DOCSLIB.ORG

Eric Nemeyer's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eric Nemeyer's Eric Nemeyer’s WWW.JAZZINSIDEMAGAZINE.COM DecemberMay-June -2018January 2018 JAZZ HISTORY FEATURE ArtArt Blakey,Blakey, PartPart 66 Interviews GrantGrant GreenGreen Jr.Jr. Jazz Standard, June 28--July 1 Jimmy Jimmy BrunoBruno PHOTOs Jaleel Shaw Dizzy’s Club, June 20 Terence Blanchard Jazz Standard, June 14--1717 Herbie Hancock Marcus Miller Enrico Pieranunzi Kenny Barron DAVEDAVE Comprehensive DirectoryDirectory of NY ClubS, ConcertS BurrellBurrell Turbulence and Romance Spectacular Jazz Gifts - Go To www.JazzMusicDeals.com To Advertise CALL: 215-887-8880 December 2015 Jazz Inside Magazine www.JazzInsideMagazine.com 1 COVER-2-JI-15-12.pub Wednesday, December 09, 2015 15:43 page 1 MagentaYellowBlacCyank To Advertise CALL: 215-887-8880 May-June 2018 Jazz Inside Magazine www.JazzInsideMagazine.com 1 Eric Nemeyer’s Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) May-June 2018 – Volume 9, Number 3 Cover Photo and photo at right of Dave Burrell by Ken Weiss Publisher: Eric Nemeyer Editor: Wendi Li Marketing Director: Cheryl Powers Advertising Sales & Marketing: Eric Nemeyer Circulation: Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Gail Gentry Contributing Artists: Shelly Rhodes Contributing Photographers: Eric Nemeyer, Ken Weiss Contributing Writers: John Alexander, John R. Barrett, Curtis Daven- port; Alex Henderson; Joe Patitucci; Ken Weiss. ADVERTISING SALES 215-887-8880 Eric Nemeyer – [email protected] ADVERTISING in Jazz Inside™ Magazine (print and online) Jazz Inside™ Magazine provides its advertisers with a unique opportunity to reach a highly specialized and committed jazz readership. Call our Advertising Sales Depart- ment at 215-887-8880 for media kit, rates and information. SUBSCRIPTION INFORMATION SUBMITTING PRODUCTS FOR REVIEW Jazz Inside™ (published monthly). To order a subscription, call 215-887-8880 or visit Companies or individuals seeking reviews of their recordings, books, videos, software Jazz Inside on the Internet at www.jazzinsidemagazine.com. Subscription rate is and other products: Send TWO COPIES of each CD or product to the attention of $49.95 per year, USA. Please allow up to 8 weeks for processing subscriptions the Editorial Dept. All materials sent become the property of Jazz Inside, and may or & changes of address. may not be reviewed, at any time. Jazz Inside™ Magazine | Eric Nemeyer Corporation MAIL: P.O. Box 30284, Elkins Park, PA 19027 EDITORIAL POLICIES COPYRIGHT NOTICE Copyright © 2009-2018 by Eric Nemeyer Corporation. All rights reserved. No part of OFFICE: 107-A Glenside Ave, Glenside, PA 19038 Jazz Inside does not accept unsolicited manuscripts. Persons wishing to submit a manuscript or transcription are asked to request specific permission from Jazz this publication may be copied or duplicated in any form, by any means without prior Telephone: 215-887-8880 Inside prior to submission. All materials sent become the property of Jazz Inside written consent. Copying of this publication is in violation of the United States Federal Email: [email protected] unless otherwise agreed to in writing. Opinions expressed in Jazz Inside by contrib- Copyright Law (17 USC 101 et seq.). Violators may be subject to criminal penalties Website: www.jazzinsidemagazine.com uting writers are their own and do not necessarily express the opinions of Jazz Inside, and liability for substantial monetary damages, including statutory damages up to Eric Nemeyer Corporation or its affiliates. $50,000 per infringement, costs and attorneys fees. CONTENTS 4 Dave Burrell by Ken Weiss INTERVIEWSINTERVIEWS PHOTOS CLUBS, CONCERTS, EVENTS Jazz History FEATURE 20 Grant Green Jr. 12 Jaleel Shaw 13 Calendar of Events 30 Art Blakey, Part 6 by John R. Barrett 24 Jimmy Bruno 23 Herbie Hancock 18 Clubs & Venue Listings 28 Marcus Miller 29 Enrico Pieranunzi 36 Kenny Barron Visit these websites: JazzStandard.com * Jazz.org PAY ONLY FOR RESULTS JJBabbitt.com * MaxwellDrums.com LIKE US PUBLICITY! www.facebook.com/ JazzInsideMedia Get Hundreds Of Media Placements — ONLINE — Major Network Media & FOLLOW US Authority Sites & OFFLINE — Distribution To 1000’s of Print & Broadcast www.twitter.com/ Networks To Promote Your Music, Products & Performances In As Little As JazzInsideMag 24 Hours To Generate Traffic, Sales & Expanded Media Coverage! WATCH US www.PressToRelease.com | MusicPressReleaseDistribution.com | 215-600-1733 www.youtube.com/ JazzInsideMedia 2 May-June 2018 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 May-June 2018 Jazz Inside Magazine www.JazzInsideMagazine.com 3 DaveDave BurrellBurrell Feature TurbulenceTurbulence andand RomanceRomance InterviewInterview && PhotosPhotos byby KenKen WeissWeiss 4 May-June 2018 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Concert Halls, Festivals, Clubs, Promoters PAYPAY ONLYONLY FORFOR RESULTSRESULTS CONCERTCONCERT && EVENTEVENT MARKETING!MARKETING! Fill The House In Hours For Your Next Performance LightningLightning Fast,Fast, WayWay BetterBetter ResultsResults && FarFar LessLess ExpensiveExpensive ThanThan DirectDirect--Mail,Mail, Print,Print, RadioRadio && TVTV AdsAds——ComprehensiveComprehensive Analytics!Analytics! CALL: 215-600-1850 www.SellMoreTicketsFast.com To Advertise CALL: 215-887-8880 May-June 2018 Jazz Inside Magazine www.JazzInsideMagazine.com 5 JI: Is there an underlying process by which you incorporate the older piano styles into your play- INTERVIEWINTERVIEW ing? Is it a conscious effort that you make or a natural creative path that just comes out? DB: I studied Jelly Roll Morton first to actually be a part of the NPR tribute. I started playing Dave Burrell differently because I had the technique from that particular exercise. It became part of the way that Turbulence and Romance I had upgraded my own technique. So I wasn’t conscious of it beyond that fact. I had written a Interview and photo by Ken Weiss from the Philadelphia Museum of Art. Burrell’s piece called “A. M. Rag,” which also goes by wife, Monika Larsson, the noted librettist/poet, “Margy Pargy,” where I was playing stride but it Pianist/composer Dave Burrell is a uniquely was present at the time of the interview session. wasn’t encompassing the whole piano, so to an- creative jazz master who combines the entire Burrell was the recipient of lifetime achievement swer that question, I would have to say some- range of jazz’s rich history into his work. Boogie honors at the 23rd annual Vision Festival at Rou- times it’s conscious. I do portraits of people a lot, -woogie, ragtime, stride, bebop, and free jazz lette in Brooklyn from May 23 to 28. and if I’m doing a portrait of a person who has elements can all organically appear during his nothing to do with stride or older styles, you performances and compositions. Burrell was Jazz Inside Magazine: You’re almost alone in wouldn’t find that in the composition. During a born in Middletown, Ohio on September 10, being a current pianist who routinely incorpo- performance, when these styles come out, it’s 1940, while visiting his grandmother. After grad- rates the entire spectrum of jazz and older piano something that I’m not necessarily conscious of. uating from Fisk University in 1938, his parents styles into their playing. What draws you to the For example, when I played duet with Sam moved to the newly built Harlem River Houses in older piano styles? Woodyard we played one of my boogie-woogie Harlem, New York. At the age of four, his family pieces and Sam lit up. He was so comfortable, moved to Cleveland, Ohio where Dave’s father DB: I am an avant garde, free jazz pianist that and I thought, ‘I want to shift, I want the boogie Herman Burrell enrolled at Western Reserve sometimes explores the history of African- to stay here with us but I want to go free now. University for graduate studies in Sociology. American music. I remember, for instance, the What do I do?’ So I started to play the boogie- Right after Herman Burrell received a grant jazz historian Sam Charters came into a jazz club woogie in the opposite direction. I thought, ‘This from the Julius Rosenwald Foundation to finish where I was playing on 6th Avenue in New York is fine, now I’m free. I’ve freed myself and I still his doctoral thesis on race relations at the Uni- City and said to me, “I hear in your playing what sound like I have the original motif going. I have versity of Hawaii, the young family moved to I hear in Jelly Roll Morton’s playing some- Sam right with me.’ I looked up and Sam was so Honolulu, Hawaii in 1946. Music was always a times”. He asked me if I played any of his mu- happy I didn’t want that moment to end. I used part of Burrell’s life. His parents had both been sic. I told him no and he suggested I get a book the boogie-woogie to launch the freedom. Up part of the Jubilee Singers at Fisk University in by James Dapogny with everything that Morton until that point of playing with old-timers that Nashville and were frequently rehearsing for ever wrote transcribed exactly. At the time, would feel so comfortable in that idiom, I never Broadway shows or operas. Additionally, his Charters was contributing to a tribute to Jelly ever thought of making a track on a CD where I mother was a popular radio personality in Ha- Roll Morton in Washington, DC along with NPR would go back to a certain period of jazz. I was waii. The family entertained a number of popular and he wanted to include me. I started playing always thinking of either portraits or situations that I wanted to capture like a painter. “I was a kid living in the country side with horses JI: In the liner notes to your recording The Jelly Roll Joys [1991, Gazell] you say that in regards and plenty of beaches and Hawaiian friends, not to playing Jelly Roll Morton’s music that “Nothing in the jazz repertoire is more challeng- exactly an environment to learn the piano.
Load more

Recommended publications
  • We Need Water!
    CONCEPTS OF COMPREHENSION: CAUSE AND EFFECT 2n d GRADE UNIT Reading Passage We Need Water! Every living thing needs water to live. People need clean, fresh water for drinking, washing, and having fun. How do you use water? Watch the Water Cycle Water is found nearly everywhere. It is in the ground we walk on and in the air we breathe. Water moves from land to sky and back again. That journey is called the water cycle. Did you ever wonder where that glass of water comes from? Take a look! USGS The water cycle. 1 Text: Copyright © 2005 Weekly Reader Corporation. All rights reserved. Weekly Reader is a registered trademark of Weekly Reader Corporation. Used by permission. From Weekly Reader 2, Student Edition, 4/1/05. © 2010 Urban Education Exchange. All rights reserved. CONCEPTS OF COMPREHENSION: CAUSE AND EFFECT 2n d GRADE UNIT Reading Passage 1. The sun warms the water in rivers, lakes, and oceans. Soon the warm water changes into a gas. That change is called evaporation1. The gas floats up and forms clouds in the sky. 2. The gas in clouds cools. Soon the cool gas turns back into water. That change is called condensation2. 3. Water falls from the clouds to Earth as raindrops or snowflakes. That process is called precipitation3. 4. Rain soaks into the ground. The water flows back into the rivers, lakes, and oceans. That process is called collection4. Soon the water cycle starts all over again. Protect Water! Photos.com Turn off the faucet while brushing your Here are some tips you can follow to teeth.
    [Show full text]
  • Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
    Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis 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 Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney.
    [Show full text]
  • Where to Study Jazz 2019
    STUDENT MUSIC GUIDE Where To Study Jazz 2019 JAZZ MEETS CUTTING- EDGE TECHNOLOGY 5 SUPERB SCHOOLS IN SMALLER CITIES NEW ERA AT THE NEW SCHOOL IN NYC NYO JAZZ SPOTLIGHTS YOUNG TALENT Plus: Detailed Listings for 250 Schools! OCTOBER 2018 DOWNBEAT 71 There are numerous jazz ensembles, including a big band, at the University of Central Florida in Orlando. (Photo: Tony Firriolo) Cool perspective: The musicians in NYO Jazz enjoyed the view from onstage at Carnegie Hall. TODD ROSENBERG FIND YOUR FIT FEATURES f you want to pursue a career in jazz, this about programs you might want to check out. 74 THE NEW SCHOOL Iguide is the next step in your journey. Our As you begin researching jazz studies pro- The NYC institution continues to evolve annual Student Music Guide provides essen- grams, keep in mind that the goal is to find one 102 NYO JAZZ tial information on the world of jazz education. that fits your individual needs. Be sure to visit the Youthful ambassadors for jazz At the heart of the guide are detailed listings websites of schools that interest you. We’ve com- of jazz programs at 250 schools. Our listings are piled the most recent information we could gath- 120 FIVE GEMS organized by region, including an International er at press time, but some information might have Excellent jazz programs located in small or medium-size towns section. Throughout the listings, you’ll notice changed, so contact a school representative to get that some schools’ names have a colored banner. detailed, up-to-date information on admissions, 148 HIGH-TECH ED Those schools have placed advertisements in this enrollment, scholarships and campus life.
