November 2020 Candlelight: Love in the Time Of
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Tommy Dorsey 1 9
Glenn Miller Archives TOMMY DORSEY 1 9 3 7 Prepared by: DENNIS M. SPRAGG CHRONOLOGY Part 1 - Chapter 3 Updated February 10, 2021 TABLE OF CONTENTS January 1937 ................................................................................................................. 3 February 1937 .............................................................................................................. 22 March 1937 .................................................................................................................. 34 April 1937 ..................................................................................................................... 53 May 1937 ...................................................................................................................... 68 June 1937 ..................................................................................................................... 85 July 1937 ...................................................................................................................... 95 August 1937 ............................................................................................................... 111 September 1937 ......................................................................................................... 122 October 1937 ............................................................................................................. 138 November 1937 ......................................................................................................... -
334 XIII. Revivals and Recreations; The
XIII. Revivals and Recreations; The Sociology of Jazz By the early 1970s, as we have seen, jazz was in a state of stylistic chaos. This was one reason why the first glimmers of “smooth jazz” came about as both an antidote to fusion and an answer to “outside jazz.” But classical music was also in a state of chaos. The majority of listen- ers had become sick of listening to the modern music that had come to dominate the field since the end of World War II and had only become more abrasive and less communicative to a lay audience. In addition, the influx of young television executives in that period had not only led to the cancellation of many well-loved programs who they felt only appealed to an older audience demographic, but also the chopping out of virtually all arts programming. Such long-running programs as The Voice of Firestone and The Bell Telephone Hour were already gone by then. Leonard Bernstein had been replaced at the New York Philharmonic by Michael Tilson Thomas, an excellent conductor but not a popular communicator, and thus CBS’s “Young People’s Con- certs” no longer had the same appeal. In addition, both forms of music, classical and jazz, were the victims of an oil shortage that grossly affected American pressings of vinyl LPs. What had once been a high quality market was now riddled with defective copies of discs which had blis- ters in the vinyl, scratchy-sounding surfaces and wore out quickly. Record buyers who were turned off by this switched to cassette tapes or, in some cases, the new eight-track tape format. -
The Strutter
The Strutter VOLUME 26 NUMBER 10 Traditional Jazz in the Philadelphia Tri-State Area MAY 2016 OUR NEXT CONCERT backing up such greats as Tony Bennett and Sammy Davis, Jr., in Philadelphia's Kimmel Center, and at AL HARRISON DIXIELAND BAND many jazz festivals all over the country. The Al Harrison Dixieland Band, formed in 2007, has performed concerts for Tri-State Jazz Society, Cape May Traditional Jazz Society, Pennsylvania Jazz Society, and fund raisers for Jazz Bridge and other charities. “A great, lively band that preserves the tradition of classic jazz without embalming it. The creativity is at full throttle, and so is the sense of fun. You can’t listen to Al and his friends and not feel better about life in general.” - JOE BARRON, MONTGOMERY NEWSPAPERS. Website: www.alharrisonjazzband.com Sunday, May 22, 2016 Video: http://vimeo.com/1600600 2:00 – 4:30 p.m. Community Arts Center 414 Plush Mill Road Wallingford, PA 19086 Directions at http://www.tristatejazz.org/directions- cac.html Al Harrison – Trumpet, Cornet, Fluegelhorn, Vocals, Leader Concert Admissions Joe Midiri -Clarinet,Vocals $10 First-time attendees and Members Fred Scott, Trombone $20 General Admission Bill Schilling, Piano High school/college students with ID and Bill Stumm, Bass children with paying adult admitted free Chic Sperell, Drums Pay at the door The Al Harrison Dixieland Band returns to the Tri- State Jazz Society, following its triumph in January, 2015. “The Al Harrison Dixieland Band is a polished ensemble with enough firepower, as Duke In This Issue Ellington would say, to ‘scorch the moon!’” - JIM June 5, 2016 Concert........Page 2 MCGANN, THE STRUTTER. -
