DOCSLIB.ORG

120760Bk Fats Handful 15/2/04 10:28 PM Page 8

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

120760bk Fats Handful 15/2/04 10:28 PM Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Also available in the Naxos Jazz Legends series 8.120574* 8.120577 8.120676* 8.120692 8.120714* 8.120729* * Not available in the USA 120760bk Fats Handful 15/2/04 10:28 PM Page 2 FATS WALLER Personnel Track 5: FATS WALLER & HIS RHYTHM. Fats Track 13: FATS WALLER & HIS RHYTHM. Fats ‘Handful of Fats’ Original Recordings 1929-1942 Waller, vocal, piano; Herman Autrey, trumpet; Waller, vocal, piano; Herman Autrey, trumpet; Rudy Powell, clarinet, alto sax; Al Casey, guitar; Gene Sedric, tenor sax, clarinet; John Smith, Charles Turner, bass; Harry Dial, drums guitar; Cedric Wallace, bass; Slick Jones, drums Thomas “Fats” Waller was one of the most solos on a pipe organ at the Lincoln Theatre, beloved figures in jazz history. His life gave the playing for silent movies. Track 8: FATS WALLER & HIS RHYTHM. Fats Track 19: FATS WALLER, HIS RHYTHM & HIS appearance of being one long goodtime party Fats became one of the stars of Harlem rent Waller, vocal, piano; Herman Autrey, trumpet; ORCHESTRA. Fats Waller, Hammond organ; full of hot jazz, liquor, food, humour and parties in the 1920s, playing alongside James P. Gene Sedric, tenor sax, clarinet; Al Casey, Herman Autrey, John Hamilton, Joe Thomas, women, and few others could keep up with him Johnson and Willie “the Lion” Smith. He was guitar; Charles Turner, bass; Slick Jones, drums Nathaniel Williams, trumpets; Herb Flemming, George Wilson, trombones; Jackie Fields, in any of those areas. busy on several other levels during the decade, Tracks 9-10: FATS WALLER & HIS RHYTHM. George James, altos; Gene Sedric, tenor sax, Few could also keep up with Waller when it making twenty piano rolls, cutting his first solo Fats Waller, vocal, piano; Herman Autrey, clarinet; Bob Carroll, tenor; Al Casey, guitar; came to musical talent and accomplishments. records in 1922, recording pipe organ solos and trumpet; Gene Sedric, tenor sax, clarinet; Al Cedric Wallace, bass; Arthur Trappier, drums Not only was he one of the greatest stride with combos, accompanying many of the classic Casey, guitar; Cedric Wallace, bass; Slick Jones, pianists of all time, but Waller was also jazz’s blues singers, and writing music. His first drums Track 20: FATS WALLER, HIS RHYTHM & HIS first organist, a skilful songwriter, a personable composition was 1918’s “Squeeze Me” and he ORCHESTRA. Fats Waller, vocal, piano; John Track 11: FATS WALLER & HIS RHYTHM. Fats vocalist and a comic personality. He was a collaborated with lyricist Andy Razaf in the late Hamilton, Herman Autrey, Bob Williams, Waller, vocal, piano; Herman Autrey, trumpet; legendary figure even during his lifetime, and he 1920s shows Keep Shufflin’, Hot Chocolates and trumpets; George Wilson, Ray Hogan, Chauncey Graham, tenor sax; John Smith, remains a household name more than six Load Of Coal. trombones; Jimmy Powell, Dave McRae, altos; guitar; Cedric Wallace, bass; Larry Hinton, decades after his death. Handful Of Fats opens with a pair of classic Gene Sedric, Bob Carroll, tenor sax; Al Casey, drums Fats Waller was born on 21 May 1904 in Waller piano solos from 1929. Handful Of Keys guitar; Cedric Wallace, bass; Slick Jones, New York City. His first instrument was the gives listeners a perfect example of Fats’ striding Tracks 12 & 14: FATS WALLER & HIS RHYTHM. drums harmonium which he took up when he was five, (on the beat his left hand “strides” between low Fats Waller, vocal, piano; John Hamilton, switching to piano the following year. Waller, bass notes and higher chords) and his ability to trumpet; Gene Sedric, tenor sax, clarinet; John who played in his school orchestra, was the son improvise melodically at a rapid tempo. Ain’t Smith, guitar; Cedric Wallace, bass; Slick Jones, of a strict church minister who wanted him to Misbehavin’, which had initially been recorded drums stick exclusively to religious music, but Fats by Louis Armstrong thirteen days earlier, is preferred popular music and the emerging stride (along with “Honeysuckle Rose”) one of the two piano style played by James P. Johnson. After most famous Waller originals. Fats lets the his mother died, the teenage Waller (who did melody speak for itself on this early version. not get along with his father) moved in with a Other than during the obscure “Red Hot friend and became Johnson’s protégé, Dan,” Waller did not sing on records until 1931. developing rapidly as a musician. By 1919 when On I’m Crazy About My