: www.scotland.gov.uk/socialresearch The views expressed in this report are those of the researcher and do not necessarily represent those of the Scottish Government or Scottish Ministers. © Crown Copyright 2009 Limited extracts from the text may be produced provided the source is acknowledged. For more extensive reproduction, please contact the Queens Printers of Scotland, Admail, ADM 4058, Edinburgh EH1 1NG. Email: [email protected] TABLE OF CONTENTS TABLE OF CONTENTS i ABBREVIATIONS ii LIST OF TABLES ii ACKNOWLEDGEMENTS iii EXECUTIVE SUMMARY v 1 INTRODUCTION 1 Background 1 Study Aims 1 Study Method 1 Structure of Report 5 2 THE CULTURAL PATHFINDER PROGRAMME 7 Introduction