DOCSLIB.ORG

Tommy Bok Om Louis Armstrong Återkomst Till NY 1929

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tommy Bok Om Louis Armstrong Återkomst Till NY 1929 Tommy bok om Louis Armstrong Återkomst till NY 1929 Luis Russell [R7095‐13] Luis Russell And His Burning Eight: Louis Metcalf (tp) J.C. Higginbotham (tb) Charlie Holmes (cl,as) Teddy Hill (ts) Luis Russell (p,dir) Will Johnson (bj,g) Bass Moore (tu) Paul Barbarin (d) Walter "Fats" Pichon (vcl) New York, January 15, 1929 401532‐A Savoy shout Okeh 8760, Phil 436004, VJM (E)VLP54 401533‐A,B The call of the freaks 8656, ‐ ‐ 401534‐A It's tight like that (wfp vcl) ‐ , Od XOC145, VJM (E)VLP54, CBS 63721 Note: All above titles also on JSP (E)308 [CD] titled "Luis Russell, 1929‐1930"; see flwg sessions to September 5, 1930 for more titles; rest of CD by Jungle Town Stompers, J.C. Higginbotham, Louis Armstrong. All above titles also on Village (G)VILCD018‐2 [CD] titled "Luis Russell and his Orchestra 1927‐29"; rest of CD by King Oliver, Louis Armstrong, Jungle Town Stompers. All above titles also on Columbia KG32338, CBS (F)S88039, Parlophone (E)PMC7025, Swaggie (Aus)828, Classics (F)588 [CD]. Carroll Dickerson [D3851‐13] Carroll Dickerson's Savoy Orchestra: Willie Hightower, Homer Hobson (tp) Fred Robinson (tb) Jimmy Strong (cl,ts) Bert Curry, Crawford Wethington (as) Carroll Dickerson (vln,ldr) Gene Anderson (p) Mancy Cara (bj) Pete Briggs (tu) Zutty Singleton (d) Chicago, May 25, 1928 C‐1976 Missouri squabble Br 3990, 3853, A7837, A81258, Arcadia LP2011 C‐1977 Black Maria ‐ ‐ ‐ ‐ ‐ Note: Both above titles also on Frog (E)DGF28 [CD] titled "Hot Stuff". Carroll Dickerson [D3852‐13] Carroll Dickerson's Savoyagers: Louis Armstrong (tp) Earl Hines (p) replace Willie Hightower, Gene Anderson Chicago, July 5, 1928 400992‐B Symphonic raps Od (Arg)193329, Arcadia LP2011, CBS 65251, Par (E)PMC7074, Franklin Mint GJR001, BBC (E)BBCCD597 [CD] 400993‐B Savoyager's stomp Od (Arg)193329, Arcadia LP2011, Par (E)PMC7074, Od (F)XOC173, BBC (E)REB589, Columbia G30416, ABC (Aus)836181‐2 [CD], BBC (E)BBCCD589 [CD] Note: ABC (Aus)836181‐2 [CD] titled "Jazz Classics in Digital Stereo, Vol. 2, Chicago"; rest of CD by others. Both above titles also on CBS 466308‐10 [CD] titled "Louis Armstrong, The Hot Fives, Volume IV"; see Louis Armstrong for the rest of this CD. Both above titles also on World Records SH407 titled "The Louis Armstrong Legend 1928‐1929"; see Louis Armstrong for the rest of this LP. Both above titles also on Classics (F)570 [CD] titled "Louis Armstrong, 1928‐29". Both above titles also on Columbia CK45142 [CD], Fremeaux & Associes (F)FA1354 [CD], JSP (E)314 [CD], Essential Jazz Classics (Sp)EJC55563 [CD]. Louis Armstrong [A5631‐13] Louis Armstrong And His Savoy Ballroom Five: Louis Armstrong (tp,vcl) J.C. Higginbotham (tb) Albert Nicholas, Charlie Holmes (cl,as) Teddy Hill (ts) Luis Russell (p) Eddie Condon (bj) Lonnie Johnson (g) George "Pops" Foster (b) Paul Barbarin (d) New York, March 5, 1929 401690(alt) I can't give you anything but love (la vcl,*) Jazum 8, CBS (F)65251, JSP (E)315 [CD], King Jazz (It)KJ151FS [CD], Columbia Legacy C4K63527 [CD], Neatwork (Au)RP2020 [CD] 401690‐C I can't give you anything but love (la vcl) Ok 8669, 41204, UHCA36, Col 38052, 38221, ML4386, (E)33S1069, Parl (E)R753, PMC7045, CBS (Eu)RM52027, 66247, Od (F)165683, 7MOE2011, OS1080, OSX143, (G)284474, A286021, Phil (Eu)429098BE, 429218BE, Swaggie (Aus)S1267, Disques Swing SW8451, Musica Jazz (It)2MJP1056, Classics (F)570 [CD], Disques Swing CDXP8450 [CD], JSP (E)315 [CD], Columbia CK46148 [CD], C4K57176 [CD], Columbia Legacy C4K63527 [CD], Saville (E)198 [CD], Radio France (F)211752 [CD], Music Club (E)50134 [CD], Black & Blue (F)59.226‐2 [CD] 401691‐B Mahogany Hall stomp Ok 8680, Voc 3055, Jolly Roger J7001, Col 35879, C3L‐30, Parl (E)R571, PMC7019, PMC7098, Font (Eu)TFE17073, 467063, 662024TR, Od (F)7MOE2011, OS1080, (F)OSX143, (G)A286008, 041049, Swaggie (Aus)1229,, CBS (Eu)BPG62232, RM52377, Amiga (G)850070, (G)850070, Time‐Life STL‐J01, Columbia G30416, CK46148 [CD], Columbia Legacy C4K63527 [CD], ProArte CDD439 [CD], JSP(E)315 [CD], Indigo 2035 [CD], Jazz Archives(F)158132 [CD], (F)158722 [CD], Classics (F)557 [CD], Living Era (E)CDAJA5094 [CD] Tring (Eu)VAR042 [CD], HRM 6002 [CD], Black & Blue (F)59.226‐2 [CD] Note: Classics (F)557 [CD] titled "Louis Armstrong and his Orchestra 1929‐1930"; see following sessions to May 4, 1930 for rest of CD. Disques Swing SW8451 titled "Satchmo Style"; see flwg sessions to February 1, 1930 and Jack Purvis for rest of LP. Disques Swing CDXP8450 [CD] titled "Louis and the Big Bands 1928‐1930"; see flwg sessions to May 4, 1930 and Carroll Dickerson for rest of CD. Saville (E)198 [CD] titled "Mahogany Hall Stomp"; see flwg sessions to January 25, 1932 for rest of CD. Living Era (E)CDAJA5094 [CD] titled "Louis Armstrong and Luis Russell 1929‐1940"; see flwg sessions to November 16, 1941 for rest of CD. JSP (E)315 [CD] titled "Louis Armstrong ‐ volume 4"; see flwg sessions to April 5, 1930 for rest of CD. Tring (Eu)VAR042 [CD] titled "The Louis Armstrong Collection 2"; see flwg sessions to July 27, 1967 for rest of CD. Neatwork (Au)RP2020 [CD] titled "Louis Armstrong ‐ Volume 1, 1926‐1935, The Alternative Takes"; see various flwg sessions to December 19, 1935 for more titles; rest of CD by Erskine Tate, Lil's Hot Shots, Seger Ellis, Jimmie Rodgers. All titles, except (*), also on Fremeaux & Associes (F)FA1355 [CD]. All above titles also on Essential Jazz Classics (Sp)EJC55563 [CD]. Louis Armstrong [A5630‐13] Louis Armstrong And His Orchestra: Louis Armstrong (tp) Jack Teagarden (tb) Happy Caldwell (ts) Joe Sullivan (p) Eddie Lang (g) Kaiser Marshall (d) New York, March 5, 1929 401688‐B I'm gonna stomp Mr. Henry Lee (unissued) 401689‐B Knockin' a jug (*) Ok 8703, UHCA36, Col 35663, ML4386, Parl (E)R1064, PMC7019, Folkw FP67, FJ2807, Col (Jap)M199, Odeon (F)165913, OS1115, XOC174, (G)A286050, Swaggie (Aug)S1229, Time‐Life STL‐J01, World Records (E)SM424, SH407, CBS 65251, Bandstand 7127, BBC Records (E)REB597, Classics (F)570 [CD], Phontastic (Swd)PHON9308 [CD], Col C4K57176 [CD], Columbia Legacy C4K63527 [CD], ProArte CDD439 [CD], Naxos Jazz (Eu)8.120541, CDS (Eu)618 [CD], ABS (Aus)36184 [CD], Mosaic MD8‐213 [CD], Fremeaux & Associes (F)FA1355 [CD], JSP (E)314 [CD], Essential