Notre Dame Collegiate Jazz Festival Program, 1980
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BTN6916 LMW NORTHERN SOUL ENTS GUIDE SK.Indd
22-25 SEPT 2017 20-23 SEPT 2019 SKEGNESS RESORT GLORIACELEBRATING 60 YEARS JONES OF MOTOWN BOBBY BROOKS WILSON BRENDA HOLLOWAY EDDIE HOLMAN CHRIS CLARK THE FLIRTATIONS TOMMY HUNT THE SIGNATURES FT. STEFAN TAYLOR PAUL STUART DAVIES•JOHNNY BOY PLUS MANY MORE WELCOME TO THE HIGHLIGHTS As well as incredible headliners and legendary DJs, there are loads WORLD’S BIGGEST AND more soulful events to get involved in: BEST NORTHERN SOUL ★ Dance competition with Russ Winstanley and Sharon Sullivan ★ Artist meet and greets SURVIVORS WEEKENDER ★ Shhhh... Battle of the DJs Silent Disco ★ Tune in to Northern Soul BBC – Butlin’s Broadcasting Company Original Wigan Casino jock and founder of the Soul Survivors Weekender, with Russ! Russ Winstanley, has curated another jam-packed few days for you. It’s an ★ incredible line-up with soul legends fl own in from around the world plus a Northern Soul Awards and Dance Competition host of your favourite soul spinners. We’re celebrating Motown Records 60th Anniversary in 2019. To mark this special occasion we have some of the original Motown ladies gracing the stage to celebrate this milestone birthday. SATURDAY 14.00 REDS Meet and Greet with Eddie Holman, Bobby Brooks Wilson, Tommy Hunt Brenda Holloway, Chris Clark and Gloria Jones will also be joining us for a Q&A session, together with Motown afi cionado, Sharon Davies, on Sunday afternoon in Reds. Not to be missed!! SUNDAY 14.00 REDS Don’t miss the Northern Soul dance classes, DJ Battles, Northern Soul Q&A with Brenda Holloway, Chris Clark, Gloria Jones and Sharon Davis awards and dance competitions across the weekend and be sure to look Hosted by Russ Winstanley and Ian Levine, followed by a meet and greet out for limited edition, souvenir vinyl and merch in the Skyline record stall. -
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. -
John Cornelius Hodges “Johnny” “Rabbit”
1 The ALTOSAX and SOPRANOSAX of JOHN CORNELIUS HODGES “JOHNNY” “RABBIT” Solographers: Jan Evensmo & Ulf Renberg Last update: Aug. 1, 2014, June 5, 2021 2 Born: Cambridge, Massachusetts, July 25, 1906 Died: NYC. May 11, 1970 Introduction: When I joined the Oslo Jazz Circle back in 1950s, there were in fact only three altosaxophonists who really mattered: Benny Carter, Johnny Hodges and Charlie Parker (in alphabetical order). JH’s playing with Duke Ellington, as well as numerous swing recording sessions made an unforgettable impression on me and my friends. It is time to go through his works and organize a solography! Early history: Played drums and piano, then sax at the age of 14; through his sister, he got to know Sidney Bechet, who gave him lessons. He followed Bechet in Willie ‘The Lion’ Smith’s quartet at the Rhythm Club (ca. 1924), then played with Bechet at the Club Basha (1925). Continued to live in Boston during the mid -1920s, travelling to New York for week-end ‘gigs’. Played with Bobby Sawyer (ca. 1925) and Lloyd Scott (ca. 1926), then from late 1926 worked regularly with Chick webb at Paddock Club, Savoy Ballroom, etc. Briefly with Luckey Roberts’ orchestra, then joined Duke Ellington in May 1928. With Duke until March 1951 when formed own small band (ref. John Chilton). Message: No jazz topic has been studied by more people and more systematically than Duke Ellington. So much has been written, culminating with Luciano Massagli & Giovanni M. Volonte: “The New Desor – An updated edition of Duke Ellington’s Story on Records 1924 – 1974”. -
1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
"Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979. -
Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity
Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity 2 Copyright © Sarah Thornton 1995 The right of Sarah Thornton to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. First published in 1995 by Polity Press in association with Blackwell Publishers Ltd. Reprinted 1996, 1997, 2001 Transferred to digital print 2003 Editorial office: Polity Press 65 Bridge Street Cambridge CB2 1UR, UK Marketing and production: Blackwell Publishers Ltd 108 Cowley Road Oxford OX4 1JF, UK All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, 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 the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any 3 form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. ISBN: 978-0-7456-6880-2 (Multi-user ebook) A CIP catalogue record for this book is available from the British Library. Typeset in 10.5 on 12.5 pt Palatino by Best-set Typesetter Ltd, Hong Kong Printed and bound in Great Britain by Marston Lindsay Ross International -
