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The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
CLASSIC JAZZ This Page Intentionally Left Blank CLASSIC JAZZ
CLASSIC JAZZ This page intentionally left blank CLASSIC JAZZ A Personal View of the Music and the Musicians FLOYD LEVIN Foreword by BENNY CARTER UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London Title page illustration: The author and his wife, Lucille—Emperor and Empress of the 1985 Jazz Jubilee, Sacramento, California. Unless otherwise credited, all illustrations are by the author or are from his collection. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2000 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Levin, Floyd. Classic jazz : a personal view of the music and the musicians / Floyd Levin. p. cm. Includes index. isbn 0-520-21360-2 (cloth : alk. paper) 1. Jazz—History and criticism. 2. Jazz musi- cians—United States. I. Title. ml3508.l48 2000 781.65—dc21 00-022554 Manufactured in the United States of America 08 07 06 05 04 03 02 01 00 10987654321 The paper used in this publication meets the mini- mum requirements of ansi/niso z39.48-1992 (r 1997) (Permanence of Paper). To Lucille, my loving wife and perceptive editor, who shared these wonderful experiences with me. Her sincere praises buoyed my efforts, and her unerring criticisms deftly improved my narration. This page intentionally left blank CONTENTS FOREWORD BY BENNY CARTER xv PREFACE xvii ACKNOWLEDGMENTS xxiii INTRODUCTION 1 1 KID ORY AND THE REVIVAL ERA 9 Kid Ory / 11 Kid Ory’s Legendary 1921 Nordskog/Sunshine Recordings / 14 Papa Mutt Carey -
Devil Tune Song List- Final
That Devilin' Tune: A Jazz History, 1900-1951 Volume 1 CD 1 1. Standard Quartette Who Broke The Lock 1895/1896 2. Voss’ 1st Regiment Band Aunt Dinah’s Supper Party Late 1890s 3. Len Spencer Clime De Golden Fence Late 1890s 4. Metropolitan Orchestra Coon Town Capers 1897-1899 5. Sousa Band Whistlin’ Rufus 1899 6. Len Spencer You’ve Been a Good Old Wagon 1900 or 1901 7. Williams and Walker My Little Zulu Babe Nov. 10 1901 8. Arthur Collins Bill Bailey ca. May, 1902 9. Len Spencer On Emancipation Day late 1902 10. Hager’s Orchestra Rooster Dance 1904 11. Vess Ossman Buffalo Rag 1905 12. Prince’s Orchestra St. Louis Tickle Aug., 1905 13. Pryor’s Band St. Louis Rag 1906 14. Orquestra Typicas La Patti Negra 1906 15. Sir Herbert Clarke Bride of the Waves Dec. 21, 1907 16. May Irwin When You Ain’t Got No Money You Needn’t Come Around May 21, 1907 17. Arthur Collins Parson Jones’ Three Reasons ca. 1909 18. Stella Mayhew/Billie Taylor That Beautiful Rag July 5, 1910 19. Sophie Tucker That Lovin’ Rag Jan. 5, 1910 20. Stella Mayhew That Devilin’ Tune Apr. 24, 1911 21. Collins and Harlan Alexander’s Ragtime Band 1911 22. Sophie Tucker Some of These Days Feb. 24, 1911 23. Grupo Bahianainho El Cavito ca. 1911 24. Grupo Bahianainho Bambino ca. 1911 25. Grupo Bahianainho Destimido ca. 1911 26. Prince’s Orchestra Red Pepper Rag May, 1911 27. Gene Greene King of the Bungaloos Feb. 17, 1911 CD 2 1. -
The Victor Black Label Discography
The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig ISBN 978-1-7351787-3-8 ii The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig American Discography Project UC Santa Barbara Library © 2017 John R. Bolig. All rights reserved. ii The Victor Discography Series By John R. Bolig The advent of this online discography is a continuation of record descriptions that were compiled by me and published in book form by Allan Sutton, the publisher and owner of Mainspring Press. When undertaking our work, Allan and I were aware of the work started by Ted Fa- gan and Bill Moran, in which they intended to account for every recording made by the Victor Talking Machine Company. We decided to take on what we believed was a more practical approach, one that best met the needs of record collectors. Simply stat- ed, Fagan and Moran were describing recordings that were not necessarily published; I believed record collectors were interested in records that were actually available. We decided to account for records found in Victor catalogs, ones that were purchased and found in homes after 1901 as 78rpm discs, many of which have become highly sought- after collector’s items. The following Victor discographies by John R. Bolig have been published by Main- spring Press: Caruso Records ‐ A History and Discography GEMS – The Victor Light Opera Company Discography The Victor Black Label Discography – 16000 and 17000 Series The Victor Black Label Discography – 18000 and 19000 Series The Victor Black -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
