Tommy Dorsey
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VOLUME XXIII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1992 Dec 12-13, 1992 Vocals have always been with BBJ PROGRAMS are subject to change due to un SINGING GROUPS us, even though swing pur avoidable circumstances or station convenience. Many ists tend to overlook the con requests are receivedfor tape copies o f the programs, tribution made by lyrics in popularizing the Big Bands but stringent copyright laws applying to the records that are the basis of it all. The Mills Brothers, the Pied used prevent us from supplying such copies. Pipers, the Sentimentalists, the Modernaires, the Ink Spots, the Stardusters and the Merry Macs all make ( RECORDS TO CONSIDER) recorded appearances on this salute to the vocal groups, along with a few instrumental and single vocal HERE’S THAT SWING THING Pat Longo hits of the forties. Orchestra -Vocals by Frank Sinatra, Jr. USA Records - 19 Cuts - CD or Cassette Dec 19-20, 1992 It’s a very special BIG BAND CHRISTMAS time with very special Billy May was one of the arrangers for this recording, music, captured as which immediately makes it a must-have. Pat Longo’s performed in the studio and in broadcasts during the Orchestra has a two decade history of solid perfor Christmas seasons of years past. Both Big Bands and mance, some of it a bit far out for some Big Band single vocalists recall the Sounds of Christmas in a traditionalists, but most simply solid swing. Sax man simpler time; perhaps a better time. Recollections of Longo was vice-president of a California bank until he Christmas experiences fill in the moments between the realized money wasn’t what he wanted to handle the music to weave a spell. -
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. -
Pioneers of the Concept Album
Fancy Meeting You Here: Pioneers of the Concept Album Todd Decker Abstract: The introduction of the long-playing record in 1948 was the most aesthetically signi½cant tech- nological change in the century of the recorded music disc. The new format challenged record producers and recording artists of the 1950s to group sets of songs into marketable wholes and led to a ½rst generation of concept albums that predate more celebrated examples by rock bands from the 1960s. Two strategies used to unify concept albums in the 1950s stand out. The ½rst brought together performers unlikely to col- laborate in the world of live music making. The second strategy featured well-known singers in song- writer- or performer-centered albums of songs from the 1920s, 1930s, and 1940s recorded in contemporary musical styles. Recording artists discussed include Fred Astaire, Ella Fitzgerald, and Rosemary Clooney, among others. After setting the speed dial to 33 1/3, many Amer- icans christened their multiple-speed phonographs with the original cast album of Rodgers and Hammer - stein’s South Paci½c (1949) in the new long-playing record (lp) format. The South Paci½c cast album begins in dramatic fashion with the jagged leaps of the show tune “Bali Hai” arranged for the show’s large pit orchestra: suitable fanfare for the revolu- tion in popular music that followed the wide public adoption of the lp. Reportedly selling more than one million copies, the South Paci½c lp helped launch Columbia Records’ innovative new recorded music format, which, along with its longer playing TODD DECKER is an Associate time, also delivered better sound quality than the Professor of Musicology at Wash- 78s that had been the industry standard for the pre- ington University in St. -
Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK -
Feb 2016 Musicweb
