DOCSLIB.ORG

Third Annual New Orleans Jazz & Heritage Festival

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Third Annual New Orleans Jazz & Heritage Festival lOLMES HOLMES ORIGINAL STORE 1842 As traditional as New Orleans jazz, Creole cooking or southern hospitality, D. H. Holmes has been part of the beat of New Orleans since 1842. We're New Orleans' own honne-owned department store, right on the edge of the French Quarter. While in New Orleans we invite you to join an old tradition in New Orleans . arrange to meet your friends "under the clock" at Holmes ... to shop ... or to lunch or dine in our famous Creole restau• rant. In our record department you'll find one of the finest selections of true New Orleans Dixieland music on records. Holmes, itself proud to be a New Orleans tradition, salutes the Jazz and Heritage Festival and welcomes its international supporters to the birthplace of Jazz. Third Annual New Orleans Jazz & Heritage Festival HONORARY PRESIDENT MARDI-GRAS INDIAN CO-ORDINATOR Mayor Moon Landrieu Emile Dollis OFFICERS SECRETARIES Arthur Q. Davis, President Virginia Broussard, Suzanne Broussard Lester E. Kabacoff, Vice-Pres. Winston Lill, Vice-Pres. EVENING SECURITY Clarence J. Jupiter, Vice-Pres., Treasurer Jules Ursin Roy Bartlett 11, Secretary BOARD OF DIRECTORS THE HERITAGE FAIR Archie A. Casbarian, Dr. Frederick Hall, William V. Music Director - Quint Davis Madden, Larry McKinley, George Rhode 111, Charles B. Rousseve, Harry V. Souchon PROGRAM DIRECTOR Karen Helms - Book-keeper Allison Miner PRODUCER PERSONNEL George Wein Mark Duffy ASST. PRODUCER DESIGN Dino Santangelo - Curtis & Davis Architects; AO Davis, Bob Nunez DIRECTOR ' ' CONSTRUCTION Quint Davis Foster Awning; Martin Casino, Fred Miller FAIR COORDINATOR ELECTRICITY Henry Hildebrand Lionel Hemard SIGNS EXECUTIVE SECRETARY SDA - Roy Lands Allison Miner SANITATION PUBLIC RELATIONS Kalman, Rogers & Smith-Bob Smith, Jean Watson, Travel-Can Colsoul Inc-Larry McKinley TABLES STAGE MANAGER Hirsch Rentals George Sanchez THANK YOU SOUND Jeanette Bellina, Elizabeth Boyer, Bud Dodd, Sound City - Chris Mandry Darlene Doherty Bobbie Jo Ferguson, Lana Kind TICKETS SPECIAL THANKS Walter Taney The City of New Orleans — Winston Lill, Public Relations, Clarence B. Ciarruso.-Supt., Dept. of Police BOX OFFICE Louis J. Sirgo,-Deputy Supt., Dept of Police Werlin's for Music, Dooky Chase Rest., Andrew P. Sanchez Sr., - Mgr. Dept. of Property Mason's Motel, The Mushroom John E. Cassreino Sr., - Director Dept. of Sanitations Charles W. Nutter, - Dept. of Recreation PRINTING Robert E. Richards, - Adm. Div. of Public Buildings Miller Brewing Co., Armstrong Stationery, Upton Printers, Gosserand Printers, Hassassin Printing THE FAIR GROUNDS POSTER DISTRIBUTION John S. Letellier Jr., Pres. Charles Boyd, Mark Duffy, Don Matthews George Rhode 111 , Emile Gauchet BILLBOARDS Albert Spiess Industrial Outdoor Display MILLER'S BREWING CO. PARADE DIRECTOR Bob Slawter, T. V. Minner, Charles Boyd Jimmy Pffister COVER PHOTO: DECORATIONS 1925 Photo of the Ridgley Original Tuxedo Jazz Band Spangenberg Studios - Harry Devore which was formed from members of Celestins Tuxedo Orchestra. SOLICITATIONS Frank Bertrucci PERSONNEL (Left to Right) Bill Matthews, Bebe Ridgley, Kid PROGRAM Shots Madison, Sweet Emma Barrett, Arthur Henry Hildebrand, Allison Miner, Quint Davis, Derbigney, unknown* unknown, Robert Hall, Willie Anne Hays Bontemps, Jesse Thomas standing with tuba PROGRAM