JREV3.6FULL.Pdf
KNO ED YOUNG FM98 MONDAY thru FRIDAY 11 am to 3 pm: CHARLES M. WEISENBERG SLEEPY I STEVENSON SUNDAY 8 to 9 pm: EVERYDAY 12 midnite to 2 am: STEIN MONDAY thru SATURDAY 7 to 11 pm: KNOBVT THE CENTER OF 'He THt fM DIAL FM 98 KNOB Los Angeles F as a composite contribution of Dom Cerulli, Jack Tynan and others. What LETTERS actually happened was that Jack Tracy, then editor of Down Beat, decided the magazine needed some humor and cre• ated Out of My Head by George Crater, which he wrote himself. After several issues, he welcomed contributions from the staff, and Don Gold and I began. to contribute regularly. After Jack left, I inherited Crater's column and wrote it, with occasional contributions from Don and Jack Tynan, until I found that the well was running dry. Don and I wrote it some more and then Crater sort of passed from the scene, much like last year's favorite soloist. One other thing: I think Bill Crow will be delighted to learn that the picture of Billie Holiday he so admired on the cover of the Decca Billie Holiday memo• rial album was taken by Tony Scott. Dom Cerulli New York City PRAISE FAMOUS MEN Orville K. "Bud" Jacobson died in West Palm Beach, Florida on April 12, 1960 of a heart attack. He had been there for his heart since 1956. It was Bud who gave Frank Teschemacher his first clarinet lessons, weaning him away from violin. He was directly responsible for the Okeh recording date of Louis' Hot 5. -
Notre Dame Collegiate Jazz Festival Program, 1981
Archives of the University of Notre Dame Archives of the University of Notre Dame .. ~@~@@@@@~@@@@@@@@@@@@@@@@@@@@@@@@@@~~ ~ ~ ~ ~ ~ ~ ~ ~ MUSIC, ENTERTAINMENT & MORE. .. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ o=oa ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ FOR THE BEST ENTERTAINMENT: ~ ~ in recorded sounds - ~ ~ JUST FOR THE RECORD ~ ~ ~ ~ ~ ~ in live music - ~ Festival Staff ~ ~e ~ Chairman Tim Griffin ~ ~l( ~ Assistant Kevin Bauer Advertising ......................................................... .. Tom Rosshirt ~ UVlUSIC BOX AfB ~ Assistant Mike Mlynski Applications Jane Andersen Assistant Margie Smith ~ ~. ~ Graphics ........................................................... .. Sandy Pancoe Artists Pat Brunner, Jeff Loustau ~ in Mishawaka ~ High School Festival. ....................................... .. Bob O'Donnell, Joe Staudt ~ ~ ~ Master of Ceremonies .............................................. .. Barry Stevens @ Photography Cathy Donovan, Tim Griffin, Helen Odar . ~ ~ ~ Prizes ...................... James Dwyer Assistants. ........................................ .. Veronica Crosson, Vivian Sierra ~ Enjoy the best of both worlds, ! Production .. .......................................................... Kevin Magers Program Tom Krueger ~ with the best of people! --- ~ Assistants ........................ .. Scott Erbs, Tim Keyes, Scott O'Grady, Doug Ventura ~ ~ Publicity ....................................•........................ Mary Murphy ~ o Assistants Lynn Van Housen, John McBride, Lisa Scapellati ~ J F T R (1leUVlUSIC BOX ~ Security Ron Merriweather -
Frank Driggs Collection of Duke Ellington Photographic Reference Prints [Copy Prints]
Frank Driggs Collection of Duke Ellington Photographic Reference Prints [copy prints] NMAH.AC.0389 NMAH Staff 2018 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents note................................................................................................ 2 Biographical/Historical note.............................................................................................. 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 3 Series 1: Band Members......................................................................................... 3 Series 2: Ellington at Piano...................................................................................... 5 Series 3: Candid Shots............................................................................................ 6 Series : Ellington -
Phil Thornton Interview with Tim Lawrence
