DOCSLIB.ORG

Kenton Grabs Early Poll Lead

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kenton Grabs Early Poll Lead Kenton Grabs Early Poll Lead ♦ Chicago—Very early returns in the 1950 Down Beat band poll show several new faces rising to contending positions in the various classifications, and the 1947 band winner, Stan Kenton, coming back to take a slight lead over Woody Herman, winner Im* year in a walk- COMBO—VOCAL All these results are baaed on se scattered returns, however, and Mills Brothers 33 several changes may be expected StaHiahten VOL 17—No. 24 CHICAGO. DECEMBER I. 1950 in the final tabulations. (Copyright, I9S0, Dowa Boot, lac.I Bring* Sidemen Along 10 Kenton, who finished fourth last year, leads Herman by a scant 31 votes, but also has several of his Golden Gale Quartet .. Ralph Flanagan Tries His Hand At Nick's sidemen at or near the top. Surprise first on trumpet is Chor detien .............. Maynard Ferguson, Stan’s high Delta Rhythm Bey* note specialist, leading Miles Davis by a slight margin, followed by Louis Armstrong and Dizzy Gilles­ pie (voters this year are allowed MALE SINGER—NOT BAND to name any favorite, whether or Billy Er he I Ine ms not he is a leader). S3 Kenton drummer Shelly Manne 36 Frankie Laine 36 and arranger Pete Rugolo, plus vo­ Frank Sinatra calists Jay Johnson ana June Bind Crosby Bill Farrell Christy, also lead in their divisions. 18 18 Harri. leads 12 Bill Harris jumped to a com­ manding lead on trombone, with Tommy Dorsey and Kai Winding Doi in the place and show spots. Buddy DeFranco, Count Basie clarinetist, leads Benny Goodman GIRL SINGER—NOT BAND and Woody Herman. Charlie Parker, not eligible last Ella Fltsgerald New York—Ralph Flanagan's versatility seems to recent Sunday afternoon. Others above are PeeWee year, leads the alto men by 50 38 astonish the boy* ut Nick’*, Greenwich village Dixie- Erwin, trumpet: Andy Russo, trombone; Cliff Lee­ votes, with Lee Konitz and peren­ Doria Day ... land tavern. Pianist Flanagan and hi* clarinetist, man, drum*, und Jack Fay, baa*. Flanagan and hand nial winner Johnny Hodges mak- Steve Benoric, sat in with the Dixie regulars one are currently deep in one-niter*. ing it close fight for the second HUH. Holiday spot. Flip Behind Gets Jo Stafford .. And Flip Phillips, who took the Dinah Shor« ... IO Edict Bans Peanuts Hucko Big Cog tenor sax plaque the last two years, finds it much rougher going this Off-The-Air time, with Stan Getz leading him In NewJoe Bushkin Unit by 60 votes. Coleman Hawkins, KING OF CORN Charlie Ventura, and Lester Young Recordings By JOHN S. WILSON 183 trail in that order. 96 New York — A recently-handed- New York—The latest step in the currently-booming career First two places in the ’50 bari­ down New York supreme court of Joe Bushkin was given to the world at Cafe Society in Oc­ tone slot are repeating thus far, with Serge Chaloff and Harry Car­ ruling has opened the way for the tober. The new development is Bushkin with strings. More prosecution of companies and indi­ ney ahead of the pack. Gerry Mul­ Eddy Howard viduals who make a practice of exactly, it ie Bushkin with strings und clarinet. The results ligan has climbed to third. selling off-the-air recordings and were happy—frequently extremely® ■ “ 1 Oscar Peterson, who received happy—but they leave the listener dubbings of major label dies. Another One? only 10 votes in the entire poll last ALL-STAR BAND In a suit brought by the Metro­ with a question in hi. mind, u year, trails George Shearing by question which has nothing to do politan Opera association and Co­ only one vote, with Erroll Garner FRUMPET lumbia records against the Wag­ with Joe’s personal talents. just slightly behind. Rest of the The new Bushkin repertoire rhythm section is headed by last Milee Davis ............ ner-Nichols Recorder Corp., Judge Fiddles Back Diz S3 Henry Clay Greenberg ruled that Comes in three sections, even as the year’s leaders: Billy Bauer, gui­ Louis Armstrong .39 Wagner-Nichols’ merchandising of combo is in three sections. Section tar; Eddie Safranski, bass, and one is nothing more nor less than 33 off-the-air recordings is illegal, and On New Releases Manne, drums. Closest battle is -33 that dubbings constitute “unlawful the Bushkin trio which built a between Bauer and Shearingite Howard MeGhoe 29 appropriation” of private rights. large following during its summer- Hollywood — Playing footsies Chuck Wayne. Shorty Rogers ... .14 long stand at the Park Sheraton with fiddles has become a popular Billy Butterfield . .12 Judge Greenberg’s ruling, the Ziggy Elmao ..... 