ADVERTISING PHOTO Mark Dempsey Courtesy of THE NEW ORLEANS JAZZ MUSEUM MILLER BREWING COMPANY Miller Brewing Connpany is pleased to take part once again in the New Orleans Jazz and Heritage Festival. Our premiunn product. Miller High Life, has been a familiar sight on the tables of the old cafes and restaurants of Vieux Carre since before the first stirrings of what has become a symbol of , this city . Dixieland and the Blues. From its New Orleans birthplace, these strains of jazz have developed into perhaps the single art form that is purely American and best express our nation's spirit. We know that thousands of jazz fans will gather in New Orleans for this festival of music who share also our admiration for the architecture, cuisine, tradition and charm which makes it a mecca for the modern trav• eler. Or even the traveler of years gone by. It was in 1855 that a young German brewmaster named Frederick Miller thought enough of New Orleans to make it one of his first visits when he came to this country to establish the brewery that proudly carries his name. It is more than likely that his determination to brew a quality product had its roots in New Orleans. The people who prefer THE CHAMPAGNE OF BEERS have made it possible for us to support the New Orleans Jazz and Heritage Festival 115 years later. We are confident that the festival will fulfill its promise of be• coming a truly memorable event. 1972 NEW ORLEANS Schedule of Events FESTIVAL SCHEDULE NEW ORLEANS RAGTIME ORCHESTRA THE LOUIS COTTRELL ORCHESTRA Wednesday, April 26 - Steamer President - 8 BOB GREENE - TRIBUTE TO JELLY ROLL P.IVI. Saturday, April 29 - Municipal Auditorium - 8 JAZZ ON THE RIVER P.M. THE WORLD'S GREATEST JAZZ BAND NIGHT OF STARS NINA SIMONE PAPA FRENCH & THE ORIGINAL TUXEDO B.B. KING ORCHESTRA GIANTS OF JAZZ ART BLAKEY, DIZZY GILLESPIE, AL McKIB- BON, THELONIOUS MONK, SONNY STITT, Thursday, April 27 - International Room - Fair• KAI WINDING mont Roosevelt Hotel - 8 P.M. JAM SESSION FEATURING JIMMY SMITH, KENNY BURRELL & INTERNATIONAL JAZZ CABARET OTHERS TUXEDO BRASS BAND PRESERVATION HALL JAZZ BAND MARDI GRAS INDIANS ROOSEVELT SYKES GEORGE FINOLA SEXTET THE NEW ORLEANS JAZZ AND HERITAGE ARMAND HUG, RAYMOND BURKE FOUNDATION is a non-profit organization WALLACE DAVENPORT dedicated to the celebration of the music of STORYVILLE JAZZ BAND New Orleans and Louisiana which has been so instrumental in the growth and development Friday, April 28 - Main Ballroom - Jung Hotel - of American music. The profits, if any, will 8 P.M. be used to preserve and nuture the musical JAZZ AT THE BALLROOM community of New Orleans. The officers and directors of the New RONNIE KOLE Orleans Jazz and Heritage Foundation wish to WILD BILL DAVIDSON, BARNEY BIGARD gratefully acknowledge the Miller Brewing SWEET EMMA Company of Milwaukee, Wisconsin and the PERCY HUMPHREY SEXTET other underwriters whose contributions have MURPHY CAMPO SEXTET made this festival possible. Schedule of Events MUSIC Jazz: Po-Boys - Vaucresson's Cafe Creole Olympia, Eureka, & Tuxedo Brass Bands, Lou Oysters on 1/2 shell - La. Oyster Festival, Sino & the Bengals, James Rivers, Porgy Galliano Jones, Kid Sheik, Fairview Christian Ma'rching Hot Tamales - Manuel's Hot Tamales Band, Santo Pecora, Tony Fougerat, Al Muffellatas - Sir Thomas Catering Belletto Quartet, Southern University (B.R.) Fried Chicken - Second Mount Triumph Jazz Band Missionary Baptist Church Italian Ice Cream - Angelo Brocato's