    [Show full text]
  • Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
    Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works.
    [Show full text]
  • The Night Vigil of Shen Zhou
    Glossator: Practice and Theory of the Commentary 3 (2010) THE NIGHT VIGIL OF SHEN ZHOU J. H. Prynne On a cold night sleep is very sweet. I woke in the middle of the night, my mind clear and untroubled, and as I was unable to go to sleep again, I put on my clothes and sat facing my flickering lamp. On the table were a few folders of books. I chose a volume at random and began to read, but tiring I put down the book and sat calmly doing nothing [shushou weizuo]. A long rain had newly cleared, and a pale moon was shining through the window. All around was silence. Then after a long time absorbing the fresh brightness, I gradually became aware of sounds. Listening to the rustling of the wind stirring the bamboo gave one the feeling of going bravely and unwaveringly onward. Hearing the harsh snarling of dogs gave feelings of barring out evil, of opposing marauders. Hearing the sound of drums, large and small—the small ones thin, and the far ones clear and deep and uninterrupted—stirred restless thoughts that were lonely and sad. The official drum was very close, from three beats, to four and then five, gradually faster, hastening the dawn. Suddenly in the northeast the sound of a bell, a bell pure and clean through rain-cleared air, and hearing it came thoughts of waiting for the dawn, rising and doing. It was inevitable. My nature is such as to enjoy sitting in the night [yezuo]. So I often spread a book under the lamp going back and forth over it, usually stopping at the second watch.
    [Show full text]
  • Jazzfest 2012 Is Here!
    Volume 40 • Issue 6 June 2012 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Clockwise: Louis Armstrong, Louis Prima Jazzfest 2012 and Louis Jordan. Publicity is here! photos courtesy Featuring Tribute CTSIMAGES. to Three Louies by Swingadelic …among many other delights! Saturday, June 16. Details on page 5 and at www.njjs.org Get tix today! New JerseyJazzSociety in this issue: NEW JERSEY JAZZ SOCIETY Prez Sez . 2 Bulletin Board . 2 NJJS Calendar . 3 Jazz Trivia . 4 Editor’s Pick/Deadlines/NJJS Info . 6 Prez Sez April Jazz Social: Roseanna Vitro . 44 Crow’s Nest . 46 By Frank Mulvaney President, NJJS New/Renewed Members . 46 Change of Address/Support NJJS/Volunteer/JOIN NJJS . 47 ell, Jazzfest is just a couple of weeks marketing and public relations experience. STORIES Waway and I hope you will be able to get He has authored numerous articles on jazz Jazzfest 2012 Preview. cover tickets, if you have not ordered them already. and many were compiled and published in Jazz in July Moves to Budd Lake . 4 Big Band in the Sky. 8 The lineup is fabulous and we are expecting a book form in Jazz Notes: Interviews Across the Talking Jazz: Sachal Vasandani . 16 sellout. Last year’s Jazzfest was very successful Generations (Praeger, 2009). Sandy also writes Vince Giordano at Mayo PAC . 21 despite the rain and we learned a lot from Jersey Jazz’s “Big Band In the Sky” obituary Remembering Sonny Igoe . 22 column. We still have a vacancy on the board Les Paul Birthday at Ramapo .