12 first of its kind, is seen as an open­ hotel here. Currently it has Morey and lucrative pastime with jazz Bobby Hackett . .12 ing wedge in some of the major Feld on drums and Sid Weiss on musicians lately, since Norman The miscellaneous instrument 10 Granz started it all with the Char­ record companies’ fight to stop the bass giving Joe very able backing. category, added just this year, increasing amount of “bootleg” The trio, nf course, is primarily lie Parker with String» album. Joe finds four vibists in the top spots, Charlie Spivak .... Bill Davison ......... records which have been appear­ Joe, his rippling fingers, nis voice, Bushkin followed, and now Dizzy with Terry Gibbs ahead, followed ing on the market. and his personality. Gillespie has entered the picture. by Red Norvo, Lionel Hampton, Discovery is releasing eight sides Judge Greenberg stated, “Cast More Certainly Vocally and Marjorie Hyams. TROMBONE in its proper environment, we have Diz recently cut on the west coast George Shearing again leads the The hands produce a high grade with a 23-piece band. Bill HarHa _____ ____________ .163 here a business venture purposed of piano music, occasionally a lit­ combos, Sarah Vaughan and Billy Tommy Dom, . to gather in the harvest, the seeds Featuring the usual string sec­ Eckstine the singers not with Kai WIndias ............... tle overdressed but almost always tion, the group included oboes, 33 of which were planted and nur­ bands, the Pied Pipers top the vo­ moving along at a swinging gait. Milt Borwhart 30 tured by others at great expense flutes, and English horns as well. cal combos, and Spike Jones is The voice has taken on more cer­ Conducted and arranged by John­ 26 and with consummate skill.” tainty and is reaching a point aiming for another King of Com ny Richards, the sides are mostly title. 13 where it is becoming an asset in standards, with a few workings Not Final the whispered croak school of sing­ over of themes by Tchaikovsky It must emphasized that these ing. The personality is pleasant and Rachmaninoff thrown in. KM Ory ....................... results are not definitive, as sacks Eckstine Signs even if, at times, it is heaved at Discs are available on all three (None Under 5 Listed) you like a knuckleball. speeds. full of ballots were yet to be $1 Million Disc, Section two in the repertoire counted and tabulated at press- CLARINET brings in the strings. This is prac­ time, and many more were ex­ Buddy DeFranco ............................... 163 Benny Goodman ................................ tically the same as section one, ex­ pected. 129 Woody Herman ................................. 33 Pics, TV Pact cept that Joe plays in front of the Ballots must be postmarked not Artlo Shaw ............................................ later than midnight Nov. 20 to be . 32 New York—MGM records signed lush, sustained harmonics of the New Barnet Ork Barney Bigard .................................... fiddle section. For the most part, counted. Jimmy Hamilton .................................. its biggest disc deal to date when Abe Moat -............................................ Joe’s arrangements confine them­ Edmund HaU .............................. ......... Billy Eckstine re-signed with the FAVORITE BAND company with a contract that will selves to the usual, elementary use To Sport Strings Peanut# Hucko.......... ................_...... net the singer an estimated $1 mil­ of strings in groups of this sort. Hollywood — The new “mysteir Sua Kaatos ...............................167 .... ......(None Under 5 Listed) lion over a 10-year period. Nego­ The bow boys are relegated to pro­ band” to be launched by Charlie .136 (Modulate to Page 19) ducing a hum in back of the piano. 60 tiated by Eckstine’s manager, Milt Barnet as soon as he can get the Duke EIHngloi Ebbins, the contract calls for a Occasionally they get a livelier and "right kind of recording deal” will 39 more engaging idea to toy with, contain strings. That was the only S3 yearly guarantee of $52,000 a year 32 over a 5-year period, to be paid but not often enough. information available at the Bar- Fran Warren within 10 years. Principal result is that Joe gets net camp. 13 In a separate deal with the la­ a different sound to play against Bob Dawes, sax man who handles On The Cover than he does with just the trio but, the managerial headaches for Bar- Charlie Barnet bel’s parent company, MGM pic­ Fran Warren, a recent bride at best, it is not a particularly in-ii net, said: “Charlie knows he has Lionel Hampton tures, Billy has been signed to do and the cover subject for thio a movie next summer which will teresting sound and currently it to remodel the band into a more has been so overdone, particularly commercial style, but he doesn’t Dissy Gillespie ......................... _........ issue, ha. been making great mean another $75,000 in the Eck­ Charlie Ventura ................................... stride, as a singer this year, un­ stine coffers. on vocal records, that it has little want to come up with another im­ Tes Beneke .................................« to recommend it. itation of Glenn Miller, and he Elliot Lawrence ................................... der the management of Bar­ Also in the works is a William bara Belle and with a Victor Morris agency prepared TV and New Complexion wants the music to be interesting (None Under S Listed) enough so the fellows in the band promotional campaign expedit­ radio package for the singer.
Load more

Recommended publications
  • THE BRILL BUILDING, 1619 Broadway (Aka 1613-23 Broadway, 207-213 West 49Th Street), Manhattan Built 1930-31; Architect, Victor A
    Landmarks Preservation Commission March 23, 2010, Designation List 427 LP-2387 THE BRILL BUILDING, 1619 Broadway (aka 1613-23 Broadway, 207-213 West 49th Street), Manhattan Built 1930-31; architect, Victor A. Bark, Jr. Landmark Site: Borough of Manhattan Tax Map Block 1021, Lot 19 On October 27, 2009 the Landmarks Preservation Commission held a public hearing on the proposed designation of the Brill Building and the proposed designation of the related Landmark site. The hearing had been duly advertised in accordance with provisions of law. Three people spoke in support of designation, including representatives of the owner, New York State Assembly Member Richard N. Gottfried, and the Historic Districts Council. There were no speakers in opposition to designation.1 Summary Since its construction in 1930-31, the 11-story Brill Building has been synonymous with American music – from the last days of Tin Pan Alley to the emergence of rock and roll. Occupying the northwest corner of Broadway and West 49th Street, it was commissioned by real estate developer Abraham Lefcourt who briefly planned to erect the world’s tallest structure on the site, which was leased from the Brill Brothers, owners of a men’s clothing store. When Lefcourt failed to meet the terms of their agreement, the Brills foreclosed on the property and the name of the nearly-complete structure was changed from the Alan E. Lefcourt Building to the, arguably more melodious sounding, Brill Building. Designed in the Art Deco style by architect Victor A. Bark, Jr., the white brick elevations feature handsome terra-cotta reliefs, as well as two niches that prominently display stone and brass portrait busts that most likely portray the developer’s son, Alan, who died as the building was being planned.
    [Show full text]
  • Interpretive Performance Techniques and Lyrical Innovations on The
    INTERPRETIVE PERFORMANCE TECHNIQUES AND LYRICAL INNOVATIONS ON THE BASS TROMBONE: A STUDY OF RECORDED PERFORMANCES BY GEORGE ROBERTS, “MR. BASS TROMBONE” Jonathan K. Yeager, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2006 APPROVED: Vern Kagarice, Major Professor Darhyl Ramsey, Minor Professor Tony Baker, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Yeager, Jonathan K., Interpretive performance techniques and lyrical innovations on the bass trombone: A study of recorded performances by George Roberts, “Mr. Bass Trombone.” Doctor of Musical Arts (Performance), December 2006, 82 pp., 18 illustrations, bibliography, 25 titles. Nicknamed “Mr. Bass Trombone” for his role as a prominent, trailblazing recording artist, George Roberts (b. 1928) has often been recognized as redefining the role of the bass trombone in popular music as well as setting new standards for technical refinement and expressive possibilities of the instrument. Through two interviews and a comparison between ten recorded performances by Roberts and corresponding lead sheets, I make observations about Roberts’ performance techniques and illustrate various examples of those techniques. The document includes 35 pp. of interview transcriptions. Copyright 2006 by Jonathan K. Yeager ii ACKNOWLEDGEMENTS I wish to thank those who assisted in the preparation of this document. Specifically, I would like to thank George Roberts for providing his time and thoughts; Vern Kagarice for his guidance and assistance in securing sources; Matthew Litwaitis for his help in locating resources; Ben van Dijk, Bob Hughes, and Douglas Yeo for providing comments; Keith Pawlak at the University of Arizona, John R.