Krab-Guide-175-1969-09.Pdf
CD THURsDAY, SEPTEMB~ 18 9:00am HITS FROM 'THE HI~KER 11:00 Commentary (R) Herb Steiner 11:30 Letter From EngJAnd (R) 11:45 New Books , (R) 12:00 'lbeatre R;view (R) -.-YVYYY¥YYYYVV-'Y f.,f.,f.,f.,f.,f.,f.,f.,(,(,f.,f.,(,(,(, 5:3Opn CAP'N BALTIC'SOOP STOP - While C. Baltic wends his merr,y way to the Monterey Jazz Festival, Seaman First Class Steve Brown ' does a first rate job of covering up the trail. 7:00 OOMMENTARY - Ruth McIntosh, "Sexual, Sem~tic Shackles" 7:30 oozing time 7:45 BRITISH INWSTRIAL BALIAns ... sung by E)lan MacColl I 8:00 PETITION TO MAN - A speech given Thursday, SeptEl1lber 11, by Dr. Angie Brooks, Liberian delegate to the United Nations since 1954 and President-Elect of the 24th Session of the General Assembly. Dr. 'Brooks has been Liberia's Secretary of State since 1958 and has also served as her country's Vice President. She has served three terms 'as President of the International Federation of Women Lawyers and was the first woman ever to be President of the United Naticms Trusteeship Council. She received her B. A. from North Carolina's Shaw Univ ersity, 'a law degree from the University of Wisconsin, and L.L.D. from Howard University and a 'D.C.L. from Liberia University. Her address was sponsored by the' World Affairs Council of Seattle and the Seattle Chapter of the United Nations Association~ 9:30 CLASSIC JAZZ ... Mike furfy finds he has a toug~ act to follow. 10:45 OP~ TIME ,11:00 THE BARBARIAN PRINCE,. -
THE INFLUENCE of BIX BEIDERBECKE – VOLUME ONE: USA by Max Easterman Even Though It Became Known As “The Jazz Age”, Real Ja
THE INFLUENCE OF BIX BEIDERBECKE – VOLUME ONE: USA By Max Easterman Even though it became known as “The Jazz Age”, real jazz was rarely popular in its own right during the 1920s, as witness the rarity of many of the finest jazz recordings from this era. Jazzmen – particularly white jazzmen – made much more money and often won greater fame using it to pep up dance music than they ever did making pure jazz recordings, though, of course, it’s by the jazz they played on records that we now judge their worth. Such is the distorting mirror of history! Of course, to the general public of the time, arranged dance music played with a rhythmic bounce and offering the occasional jazz-like solo was what they thought of as “jazz”. Two recordings suffice to illustrate the point. The recording of Paul Whiteman’s Back In Your Own Backyard , issued in March 1928, sold 88,000 copies; Bix’s recording of Somebody Stole My Gal , recorded a few weeks later, made sales of only 2400. The first is a highly arranged dance band recording containing just two short solos by Bix; the latter is a romping jazz gem, on which Bix flies like a bird throughout and inspires his fellows to greater things than they knew they were capable of. Bix was a legend in his lifetime for the men who played with him, or listened to him and tried to play like him. But for the general public, who bought the discs, he was just another name, a name which only became significant, for some of them, long after his death. -
2012 Pee Wee Russell Memorial Stomp