Baby, Fats makes one he was fifteen, Waller was stomping off hot wonder why he waited so long. His phrasing is 2 8.120760 8.120760 7 120760bk Fats Handful 15/2/04 10:28 PM Page 6 12. Your Feet’s Too Big 3:03 17. Rockin’ Chair 3:04 attractive as is his obvious sense of humour, and Salt Away Some Sugar” and “Abercrombie Had (Ada Benson–Fred Fisher) (Hoagy Carmichael) his vocalising never causes his playing to lose its A Zombie.” Fats Waller & His Rhythm; Fats Waller, vocal Fats Waller, piano solo power. Fortunately Waller also had opportunities to Bluebird B 10500, mx BS 043348-1 Victor 27765, mx BS 063888-1 After playing with the bands of Otto record some more enduring tunes (such as the Recorded 3 November 1939, New York Recorded 13 May 1941, New York Hardwick and Elmer Snowden during 1931-32, ones on this definitive sampler) including many 13. Squeeze Me 3:08 18. Carolina Shout 2:18 visiting France and England and beginning his of his own compositions. His Viper’s Drag is a (Andy Razaf–Fats Waller–Clarence Williams) (James P. Johnson) long stint on the radio as host and star of Fats memorable piano piece that caught on as a Fats Waller & His Rhythm; Fats Waller, vocal Fats Waller, piano solo Waller’s Rhythm Club, Waller really began to standard among later generations of swing and Bluebird B 10405, mx BS 041528-1 Victor 27563, mx BS 063889-2 emerge as a show business personality in 1934 stride pianists. Twelfth Street Rag has Waller Recorded 10 August 1939, New York Recorded 13 May 1941, New York when he signed with the Victor label. During the and his Rhythm digging into the dixieland next eight years, he recorded 282 selections (not standard, tearing it apart in places and swinging 14. Darktown Strutter’s Ball 2:41 19. The Jitterbug Waltz 3:20 counting alternate takes, solo piano features hard. Much more sober but still quite infectious (Shelton Brooks) (Fats Waller) and a few sessions with big bands) with his are Waller’s solo piano versions of his own Fats Waller & His Rhythm; Fats Waller, vocal Fats Waller, His Rhythm & His Orchestra; “Rhythm,” a two-horn sextet that often featured Keepin’ Out Of Mischief Now and Tea For Two. Bluebird B 10573, mx BS 043350-1 Fats Waller, Hammond organ trumpeter Herman Autrey, Gene Sedric on tenor By the time Waller recorded his hit The Joint Recorded 3 November 1939, New York Bluebird B 11518, mx BS 073443-1 and clarinet and guitarist Al Casey plus a variety Is Jumpin’ in the fall of 1937, Fats was one of Recorded 16 March 1942, New York 15. Honeysuckle Rose (à la Bach–Beethoven– of bassists and drummers. These often- the most famous black performers in music, Brahms–Waller) 3:23 20. Come And Get It 2:42 rambunctious performances put an emphasis on ranking at the top with Louis Armstrong, Cab (Fats Waller–Andy Razaf) (Fats Waller–Ed Kirkeby) Waller’s vocals and no-holds-barred humour Calloway, Duke Ellington and Bill “Bojangles” Fats Waller, piano solo Fats Waller, His Rhythm & His Orchestra; but always included spots for his stride piano. Robinson. Two years earlier he had appeared in Victor 20-1580, mx BS 063890-1 Fats Waller, vocal Fats displayed the ability to satirize weak and memorable scenes in the films Hooray For Love Recorded 13 May 1941, New York Bluebird B 11262, mx PBS 061335-1 clichéd songs in hilarious fashion, making fun of and King Of Burlesque, stealing the show in both Recorded 1 July 1941, Hollywood and ripping into their lyrics. Music publishers cases. He was a fixture on radio, his Rhythm 16. Georgia On My Mind 2:59 were happy because their turkey tunes would was recording steadily and many of his songs (Hoagy Carmichael–Stuart Gorrell) Transfers & Production: David Lennick otherwise probably never have been recorded, were being played nightly by the big swing Fats Waller, piano solo Digital Noise Reduction: Graham Newton and fans were delighted at the outrageous bands. One song that could not be effectively Victor 27765, mx BS 063887-1 Original monochrome photo of Fats Waller from nature of some of the recordings. Among the duplicated by other groups was The Joint Is Recorded 13 May 1941, New York Max Jones Files / Redferns more bizarre tunes that Waller was saddled with Jumpin’, the ultimate musical depiction of a wild during this era were “Us On A Bus,” “My party. Window Faces The South,” “Why Hawaiians Hoagy Carmichael’s Two Sleepy People is Sing Aloha,” “I Love To Whistle,” “Little Curly played colourfully and almost seriously by Hair In A High Chair,” “You’re A Square From Waller and his Rhythm.
Recommended publications
  • Selected Observations from the Harlem Jazz Scene By