WYASTONE ESTATE LIMITED DISTRIBUTED LABELS FEBRUARY 2016 NEW RELEASES NEW RELEASE NI 5937 RELEASE DATE: FRIDAY 12TH FEBRUARY 2016 TO PLACE AN ORDER CONTACT DISCOVERY RECORDS LTD TEL: 01380 728000 EMAIL: [email protected] DISCOVERY RECORDS LTD, NURSTEED ROAD, DEVIZES, SN10 3DY For further details visit our website: www.discovery-records.com /NimbusRecords @NimbusRecords /NimbusRecordsTV [details in this release book are correct at time of production] FEBRUARY 2016 NEW RELEASE JULIUS RÖNTGEN (1855-1932) Julius Röntgen (1855-1932) was both a composer MARK ANDERSON, PIANO and a gifted pianist and as such he knew how to write well for his instrument. Ein Cyclus von Phantasiestücken, Op. 5 (1871) 21.32 Röntgen was a child prodigy and from an early 1 I Allegro con brio 3.34 age composed ambitious works for the piano. He 2 II Andante con espressione 1.42 frequently performed his own, and others, piano 3 II Allegretto moderato 3.10 concertos. Beethoven's Fourth and Brahms's Second 4 IV Andante con moto 2.45 were particular favourites. It was through 5 V Presto 3.43 6 VI Allegretto con grazia 2.11 performances of Beethoven's Piano Sonata op.111 and 7 VII Grave 4.27 Schumann's Etudes Symphoniques that Röntgen established himself. However, it was not as a soloist Neckens Polska Variationen über ein but as an accompanist that Röntgen would make a schwedisches Volkslied, Op. 11 (1874) 17.55 lasting impression. The partnership with his 8 (Theme) Ruhig 1.24 contemporary, the baritone Johannes Messchaert, was 9 (1) Tema ben tenuto 1.05 legendary and they made several European tours. -
The Story Behind Glenn Band, His Style, His Life
October 20. 1951 DOWN BEAT —PART 2 3 The Story Behind Glenn Miller—His Band, His Style, His Life, His Death On a thickly-befogged afternoon in December, tlton Glenn Miller, born of a farmer father and a 1944, an army specialist» corp» major tossed his schoolteacher mother in Clarinda, Iowa, March 1, 1905, gear into a battered C-47 at an RAF base near ac«(uired his first horn, a broken-down trombon«. from a butcher, for whom he ran errand« as a child. He was Bedford, England, and asked a rhetorical ques a relentless plugger from the start, ami bv the time he tion of a fellow officer. waa a teen-ager, working after high-school clashes in a “Whei'e,” inquired Major Glenn Miller, “are the para barbershop and later, in a sugar-beet factory, Glenn al chutes?” ready was playing concerts »ilh the town band. When the “What the hell, Miller,” jokingly replied Lt. Col. Nor ink waa hardly dry on hia high school diploma, ihe mal' Baes*el, “do you want to live forever?" hard-working Glenn was playing with bis first hand—that Throughout most of the nearly 10 years since the dis of Boyd Senter. - appearance of the well-known bandleader on that ill-fated Next came college «lays in Boulder, Colo., where Miller flight across the English Channel, many a wishful rumor began trying his hand at arranging. He left college to was heard to the effect that Miller, somehow, had man land a job in California with Ben Pollack’s band, the aged to cheat death, after all. -
The Sam Eskin Collection, 1939-1969, AFC 1999/004
The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia. -
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. -
African American Sheet Music Collection, Circa 1880-1960
African American sheet music collection, circa 1880-1960 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Title: African American sheet music collection, circa 1880-1960 Call Number: Manuscript Collection No. 1028 Extent: 6.5 linear feet (13 boxes) and 2 oversized papers boxes (OP) Abstract: Collection of sheet music related to African American history and culture. The majority of items in the collection were performed, composed, or published by African Americans. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction Printed or manuscript music in this collection that is still under copyright protection and is not in the Public Domain may not be photocopied or photographed. Researchers must provide written authorization from the copyright holder to request copies of these materials. The use of personal cameras is prohibited. Source Collected from various sources, 2005. Custodial History Some materials in this collection originally received as part of the Delilah Jackson papers. Citation [after identification of item(s)], African American sheet music collection, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Russey, October 13, 2006. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. African American sheet music collection, circa 1880-1960 Manuscript Collection No. 1028 This finding aid may include language that is offensive or harmful. -