Jazz Classics (Sp)EJC55563 [CD] Note: "Knockin' a jug" on Od (F)XOC174 (= CBS (F)62474) includes only the last half of the record (trumpet part). "Knockin' a jug" on CBS (F)65251 ("Louis Armstrong Special") is complete, as are other issues. (*) This title also on Columbia CK 46148 [CD] (= CBS (Eu)466965 2 [CD]) titled "Louis Armstrong, volume 5 ‐ Louis In New York"; see flwg sessions to November 26, 1929 and Segar Ellis, Victoria Spivey for rest of CD. Columbia ML4386 (= Col CL854) titled "The Louis Armstrong story, volume 4"; see following sessions to July 21, 1930 for rest of LP. Charles Mingus [M8361‐13] Live In Oslo 1964: Johnny Coles (tp) Eric Dolphy (as,b‐cl,fl) Clifford Jordan (ts) Jaki Byard (p) Charles Mingus (b,vcl) Dannie Richmond (d,vcl) Concert, University Aula, Oslo, Norway, April 12, 1964 Meditations Landscape LS2‐919 [CD], Parkeriana [Ow !] Jazz Up (It)JU307 [CD], Landscape LS2‐919 [CD], Moon (It)MCD078‐2 [CD] Fables of Faubus (cm,dr vcl) Moon (It)MCD078‐2 [CD], Landscape LS2‐913 [CD] Orange was the color of her dress Jazz Up (It)JU307 [CD], Moon (It)MCD078‐2 [CD], Landscape LS2‐913 [CD] So long Eric Jazz Up (It)JU307 [CD] Take the "A" train ‐ , Moon (It)MCD078‐2 [CD] Note: The above from a private recording. Landscape LS2‐913 [CD] titled "Live in Oslo 1964, Vol. I". Landscape LS2‐919 [CD] titled "Live in Oslo 1964, Vol. II". All titles from Moon (It)MCD078‐2 [CD] titled "Orange", also on Polydor (Jap)POCJ‐1875 [CD]. Charles Mingus [M8362‐13] Live In Stockholm 1964: same pers. Koncerthuset, Stockholm, Sweden, April 13, 1964 (Rehearsal) So long Eric (take 1) Royal Jazz (Dan)RJD518 [CD] Meditations (false start) ‐ Meditations ‐ So long Eric (take 2) ‐ (Concert) Peggy's blue skylight (*) ‐ When Irish eyes are smiling ‐ Fables of Faubus (cm,dr vcl) (*) ‐ Orange was the color of her dress (*) ‐ Note: (*) These three titles also on Bandstand (It)BDCD1524 [CD], (Jap)TKCB‐30524 [CD], both titled "Meditations on integration"; see April 14, 1964 for one more title. Ward Pinkett 1928 med chic webb djungle mama The Jungle Band [J6011‐13] Ward Pinkett (tp,vcl) Edwin Swayzee (tp) Bob Horton (tb) Hilton Jefferson, Louis Jordan (cl,as) Elmer "Skippy" Williams (cl,ts) Don Kirkpatrick (p) John Trueheart (bj,g) Elmer James (tu) Chick Webb (d) New York, June 14, 1929 E‐30039‐A Dog bottom (wp vcl) Br 4450, De DL79222, Jazum 12, MCA 1303, (F)510.014, ABC (Aus)836182‐2 [CD], Classics 502 [CD], Masters of Jazz (F)MJCD801 [CD] Note: ABC (Aus)836182‐2 [CD] titled "Jazz classics in digital stereo Vol.3, New York"; rest of this CD by others. Classics 502 [CD] titled "Chick Webb and his Orchestra 1929‐1934"; see June 27, 1929 for one more title; rest of this CD by Chick Webb and others. The Jungle Band [J6012‐13] Chick Webb out, rest same New York, June 27, 1929 E‐30091‐A Jungle mama [Jungle blues] Br 4450, De DL79222, Jazum 12, Br (G)87533, MCA 1303, (F)510.014, Classics 502 [CD] Chick Webb [W2628‐13] Chick Webb And His Orchestra: Ward Pinkett, Edwin Swayzee (tp) Benny Morton (tb) Elmer "Skippy" Williams (ts) Bobby Holmes (as,cl) Don Kirkpatrick (p) John Trueheart (g) Elmer James (tu) Chick Webb (d) Film soundtrack "After Seben", c.
