High Fidelity Magazine March 1957

Total Page:16

File Type:pdf, Size:1020Kb

High Fidelity Magazine March 1957 MURRAY LEHRER: Freilach in Hi -Pi, anthology of folk ballads in English. The sound, like the content, is first -rate. Vol. 2 i Murray Lehrer and his ensemble. CONCORD OF ALGIERS: I PERIOD RL 1916. 12 -in. $4.98. TORAIA ORCHESTRA RELEASE NO. 4 Music of the Arab People contagious type of dance mu- I A rollicking, Toraia Orchestra of Algiers with soloists. sic brought to perfection in the rented -hall Eso.rmtic ES -547. 12 -in. $4.98. New York's lower "THEY ALL DIE IN THIS ONE" I wedding receptions of East Side. In their second successful bout Crystalline sound and vivid performances a I IFamous operatic death scenes in wonderful at least on discs by (who else ?) with the genre- - are the hallmark of this recording of the and unique collection! Cover Charles Addams. Sung with members of the Lehrer's forces burst with capability and exotic polyrhythmic music of North Africa. Opera Association. 1 Metropolitan enthusiasm. Sparkling engineering more The songs are presented in what seem Finale I. PONCHIELLI: Gioconda: rhan justifies the "Hi -Fi" of the title. to be café versions; in any case they are 2. REFICE: Cecelia: Morta a sophisticated step removed from their 3. DONIZETTI: Lucia: Tu the a Dio LOS GITANILLOS DE BRONCE: Fla- Bedouin origins. h is this very polish, 14. VERDI: Otello: Nium mi tema menco however, that makes them more readily 5. PUCCINI: Butterfly: Tu, tu piccolo Iddiol ro casual western ear. The 16. VERDI: Aida: O terra addio Los Gitanillos de Bronce, flamenco troupe. acceptable the 7. BIZET: Carmen: C'est toi MONTILLA FM 87. 17-in. $4.98. Ensemble's star dancing girl -vocalist, Anissa IB. VERDI: Rigolefto: Lassu in ciel Toraia, has a smoldering, sensuous voice Albert DaCosta, Sandra Warfield, James Mc- LOS BOCHEROS: Folk Music From that makes short work of language barriers. Cracken, Frank Valentino, Valeria Ruggeri, One can find oneself speculating on 1 Brenda Lewis, Mariquita Moll, Bruno Landi, Spain Maria leone, Franco Mieli, Adriana Ferrari. whether Miss Toraiá s physical charms Philharmonia conducted by Hans. Los Bocheros, vocal and instrumental quin- Concord equal her vocal vitality. 1 Jurgen Walther. ter. Concord 3010 -Long Play 12" Recording -$3.96 12 -in. MONTILLA FM 86. S4.98- Other Folk Music o Two more entries in the burgeoning re- Pete Seeger and his banjo breathe life into corded body of Spanish music. Lo.t Gilamil- IBRAHMS: Hungarian Dances some twenty-five ballads connected with Ins are a dynamic and talented quartet of (Complete) the American labor movement on Folk- flamenco singers and dancers, for whom Wild as the wind stirring as a gypsy's ways FIT 525 t, titled American Industrial one Aparicio provides a very capable con- violnl All of the beauIifu'. dances that first Ballads. The songs are not without in- made Brahms famous . complete on one I trapuntal guitar accompaniment. Very well record. Victor Alessandro conducting the 011a. terest, but generally they are of more engineered. the disc fits somewhere in the Ihome City Symphony Orchestra. sociological than musical import. The upper echelon of flamenco offerings. The Concord 3011 -Long Play 12" Recording -53.98 I melancholy truth seems to he that Ameri- uniniraced in particular should find the can unionists, unlike their European coun- presentation rewarding, since Los Gitanillos I I terparts, have failed to produce much of have thoughtfully shaped a cross section of "TENOR SAX" value in the way of orking -class balladry. the idiom. Daniel Montorio rounds out the IOne of the most luscious, exciting records in I Patrick O'Hagan, a gifted tenor, is beset the Jazz idiom ever released! A "must" for record by conducting an orchestra in a by a grotesque organ accompaniment in an Ievery collector . created by six of the I