Blues: Greek Foods and Pastry - Greek Ladies Philot- Roosevelt Sykes, Fred McDowell, Robert Pete tochos Society Williams, Clifton Chenier, Babe Stovall, Percy Miller's Beer, Hot Dogs and Soft Drinks - Fair Randolph, Silas Hogan's Baton Rouge Blues Grounds Catering Band featuring Guitar Kelly, Big Joe Williams Jambalaya - Gonzales Jambalaya Festival Gumbo & Stuffed Peppers - Chez Helene Soul: Shrimp Potpourri - Don's Seafood Co. & Pon- Willie Tee and the Gators, Professor Longhair, saa's Mid-City RestaurantShrimp Sauce Snooks Eaglin, Margie Joseph, Deacon John Picante-Larry's Villa Natural Foods and Juices - Jerusalem Gardens Country/Cajun: Soybean Food Samples - La. Soybean Festival, Meyers Bros. Bluegrass Boys, Allen Fontenot Jonesville, La. & the Country Cajuns, Hubert Davis and the Pralines - Claudia and Jeanne Dumestre Season Travelers, The All-Star Mamou Cajun Sno-Balls - Sir Thomas Catering Band CRAFTS AND DISPLAYS Gospel: Jazz Records and Books - The Shell Game & Zion Harmonizers, Gospel Inspirations, Anne All That Jazz Pavageau and Choir, Ott Singers, Youth In• Jazz Photographs - John DonnelsJazz History - spirational Choir, Sister Gertrude Morgan, New Orleans Jazz Museum New Orleans Spiritualettes, Macedonia Male La. Indian Crafts - Claude Medford and the Choir Koasati Indians Oyster Industry Display - La. Oyster Festival Other: Shirts, Leather Clothes - Mignon Paget Mardi Gras Indians, Bongo Joe, Othar Turner Toys, Dolls, Books - Friends of the Cabildo & The Ridding Stars Jewelry - Michael Curtis Portraits - Genesis Gallery Special Guest Appearances At Heritage Fair Varied Crafts - Brass Roots Crafts Co-op Kites - The Kite Shop Friday: Jimmy Smith Candles - Maurice Robinson, Roger Boyd Leather Work - Tom Ingram Saturday: B.B. King Varied Crafts - Alternatives Robes, Kaftans-Cruz Sanchez Sunday: Giants of Jazz Glass Work - Barber Shop Gallery Flowers - Jo Anne Cleavenger FOOD Special Guests of Heritage Fair Red Beans & Hot Sausage - Buster Holmes Restaurant Friday - Gov.-elect Edwin Edwards Boiled Crawfish - Broadview Seafood Com• Saturday - Former Gov. Jimmie Davis pany Sunday - Mayor Moon Landrieu Have yourself a whole night The New Orleans Playboy Club is proud to be a part of great jazz of this program for the 1972 Jazz Fest. at Economy prices. Jazz has been played by the greats and heard by the thousands during the past 10 years at the New Orleans Playboy Club. And one of these greats, Al Belleto and his quartet, has been instrumental in providing this wonderful entertainment. Al Belleto and his group, featuring vocalist Angelle Trosclair, will take time out from their action at the Playboy Club to play some of their best on April 28th and April 29th with the New Orleans Jazz Festival. And of course the Richie Payne Trio, with vocalist Linda Aubert, do their thing with Jazz each weekend at the club. Enjoy Yourself Join The Jazz Fest And then come hear some more at the New Orleans Playboy Club 727 Rue Iberville New Orleans, Louisiana V ® 7305^ SiemHOe.J^^ff Organs RESTAURANT ... a little bit of a great thing Just for a few. The infinitesimal Le Petit Restaurant and Le Bar. Libation and fine French cuisine for the ... THE NAME HEARD 'ROUND THE TOWN discriminating. A very large matter for one so small. When you think of the finest in men's, women's and Open daily for lunch and dinner. Three hour compli• children's apparel and brand name appliances for the mentary evening parking adjacent to the St.