The Texas Tommy, Its History, Controversies, and Influence on American Vernacular Dance Rebecca R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 The Texas Tommy, Its History, Controversies, and Influence on American Vernacular Dance Rebecca R. Strickland Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE THE TEXAS TOMMY, ITS HISTORY, CONTROVERSIES, AND INFLUENCE ON AMERICAN VERNACULAR DANCE By REBECCA R. STRICKLAND A Thesis Submitted to the Department of Dance In Partial Fulfillment of the Requirements for the Degree of Master of Arts Degree Awarded: Spring Semester, 2006 Copyright © 2006 Rebecca R. Strickland All Rights Reserved The members of the committee approve the thesis of Rebecca Strickland defended on March 31, 2006. Tricia Young Professor Directing Thesis Sally Sommer Committee Member John Perpener Committee Member Approved: Elizabeth Patenuade, Chair, Department of Dance Sally E. McRorie, Dean, College of Visual Arts, Theatre and Dance The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS First and foremost I need to thank and acknowledge my husband, Michael Strickland, for his constant encouragement, enthusiasm, and assistance. I owe much to my wonderful partner who has attached and dedicated himself to my interest in all things swing. I also want to recognize my parents, Dr. Gary and Peg Kelm, who have supported my passion for dance, leading to my pursuit of this Master’s degree concentrating on American dance history. My thesis advisor, Dr. Tricia Young, has guided me through the final stages of this process with more patience than I deserve. -
Encyclopedia of African American Music Advisory Board
Encyclopedia of African American Music Advisory Board James Abbington, DMA Associate Professor of Church Music and Worship Candler School of Theology, Emory University William C. Banfield, DMA Professor of Africana Studies, Music, and Society Berklee College of Music Johann Buis, DA Associate Professor of Music History Wheaton College Eileen M. Hayes, PhD Associate Professor of Ethnomusicology College of Music, University of North Texas Cheryl L. Keyes, PhD Professor of Ethnomusicology University of California, Los Angeles Portia K. Maultsby, PhD Professor of Folklore and Ethnomusicology Director of the Archives of African American Music and Culture Indiana University, Bloomington Ingrid Monson, PhD Quincy Jones Professor of African American Music Harvard University Guthrie P. Ramsey, Jr., PhD Edmund J. and Louise W. Kahn Term Professor of Music University of Pennsylvania Encyclopedia of African American Music Volume 1: A–G Emmett G. Price III, Executive Editor Tammy L. Kernodle and Horace J. Maxile, Jr., Associate Editors Copyright 2011 by Emmett G. Price III, Tammy L. Kernodle, and Horace J. Maxile, Jr. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except for the inclusion of brief quotations in a review, without prior permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Encyclopedia of African American music / Emmett G. Price III, executive editor ; Tammy L. Kernodle and Horace J. Maxile, Jr., associate editors. p. cm. Includes bibliographical references and index. ISBN 978-0-313-34199-1 (set hard copy : alk. -
“Ory's Creole Trombone”-- Kid Ory (June 1922) Added to the National Registry: 2005 Essay by David Sager
“Ory's Creole Trombone”-- Kid Ory (June 1922) Added to the National Registry: 2005 Essay by David Sager Kid Ory In mid-summer 1922, and with very little ballyhoo and promotion, a pair of enterprising African- American brothers brought out this pioneering and essential jazz recording, one that would define New Orleans-style jazz and serve as a model for future performers of that genre. John and Benjamin “Reb” Spikes—songwriters, publishers, vaudeville performers, and owners of a music store and a small amusement park in Los Angeles—were well connected in black show business and well aware of the enormous musical contributions being made by folks from New Orleans. “Ory’s Creole Trombone”—and its reverse side, “Society Blues”—are commonly referred to as the first jazz record by African Americans. Actually, it is not, for that distinction must go to Wilbur Sweatman and his Jass Band for a Pathe recording made in the spring of 1917. The Ory recordings are the first recordings of black/Creole New Orleans jazz, though, due to their loose feel and hot nature, many think of these as the first recognizable jazz performances on record. They are certainly the first jazz recordings made on the west coast. In 1921, the Spikes brothers composed and published the song “Someday Sweetheart,” which would become a perennial favorite among jazz bands. When singer Alberta Hunter recorded it for the newly-formed black owned-and-operated Black Swan label, the brothers took special notice of its success. With the growing popularity of “race records”--those aimed at the black audience--the enterprising brothers went into the record business. -
43 Annual NORTHERN CALIFORNIA AREA EMMY® AWARD NOMINATIONS ANNOUNCED