workmanlike pasodoble and jota. greatest tenor sax players of all time. excellent collection of Irish songs on Dear Los Bochares offer a different aspect of I DON BYAS: September Song - They Say It's I Little Shamrock (London, LL t524)- Spain; a five man choral and instrumental Wonderful While O'Hagan makes a valiant effort, no group, specializing in polished arrange- I STAN GETZ: Don't Worry About Me - And The I vocalist alive could surmount so ponderous Angels Sing ments of regional ballads. On the whole, Man Wrap a backdrop for such light -textured songs. COLEMAN HAWKINS: Old River- this is the kind of performance one is Your Troubles In Dreams Folkways also offers an addition to the likely to hear in the better -kept cafés of TED NASH: Over The Rainbow - Annie Laurie list of recordings of Israeli popular music. provincial cities. Smooth performance and ICHARLIE VENTURA: Dark Eyes - Big Deal I Israel Dances (FW 935) is the title of this Nell recorded. BEN WEBSTER: Body and Soul - Honeysuckle ten -inch disc, and features Tzabar Rose it the Group, singers and dancers from Israel now I Concord 3012 -Long Play 12" Recording -$3.98 I CLARA PETRAGLIA: Songs From Brazil studying in the United States. Dov Selrzer directs them in authentic performances that I Clara Petraglia, soprano, accompanying "THE SPANISH HARPSICHORD" are sometimes more excited than exciting. herself on the guitar. In Viennese Bonbons, Vol. 2, Anton Fernando Valenti plays a delightful program of WESTMINSTER WP 6030. t2 -in. $3.98. Karas of Third Alan fame strums his zither music by Spanish classical composers. in a breath- takingly hi -fl performance for SOLER: Sonata in D Flat Major Bright, intimate sound frames Clara Petrag- Period (SPL 5918). Viennese songs of the Sonata in f sharp minor liá s recital of a wide variety of Brazilian Strauss -Lehar school form the bulk of his Sonata in c minor folk airs. In coloration, Miss Petraglia's Sonata in D Flat Maior program and Karas skillfully milks them voice bears a marked similarity ro that of Sonata in F Sharp Major for every ounce of gemiitlichkeit. I Susan Reed. Also like Miss Reed, the GALLES: Sonata in f minor IANGLES: Adagietto Brazilian is a consummate artist. in fact, very probably repre- RODRIGUEZ: Rondo in B Flat This disc. IFREIXANET: Sonata in A Major sents the best collection of Brazilian folk THE BEST OF JAZZ ALBENIZ: Sonata in D Major song now in the catalogue. Thus, it is IFernando Valenti, harpsichord. doubly regrettable that Westminster did by John S. Wilson not sec to provide a single descriptive Concord 4004 -Long Play 12" Recording-S4.98 fit word on any of the songs. In short, first - rare singing, but you'll have to learn Por- CONCORD RECORDS tuguese if you want to knew what it's BROOKMEYER -SIMS QUINTET: Whooeeee "The Sound Heard 'Round The World! "® about. Every CONCORD Record Is wrapped three Iways to protect it from dirt, dust and finger- I The King: Lullaby of the Leaves; I Can't prints ... first in a polyethylene sleeve, second RIVERSIDE FOLK SONG SAMPLER Get Started with Yon; Snake Eyes: Morning in album an container, third in an hermetically Pun; Whooeeee: Someone to Watch Over I sealed plastic outer wrapper. RIVERSIDE S -2. 12 -in. $1.98. Me; illy Old Flame; Box Carl. Al your dealer or write: In making twenty top -flight selections from I Bob Brookmeyer, valve trombone; Zoot its catalogue available in this special bar- CONCORD RECORD Sims, tenor saxophone; Hank Joncs, piano; gain disc, Riverside provides an ideal op- CORPORATION I Bill Crow, bass; Jo Jones, drums. Bureau 8,519 S. portunity to anyone who would like to: Nt° Fifth Ave., STORYVILLE 914. t 2 -in. 37 min. 53.98. Mt. Vernon, Y. (r ) sample the Riverside line; (2) pro- J vide himself tvirh a compact, wide- ranging On paper, this lines up as one of the 88 HIGH FIDELITY MAGAZINE www.americanradiohistory.com.
