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Glenn Miller 1939 the Year He Found the Sound
GLENN MILLER 1939 THE YEAR HE FOUND THE SOUND Dedicated to the Glenn Miller Birthpace Society June 2019 Prepared by: Dennis M. Spragg Glenn Miller Archives Alton Glenn Miller (1904-1944) From Glenn Miller Declassified © 2017 Dennis M. Spragg Sound Roots Glenn Miller was one of the foremost popular music celebrities of the twentieth century. The creative musician and successful businessman was remarkably intuitive and organized, but far from perfect. His instincts were uncanny, although like any human being, he made mistakes. His record sales, radio popularity, and box-office success at theaters and dance halls across the nation were unsurpassed. He had not come to fame and fortune without struggle and was often judgmental and stubborn. He had remarkable insight into public taste and was not afraid to take risks. To understand Miller is to appreciate his ideals and authenticity, essential characteristics of a prominent man who came from virtually nothing. He sincerely believed he owed something to the nation he loved and the fellow countrymen who bought his records. The third child of Lewis Elmer Miller and Mattie Lou Cavender, Alton Glen Miller was born March 1, 1904, at 601 South 16th Street in Clarinda, a small farming community tucked in the southwest corner of Iowa. Miller’s middle name changed to Glenn several years later in Nebraska. His father was an itinerant carpenter, and his mother taught school. His older brother, Elmer Deane, was a dentist. In 1906 Miller’s father took his family to the harsh sand hills of Tryon, Nebraska, near North Platte. The family moved to Hershey, Nebraska, in the fall of 1912 and returned to North Platte in July 1913, where Glenn’s younger siblings John Herbert and Emma Irene were born. -
Tommy Dorsey 1 9
Glenn Miller Archives TOMMY DORSEY 1 9 3 5 Prepared by: DENNIS M. SPRAGG Chronology Part 1 - Chapter 1 Updated February 5, 2021 “I’ll Never Say Never Again” “The Brothers” Jimmy and Tommy Dorsey The Dorsey Brothers’ Orchestra opened at the Glen Island Casino, New Rochelle, New York on May 15, 1935. Many celebrities attended the successful opening night and the band was in top form. All signs pointed to a successful summer season and further sales of more records. In addition, the Glen Island Casino was wired for numerous nationwide radio broadcasts. However, an undercurrent of tension existed between the brothers. May 30, 1935, during the Decoration Day holiday weekend (now known as Memorial Day), the situation came to a head. As Tommy led the band into the tune “I’ll Never Say “Never Again” Again”, the vocal trio of Roc Hillman, Skeets Herfurt and Don Matteson were approaching the microphone. They remembered hearing Jimmy say something like “Hey, Mac, that’s a little fast, isn’t it?” Tommy reportedly replied, “You want to take over? It’s all yours” and he walked off the bandstand before the audience at the Glen Island Casino. By late July Tommy reluctantly returned to finish the engagement with Jimmy and the band at the urging of Tommy Rockwell and a threat by Michael DeZutter, owner of the Glen Island Casino, to nullify the Dorsey Brothers’ Orchestra contract for the remainder of the engagement. Cork O’Keefe unsuccessfully tried to reconcile the brothers. Tommy refused to work with his brother and the Dorsey Brothers’ Orchestra became Jimmy Dorsey and his Orchestra. -
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. -
The Influence of Bix Beiderbecke – Volume Two: Europe
THE INFLUENCE OF BIX BEIDERBECKE – VOLUME TWO: EUROPE By Nick Dellow and Mark Berresford As evinced in Volume One of this CD set, Bix Beiderbecke was the defining interpreter of jazz for many white American trumpet players in the latter half of the 1920s and into the early 1930s. Less well known is the fact that he was also enormously influential in Europe during this time. Although Bix himself never left the USA, his solos were conveyed across the Atlantic through 78 rpm records issued in England, France, Germany and many other countries. Through a combination of word of mouth and reviews in the Melody Maker (a British dance band magazine), these records soon became the talk of dance band and jazz circles. As a consequence, a “Bixian” style began to pervade jazz-flavoured dance band recordings across Europe from the mid 1920s, most notably in Great Britain. Early influences It was the Original Dixieland Jazz Band (the ODJB) who first brought jazz to the Old World, playing extended engagements in London from April 1919 to July 1920. Their Dixieland music had already proved a hit in Chicago and at New York’s Reisenweber's Restaurant, and through nightly appearances at the Hammersmith Palais de Dance and Rector’s Club in London – as well as via now rare recordings issued by British Columbia – the band repeated the success they had scored in their home country. Many other American bands followed in the wake of the ODJB’s success, and for a decade or so after the Original Dixielanders had returned home, Europe proved to be a valuable source of additional income for American bands and musicians who played this new type of popular music, which their European counterparts often found hard to emulate. -
Charleston”--The Golden Gate Orchestra (1925) Added to the National Registry: 2004 Essay by Robert Rawlins (Guest Post)*
“Charleston”--The Golden Gate Orchestra (1925) Added to the National Registry: 2004 Essay by Robert Rawlins (guest post)* The Golden Gate Orchestra. c. 1925 In 1923, the songwriting team of James P. Johnson (composer) and Cecil Mack (lyricist) were charged with writing the musical score to the Broadway musical “Runnin’ Wild.” Among the numbers they contributed was a song called “Charleston,” performed by Elizabeth Welch and the dancing chorus to close the first act. Little did they know at the time that they had just written the theme song of the Roaring Twenties. The origins of the dance step with its characteristic rhythm can be traced back to dockworkers in Charleston, South Carolina, in the early 1900s. And this was not the first time the dance was featured in a musical comedy--a tune called “The Charleston Dance” was featured in the 1922 Black musical “Liza,” with music written by Maceo Pinkard (author of “Sweet Georgia Brown”). Johnson recalled seeing the dance performed on stage as early as 1913. But “Runnin’ Wild” was the show that perfected the nuances of the dance step, tailored it for popular appeal, and introduced it to the public through Johnson’s song. It became one of the most popular hits of the 1920s and remains today the emblematic dance number of the jazz age. For having written the song that launched one of the biggest dance crazes in history, you’d think the name James P. Johnson would be better known by the public. He certainly is revered by musicians. Jazz historians generally credit Johnson as the inventor of the “Harlem Stride,” a uniquely East Coast approach to playing the piano that requires a prodigious technique, powerful hands, and relentless stamina. -