"Extraordinarily Phones, the Clariry Is Jaw-Dropping
RECORD REVIEWS tAzz Through Grado SR-225 head- "extraordinarily phones, the clariry is jaw-dropping. Yes, surface noise is significant, but it POYYerful... varies th,roughout, sometimes within unGolor€d... a single track. Balancing pros and cons of sound quality versus historical .natural" value can make bootleg releases an ift proposition in general, but in this case -./ohn Atkinso4 Stereophih the lamer prioriry wins out. The historical importance of the 1940 recording of '8ody and Soul" by Coleman Hawkins that begins this COLEMAN HAWKINS & FRIENDS collection can't be overstated. Two The Savory Collection, Volume No.01: more swinging, beautifully arranged Body and Soul Hawkins numbers follow, then rwo Coleman Hawkins, Herschel Evans, tenor saxophone; from Ella with Chick Webb. Then a Ella Fitzgerald, vocal; Charlie Shavers, trumpet; come rouglrly 25 blissful minutes, six Emilio Caceres, violin; Carl Kress, Dick McDonough. tracks in all, from Fats Waller and His U guitar; Fats Waller, piano, vocal; Lionel Hampton, vibraphone, piano, vocal; Milt Hinton, bass; Cozy Rhythm (before nearly every number, Cole, drums; others Fats implores his public to "Latch National Jazz Museum in Harlem NJMH-0112 on!"). Next, in a Lionel Hampton-led (MP4).2016. William Savory, orig. prod., eng.; Ken Druker, Loren Schoenberg, reissue prods.; Doug jam session with Herschel Evans, Pomeroy, restoration, mastering. A-D. TT: 70:43 Charlie Shavers, Milt Hinton, Cozy jazzmuseuminharlem.org,/the-museum/ See hltp'.// Cole, and others, Hamp plays vibes collections,/the-savory-collection ? and piano and sings, blowing them all PERFoRMANcE ffi off the bandstand. Herschel's ballad soNrcs EXXdE fearure, "Stardust." compares interest- This music is culled from aluminum ingly with Hawk's "Body and Soul." and lacquer discs that, over the course The last rwo racks are more inti- of decades, rotted in the home of one mate curiosities, wonderful in their Bill Savory. -
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. -
Start Time Description Number-Cut Length User Defined 00:00:00 TOP
Start Time Description Number-Cut Length User defined 00:00:00 TOP OF HOUR 00:00:00 RUN MACRO-ON AIR 00:00:00-E (:00)LEGAL ID 00:00:00-E (:00)Enjoy Yourself (It's Later Than You Thin 0069603-001 03:17:0 Artist - Guy Lombardo 00:03:17-E (:00)I STILL GET A THRILL 0145611-001 02:57:2 Artist - OZZIE NELSON AND HIS ORCH v OZZIE 00:06:14-E (:00)MAMA'S MAMBO (MAMA BIN ICH FARLIEBT) 0148806-001 02:35:5 Artist - IRVING FIELDS TRIO 00:08:50-E (:00)TALES FROM THE VIENNA WOODS 0149804-001 02:19:8 Artist - GUY LOMBARDO AND HIS ORCHESTRA 00:11:10-E (:00)MY MOTHER'S EYES 0159203-001 02:34:0 Artist - KENNY BALL AND HIS JAZZMEN 00:13:44-E (:00)FIDDLE FADDLE 0047118-001 02:55:6 Artist - THE THREE SUNS 00:16:40-E (:00)I WISH YOU LOVE 0170325-001 02:07:4 Artist - BLOSSOM DEARIE 00:18:47-E (:00)RIDIN' AROUND IN THE RAIN 0171407-001 02:36:4 Artist - RAIE DE COSTA 00:21:24-E (:00)You're Getting To Be A Habit With Me 1932 0172733-001 03:23:2 Artist - Ben Selvin HO v Muriel Sherman and Elmer Feldkamp 00:24:47-E (:00)DEEP IN THE HEART OF TEXAS 1942 0174154-001 02:40:6 Artist - BING CROSBY w WOODY HERMAN WC 00:27:28-E (:00)I'M ALWAYS CHASING RAINBOWS 1946 0174627-001 03:03:7 Artist - DICK HAYMES-HELEN FOREST 00:30:31-E (:00)Lonely Feet 1934 0003655-001 02:58:6 Artist - Harry Roy and his Orch v Harry Roy lmer Feldkamp 00:33:30-E (:00)MY TROUBLES ARE OVER 0175052-001 02:49:5 Artist - GUS ARNHEIM HO 00:36:20-E (:00)This Can't Be Lovel 1955 0181944-001 03:04:9 Artist - CAL TJADER 00:39:25-E (:00)Un Jeune Homme Chantait 1964 0182602-001 02:56:8 Artist - EDITH PIAF 00:42:22-E