Load more

Recommended publications
  • 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.
    [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]
  • Walter Bennett
    THE RECORDINGS OF WALTER BENNETT An Annotated Tentative Personnello-Discography WCAllen WALTER A. „Jock“ BENNETT (trumpet) Reportedly from Pittsfield, Mass., or Chicago. An older man, knew FH from New York days. Reportedly recorded with J.C. Johnson (Feb/29), Bennett´s Swamplanders (Sep/30), Wilmoth Houdini (1931). Played with Fats Pichon (1931); Allie Ross (1931); Savoy Bearcats (1932-33); Eli Rice (1934-37). Joined FH c Sep/42 to c June/43; played lead horn, high notes, was “tremendous” according to fellow musicians; doubled on piano. Believed to be deceased; not listed in 1961 Local 802 Directory. When in 1969 STORYVILLE issued a most interesting piece called "The Other Take" by John R.T. Davies and Laurie Wright, I first became aware of a trumpet player called Walter Bennett. Only very few of the cited recordings were in my collection then, although I had been keen in purchasing every long-playing record in the field of Classic Jazz. (Wisely I decided then not to start collecting 78 records!) Through the great services of Dick M. Bakker of Deventer / The Netherlands I got hold of RISTIC 26 "J.C.Johnson" and from then on Walter Bennett was one of the musicians on top of my list of interest. Getting in contact with John R.T. I received a list of his collection which really left me breathless in those days. Following his advice: "How to make the best out of John R. T.", I had him transcribe the "Bennett´s Swamplanders" titles for me. These titles, together with the J.C.Johnson Five Hot Sparks sides, left a lasting mark in my audio-memory, which in turn made me compiling anything I could find regarding Walter Bennett.
    [Show full text]
  • Geechie“ Fields
    THE RECORDINGS OF JULIUS „GEECHIE“ FIELDS An Annotated Tentative Personello-Discography Fields, “Geechie” Julius, trombone, born: Georgia, c. 1903. Was raised in the Jenkins Orphanage, South Carolina, taught trombone by Gene ‘Buddy’ Aiken and Jake Frazier, did regular tours with the Orphanage Band, Settled in New York and worked for various leaders at John O´Connor´s Club (c. 1924). With Earle Howard´s Band at Strand Danceland (late 1926), rejoined Howard briefly in 1927. With Charlie Skeete (1929), Bill Benford´s Band (late 1929-30). Recorded with Jelly Roll Morton in 1928 and 1930; was once married to vocaliste Myra Johnson. Left full-time music in the 1930s, later became a boxing coach and trainer for an athletics club in New York. (John Chilton, Who´s Who of Jazz) STYLISTICS STYLE Fields´ trombone style is – above all – known for his excessive and sometimes rather weird and “primitive” growl playing on Morton´s recordings. This fact obviously led many early researchers/listeners to the conclusion that – whenever a trombonist appeared playing growl outside of the Ellington band – it had to be Geechie Fields. Yet, on some of the few sides he played on outside of the Morton circle he plays in a very cultivated and elegant melodic style, although he is equipped to play powerful stomping in staccato in some later Morton titles. For my estimation, he yet belongs to the group of legato players when suited. Thus, he certainly was a versatile and strong player, unfortunately greatly overlooked in his abilities by the public. For all his earlier assumed recordings with Clarence Williams we have found that this man most probably is George Washington – then with Charlie Johnson – or Henry Hicks in one case.