    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.
  • “In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell

    “In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell

    “In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell Glenn Miller Original release label “Sun Valley Serenade” Though Glenn Miller and His Orchestra’s well-known, robust and swinging hit “In the Mood” was recorded in 1939 (and was written even earlier), it has since come to symbolize the 1940s, World War II, and the entire Big Band Era. Its resounding success—becoming a hit twice, once in 1940 and again in 1943—and its frequent reprisal by other artists has solidified it as a time- traversing classic. Covered innumerable times, “In the Mood” has endured in two versions, its original instrumental (the specific recording added to the Registry in 2004) and a version with lyrics. The music was written (or written down) by Joe Garland, a Tin Pan Alley tunesmith who also composed “Leap Frog” for Les Brown and his band. The lyrics are by Andy Razaf who would also contribute the words to “Ain’t Misbehavin’” and “Honeysuckle Rose.” For as much as it was an original work, “In the Mood” is also an amalgamation, a “mash-up” before the term was coined. It arrived at its creation via the mixture and integration of three or four different riffs from various earlier works. Its earliest elements can be found in “Clarinet Getaway,” from 1925, recorded by Jimmy O’Bryant, an Arkansas bandleader. For his Paramount label instrumental, O’Bryant was part of a four-person ensemble, featuring a clarinet (played by O’Bryant), a piano, coronet and washboard. Five years later, the jazz piece “Tar Paper Stomp” by Joseph “Wingy” Manone, from 1930, beget “In the Mood’s” signature musical phrase.
  • Newsletternewsletter March 2015

    Newsletternewsletter March 2015

    NEWSLETTERNEWSLETTER MARCH 2015 HOWARD ALDEN DIGITAL RELEASES NOT CURRENTLY AVAILABLE ON CD PCD-7053-DR PCD-7155-DR PCD-7025-DR BILL WATROUS BILL WATROUS DON FRIEDMAN CORONARY TROMBOSSA! ROARING BACK INTO JAZZ DANCING NEW YORK ACD-345-DR BCD-121-DR BCD-102-DR CASSANDRA WILSON ARMAND HUG & HIS JOHNNY WIGGS MOONGLOW NEW ORLEANS DIXIELANDERS PCD-7159-DR ACD-346-DR DANNY STILES & BILL WATROUS CLIFFF “UKELELE IKE” EDWARDS IN TANDEM INTO THE ’80s HOME ON THE RANGE AVAilable ON AMAZON, iTUNES, SPOTIFY... GHB JAZZ FOUNDATION 1206 Decatur Street New Orleans, LA 70116 phone: (504) 525-5000 fax: (504) 525-1776 email: [email protected] website: jazzology.com office manager: Lars Edegran assistant: Jamie Wight office hours: Mon-Fri 11am – 5pm entrance: 61 French Market Place newsletter editor: Paige VanVorst contributors: Jon Pult and Trevor Richards HOW TO ORDER Costs – U.S. and Foreign MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB JAZZ FOUNDATION. You will then receive your membership card by return mail or with your order. As a member of the Collector’s Club you will regularly receive our Jazzology Newsletter. Also you will be able to buy our products at a discounted price – CDs for $13.00, DVDs $24.95 and books $34.95. Membership continues as long as you order one selection per year. NON-MEMBERS For non-members our prices are – CDs $15.98, DVDs $29.95 and books $39.95. MAILING AND POSTAGE CHARGES DOMESTIC There is a flat rate of $3.00 regardless of the number of items ordered.
  • History of Jazz Tenor Saxophone Black Artists