Volume 40 • Issue 1 January 2012 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Nineteen-year-old Harmony Boys bandleader Timme Rosenkrantz posing at the drums. His violin stands on floor to his left. Four of the sextet doubled on other instruments. This 1930 photo courtesy of Lis I. Godtfredsen, daughter of the youngest sideman, then 15-year-old alto saxophonist Erik Godtfredsen, who went on to become a prominent ophthalmologist. imme Rosenkrantz was a Danish journalist, photographer, author, Tconcert and record producer, broadcaster and entrepreneur with a 2012 life-long consuming passion for jazz. Known as the Jazz Baron, he liked Pee Wee to trace his family roots back to the Rosencrantz in Shakespeare’s Russell Hamlet. Timme was the first European journalist to report on Meet Memorial the jazz scene in Harlem, from 1934 until 1969. He is credited Stomp with discovering and being first to record the pianist Erroll Garner. SUNDAY, Several LPs from those home-recorded sessions were released by Blue Note and later on many other jazz labels. He also found and the MARCH 4 Birchwood recorded the saxophonist Don Byas and the trombonist Tyree Glenn. Manor Now the first English edition of Harlem Jazz Adventures — A Jazz TICKETS ON SALE NOW. European Baron’s Memoir, 1934-1969, a translation and adaptation see ad of Rosenkrantz’s long out of print 1964 Danish memoir by Jersey Jazz’s page 9 International Editor Fradley Garner, is set for publication in the United States, Canada and the United Kingdom this month by The Scarecrow Press. -
EDDIE LANG – the FORMATIVE YEARS, 1902-1925 by Nick Dellow
167 Eddie Lang Part One_Layout 1 05/09/2013 12:07 Page 1 EDDIE LANG – THE FORMATIVE YEARS, 1902-1925 By Nick Dellow Jazz musicians who live short lives often leave the deepest impressions. There is something about their immutable youth, echoed through the sound of distant recordings, that encapsulates the spirit of jazz. One thinks of Bix and Bubber, Murray and Teschemacher, and Lang and Christian. Of these, guitarist Eddie Lang left the largest recorded testament, spanning jazz, blues and popular music generally. Whether his guitar was imparting a rich chordal support for other instrumentalists, driving jazz and dance bands with rhythmic propulsion, or providing a sensitive backing for a variety of singers, Lang’s influence was pervasive. Django Reinhardt once said that Eddie Lang helped him to find his own way in music. Like his contemporary Bix Beiderbecke, Lang’s defining role as a musician was acknowledged early on in his career, and has been venerated ever since. As is often the case with musicians who are prolific, there are gaps in our knowledge. This article attempts to address some of these, with particular attention being paid to Lang’s early career. In the second part of the article the Mound City Blue Blowers’ visit to London in 1925 is discussed in detail, and possible recordings that Lang made during the band’s engagement at the Piccadilly Hotel are outlined and assessed. More generally, Lang’s importance as a guitarist is set in context against the background of the guitar’s role in early jazz and dance music. -
Swing: the Good, the Bad, and the Commercial (1935-1944)
V: Swing: The Good, the Bad, and the Commercial (1935-1944) Most of the innovations in jazz have shadowy histories; you can’t pin them down to a specific time or place. But the Swing Era decidedly began on August 21, 1935, when Benny Goodman’s orchestra played the last stop on a mostly failed transcontinental tour at the Palo- mar Ballroom in Los Angeles. The story is too familiar to bear repeating, but the shock waves created that night lasted a good eight years. Was it only eight years? And why only eight years? Many theories have been given for swing’s demise: World War II, the damaging re- cording ban placed on musicians by union president James Petrillo, changing tastes towards smoother and more soothing music, the collapse of the theater and club circuits. All of these things certainly had something to do with it. Yet what is almost never mentioned, except by musicians, is that swing was just another phase jazz was going through, a period of develop- ment. It had to change and move on to the next phase, and when it did, its carefully-built-up audience was either not there to move along with it or rejected the changes as anti-populist. Of course, the seeds of swing had already been sown in the early 1930s. The Casa Loma band, Duke Ellington, Fletcher Henderson, Chick Webb, and even the more obscure bands of Bennie Moten and Earl Hines, the vocal stylings of the Boswell Sisters, and other hot combinations had already been around for a while, but for the most part it was not a na- tional music, not a craze, not what “everyone” suddenly wanted to hear. -
In This Issue: Classic Stine