    [Show full text]
  • Bernard Addison
    THE RECORDINGS OF BERNARD ADDISON An Annotated Tentative Personnelo - Discography ADDISON, Bernard S. Born Annapolis, Maryland,15th April 1905. Died New York City, 22nd December 1990. Played violin and mandolin during early childhood, moved to Washington, D.C., in 1920, was soon co-leading a band with Claude Hopkins, worked for a while in Oliver Blackwell´s Clowns, then to New York City with Sonny thompson´s Band. Worked in the Seminole Syncopators led by pianist Graham Jackson (1925), whilst with this band accompanied vocaliste Virginia Liston. From 1925 until 1929 worked mainly for Ed Smalls (sic!), first as a sideman, then leading own band. With Claude Hopkins (1927), from 1928 specialised on guitar. With Louis Armstrong at the Cocoanut Grove, New York, then briefly with Bubber Miley´s Mileage Makers (September 1930). With Milton Senior´s Band in Toledo, Ohio (1931), working with Art Tatum, then with Tatum in group accompanying Adelaide hall. Joined Russell Wooding´s Band at Connie´s Inn, worked briefly with Fats Waller and Sam Wooding, then with Fletcher Henderson from early 1933 until summer of 1934. Again, worked as accompanist for Adelaide Hall, then led own small band in New York at the Famous Door and Adrian´s Tap Room (1935). Accompanist for the vocal group The Mills Brothers from 1936 until 1938 (including tour of Europe 1936), during this period also worked with Mezz Mezzrow´s Disciples of Swing (November 1937) and in guitar-duo with Teddy Bunn. With Stuff Smith from 1938 until November 1939, then led own small group, briefly with Sidney Bechet Quartet (March – April 1940), then again led own band until Army service in World War II.
    [Show full text]
  • Danny Barker
    NEWSLETTER JAN-2016 ologyology Danny Barker G.H.B. JAZZ FOUNDATION • JAZZOLOGY RECORDS DIGITAL RELEASES AVAILABLE EXCLUSIVELY THROUGH: BCD-538-DR BCD-540-DR JCD-402-DR JCD-403-DR PETE FOUNTAIN TOPSY CHAPMAN JIM CULLUM’S JIM CULLUM’S 1955-1957 The Best Of HAPPY JAZZ HAPPY JAZZ Listen Some More Happy Landing! PCD-7160-DR PCD-7162-DR PCD-7012-DR PCD-7021/23-DR BILL WATROUS BROOKS KERR - ROLAND HANNA SADIK HAKIM Watrous In PAUL QUINICHETTE Time For A Pearl For Errol / Hollywood Prevue The Dancers A Prayer For Liliane [2-LP Set] PCD-7164-DR PCD-7159-DR CCD-175-DR ACD-350-DR BUTCH MILES DANNY STILES FRANKIE CARLE REBECCA KILGORE Swings Some w BILL WATROUS Ivory Stride w Hal Smith’s Standards In Tandem 1946-1947 California Swing Cats Into the 80s ft. Tim Laughlin GEORGE H. BUCK JAZZ FOUNDATION 1206 DECATUR STREET • NEW ORLEANS, LA 70116 Phone: +1 (504) 525-5000 Office Manager: Lars Edegran Fax: +1 (504) 525-1776 Assistant: Jamie Wight Email: [email protected] Office Hours: Mon-Fri 11am – 5pm Website: www.jazzology.com Entrance: 61 French Market Place Newsletter Editor: Paige VanVorst Contributors: Lars Edegran, Ben Jaffe, Layout & Design: David Stocker David Stocker 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.
    [Show full text]
  • Ward Pinkett
    THE RECORDINGS OF WARD PINKETT An Annotated Tentative Discography Pinkett, “Ward” William, trumpet, vocals, born: Newport News, 29th April 1906, died: New York City, 15th March, 1937. His sister, Loretta (a saxophonist), once led her own band in Newport News; their father (a taylor) played cornet as a hobby. Started on trumpet at the age of 10, later went to Hampton Institute, Virginia, and played in the school band; to New Haven Conservatory of Music in Meridian, Mississippi, for further studies. Joined White Brothers Orchestra in Washington, D.C., then went to New Yorkwith a travelling show. Briefly with Charlie Johnson at Small´s, New York, then joined Willie Gant´s Orchestra (summer 1926), with Billy Fowler Orchestra before becoming resident musician at James Hogan´s Joyland. Worked at Bamboo Inn with bands led by Henry Saparo and Joe Steele, then played for Charlie Skeete and Jelly Roll Morton. Worked with Chick Webb at Bottomland and Renaissance in New York, then with Bingie Madison at Rose Danceland, New York (1931). With bassist Earl Magee´s Orchestra before joining Rex Stewart´s Band at the Empress ballroom (summer 1933). With Teddy Hill´s Band at Lafayette Theatre (1934). During 1935 worked with Albert Nicholas and Bernard Addison at Adrian Rollini´s Tap Room, also played briefly in Louis Metcalf´s Big Band at the Bedford Ballroom, New York. Died of pneumonia, was buried in his home town. (John Chilton, Who´s Who of Jazz) STYLISTICS STYLE Ward Pinkett owns a very personal expressive style, very hot and urgent. Nothing of the Johnny Dunn mode.