    [Show full text]
  • Jazzletter PO Box 240, Ojai CA 9302-#0240
    Gene Lees jazzletter PO Box 240, Ojai CA 9302-#0240 ./Tlugust 1998 Vol. 17 No. 8 Other Voices Your strategy on renewals hit the mark. Here’s my check, ’cause sure as hell if I put it off, it will drown in the Sea of Good Intentions. This is for myself and my gift subscriptions. I just got back from Switzerland and the Bem Jazz Festival. I agree. Copy machinesare the enemy. Common law knowledge I am writing regarding the accessibility of independently conceming intellectual property is scarce, and the present murky produced recordings. Ten years ago it seemed as though, through copyright law is of little help. As the result, copies are made will- Tower Records, jazz recordings would finally be available in a nilly. Hard-earned and well-deserved royalty income is lost. Yet mainstream environment. For a while that was true. But all that has for a situation l’ve frequently encountered, may I suggest an changed since the major labels have flooded the market with their imperfect solution? multiple compilations of old recordings and the new artists they’ve During a recent spirited conversation re Marsalis and Crouch, invested big bucks in. The result is that shelf space is now totally I referred to Jazzletter opinions. I wanted my dinner companions controlled by the majors, in the same way supermarket shelves -— an intelligent yet jazz-unkriowledgeable attomey couple — to only carry the biggest suppliers’ products. The same scenario is have the benefit of your thoughtful insights and scholarship. Yet being played out in book stores. Just try to buy one of the jazz it was not practical for me to buy a year-long subscription for books published by university presses in these slick new mega- them, as well as for any other similar dinner-table encounter.
    [Show full text]
  • 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.
    [Show full text]
  • The Bad Ass Pulse by Martin Longley
    December 2010 | No. 104 Your FREE Monthly Guide to the New York Jazz Scene aaj-ny.com The THE Bad Ass bad Pulse PLUS Mulgrew Miller • Microscopic Septet • Origin • Event Calendar Many people have spoken to us over the years about the methodology we use in putting someone on our cover. We at AllAboutJazz-New York consider that to be New York@Night prime real estate, if you excuse the expression, and use it for celebrating those 4 musicians who have that elusive combination of significance and longevity (our Interview: Mulgrew Miller Hall of Fame, if you will). We are proud of those who have graced our front page, lamented those legends who have since passed and occasionally even fêted 6 by Laurel Gross someone long deceased who deserved another moment in the spotlight. Artist Feature: Microscopic Septet But as our issue count grows and seminal players are fewer and fewer, we must expand our notion of significance. Part of that, not only in the jazz world, has by Ken Dryden 7 been controversy, those players or groups that make people question their strict On The Cover: The Bad Plus rules about what is or what is not whatever. Who better to foment that kind of 9 by Martin Longley discussion than this month’s On The Cover, The Bad Plus, only the third time in our history that we have featured a group. This tradition-upending trio is at Encore: Lest We Forget: Village Vanguard from the end of December into the first days of January. 10 Bill Smith Johnny Griffin Another band that has pushed the boundaries of jazz, first during the ‘80s but now with an acclaimed reunion, is the Microscopic Septet (Artist Feature).
    [Show full text]
  • The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
    Graduate Theses, Dissertations, and Problem Reports 2019 The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett Curtis Goods West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Goods, Emmett Curtis, "The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964)" (2019). Graduate Theses, Dissertations, and Problem Reports. 7464. https://researchrepository.wvu.edu/etd/7464 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H.