    [Show full text]
  • Giuseppe Continenza Chitarrista - Compositore - Arrangiatore - Didatta
    Giuseppe Continenza Chitarrista - Compositore - Arrangiatore - Didatta I suoi interessi per la musica jazz cominciano a sette anni. Dopo aver studiato musica classica per sei anni, si trasferisce in California per studiare al Musicians Institute di Hollywood, dove consegue il diploma a pieni voti. A Los Angeles ha anche l'occasione di studiare privatamente con musicisti di fama internazionale quali Joe Diorio, Scott Henderson, Ron Escheté, Don Mock, Ted Greene, Howard Roberts, Pat Martino, Robben Ford, Steve Trovato, Gary Willis, Jeff Berlin ed altri ancora. Nel 1994 fonda a Pescara l'European Musicians Institute (E.M.I), una fra le più avanzate scuole di musica europee. Collaborano con la scuola docenti di tutto rispetto quali: Joe Diorio, Bireli Lagrene,Tuck Andress, Scott Henderson, Vic Juris, Paul Bollenback, Robben Ford, Gary Willis, John Stowell, Jimmy Bruno, Gene Bertoncini, Jack Wilkins, Dominique Di Piazza, Howard Alden ed altri ancora. Docente molto stimato in Italia e all'estero, avendo insegnato tra l'altro alla prestigiosa Università Reale di Oslo in Norvegia. Tra i suoi studenti figurano tra l'altro anche alcuni Vip della musica leggera italiana. Giuseppe Continenza è ritenuto, secondo il parere di molti big del jazz, uno dei migliori chitarristi jazz europei della nuova generazione; del resto lo dimostra il suo background ricco di collaborazioni in numerosissimi tour e concerti al fianco di nomi blasonanti della musica internazionale quali Joe Diorio (S.Getz, P.Metheny, J.Hall), Bireli Lagrene (J.Pastorius, P.De Lucia,
    [Show full text]
  • LEGEND Location of Facilities on NOAA/NYSDOT Mapping
    (! Case 10-T-0139 Hearing Exhibit 2 Page 45 of 50 St. Paul's Episcopal Church and Rectory Downtown Ossining Historic District Highland Cottage (Squire House) Rockland Lake (!304 Old Croton Aqueduct Stevens, H.R., House inholding All Saints Episcopal Church Complex (Church) Jug Tavern All Saints Episcopal Church (Rectory/Old Parish Hall) (!305 Hook Mountain Rockland Lake Scarborough Historic District (!306 LEGEND Nyack Beach Underwater Route Rockefeller Park Preserve Rockefeller Park Preserve Rockefeller Park Preserve CP Railroad ROW Rockefeller Park Preserve Rockefeller Park Preserve CSX Railroad ROW Rockefeller Park Preserve (!307 Rockefeller Park Preserve Rockefeller Park Preserve NYS Canal System, Underground (! Rockefeller Park Preserve Milepost Rockefeller Park Preserve Rockefeller Park Preserve Rockefeller Park Preserve )" Sherman Creek Substation Rockefeller Park Preserve Rockefeller Park Preserve Methodist Episcopal Church at Nyack *# Yonkers Converter Station Rockefeller Park Preserve Upper Nyack Firehouse ^ Mine Rockefeller Park Preserve Van Houten's Landing Historic District (!308 Park Rockefeller Park Preserve Union Church of Pocantico Hills State Park Hopper, Edward, Birthplace and Boyhood Home Philipse Manor Railroad Station Untouched Wilderness Dutch Reformed Church Rockefeller, John D., Estate Historic Site Tappan Zee Playhouse Philipsburg Manor St. Paul's United Methodist Church US Post Office--Nyack Scenic Area Ross-Hand Mansion McCullers, Carson, House Tarrytown Lighthouse (!309 Harden, Edward, Mansion Patriot's Park Foster Memorial A.M.E. Zion Church Irving, Washington, High School Music Hall North Grove Street Historic District DATA SOURCES: NYS DOT, ESRI, NOAA, TDI, TRC, NEW YORK STATE DEPARTMENT OF Christ Episcopal Church Blauvelt Wayside Chapel (Former) First Baptist Church and Rectory ENVIRONMENTAL CONSERVATION (NYDEC), NEW YORK STATE OFFICE OF PARKS RECREATION AND HISTORICAL PRESERVATION (OPRHP) Old Croton Aqueduct Old Croton Aqueduct NOTES: (!310 1.
