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Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
Shall We Stomp?
Volume 36 • Issue 2 February 2008 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Shall We Stomp? The NJJS proudly presents the 39th Annual Pee Wee Russell Memorial Stomp ew Jersey’s longest Nrunning traditional jazz party roars into town once again on Sunday, March 2 when the 2008 Pee Wee Russell Memorial Stomp is pre- sented in the Grand Ballroom of the Birchwood Manor in Whippany, NJ — and you are cordially invited. Slated to take the ballroom stage for five hours of nearly non-stop jazz are the Smith Street Society Jazz Band, trumpeter Jon Erik-Kellso and his band, vocalist Barbara Rosene and group and George Gee’s Jump, Jivin’ Wailers PEABODY AT PEE WEE: Midori Asakura and Chad Fasca hot footing on the dance floor at the 2007 Stomp. Photo by Cheri Rogowsky. Story continued on page 26. 2008 Pee Wee Russell Memorial Stomp MARCH 2, 2008 Birchwood Manor, Whippany TICKETS NOW AVAILABLE see ad page 3, pages 8, 26, 27 ARTICLES Lorraine Foster/New at IJS . 34 Morris, Ocean . 48 William Paterson University . 19 in this issue: Classic Stine. 9 Zan Stewart’s Top 10. 35 Institute of Jazz Studies/ Lana’s Fine Dining . 21 NEW JERSEY JAZZ SOCIETY Jazz from Archives. 49 Jazzdagen Tours. 23 Big Band in the Sky . 10 Yours for a Song . 36 Pres Sez/NJJS Calendar Somewhere There’s Music . 50 Community Theatre. 25 & Bulletin Board. 2 Jazz U: College Jazz Scene . 18 REVIEWS The Name Dropper . 51 Watchung Arts Center. 31 Jazzfest at Sea. -
Windward Passenger
MAY 2018—ISSUE 193 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE BURRELL WINDWARD PASSENGER PHEEROAN NICKI DOM HASAAN akLAFF PARROTT SALVADOR IBN ALI Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2018—ISSUE 193 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : PHEEROAN aklaff 6 by anders griffen [email protected] Andrey Henkin: [email protected] Artist Feature : nicki parrott 7 by jim motavalli General Inquiries: [email protected] ON The Cover : dave burrell 8 by john sharpe Advertising: [email protected] Encore : dom salvador by laurel gross Calendar: 10 [email protected] VOXNews: Lest We Forget : HASAAN IBN ALI 10 by eric wendell [email protected] LAbel Spotlight : space time by ken dryden US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIVAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD ReviewS 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Miscellany 43 Suzanne Lorge, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Event Calendar 44 Andrew Vélez, Scott Yanow Contributing Writers Kevin Canfield, Marco Cangiano, Pierre Crépon George Grella, Laurel Gross, Jim Motavalli, Greg Packham, Eric Wendell Contributing Photographers In jazz parlance, the “rhythm section” is shorthand for piano, bass and drums. -
May-June 293-WEB
May-June 2007 Issue 293 jazz Free &blues report www.jazz-blues.com now in our 33rd year KOKO TAYLOR KOKO TAYLOR Old School Published by Martin Wahl A New CD... Communications On Tour... Editor & Founder Bill Wahl & Appearing at the Chicago Blues Festival Layout & Design Bill Wahl The last time I saw Koko Taylor Operations Jim Martin she was a member of the audience at Pilar Martin Buddy Guy’s Legends in Chicago. It’s Contributors been about 15 years now, and while I Michael Braxton, Mark Cole, no longer remember who was on Kelly Ferjutz, Dewey Forward, stage that night – I will never forget Chris Hovan, Nancy Ann Lee, Koko sitting at a table surrounded by Peanuts, Wanda Simpson, Mark fans standing about hoping to get an Smith, Dave Sunde, Duane Verh, autograph...or at least say hello. The Emily Wahl and Ron Weinstock. Queen of the Blues was in the house that night...and there was absolutely Check out our costantly updated no question as to who it was, or where website. Now you can search for CD Reviews by artists, titles, record she was sitting. Having seen her elec- labels, keyword or JBR Writers. 15 trifying live performances several years of reviews are up and we’ll be times, combined with her many fine going all the way back to 1974. Alligator releases, it was easy to un- derstand why she was engulfed by so Koko at the 2006 Pocono Blues Festival. Address all Correspondence to.... many devotees. Still trying, but I still Jazz & Blues Report Photo by Ron Weinstock. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
The Black Box by Michael Connelly Download Now! We Have Made It Easy for You to Find a PDF Ebooks Without Any Digging