    [Show full text]
  • Click to Download
    Volume 8, Number 8 Original Music Soundtracks for Movies & Television Rock On! pg. 10 LOVE thEBOOB TUBE Cool new music for Alias, Boomtown, Monk, Carnivàle, Penn & Teller’s B.S. FSM picks 100+ great great TTV themes plus Indiana Jones JO JOhN WIllIAMs’’ FOR FORtuNE an and GlORY Dragonslayer on DVD WORKING WORKING WIth A AlEX NORth CD Reviews A ALL THE L LAtEST $4.95 U.S. • $5.95 Canada CONTENTS SEPTEMBER 2003 DEPARTMENTS COVER STORY 2 Editorial 20 We Love the Boob Tube The Man From F.S.M. Video store geeks shouldn’t have all the fun; that’s why we decided to gather the staff picks for our by-no- 4 News means-complete list of favorite TV themes. Music Swappers, the By the FSM staff Emmys and more. 5 Record Label 24 Still Kicking Round-up Think there’s no more good music being written for tele- What’s on the way. vision? Think again. We talk to five composers who are 5 Now Playing taking on tough deadlines and tight budgets, and still The Man in the hat. Movies and CDs in coming up with interesting scores. 12 release. By Jeff Bond 7 Upcoming Film Assignments 24 Alias Who’s writing what 25 Penn & Teller’s Bullshit! for whom. 8 The Shopping List 27 Malcolm in the Middle Recent releases worth a second look. 28 Carnivale & Monk 8 Pukas 29 Boomtown The Appleseed Saga, Part 1. FEATURES 9 Mail Bag The Last Bond 12 Fortune and Glory Letter Ever. The man in the hat is back—the Indiana Jones trilogy has been issued on DVD! To commemorate this event, we’re 24 The girl in the blue dress.
    [Show full text]
  • The Bebop Revolution in Jazz by Satyajit Roychaudhury
    The Bebop Revolution in Jazz by Satyajit Roychaudhury The bebop style of jazz is a pivotal invention in twentieth-century American popular music - an outgrowth of the rhythmic and harmonic experiments of young African-American jazz musicians. At first a source of controversy because of its unorthodox approach, bebop eventually gained widespread acceptance as the foundation of "modern" jazz, and it continues to influence jazz musicians. The process of its creation was solidly grounded in New York City. Because of its emphasis on improvisation, jazz has maintained a strong tradition of creative invention throughout its history. This tradition has encouraged jazz musicians to cultivate new musical ideas, based on innovative uses of harmony, rhythm, timbre and instrumentation. Jazz has thus encompassed a continually evolving diversity of individual and collective styles over the past century. The emphasis on improvisation has made live performance a crucial element of the innovation process. During the 1st half of the 20th century the available technology limited the length of the improvisations and live performance served as the primary showcase for jazz musicians' talents. Because performance opportunities for the most talented musicians were concentrated in the entertainment districts of major cities, the creation of new jazz styles became strongly associated with places, such as New Orleans, Chicago, Kansas City, and New York City. Bebop emerged during the 1940s as a reaction “Swing” and as an expression of artistic innovation within a community of younger African-American jazz musicians. Certain jazz clubs in Harlem provided a setting for experimentation that culminated in the bebop style. The style's subsequent popularization occurred in jazz clubs in midtown Manhattan, at first along 52nd Street and later on nearby sections of Broadway.