    History of Jazz Tenor Saxophone Black Artists

    HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz.
  • AIN't MISBEHAVIN' ATS Auditorium Friday, March 8 8:00 P.M

    AIN't MISBEHAVIN' ATS Auditorium Friday, March 8 8:00 P.M

    Dickinson College Archives & Special Collections http://archives.dickinson.edu/ Documents Online Title: Black Arts Festival: Ain’t Misbehavin’ Date: March 8, 1985 Location: RG 8/93, B1, F6 Contact: Archives & Special Collections Waidner-Spahr Library Dickinson College P.O. Box 1773 Carlisle, PA 17013 717-245-1399 [email protected] -) ·,'- il \, CAAS PRESENTS Tony Award Winning AIN'T MISBEHAVIN' ATS Auditorium Friday, March 8 8:00 P.M. General Admission - $2.00 FREE WITH DICKINSON I. D. DAEDALUS PRODUCTIONS JOHN ADAMS, MANAGING DIRECTOR PRESENTS Best Musical Tony Award Winner N.Y. Drama Critics' Circle Award AIN'T MISBEHAVIN' The FATS WALLER Musical Show starring (in alphabetical order) KEVIN NEIL CHEATHAM ANGEL JEMMOTT LeLAND GANTT MENNIE NELSON LUCILLE OLIVER Directed and Choreographed by ROBERT DURKIN Musical Director & Piano Man RONALD METCALF n~,s DEREK POLK Produced by BERNARD L. TANSEY Set Design Costume Design Lightirg Design BERNARD L. TANSEY EIKO YAMAGUCHI KIM HANSON Company Managenent Stage Managerrent KEN NIXON JOY VANDERVORT "AIN'T MISBEHAVIN "' is presented through Special Arrangement with Music Theatre International. - Prop,ram copy - p , 2 Set in a Harlem nightclub of the 1930's and 40's, AIN'T MIS• BEHAVIN' celebrates the music, personality, and high-living style of one of that era's most beloved jazzmen and clowns, Thomas "Fats" Waller. ************************************ FATS WALLER: My dad,Thomas Waller, was born in Greenwich Village in 1904, and reared in Harlem. His parents were deeply religious; to his father, jazz was the devil's music. Dad studied classical piano and played church organ. He began his professional career as organist at the Lincoln Theatre on 135th Street.
  • C Enterstage

    C Enterstage

    Reston Community Center Presents NYFOS: Harlem Renaissance the CenterStage Photo by Dario Acosta New York Festival of Song HARLEM RENAISSANCE Friday December 5, 2014 8:00 p.m. 2014-2015 Artist Series Touring Professional Reston Community Center Presents NYFOS: Harlem Renaissance New York Festival of Song Steven Blier ARTISTIC DIRECTOR Michael Barrett ASSOCIATE ARTISTIC DIRECTOR HARLEM RENAISSANCE Julia Bullock (photo by Christian Steiner) Darius de Haas (photo by Tess Steinkolk) James Martin (photo by Steve Godbold) Julia Bullock SOPRANO Darius de Haas TENOR James Martin BARITONE Michael Barrett PIANIST Steven Blier PIANIST & ARRANGER 2 Reston Community Center Presents NYFOS: Harlem Renaissance PROGRAM Capricious Harlem Eubie Blake The Joint is Jumpin’ (Andy Razaf / J. C. Johnson) Thomas “Fats” Waller A Porter’s Love Song to a Chambermaid (Razaf) James P. Johnson Ain’t-cha Glad (Razaf) Waller Li’l Gal (Paul Laurence Dunbar) J. Rosamond Johnson Death of an Old Seaman (Langston Hughes) Cecil Cohen The Breath of a Rose (Hughes) William Grant Still Day Dream (John LaTouche) Billy Strayhorn I’m Craving for that Kind of Love (Noble Sissle) Blake You’re Lucky to Me (Razaf) Blake I’ve Heard of a City Called Heaven Trad., arr. Hall Johnson Guiding Me Back Home (Sissle) Harry Revel INTERMISSION Mo’ Lasses (Alex Rogers) Charles “Luckey” Roberts In a Sentimental Mood (Ellington/Kurtz) Duke Ellington / Manny Kurtz I’m Just a Lucky So-and-So (Mack David) Ellington A Flower is a Lovesome Thing (Strayhorn) Strayhorn The Harlem Blues (Handy) W. C. Handy
  • The Dinner Theatre of Columbia Next at TOBY's November 9, 2018