California Ramblers
CALIFORNIA RAMBLERS. Lloyd Baker + other (tp) Jim Gilliland (tb) Jimmy Duff (cl, as) unknown as, ts, Preston Sargeant (p) Ray Kitchingman (bj) Jose Torres (tu) Max McIntosh (d) William Borchers, Fred Conard and Francis Longnon are the unknown tp, as and ts but it it not known who played what.. New York, N.Y., November 17, 1921. .......... 8261 ............... The sheik .......................................................Vocalion 14275, Aco G15044, Guardsman 1182, Beltona 101, Coliseum 1507,Homochord H307, Meloto S1187, Scala 547. .......... 8265 ............... Georgia rose...................................................Vocalion M1025. .......... 8266 ............... Georgia rose...................................................Vocalion 14275, Coliseum 1489, Guardsman 1180, Scala 529. Note: ........ Aco as "The Californian Ramblers ", Beltona as "Palm Beach Players", Coliseum as " New York Casino Orchestra", Guardsman as " New Jersey Dance Orchestra", Homochord as "Homochord Dance Orchestra", Meloto as "Meloto Dance Orchestra", Scala 529 as "The President Orchestra" and Scala 547 as "The Cairo Ramblers".. Lloyd Baker (tp) ... Rothwell (tb) Jimmy Duff (cl, as) Sylvan Solomon (ts) Oscar Adler (vln) Preston Sargeant (p) Ray Kitchingman (bj) Otto Yedla (tu) Max McIntosh (d). New York, N.Y., December 14, 1921. .......... ....................... Ka-Lu-A .................................................. (unissued). .......... ....................... The sheik .......................................................Arto 9114. New York, -
The Bass Saxophone: a Historical Account and Performer's Guide
DocuSign Envelope ID: 4E7DE825-BE46-4CD2-8CFA-4D97B3CE4FC3 The Bass Saxophone: A Historical Account and Performer's Guide by Lucas_____________________________________ Hopkins _____________________________________B.M., University of Minnesota _____________________________________M.M., Northwestern University A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of _____________________________________Doctor of Musical Arts _________2021 The Bass Saxophone: A Historical Account and Performer's Guide __________________________________________ Thesis title Lucas__________________________________________ Hopkins Written by For a _________________Doctorate Degree in _____________________________Saxophone Performance Tom_________________________________ Myer _________________________________ 5/20/2021______________ Main Advisor Signature Date Keith_________________________________ J Waters _________________________________ 5/24/2021______________ 2nd Advisor Signature Date Daniel____________________ Silver _____________ _________________________________ ______________5/24/2021 3rd Advisor Signature Date The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. DocuSign Envelope ID: 4E7DE825-BE46-4CD2-8CFA-4D97B3CE4FC3 Abstract Lucas_______________________________________________________ Hopkins Name & Title -
Tommy Dorsey 1938
Glenn Miller Archives TOMMY DORSEY 1938 Prepared by: DENNIS M. SPRAGG Chronology Part 1 – Chapter 4 Updated February 10, 2021 Table of Contents January 1938 ....................................................................................................... 3 February 1938.................................................................................................... 14 March 1938 ........................................................................................................ 25 April 1938 ........................................................................................................... 34 May 1938 ............................................................................................................ 51 June 1938 .......................................................................................................... 59 July 1938 ............................................................................................................ 70 August 1938 ...................................................................................................... 88 September 1938 ................................................................................................ 99 October 1938 ................................................................................................... 112 November 1938 ............................................................................................... 130 December 1938................................................................................................ 141 -
Popular Music Part Three
PART THREE: P O P ULAR MUSIC Popular music is defined by Hutchinson’s Dictionary of Music as “twentieth- century music of great diversity that appeals to a wide audience. Characterized by strong rhythms of African origin, simple harmonic structures often repeated to strophic melodies, and the use of electrically amplified instruments, pop mu- sic generally includes the areas of jazz, rock, country and western, rhythm and blues, soul and others.” That wide-ranging definition might work for popular music of the second half and certainly the end of the twentieth century, but certainly not so generally for the first half or for the nineteenth century. The nineteenth and twentieth centuries both had popular music enjoyed by a “wide audience,” but the number of styles proliferated in the 1950s after the introduction of the long-playing (LP) record and multiplied again as the century ended amid a furor of compact disc (CD) reissues. Many of these newer styles found a specific audience. These audiences tended to narrow their focus and ceased to be the all-embracing “wide audience.” If we think of the original “wide audience” as a river, the roots of musical styles are the tributaries that feed it. As the river continues, it widens into a blended flow before it spreads out into a delta. In the process of creating the delta, the river disappears. To a great extent that is what has happened to popular music, especially in late twentieth-century America. Today’s mainstream “wide audience” is difficult to pinpoint, characterize, or even define. It does seem to have money, or at least some expendable income.