    [Show full text]
  • Louis Metcalf
    THE RECORDINGS OF LOUIS METCALF An Annotated Tentative Personnelo-Discography METCALF, LOUIS (, Jr.) (b Webster Groves, MO, 28 Feb 1905; d New York, 27 Oct 1981). Trumpeter. He played for Charlie Creath in St. Louis (c 1918 – 1923) before touring with Jimmy Cooper´s Black and White Revue (1923-4). He then settled in New York, where he made his first recordings, accompanying classic blues singers (from 1924). He performed with Willie ‘The Lion’ Smith and Sidney Bechet (1924), Elmer Snowden (1925), Charlie Johnson (1926), and Sam Wooding (1927); he also played for the show 4-11-44 and recorded with Duke Ellington (1926). From 1927 to 1928 he was a member of Ellington´s Cotton Club Orchestra, where he made fluent use of muted and bluesy effects and, through his high range, supplied a contrast to Bubber Miley´s growling trumpet playing. He performed with Jelly Roll Morton (1928) and the Luis Russell Orchestra, with which he recorded under the leadership of both Russell and King Oliver (1929). In the early 1930s Metcalf formed a band in Montreal, then travelled around the Midwest, leading bands and working briefly with Fletcher Henderson. In 1936 he returned to New York, where he formed a band which included Lester Young, Billie Holiday, and Hot Lips Page. During World War II he ran a social club and supported the Music Dial, a magazine dedicated to civil rights. He reumed playing as leader of the International Band in Montreal (1946- c1952) and spent the remainder of his career performing in clubs in New York.
    [Show full text]
  • Jelly Roll Morton
    OF JAZZ by Martin Willial Digitized by the Internet Archive in 2012 with funding from Boston Library Consortium Member Libraries http://archive.org/details/jellyrollmortonOOwill JELLY ROLL MORTON KINGS OF JAZZ Jelly Roll Morton BY MARTIN WILLIAMS A Perpetua Book A. S. BARNES AND COMPANY, INC. NEW YORK © Cassell & Co. Ltd. 1962 First published 1962 Perpetua Edition 1963 /ML Printed in the United States of America CONTENTS PAGE INTRODUCTION 1 BIOGRAPHY 1 NEW ORLEANS 7 2 GULF COAST, WEST COAST, THE RIVER, LAKE MICHIGAN 16 3 SUCCESS AND FAME 21 4 A 'failure' FOR POSTERITY 31 THE MUSIC 1 AN INTRODUCTION 34 2 THE PIANO SOLOS, EARLY AND LATE 45 3 PROLOGUE TO THE RED HOT PEPPERS 55 4 DUETS, TRIOS, QUARTETS 62 5 THE RED HOT PEPPERS 66 SELECTED RECORDS 77 ACKNOWLEDGEMENTS My own introduction to Jelly Roll Morton's music conies chiefly from Morton himself, from Eugene Williams in his Jazz Information magazine and his note to the Brunswick reissue album of Morton solos, from an essay Hugues Panassie wrote for Williams's magazine in about 1940, from the essay by William Russell which is quoted herein, and from Alan Lomax's book, Mr. Jelly Roll. In parts of this book I have used (with some para- phrasing) sections of the notes which I was privi- leged to write for the Riverside records issue of the Morton Library of Congress recordings (Riverside 9001-9012). I have also made use of an essay on Morton which I originally wrote for the Evergreen Review, No. 12. I wish to thank Riverside Records and the Grove Press, respectively, for allowing me to draw on this material here.