Volume 36 • Issue 1 January 2008 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. BUCKY!By Tony Mottola Jersey Jazz Editor n the entertainment world some artists rise to such I iconic stature that just their first names suffice for instant recognition. Frank, Bing, Ella and Elvis come readily to mind. And in the world of jazz guitar there is only one “Bucky.” Born John Pizzarelli, he was nicknamed Buckskin by his father, and began, like so many other guitarists of his generation, playing the banjo. At 17, the Paterson native toured with the Vaughn Monroe Band as a guitarist, and he returned to the band in 1946 after service in the US Army. In the early 1950s, Bucky came back to New Jersey and quickly established himself as one of the most in-demand session players in New York’s then bustling recording studios. Concurrently, he worked as a staff musician at the NBC Television Network, where he played on The Tonight Show,Mitch Miller’s Sing Along With Mitch and many other broadcasts. All the while Bucky kept up a breathtaking schedule of live performances — here, there and everywhere — prompting his friend and frequent playing partner, guitarist George Barnes, to dub him “The Whirling Dervish.” Recently, the peripatetic Pizzarelli stayed put long enough to give an in-depth interview to Jersey Jazz’s Schaen Fox and we’re pleased to bring that to you in this month’s issue on page 16. JJ Bucky Pizzarelli plays banjo at a Highlights in Jazz Children’s Jazz Concert for the 1976 Newport-New York Jazz Festival. -
Fiiilihletter
P.O. Box 240 Ojai, Calif. fiiilihletter 93024--0240 February 1990 Vol. 9 N0. 2 Where’s Georgie? of playing, and even in the curious sense of joy undercolored by darkness. When I asked Miles, famed for purported Gerry Mulligan is trying to fmd the Georgie Auld band book, militancy, if he had listened a lot to Bix, he, far from being so that he can catalogue it. If anyone knows where that offended, answered, "No, but I listened a lot to Bobby Hackett. library is, please drop me a line and I’ll pass it along to Gerry. And he listened to Bix." Furthermore, according to Gil Evans -- whom Miles once described to me as his best friend -- one Bix and Bill of the influences on Miles was Harry James who, when he One afternoon in 1958 I sat in a Paris cafe with the French turned away from lugubrious ballads and broad vibrato, was a critic and composer Andre Hodeir, author of Jazz: Its Evolu- hot and hard and dazzling jan player. Rex Stewart, a writer tion and Essence. Americans incline to be flattered by as well as a cornet player, had much to say on the impact of European praise, and Hodeir’s book caused a stir in the jazz Bix Beiderbecke. Saxophonist Billie Mitchell told me that his intellectual community in the United States -- not the music- big early influence was Artie Shaw. Artie Shaw told me that ians, to be sure, but editors and writers on the subject. he spent his early days trying to play like Bix on a saxophone. -
King Oliver, Jelly Roll, and Satchmo 14 3 Bix, Austin High, and Chicago Style 31 4 Pops and Smack 41
THE JAZZ AGE This page intentionally left blank ARNOLD SHAW THE JAZZ AGE Popular Music in the 1920's Oxford University Press New York Oxford OXFORD UNIVERSITY PRESS Oxford New York Toronto Delhi Bombay Calcutta Madras Karachi Petaling Jaya Singapore Hong Kong Tokyo Nairobi Dar es Salaam Cape Town Melbourne Auckland and associated companies in Berlin Ibadan Copyright © 1987 by Ghita Milgrom Shaw First published in 1987 by Oxford University Press, Inc., 200 Madison Avenue, New York, New York 10016 First issued as an Oxford University Press paperback, 1989 Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press, Inc. Library of Congress Cataloging-in-Publication Data Shaw, Arnold. The Jazz Age. Bibliography: p. Includes index. 1. Music, Popular (Songs, etc.)—United States—History and criticism. 2. Jazz music—United States. 3. Musical revue, comedy, etc.— United States. 4. United States—History—1919-1933. I. Title. ML3477.S475 1987 780'.42'0973 86-33234 ISBN 0-19-503891-6 ISBN 0-19-506082-2 (pbk.) Lyrics from "Night and Day" by Cole Porter © 1921 Warner Bros. Inc. (Renewed). All Rights Reserved. Used by permission. "I've Come to Wive it Wealthily in Padua" by Cole Porter, Copyright © 1948 by Cole Porter. Copyright Renewed & Assigned to John F. Wharton, as Trustee of the Cole Porter Musical & Literary Property Trusts. Chappell & Co., Inc., owner of publication and allied rights throughout the world.