rd 43 Northern California Area Emmy® Awards 2013-2014 Updated 5/9/14 SAN FRANCISCO/NORTHERN CALIFORNIA CHAPTER rd 43 Annual NORTHERN CALIFORNIA AREA EMMY® AWARD NOMINATIONS ANNOUNCED tf The 43 Annual Northern California Area EMMY® Award Nominations were announced th Wednesday, May 7 at noon on the internet. The EMMY® award is presented for outstanding achievement in television by The National Academy of Television Arts and Sciences (NATAS). San Francisco/ Northern California is one of the twenty chapters awarding regional Emmy® statuettes. Northern California is composed of media companies and individuals from Visalia to the Oregon border and includes Hawaii and Reno, Nevada. Entries were aired during the 2013 calendar year. This year 659 English and 101 Spanish entries were received in 63 categories. English and Spanish language entries were judged and scored separately. A minimum of five peer judges from other NATAS chapters scored each entry on a scale from 1 to 10 on Content, Creativity and Execution. (Craft categories were judged on Creativity and Execution only). The total score is divided by the number of judges. The mean score is sorted from highest to lowest in each category. The Chapter Awards Committee looks at blind scores (not knowing the category) and decides on the cut off number for nominations and recipients. The results are tabulated by our accounting firm Spalding and Company. KNTV NBC Bay Area received the highest number of nominations with 40 followed by Comcast SportsNet with 28. KUVS Univision19 topped the Spanish contest with 30 nominations. In the individual nomination count all the leaders were from KNTV NBC Bay Area: Mark Villarrela with seven; Jeremy Carroll, Felipe Escamilla and Tony Kovaleski each had six. -
Andrew Kong Knight [email protected] Andrewkongknight.Com 925-413-1975
Andrew Kong Knight [email protected] andrewkongknight.com 925-413-1975 Objective: College drawing and painting instructor position in a positive, collaborative environment that utilizes my experience as a highly effective, award-winning artist, educator, and community arts leader Summary ● Master of Fine Arts – John F. Kennedy University (JFKU), Berkeley, CA ● Bachelor of Fine Arts – San Francisco Art Institute (SFAI), San Francisco, CA ● Single-subject Teacher Credential in Art with Cross-cultural Language and Academic Development Language (CLAD) emphasis ● Over thirty years of fine art and commercial art experience ● Over twenty years art teaching and lecturing experience ● Winner of twenty local and national art and education awards ● Students have won dozens of regional and national art awards and scholarships ● Proven success promoting and exhibiting students’ work locally, nationally, and in various newspapers, online media, radio, and television stations Art Teaching ● Teaching and lecturing experience in university, college, and high school art classes for over twenty years ● Presented dozens of lectures to universities, colleges, high schools, and art groups throughout the San Francisco Bay Area ● Supervised several university, college, and K-12 mural art projects ● Successfully facilitated the exhibition of students’ work locally and nationally ● Promoted dozens of student art projects to San Francisco Bay Area media, resulting in more than twenty news articles in major metropolitan newspapers, as well as local television coverage Art Career Highlights ● Fine art featured in numerous local, national, and world-wide publications ● Exhibit fine art in museums, galleries, and art spaces throughout the country ● Artwork commissioned by companies and publishers nationally and internationally ● Completed forty monumental public art mural commissions while mentoring college and university students in the process 1 Education & Certification John F. -
Black Music Research Fisk Unnersity
BLACK MUSIC RESEARCH NEWSLETTER FISK UNNERSITY Volume 4 Number 2 Fall, 1980 The Ethnomusicolog ist and Black Music by Bruno Netti, its scope because there were other less emphasis to the exceptional, even The LJ,iiversity of Illinois, things not being done in large quan Urbana, Illinois if it is the creation of superb talent. tity by traditional (or as we sometimes What they need to do now is to stretch call them, "straight") musicologists. these capabilities to extend from the I have not encountered an academic But ethnomusicologists haven't kept small and reasonably homogeneous field or discipline whose members pace with the goals implied in their societies with which they have mostly spend as much time worrying definitions. They have not dealt com dealt to encompass larger, more com about defining themselves as ethno paratively with all of the musics of the plex population groups. musicology. Definitions abound and world, have not looked at the oral In all of this, they seem to me to they can be discussed historicaUy, component in Western art music, have exhibited a creed: that all musics something done by the late Alan P. have not dealt with the written tradi are equally the product of a culture Merriam in one of his last articles tions of the modern third world, and and reflective of its values and struc (Ethnomusicology 21:189-204, 1977). have given little attention to the con ture, notwithstanding the obvious The general public tends to think of cept of music as culture in modern fact that some are harder to learn and ethnomusicology as the study of society.