    [Show full text]
  • Omer Avital Ed Palermo René Urtreger Michael Brecker
    JANUARY 2015—ISSUE 153 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM special feature BEST 2014OF ICP ORCHESTRA not clowning around OMER ED RENÉ MICHAEL AVITAL PALERMO URTREGER BRECKER Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 116 Pinehurst Avenue, Ste. J41 JANUARY 2015—ISSUE 153 New York, NY 10033 United States New York@Night 4 Laurence Donohue-Greene: [email protected] Interview : Omer Avital by brian charette Andrey Henkin: 6 [email protected] General Inquiries: Artist Feature : Ed Palermo 7 by ken dryden [email protected] Advertising: On The Cover : ICP Orchestra 8 by clifford allen [email protected] Editorial: [email protected] Encore : René Urtreger 10 by ken waxman Calendar: [email protected] Lest We Forget : Michael Brecker 10 by alex henderson VOXNews: [email protected] Letters to the Editor: LAbel Spotlight : Smoke Sessions 11 by marcia hillman [email protected] VOXNEWS 11 by katie bull US Subscription rates: 12 issues, $35 International Subscription rates: 12 issues, $45 For subscription assistance, send check, cash or money order to the address above In Memoriam 12 by andrey henkin or email [email protected] Festival Report Staff Writers 13 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, CD Reviews 14 Katie Bull, Tom Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Special Feature: Best Of 2014 28 Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Miscellany Terrell Holmes, Robert Iannapollo, 43 Suzanne Lorge, Marc Medwin, Robert Milburn, Russ Musto, Event Calendar 44 Sean J. O’Connell, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman As a society, we are obsessed with the notion of “Best”.
    [Show full text]
  • 1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
    GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement.
    [Show full text]
  • Thesis Critical Influences Affecting the Contemporary Brass Playing
    Institute of Education University of London Thesis Critical influences affecting the contemporary brass playing community Doctor in Education January 2011 David Samuel Thomas Declaration of authenticity I hereby declare that, except where explicit attribution is made, the work presented in this thesis is entirely my own. Word count 51,287 Signed ~ · S ·~rN) Date OC~~ 'lO 'lO \ \ Critical influences affecting the contemporary brass playing community ABSTRACT Drawing upon information learned from the Institution Focused Study, Critical Influences Affecting the Contemporary Brass Playing Community is the result of a detailed enquiry into the learning of brass instruments. The thesis begins by contextual ising brass learning within the historical and sociological setting of the British Brass Band movement and considers factors which have contributed towards contemporary performance values. Intending to identify and investigate the factors which best anticipate successful brass teaching and learning, the thesis describes two main areas of research which were conducted between 2007 and 2009. The first of these focused upon a detailed questionnaire survey of the brass playing community within a secondary school in the North of England which has a highly successful brass tradition. The second area of research profiled, through a questionnaire and on-line interview forum, twenty four respondents from two championship section brass bands in contrasting areas of the United Kingdom. Using hypothesis drawn from biographical perceptions of successful learning and teaching, the thesis puts forward the notion that previously held concepts need updating within the context of contemporary lifestyles. These indicate that too much brass teaching and learning is focused upon the acquisition of a narrow range of musical skills and that the wider issue of music education for life is being neglected.
    [Show full text]
  • Sunrise Senior Living Jazz Festival Debuts in Saddle River Former Blue Note President Hosts Parkinson’S Fundraiser
    Volume 42 • Issue 9 October 2014 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Joe Lovano’s solo gets a rise out of former Blue Note Records President Bruce Lundvall, right, during the closing jam at the August 24 Sunrise Senior Living Jazz Festival that also featured Javon Jackson, second from left, and Ravi Coltrane. Photo by Mitchell Seidel. Sunrise Senior Living Jazz Festival Debuts in Saddle River Former Blue Note President hosts Parkinson’s fundraiser. See story and photos on page 28. New JerseyJazzSociety in this issue: New JerSey Jazz SocIety Prez Sez. 2 Bulletin Board ......................2 NJJS Calendar ......................3 Jazz Trivia .........................4 The Mail Bag .......................4 Editor’s Pick/Deadlines/NJJS Info .......6 Prez Sez Crow’s Nest. 50 Change of Address/Support NJJS/ By Mike Katz President, NJJS Volunteer/Join NJJS. 51 October Jazz Social. 52 n August 16, 2014, the 4th annual Jazz and was observed in the form of remarks delivered by NJJS/Pee Wee T-shirts. 52 New/Renewed Members ............53 OBlues Festival was held on the Green in the a number of political leaders, and most of the jazz StorIeS center of Morristown, New Jersey. For the second musicians had a connection with New Jersey as a Sunrise Senior Living Jazz Festival. ...cover year, I was asked by Don Jay and Linda Smith, the present or former residence. The festival was Big Band in the Sky ..................8 producers, to emcee the jazz portion of this event. made possible by contributions from various Litchfield Jazz Festival.
    [Show full text]