    The Dinner Theatre of Columbia Next at TOBY's November 9, 2018

    THE DINNER THEATRE OF COLUMBIA PRESENTS SEPTEMBER 14 - NOVEMBER 4, 2018 Next at TOBY’s November 9, 2018 - January 13, 2019 THE DINNER THEATRE OF COLUMBIA Production of Ain’t Misbehavin’ The FATS WALLER Musical Show Conceived by RICHARD MALTBY, JR. and MURRAY HORWITZ Created and Originally Directed by RICHARD MALTBY, JR. Original Choreography and Musical Staging by ARTHUR FARIA Musical Adaptations, Orchestrations and Arrangements by LUTHER HENDERSON Vocal & Musical Concepts by Musical Arrangements by JEFFREY GUTCHEON JEFFREY GUTCHEON & WILLIAM ELLIOTT Originally produced by The Manhattan Theatre Club. Originally produced on Broadway by Emanuel Azenberg, Dasha Epstein, The Shubert Organization, Jane Gaynor, & Ron Dante Director Monique Midgette Choreographer Music Director Shalyce Hemby Ross Scott Rawlings Scenic Designer Lighting Designer David A. Hopkins Lynn Joslin Costume Designer Sound Designer Janine Sunday Mark Smedley Ain’t Misbehavin’ Is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. 421 West 54th Street, New York, NY 10019 www.MTIShows.com Video and/or audio recording of this performance is strictly prohibited. Fog and haze effects are used in this performance. Toby’s Dinner Theatre of Columbia • 5900 Symphony Woods Road • Columbia, MD 21044 Box Office (410) 730-8311 • (301) 596-6161 • (410) 995-1969 www.tobysdinnertheatre.com BALTIMORE HEBREW CONGREGATION WELCOMES CANTOR ELLERIN AND ANNOUNCES GREAT NEWS FOR MEMBERSHIP DUES Baltimore Hebrew Congregation is the only Reform synagogue in Baltimore to offer voluntary dues for eligible first-time members of any age and for congregants until the age of 30. BHC BALTIMORE HEBREW CONGREGATION Progressive.
  • Ain't Misbehavin' the Fats Waller Musical Show

    Ain't Misbehavin' the Fats Waller Musical Show

    ASF 2016 Study Materials for Ain'tThe Fats WallerMisbehavin' Musical Show conceived by Murray Horowitz & Richard Maltby Director Set Design Costume Design Lighting Design James Bowen Jesse Dreikosen Jeffrey Todhunter Kendall Smith Contact ASF at: www.asf.net Study materials written by 1.800.841-4273 Susan Willis, ASF Dramaturg [email protected] ASF/ 1 Ain't Misbehavin' The Fats Waller Musical Show conceived by Murray Horowitz & Richard Maltby Welcome to Ain't Misbehavin' and the Music of Fats Waller This joint is about to start jumping! Your toes will tap, your shoulders will jive, your head will bob along with some of the most infectious swing America has ever Characters created, the music of Thomas "Fats" Waller (the "characters" are identified by the names of the five actors in and some others who shaped the feel of the the first Broadway cast) 1920s, '30s, and early '40s. This musical André, a party hound, a flirt, revue is like one big rent party or club show and a bit of a womanizer on stage at ASF—the great stride music of Armelia, a voluptuous and Fats Waller with performers singing and sassy woman, strong-willed dancing his musical tales of love, longing, and not afraid to speak her and the zest for life. mind The pitch for the Broadway show reads Charlaine, a sweet, innocent "A sassy, sultry musical celebration of young lady legendary jazz great, Fats Waller." Sassy, Ken, a jovial, cheerful, loud yes. Sultry, yes. Musical, oh, yes indeed. man, larger than life Legendary, just listen. So there's every Life magazine's portrait of Thomas "Fats" Waller Nell, a confident and charming reason for celebration! woman of the world Song List for Ain't Misbehavin' In his review of the 1988 Broadway Act 1: "Ain't Misbehavin'" (1929) revival, New York Times drama critic Frank "Lookin' Good but Feelin' Bad" Rich proclaimed that the show "conjured "'T Ain't Nobody's Bizness"*• (1923) [a] between-the-wars dream world….
  • Teaching Jazz As American Culture Lesson Plans