Load more

Recommended publications
  • Ronnie Scott's Jazz C
    GIVE SOMEONE THE GIFT OF JAZZ THIS CHRISTMAS b u l C 6 z 1 0 z 2 a r J e MEMBERSHIP TO b s ’ m t t e c o e c D / S r e e i GO TO: WWW.RONNIESCOTTS.CO.UK b n m e OR CALL: 020 74390747 n v o Europe’s Premier Jazz Club in the heart of Soho, London ‘Hugh Masekela Returns...‘ o N R Cover artist: Hugh Masekela Page 36 Page 01 Artists at a Glance Tues 1st - Thurs 3rd: Steve Cropper Band N Fri 4th: Randy Brecker & Balaio play Randy In Brasil o v Sat 5th: Terence Blanchard E-Collective e Sun 6th Lunch Jazz: Atila - ‘King For A Day’ m b Sun 6th: Ronnie Scott’s Jazz Orchestra e Mon 7th - Sat 12th: Kurt Elling Quintet “The Beautiful Day” r Thurs 10th: Late Late Show Special: Brandee Younger: A Tribute To Alice Coltrane & Dorothy Ashby Sun 13th Lunch Jazz: Salena Jones & The Geoff Eales Quartet Sun 13th: Dean Brown - Rolajafufu The Home Secretary Amber Rudd came up with Mon 14th - Tues 15th : Bettye LaVette Wed 16th - Thurs 17th : Marcus Strickland Twi-Life a wheeze the other day that all companies should Fri 18th - Sat 19th : Charlie Hunter: An Evening With publish how many overseas workers they employ. Sun 20th Lunch Jazz: Charlie Parker On Dial: Presented By Alex Webb I, in my naivety, assumed this was to show how Sun 20th: Oz Noy Mon 21st: Ronnie Scott’s Blues Explosion much we relied upon them in the UK and that a UT Tues 22nd - Wed 23rd: Hugh Masekela SOLD O dumb-ass ban or regulated immigration system An additional side effect of Brexit is that we now Thurs 24th - Sat 26th: Alice Russell would be highly harmful to the economy as a have a low strength pound against the dollar, Sun 27th Lunch Jazz: Pete Horsfall Quartet whole.
    [Show full text]
  • J. Dorsey, Earl Hines Also Swell Trombone Showcased
    DOWN BEAT Chicago. April 15. 1941 Chicago fl by his latest cutting. Everything Depends On You, in which he spots Gems of Jazz’ and Kirby Madeline Green and a male vocal trio. On BBird 11036, it’s a side which shows a new Hines, a Hines who can bow to the public’s de­ Albarns Draw Big Raves; mands and yet maintain a high artistic plane. Backer is In Suiamp Lande, a juniper, with the leader’s I—Oh Le 88, Franz Jackson’s tenor and a »—New ' J. Dorsey, Earl Hines Also swell trombone showcased. Je Uy, 3—dmapi Jelly (BBird 11065) slow 4—Perfid by DAVE DEXTER, JR. blues with more sprightly Hines, 5—The A and a Pha Terrelish v ical by Bill 6—High I JvlUSICIANS SHOULD FIND the new “Gems of Jazz” and Eckstein. Flipover, I’m Falling 7—There' For You, is the only really bad John Kirby albums of interest, for the two collections em­ side of the four. It’s a draggy pop 9—Chapeí brace a little bit of everything in the jazz field. The “Gems” with too much Eckstein. [O—Th> l include 12 exceptional sides featuring Mildred Bailey, Jess 11—f Unti Stacy, Lux Lewis, Joe Marsala and Bud Freeman. Made in Jimmy Dorsey 12—Frenes 1936, they’ were issued only in England on Parlophone and Hot as a gang of ants on a WATCH O have been unavailable domestically until now. warm rock, Jim and his gang click again with two new Tudi« Cama Ma «mvng tl B a i 1 ey’s rata versions uf Yours (the Man Behind the Counter in soda-jerk getup in that rat.