    [Show full text]
  • 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]
  • A New World Tragedy $13.95
    ... - Joumey to Nowhere A NEW WORLD TRAGEDY $13.95 Rarely does a book come along which so transcends its apparent subject that the reader is ultimately given something larger, richer, and more revealing than he might initially have imagined. Already published in Eng­ land to overwhelming acclaim (see back of jacket), Shiva Naipaul’s Journey to Nowhere is such a book — a “power­ ful, lucid, and beautifully written book” (The Spectator) that is destined to be one of the most controversial works of 1981. In it, this major writer takes us far beyond the events and surface details surrounding the tragedy of Jones­ town and the People’s Temple —and gives us his remark­ able, unique perspective on the deadly drama of ideas, environments, and unholy alliances that shaped those events both in Guyana and, even more significantly, in America. Journey to Nowhere is, on one level, a “brilliantly edgy safari” (New Statesman) inside the Third World itself—a place of increasing importance in our lives—and on another, a book about America, about the corrupt and corrupting ideologies and chi-chi politics of the past twenty years that enabled the Reverend Jim Jones and the Temple to flourish and grow powerful in California and Guyana. Drawing on interviews —with former members of the Temple, various officials, and such people as Buckmin­ ster Fuller, Huey Newton, Clark Kerr, and others —on documents, and most importantly, on his own strong, clear reactions to what he observed, Naipaul examines the Guyana of Forbes Bumham, the CIA stooge turned Third World socialist leader, whose stated ideals of socialism, racial brotherhood, and cooperative agricul­ tural enterprise coincided so neatly, we learn for the first time, with those of the People’s Temple — ideals that led all too easily to violence and death.
    [Show full text]
  • Disability and Emigration; Worlds Apart – the Case of Marion Brown
    1 Disability in nineteenth century Scotland – the case of Marion Brown Abstract. The perception that people with disabilities increasingly became regarded as ‘other’ as the nineteenth century advanced is encouraged by the expansion of institutionalisation, particularly for those with mental impairments, but also for many people with sensory disablement. People with physical impairments were given less prominence in this trend although, as the medicalisation of disablement gained ascendancy, some of them experienced confinements of considerable duration. This paper recognises that many people with disabilities did not spend portions of their lives in institutions, but lived within the family structure and as part of their local community. It explores this experience through the writings of Marion Brown (1844-1916) who lived in Sanquhar, Dumfriesshire. She suffered from a variety of physical and sensory impairments of varying duration that are revealed in correspondence to relatives in Dunmore, Pennsylvania.1 Her letters reveal ways in which disablement was both ‘normal’ and marginalising, and they show how contentment and joy were juggled with yearning and apprehension. This paper offers an interpretation of the ways in which Marion Brown’s impairments were of submerged significance in a society ingrained to encountering a variety of economic and social vicissitudes, while on a personal level being the cause of frustration, unrealised aspiration, and impending loss of security. Keywords: disability, emigration, physical impairment, Sanquhar. The ease of identification of sources relating to charities and philanthropists, asylums and institutions, physicians and surgeons, educationalists and administrators, has resulted in the focus of the study of disability marginalising, if not excluding, people with disabilities, and their families and friends.
    [Show full text]
  • Basilica Mass Held in Remembrance of Valero Craig, Harris Debate Nature
    the Observer The Independent Newspaper Serving Notre Dame and Saint Mary’s Volume 44 : Issue 118 FRIDAY, APRIL 8, 2011 ndsmcobserver.com Basilica Mass held in remembrance of Valero Students fill church to commemorate life of Keenan sophomore; Fr. Tom Doyle delivers homily to congregation brought them together and By MEGAN DOYLE and SAM delivered them to the Lord,” STRYKER Doyle said. “That’s what it News Editors means to be a family. That’s what it means to be Notre Rain fell and the Basilica’s Dame.” bells chimed as hundreds filed Students filled the Basilica out of the Basilica of the Sacred pews during the memorial Heart Thursday evening after a Mass for Valero less than one Mass of Remembrance in honor week after campus learned of of Sean Valero. his death. During the Mass, Fr. Tom Fr. Joseph Carey, interim Doyle recounted the sopho- director of Campus Ministry, more’s funeral, held only 12 presided over the Mass, and hours earlier. Doyle, vice president of Student At the request of the Valero Affairs, delivered the homily to family, four of his friends from the standing room only congre- Keenan walked in the funeral gation. procession alongside his par- The men of Keenan Hall filled ents and sister as the casket the first six rows, dressed in was carried down the aisle of blazers, and Keenan rector Fr. St. Helen’s Church in Dan Nolan was among the cele- Niskayuna, N.Y. brants on the altar. The image of Valero’s friends Luke’s gospel about the heal- and family illustrated the ing of a paralytic highlighted Doyle’s message in the homily: the need to be humble in diffi- Our brokenness can bring us cult times, Doyle said.
    [Show full text]