Read Ebook {PDF EPUB} The Black Box by Michael Connelly Download Now! We have made it easy for you to find a PDF Ebooks without any digging. And by having access to our ebooks online or by storing it on your computer, you have convenient answers with The Black Box Michael Connelly . To get started finding The Black Box Michael Connelly , you are right to find our website which has a comprehensive collection of manuals listed. Our library is the biggest of these that have literally hundreds of thousands of different products represented. Finally I get this ebook, thanks for all these The Black Box Michael Connelly I can get now! cooool I am so happy xD. I did not think that this would work, my best friend showed me this website, and it does! I get my most wanted eBook. wtf this great ebook for free?! My friends are so mad that they do not know how I have all the high quality ebook which they do not! It's very easy to get quality ebooks ;) so many fake sites. this is the first one which worked! Many thanks. wtffff i do not understand this! Just select your click then download button, and complete an offer to start downloading the ebook. If there is a survey it only takes 5 minutes, try any survey which works for you. Michael Connelly. Michael Connelly often gets asked about the music that he mentions in his books. So here is the complete list of artists, songs, and CDs mentioned in Michael’s novels. -
Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne -
ART FARMER NEA Jazz Master (1999)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ART FARMER NEA Jazz Master (1999) Interviewee: Art Farmer (August 21, 1928 – October 4, 1999) Interviewer: Dr. Anthony Brown Dates: June 29-30, 1995 Repository: Archives Center, National Museum of American History Description: Transcript, 96 pp. Brown: Today is June 29, 1995. This is the Jazz Oral History Program interview for the Smithsonian Institution with Art Farmer in one of his homes, at least his New York based apartment, conducted by Anthony Brown. Mr. Farmer, if I can call you Art, would you please state your full name? Farmer: My full name is Arthur Stewart Farmer. Brown: And your date and place of birth? Farmer: The date of birth is August 21, 1928, and I was born in a town called Council Bluffs, Iowa. Brown: What is that near? Farmer: It across the Mississippi River from Omaha. It’s like a suburb of Omaha. Brown: Do you know the circumstances that brought your family there? Farmer: No idea. In fact, when my brother and I were four years old, we moved Arizona. Brown: Could you talk about Addison please? Farmer: Addison, yes well, we were twin brothers. I was born one hour in front of him, and he was larger than me, a bit. And we were very close. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: So, you were fraternal twins? As opposed to identical twins? Farmer: Yes. Right. -
February 2008 Editor: Tim Coakley WEBSITE: DAILY Looking Back
A P A PLACE FOR JAZZ O R February 2008 Editor: Tim Coakley WEBSITE: HTTP://WWW.APLACEFORJAZZ.ORG—UPDATED DAILY Looking Back ... and Ahead By Tim Coakley The 2007 season of A Community College. As always, a great share Place for Jazz was one of Baritone saxophonist of our success is due to our most successful, both Gary Smulyan and trom- the contributions of our musically and in terms of bonist Wycliffe Gordon members, who have sup- attendance. The size and made October a memora- ported us through the VOLUNTEER HELP enthusiasm of the years. Your contributions WANTED ble month; Gary with his crowds made it clear that vigorous, swinging quartet played a major part in there is a vigorous and exploring bebop and be- enabling us to mount the dedicated audience for kind of series we had in We need help: yond, and Wycliffe with his jazz in the Capital Region. inimitable playing and 2007, and will be needed With publicity: distributing fliers and It was a season that would singing music from the again this year. posters have pleased our founder, whole spectrum of jazz ... Please take a moment Writing music reviews for the newsletter Butch Conn, who sought and on a borrowed trom- to check out the member- to build just such an audi- bone, yet! ship form on Page 10, and Greeting people and handing out pro- ence over the years. We grams at the concerts find a membership level hope to continue to please that is comfortable for you. and attract those listeners Wrapping it all up on With your support, we feel in the year ahead. -
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. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.