    [Show full text]
  • Ryedale Jazz Festival 2014 Ryedale Jazz Festival 2014
    RYEDALE JAZZ FESTIVAL 2014 RYEDALE JAZZ Sun 20th Spirituals Concert, 2.30 St Peter & St Pauls Thurs 24th 7.30pm Swale Valley Stompers Ryedale Jazz, formed in 2000, are the resident band of Started in 1978, and still with two founder members FESTIVAL 2014 Ryedale Jazz Society. Their growing reputation has earned playing, their Trad Jazz style has evolved to include them appearances at Barnsley and Leeds jazz clubs, and elements of swing and other rhythms. Their resultant blend Sunday 20th: St Peter & St Pauls Church at Staithes and Ryedale Festivals, as well as many local of music creates a relaxed and happy style guaranteed to All other performances take place at the private and charity events. After last year’s very successful please both purists and jazz ‘newbies’. SVS have appeared Pickering Memorial Hall YO18 8AA Church Concert they are invited back to give another set of at festivals at home and abroad, and still maintain their spirituals and gospel music their straightforward ‘trad jazz’ Osmotherly residency. interpretation. Find out more from www.ryedalejazz.com . Fri 25th 2pm The Vieux Carré Jazzmen Ryedale Jazz Festival MEMORIAL HALL An extremely busy band maintaining three weekly Mon 21st 7:30pm Gavin Lee’s New Orleans Jazz Band residencies, and many festival appearances, this group Durham-based clarinettist Gavin Lee leads this nationally- has been going since 1954. They play with verve and acclaimed band which specializes in the authentic traditional enthusiasm and their repertoire covers the whole spectrum jazz music of the “Crescent City”. Their energetic and of traditional jazz, from rags and pop to blues and original interpretations of rarely-heard classic tunes are marches, with influences from such greats as Armstrong perfect for listening - and dancing! and Williams.
    [Show full text]
  • JAZZ WORTH READING: “THE BOSTON JAZZ CHRONICLES: FACES, PLACES and NIGHTLIFE 1937-1962″ Posted on February 20, 2014
    From Michael Steinman’s blog JAZZ LIVES MAY YOUR HAPPINESS INCREASE. Jazz: where "lives" is both noun and verb JAZZ WORTH READING: “THE BOSTON JAZZ CHRONICLES: FACES, PLACES AND NIGHTLIFE 1937-1962″ Posted on February 20, 2014 Some of my readers will already know about Richard Vacca’s superb book, published in 2012 by Troy Street Publishing. I first encountered his work in Tom Hustad’s splendid book on Ruby Braff, BORN TO PLAY. Vacca’s book is even better than I could have expected. Much of the literature about jazz, although not all, retells known stories, often with an ideological slant or a “new” interpretation. Thus it’s often difficult to find a book that presents new information in a balanced way. BOSTON JAZZ CHRONICLES is a model of what can be done. And you don’t have to be particularly interested in Boston, or, for that matter, jazz, to admire its many virtues. Vacca writes that the book grew out of his early idea of a walking tour of Boston jazz spots, but as he found out that this landscape had been obliterated (as has happened in New York City), he decided to write a history of the scene, choosing starting and ending points that made the book manageable. The book has much to offer several different audiences: a jazz- lover who wants to know the Boston history / anecdotal biography / reportage / topography of those years; someone with local pride in the recent past of his home city; someone who wishes to trace the paths of his favorite — and some obscure — jazz heroes and heroines.