    Teaching Jazz As American Culture Lesson Plans

    TEACHING JAZZ AS AMERICAN CULTURE LESSON PLANS NEH SUMMER INSTITUTE The Center for the Humanities Washington University in St. Louis July 2-27, 2007 contents Foreword ……………………………………………………………………………… iv Gerald Early, Merle Kling Professor of Modern Letters, Department of English iv Director, The Center for the Humanities Jazz and Biography ………………………………………………………………… 1 Robert Edwards, Annie Joly, Frank Kovarik, Alice Lee, and Gerry Liebmann Jazz and Fiction ……………………………………………………………………… 21 Ken Froehlich, T. J. Gillespie, Judith Nador, Melissa Papianou, and Elizabeth Patterson Jazz and Gender …………………………………………………………………… 45 Amy Dilts, Aimee Hendrix, Hope Rias, and Franklin Webster Jazz and Race ………………………………………………………………………… 59 Robert Evans, Allen Stith, Herbert West, and Keith Westbrook Jazz and the Urban Landscape …………………………………………………… 72 Monica Freese, John Gornell, Patrick Harris, Mark Halperin, and Jerome Love Jazz and the Visual Imagination …………………………………………………… 85 Judy Gregorc, Rob Matlock, Martha Jewell Meeker, Ellen Rennard, Laura Rochette, and Larissa Young iii foreword Teaching Jazz as American Culture and as an attractive form of identity for young people. But jazz also represents a markedly different story Now, a word or two before you go. I must make from, say, country and western, rock and roll, rhythm clear to you once again why we were all here and what and blues, hip hop and rap. None of these forms of we all tried to accomplish in these last four weeks. It music has so dramatically lost its popularity and none was never my intention to encourage you to make your has become a conservatory music. It is the ways in students fans of jazz. It was never even my intention which jazz serves as a paradigm for the formation of to make any of you jazz fans who were not inclined to mass taste and the ways in which it is not a paradigm, be so.
  • Download Booklet

    Download Booklet

    IT DON’T MEA N A T H I NG String Fever Marin Alsop, Leader It Don’t Mean A Thing IT DON’ T MEAN A THING This album reflects our foray into the standards, recorded percussion instruments ourselves, and work out extended over a period of 15 years. Enormous thanks to all of the solos for violin and viola. wonderful musicians who played in String Fever over the 1 It Don’t Mean a Thing 7 Come Rain or Come Shine years. We had many adventures over our 20 year career 5 Blue Rondo à la Turk was written by Dave Brubeck and (If It Ain’t Got That Swing) (1931) 3:29 (from St Louis Woman) (1946) 4:55 together and String Fever will remain a source of great first appeared on the album Time Out in 1959. It is written (Duke Ellington/Irving Mills, (Harold Arlen/Johnny Mercer, memories and musical achievement for all of us. in 9/8 and swing 4/4. Brubeck heard the unusual “1-2/1- arr. Gary Anderson) (ASCAP) arr. Gary Anderson) (ASCAP) 2/1-2/1-2-3” rhythm performed by Turkish musicians on Marin Alsop the street. Upon asking the musicians where they got the 2 Mood Indigo (1930) 5:47 8 In the Mood (1938) 3:43 rhythm, one replied “This rhythm is to us, what the blues (Duke Ellington/Barney Bigard/Irving Mills, (Joe Garland/Andy Razaf, is to you.” Hence the title Blue Rondo à la Turk. 1 It Don’t Mean A Thing (If It Ain’t Got That Swing) is a arr.
  • Tommy Dorsey