    [Show full text]
  • F/Le: .I /J E.W 0 Rle4ns Jaz..E.- N#P
    /)-/ F/le: .I /J e.w 0 rle4ns Jaz..e.- N#P ARCHIVAL RECORD AND RESOURCES RELATED TO JAZZ IN THE NEW ORLEANS AREA Curtis Dale Jerde Principal Investigator Submitted by Earth Search, Inc. P.O. Box 850319 New Orleans, LA 70185-0319 April 16, 1990 In P2rti al Fulfillment of PX7530-9-0275 Submitted to Jean Lafitte National Historical Park and Preserve 423 Canal Street, Room 210 New Orleans, LA 70130-2341 I 'I I ARCHIVAL RECORD AND RESOURCES I RELATED TO JAZZ IN THE NEW ORLEANS AREA I Curtis Dale Jerde I Principal Investigator I Submitted by Earth Search, Inc. I, P.O. Box 850319 New Orleans, LA 70185-0319 I April 16, 1990 I' In Partial F'ulfillment of &, PX7530-9-0275 Submit ted to Jean Lafitte National Historical Park and Preserve I 423 Canal Street, Room 210 I New Orleans, LA 70130-2341 I I rI I .-------~---- --- -- -- I PRINCIPAL INVESTIGATOR'S FOREWARD I The United States enters the last decade of the twentieth ' century having seen approximately one hundred years of the development of jazz since the idiom first took root in the I nation's vernacular musical tradition. During that period, the music has inspired a range of attitudes, from rebellious affirmation to pernicious abnegation. In the course of this vacillating response, the nation has simultaneously experienced a I revolution in social and cultural mores, involving in many cases a total inversion of the values by which it lives. Jazz, along with kindred musical developments to which it has a precursive relationship, supplied the musical theme for this incredible I saga.
    [Show full text]
  • Charles William Holmes “Charlie”
    1 The ALTOSAX of CHARLES WILLIAM HOLMES “CHARLIE” Solographers: Jan Evensmo assisted by Nils Gunnar Anderby and Arne Bryn Last update: June 4, 2020 2 Born: Boston, Massachusetts, Jan. 27, 1910 Died: Stoughton, Ma., Sept. 19, 1985 Introduction: After listening to Charles Holmes’ altosax playing with Henry Allen in 1929, we realized we had heard one of the finest altosax performers of the swing era. It also seemed that he was the first one to really have the instrument really swing. Or what? Early history: Boyhood friend of Harry Carney and Johnny Hodges. Studied music with Joseph Wagner in Boston, played oboe with the Boston Civic Symphony Orchestra in 1926. Moved to New York (with Harry Carney) in 1927, briefly with Chick Webb. With drummer George Howe’s band at The Nest, remained when Luis Russell was appointed leader. Left Russell (ca. mid-1928), joined Henri Saparo’s band at Bamboo Inn, New York, then worked with pianist Joe Steele at the same venue. Rejoined Luis Russell in 1929, with Mills Blue Rhythm Band (1932), then again worked with Luis Russell and later with Louis Armstrong until September 1940. With Bobby Burnet in New York (Feb. – March 1941), left music briefly in summer 1941 to return to Boston. With Cootie Williams’ bigband from early 1942 until 1945, then toured the Orient with Jesse Stone’s U.S.O. Show. Briefly with John Kirby early in 1947, later that year worked in Billy Kyle’s sextet. Left full-time music in 1951 to work in the offices of a Wall Street insurance broker.
    [Show full text]
  • 'Bubber' Miley
    THE RECORDINGS OF R. Q. DICKERSON An Annotated Tentative Personnelo - Discography DICKERSON, Roger Quincey Born: Paducah, Kentucky, c. 1898; Died: Glen Falls, New York, 21 January 1951 Raised in St. Louis, Missouri. Played in local theatres from 1928-20. Left St. Louis with Wilson Robinson´s Bostonians (1923), after extensive touring, the band gained residency at New York´s Cotton Club – by then violinist Andrew Preer was fronting the band. After Preer´s death in May 1927, the band worked for a time as The Cotton Club Orchestra, then became known as the Missourians. From 1930 they became Cab Calloway´s Orchestra – Dickerson left the band in 1931. Left full-time music and worked for man years as a taxi-driver, he suffered a long illness before dying of a throat ailment. (John Chilton, Who´s Who in Jazz) STYLISTICS STYLE Clearly a St. Louis / Western style player with the slightly stiff rhythm of that city´s musicians. Dickerson frequently uses a harmon mute and sometimes plays growl phrases. Plays very hot and certainly is one of the leading exponents of Western trumpet playing in Harlem of the time. TONE He owns a strong and sharp tone, especially when playing with his favourite harmon mute. VIBRATO Medium to fast and short vibrato TIME Dickerson plays with a good swinging and driving beat using retained off-beat effects. PHRASING He plays feather-light phrases all over the trumpet range. Obviously, he had listened to Bubber Miley and plays his own variety of Miley´s ‘Black And Tan Fantasy’ solo with great aplomb – and many blue-notes.
    [Show full text]