    [Show full text]
  • Massachusetts: State of Jazz
    Massachusetts:Massachusetts - TheThe StateState ofof JazzJazz George Wein Esperanza Spalding Willie Colon When Fenway Park celebrated its The Boston Jazz Festival moved centennial in April, I found myself to Pleasure Island Amusement Park Welcome digging into the news archives to in Wakefield in 1960, and then it The Massachusetts Office see what else happened at the ended abruptly. Wein continued of Travel & Tourism is proud famous ballpark over the past his illustrious career in jazz, as to support MassJazz. This century. evidenced by this year’s Newport Sure enough, Fenway was home Festival and by his countless other guide provides you with to the first Boston Jazz Festival, good works over half a century. endless ways to enjoy on August 21-23, 1959. It was It got me thinking about the Massachusetts’ rich jazz organized by jazz impresario and ebb and flow of jazz. Even great heritage and the festivals, Newton native George Wein, who festivals come and go, due to events, restaurants and five years earlier had launched the various factors: shifting public venues – large and small Newport Jazz Festival. tastes, economic conditions, – that offer opportunities to Wein, a talented jazz pianist, sponsorship availability, and booked an amazing line-up at the fortitude of musicians and experience this great music. Fenway: Duke Ellington, Dizzy promoters in any given year. Enjoy this guide, and Gillespie, Oscar Peterson, Pee Wee There is an upswing in jazz Massachusetts jazz! Russell, Thelonious Monk, Dave festivals in Massachusetts, with Brubeck & Paul Desmond, and the four new festivals in 2012 and Betsy Wall Modern Jazz Quartet.
    [Show full text]
  • The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr.
    [Show full text]
  • Whicl-I Band-Probably Sam; Cf
    A VERY "KID" HOWARD SUMMARY Reel I--refcyped December 22, 1958 Interviewer: William Russell Also present: Howard's mother, Howard's daughter, parakeets Howard was born April 22, 1908, on Bourbon Street, now renamed Pauger Street. His motTier, Mary Eliza Howard, named him Avery, after his father w'ho di^d in 1944* She sang in church choir/ but not professionally. She says Kid used to beat drum on a box with sticks, when he was about twelve years old. When he was sixteen/ he was a drummer. They lived at 922 St. Philip Street When Kid was young. He has lived around tliere all of his life . Kid's father didn't play a regular instrument, but he used to play on^ a comb, "make-like a. trombone," and he used to dance. Howard's parents went to dances and Tiis mother remembers hearing Sam Morgan's band when she was young, and Manuel Perez and [John] Robichaux . The earliest band Kid remembers is Sam Morgan's. After Sam died, he joined the Morgan band/ witli Isaiah Morgan. He played second trumpet. Then he had his own band » The first instrument he.started on was drums . Before his first marriage, when he got his first drums/ he didn't know how to put them up. He had boughtfhem at Werlein's. He and his first wife had a time trying to put them together * Story about }iis first attempt at the drums (see S . B» Charters): Sam Morgan had the original Sam Morgan Band; Isaiah Morgan had l:J^^i', the Young Morgan Band.
    [Show full text]
  • (WR Has Heard Recordings of Lprenzo, Jr., Made When He Played The
    1 PAUL BEAULIEU Also present: William Russell I [of 4]-Digest-Retyped Ralph Collins June 11, 1960 (Interview conducted at liome of Paul Beaulieu on[1134 N.] Robertson Street Paul William Beaulieu was born on Burgundy Street in the French » ^ Quarter of New Orleans on October 20, 1888. His father was an amateur flute player. PB's first instrument was piano, which he studied with Ellen Myers [spelling?], beginning when he was eight or nine years old. He studied solfege with Mrs. [White?], when he was attending Straight University (which was tlnen-on Canal between Tonti and Rocbe'blave-Straight merged with New Orleans University to form the present Dillard University). When PB was a teen-ager, "he studied cello, the clarinet and the saxopl'ione. He studied cello with a French artist who was in New Orleans with the French Opera Company; PB had begun studying harmony with the French artist shortly before the latter left town. PB continued harmony study with Professor Louis "Papa" Tio (brother of Lorenzo Tioy Sr., and uncle of Lorenzo Tio/ Jr.). Lorenzo, Sr., moved himself and his family from New Orleans to Bay St. Louis or Pass Christian [Mississippi]. He and his brother, Louis, were cigar makers. Both brothers played all the reed instruments. Lorenzo, Sr., could tongue very rapidly; .he had a sweet tone; he was an excellent musician. He taught his son, Lorenzo, Jr. to play. (WR has heard recordings of Lprenzo, Jr., made when he played the [A. J.] Piron band.) PB doesn't know where the Tio family came fr om originally, but he.says they [Lorenzo, Sr./ and Louis] got their musical education at a conservatory in Mexico; they also spoke Spanish and French fluently.