    Tommy Dorsey

    TOMMY DORSEY CATALOG 1 9 4 5 Prepared by: DENNIS M. SPRAGG YEAR-BY-YEAR CHRONOLOGY Volume 1 / Chapter 11 Updated: February 24, 2016 1 January 1945 TOMMY DORSEY AND HIS ORCHESTRA Trumpets: George Seaberg, Mickey Mangano, Sal La Perche, Dale Pierce, Gerry Goff. Trombones: TD, Nelson Riddle, Tex Satterwhite, Frank D’Annolfo. Reeds: Buddy De Franco (clt & as), Sid Cooper, Babe Fresk (as), Vido Musso (ts), Bruce Branson (bs). Strings: Alex Beller, Rhythm: Jess Stacy (p), Bob Bain (g), Sid Bloch (b), Buddy Rich (d). Vocalists: Charlie Carroll, Bonnie Lou Williams, The Sentimentalists. Arranger: Sy Oliver. January 5, 1945 (Fri) 11:30 pm – Midnight CBS New York Music ‘Til Midnight - The Mildred Bailey Show (CBS) (WABC) Mildred Bailey, host Tommy Dorsey, guest Paul Barron Orchestra CBS-612 (When Your Heart’s On Fire) Smoke Gets In Your Eyes (TD solo) January 6, 1945 (Sat), 1:00 - 1:30 pm Ritz Theatre, New York Eddie Condon’s Town Hall Jazz Concert 33 (BLUE) (WJZ) Eddie Condon, host Fred Robbins, announcer Tommy Dorsey (trombone), M/Sgt. Harry Bluestone and Jack Eberle (vocalist), guests Lee Wiley, vocalist BLUE-54 Sunday, TD dialogue & dedication to Miff Mole, How Com You Do Me Like You Do, Every Night (JE), Keep Smiling At Trouble, Sugar (LW), Impromptu Ensemble (to close) AFRS Eddie Condon’s Jazz Concert 33 (SSR 1-11-3/4) AFRS-941 Sunday, TD dialogue & dedication to Miff Mole, How Com You Do Me Like You Do, Every Night (JE), Keep Smiling At Trouble, Sugar (LW), Impromptu Ensemble (to close) 2 January 7, 1945 (Sun) 4:30 - 5:00 pm NBC Radio City, New York Music America Loves Best (The RCA Victor Show) (NBC) (WEAF) LOC RWA 6943 A1-2 Louis Calhern, host Tommy Dorsey and Dorothy Maynor, guests Jay Blackton Orchestra and Chorus AFRS MALB 31 S-15 I Got Shoes (DM/Chorus), By The Sleepy Lagoon (TD solo), Estrellita (DM), I Love You, Me Company Along (DM), I Dream Of You (Chorus) (TD solo), The Last Rose Of The Summer (DM) (TD solo), Siboney T.
  • Validating the Voice in the Music of Lambert, Hendricks & Ross

    Validating the Voice in the Music of Lambert, Hendricks & Ross

    VALIDATING THE VOICE IN THE MUSIC OF LAMBERT, HENDRICKS & ROSS by Lee Ellen Martin Bachelor of Music, McGill University, 2008 Master of Music, The University of Toledo, 2010 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts and Sciences This dissertation was presented by Lee Ellen Martin It was defended on March 23, 2016 and approved by Geri Allen, Masters of Music, Associate Professor Michael Heller, PhD, Assistant Professor Farah Jasmine Griffin, PhD Dissertation Advisor: Gavin Steingo, PhD, Assistant Professor ii Copyright © by Lee Ellen Martin 2016 iii VALIDATING THE VOICE IN THE MUSIC OF LAMBERT, HENDRICKS & Ross Lee Ellen Martin, PhD University of Pittsburgh, 2016 Lambert, Hendricks & Ross was an unusual vocal jazz trio. Made up of Dave Lambert, Jon Hendricks, and Annie Ross, they were the only interracial and mixed gender vocal jazz group in the United States in the late 1950s. In the wake of the Montgomery bus boycott victory and President Eisenhower’s consideration of the Equal Rights Act, the trio became one of the most popular vocal jazz groups of the day by singing lyricized arrangements of famous instrumental jazz recordings through a medium called vocalese. Although they seemed to reflect a utopian ideal of an integrated American society, each member of the group faced unique challenges. Referred to as the Poet Laureate of Jazz, African American lyricist and singer Jon Hendricks considers himself “a person who plays the horn without the horn,” and he is known for his gift with words.