Phil Thornton interview with Tim Lawrence, “Love is the Message”, Swine, July 2005 In the last issue of Swine we reviewed Tim Lawrence’s superb history of disco, Love Saves The Day. Tim kindly agreed to answer some of our questions and we will hopefully be getting him up to the north west to talk about ‘Love Saves The Day’ and his other projects; he’s currently writing the eighties follow-up to LSD and a biography of Arthur Russell as well as leading the BA Music Culture: Theory & Production at University of East London. Tim has also written liner notes for the likes of David Mancuso, Marshall Jefferson and Masters at Work LPs and helps co-ordinate the London Loft parties. He’s also just had his second kid. In short he’s a very busy fellar, so we’d like to extend our porcine thanks to him and wish him all the best with his future projects. Swine: Disco has been a much maligned and misunderstood musical genre, what gave you the impetus to write LSD? Tim Lawrence: The initial plan was to write a book that focused on the late eighties and nineties. Then I was introduced to David Mancuso who nobody had really heard of at the time and he introduced me to this whole world of underground parties that I’d never heard of. Initially I was reluctant to get into the 1970s. Like so many early UK house heads, I just equated disco with cheese, but the more I found out about the downtown scene of the 1970s, the more I realised this was where nucleus of contemporary dance culture was formed. -
Ellingtons Musiker
Harald Grut ELLI NGTONS MUSIKER Andra avsnittet i artikelserien om de musiker som medverkat i Duke Ellingtons orkester Tizol sedan kom tillbaka 1951. Och så vän Quentin Jackson som den som skulle fort Trombonisterna der vi tillbaka till år 1932. sätta i Glenns spår. Det året beslöt Ellington att utöka trom Charlie Irvis spelade trombone med E l Quentin Jackson kom med Duke Ellington bonsektionen till att omfatta tre man. Hans lingtons första band från 1924 till 1926. redan 1948, men dittills endast som obemärkt val av tredje trombonist föll på Lawrence men kom sedan bort i Harlems asfaltdjungel. sidoman, vilket också gick väl ihop med Brown. »Omöjligt!» »Skamligt!» »Han Hans efterträdare blev Joe »Tricky Sam» hans blygsamma personlighet. Han hade kommer aldrig att klara det!» var de van Nanton, som blev något av en legend. Hans varit med länge i gam et: han hade varit ligaste kommentarerna. Men Brown gick i behandling av sordinen var en lika särpräg med M cKinneys Cotton Pickers, Don Red land med det, och Duke fick rätt än en lad del av Ellington-klangen som Bubber man och i många år med Cab Calloway, gång. Lawrence Brown kom från Kalifor Mileys, hans andliga broder, vän och in men han hade aldrig fått något solofram nien, där han hade spelat med Paul Howard spiration. »Tricky Sam» skapade sitt eget trädande. Hans plats hade varit på forste- och Les Hite. Han var häpnadsväckande sätt att spela trombone, och det kan sägas trombonistens stol, som sektionsledare. Duke teknisk, men att döma av vad som hörts att denna stil levde och dog med honom, gjorde honom till solist, och varken Jackson av honom från den tiden var det en viss för ingen har någonsin kunnat rekonstruera själv eller Ellington fick någonsin anledning ytlighet över hans spel. -
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. -
Evelyn Thomas High Energy Mp3, Flac, Wma
Evelyn Thomas High Energy mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Funk / Soul Album: High Energy Released: 1984 Style: Hi NRG, Disco MP3 version RAR size: 1911 mb FLAC version RAR size: 1862 mb WMA version RAR size: 1445 mb Rating: 4.2 Votes: 184 Other Formats: APE VOX WMA TTA MIDI MP4 DTS Tracklist A High Energy (Vocal) B High Energy (Instrumental Dub) Companies, etc. Published By – Record Shack Music Published By – Jess Music Mastered At – Musitech Pressed By – Damont Recorded At – Trident Studios Credits Arranged By – Fiachra Trench Producer – Ian Levine and Fiachra Trench Written-By – Ian Levine/Fiachra Trench* Notes ℗ 1984 Record Shack Music/Jess Music (Leosong). Recorded at Trident Studios, London. Barcode and Other Identifiers Matrix / Runout (Run-out, A-side, etched): SOHO-18 A MVS 5 Matrix / Runout (Run-out, B-side, etched): SOHO-18 B Other versions Category Artist Title (Format) Label Category Country Year Record Shack SOHOT 18, Evelyn High Energy (12", SOHOT 18, Records, Record UK 1984 SOHO(T) 18 Thomas Single) SOHO(T) 18 Shack Records Axwell Feat. Axwell Feat. Evelyn 12SUSU16 Evelyn Thomas - High SuSU 12SUSU16 UK 2003 Thomas Energy (12") Record Shack Records, TSR TSR-833, Evelyn High-Energy (12", TSR-833, Records, Record US 1984 TSR833 Thomas Single) TSR833 Shack Records, TSR Records TSR-833, Evelyn TSR Records, TSR-833, High-Energy (12") US 1984 TSR833 Thomas TSR Records TSR833 Evelyn PDSX 2255 High Energy (12") Polydor PDSX 2255 Canada 1984 Thomas Related Music albums to High Energy by Evelyn Thomas Earlene Bentley - Caught In The Act Evelyn Thomas - The Best Of Evelyn Thomas - High Energy Evelyn Thomas - Standing At The Crossroads Barbara Pennington - Fan The Flame Evelyn Thomas - Cold Shoulder Seventh Avenue - Ending Up On High Evelyn Thomas - Masquerade Evelyn Thomas - High-Energy (Special Remix) Miquel Brown - Close To Perfection Carol Jiani - Vanity.