    [Show full text]
  • Wavelength (November 1984)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 11-1984 Wavelength (November 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (November 1984) 49 https://scholarworks.uno.edu/wavelength/49 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. I I ~N0 . 49 n N<MMBER · 1984 ...) ;.~ ·........ , 'I ~- . '· .... ,, . ----' . ~ ~'.J ··~... ..... 1be First Song • t "•·..· ofRock W, Roll • The Singer .: ~~-4 • The Songwriter The Band ,. · ... r tucp c .once,.ts PROUDLY PR·ESENTS ••••••••• • • • • • • • •• • • • • • • • • • • • • • • ••••••••• • • • • • • • •• • • • • • • • • • • • • • •• • • • • • • • • • • • ••••••••••• • •• • • • • • • • ••• •• • • • • • •• •• • •• • • • •• ••• •• • • •• •••• ••• •• ••••••••••• •••••••••••• • • • •••• • ••••••••••••••• • • • • • ••• • •••••••••••••••• •••••• •••••••• •••••• •• ••••••••••••••• •••••••• •••• .• .••••••••••••••••••:·.···············•·····•••·• ·!'··············:·••• •••••••••••• • • • • • • • ...........• • ••••••••••••• .....•••••••••••••••·.········:· • ·.·········· .....·.·········· ..............••••••••••••••••·.·········· ............ '!.·······•.:..• ... :-=~=···· ····:·:·• • •• • •• • • • •• • • • • • •••••• • • • •• •
    [Show full text]
  • To Jazz Fest
    Tulane University She brings "Soul Power" to Jazz Fest May 03, 2012 2:30 AM Ryan Rivet [email protected] Five days a week, Melissa Weber is a manager in the Office of Cocurricular Programs of Newcomb- Tulane College. At nights and on weekends, however, she takes to the airwaves and club stages as her alter ego, D.J. Soul Sister. Tulane staff member Melissa Weber, a.k.a. D.J. Soul Sister, spreads the word about the music she loves. (Photo by Marc Pagani) Weber, who's hosted her “Soul Power” program on WWOZ-FM radio for 16 years, also has brought her show to the New Orleans Jazz and Heritage Festival as both a performer and interviewer since 2009. A respected live disc jockey artist, Weber opened for Cee Lo Green on the Congo Square stage last weekend and interviewed drummer Bill Summers on the Allison Miner Music Heritage Stage. “This year was absolutely great, maybe my favorite experience out of all four years,” Weber says. “I really wanted to tap into the fun energy of Cee Lo, and so I did that with the music I played. The crowd was so energetic, like I've never seen before.” She uses both the performance and the interview as a “means to the same end,” Weber says. “My mission [is] sharing soulful music and stories of the pioneers who have paved the way,” Weber says. “I'm honored to do both in order to support the music and musicians that I believe in and have loved since I was very young.” Tulane University | New Orleans | 504-865-5210 | [email protected] Tulane University Weber describes herself as “extremely camera shy,” so it seems odd that she could be so passionate about being in front of large crowds.
    [Show full text]
  • 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.
    [Show full text]
  • Tommy Dorsey 1 9
    Glenn Miller Archives TOMMY DORSEY 1 9 3 7 Prepared by: DENNIS M. SPRAGG CHRONOLOGY Part 1 - Chapter 3 Updated February 10, 2021 TABLE OF CONTENTS January 1937 ................................................................................................................. 3 February 1937 .............................................................................................................. 22 March 1937 .................................................................................................................. 34 April 1937 ..................................................................................................................... 53 May 1937 ...................................................................................................................... 68 June 1937 ..................................................................................................................... 85 July 1937 ...................................................................................................................... 95 August 1937 ............................................................................................................... 111 September 1937 ......................................................................................................... 122 October 1937 ............................................................................................................. 138 November 1937 .........................................................................................................
    [Show full text]