Recommended publications
  • Hedenstromspr11.Pdf (1.367Mb)
    Big Band Jazz and 20th C. Art Music: The Historical Relationship Documented Aaron Hedenstrom Music Composition University of Wisconsin-Eau Claire Faculty Mentor: Ethan Wickman, DMA The Premise Data Analysis: Timeline of Events The art music tradition (music stemming from the European Classical tradition) and the jazz tradition have had major impacts on one another throughout the 20th and 21st 1920s 1922: Darius Milhaud composes composes Trois rag caprices centuries. This project was designed to lay out history's events to show the 1923: Darius Milhaud premieres La création du monde 1924: Gershwin premieres "Rhapsody in Blue" 1926: Duke Ellington's 10-piece band records "East St. Louis Toodle-oo" which was their first recording progression of 20th century music as it relates to the big band and art music traditions. 1927: Ellington's 10-piece band records "Black and Tan Fantasy" 1928: Ravel tours North America and composes Sonata for Violin and Piano, which has a slow movement called Blues. American press notes Ravel's love of jazz The importance of this relationship is evident in the immense popularity of jazz-art and blues music hybrids like Rhapsody in Blue and also in the vast range of possibilities to be 1929: Gershwin premieres "An American in Paris" found in future musical creations. 1930s 1930: Duke Ellington's 12-piece band appears in film Check and Double Check and records the famous Mood Indigo. 1930: Gershwin writes "I Got Rhythm" 1932-1942: Ellington band enlarges to become 6 brass, 4 reeds, and rhythm section 1933-1938:
    [Show full text]
  • Discography of the Mainstream Label
    Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet
    [Show full text]
  • The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
    04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS
    [Show full text]
  • Jazzletter Jujy 1936, VOI
    Jazzletter Jujy 1936, VOI. 5 NO. 7 \ how much jazz had infused his playing. The miscegenation of Are You Reading jazz and hillbilly has longgone on in-Nashville. and some ofthe best of its players are at ease in both idioms. Someone Else’s Copy? Lenny Breau came up through country-and-western music. Each issue of The Underground Grammarian contains the his parents beingprofessionals in the field. and it was'Nashville above question. lt’s discouraging. in the struggle to keep a small that made him welcome. He is. like Garland,‘Carllile and Reed, publication alive. to hear someone say something like, “-1 just the result ofthejazz-country fusion, exceptythat Breau took it a love it. A friend sends me his copies when he’s through with step further and brought into his work the full range ofclassical them.” . A guitar technique. Chet Atkins was the first a&r man to givehim ' In publications supported by advertising. salesmen boast to his head, letting him record for RCAia milestone album in potential advertisers about how many people read each copy. which he showed 0-ff his startling. .for the time, jazz-classical and to the advertiser seeking exposure of his message. those ‘technique, Gene Bertoncini, who is ‘probably the best living figures have weight. He is less interested in how manyypeople exponent of jazz on the five-finger classical guitar. admires buy a periodical than in how many see it. An important Breau; but then you’ll search far to find a guitarist who doesn’t. phenomenon in periodical publishing is what is known as Lenny was a heroin addict.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • JREV3.8FULL.Pdf
    JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc.
    [Show full text]
  • Jeff Jarvis,Director
    CONCERT JAZZ ORCHESTRA JEFF JARVIS, DIRECTOR WITH SPECIAL GUEST GARY SMULYAN, BARITONE SAXOPHONE SUNDAY, APRIL 29, 2012 4:00PM UNIVERSITY THEATRE PLEASE SILENCE ALL ELECTRONIC MOBILE DEVICES. TONIGHT’S PROGRAM GENTLY / Bob Mintzer This well-crafted original is the title track of a recording of the Bob Mintzer Big Band. This recording project was unique in that the horn section stood in a circle surrounding a specially designed ribbon microphone that was extremely sensitive and accurate. This microphone would not accept loud dynamic levels, so Bob Mintzer wrote material that showcased the band playing at softer dynamics, which resulted in frequent use of muted brass, flugelhorns, and woodwinds. Today’s soloists include Josh Andree (tenor sax) and Will Brahm (guitar). THEN AND NOW / George Stone This terrific original composition and arrangement is featured on a recent recording of the George Stone Big Band entitled “The Real Deal”, performed by a collection of Southern California’s finest studio musicians. George’s music is frequently featured at our concerts because of its superior quality, both from a compositional standpoint and also in terms of orchestration. This piece has it all—melodic integrity, intense rhythms, lush harmonies, and sufficient solo space. Today’s soloists include Eun young Koh (piano), Josh Andree (tenor sax), Will Brahm (guitar), and Daniel Hutton (alto sax). CHINA BLUE / Jeff Jarvis Originally composed as a commission for a big band in Williamsburg VA, the work features a winding trumpet melody supported by muted trombone parts, warm flugelhorn lines, and beautiful woodwind parts played by the saxophone section. The piece proves challenging since the musicians are faced with executing exposed parts with delicacy and restraint.
    [Show full text]
  • Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot.
    [Show full text]
  • Herbie Hancock 1 Jive Hoot (Bob Brookmeyer)
    MUNI 20150420 – Herbie Hancock 1 Jive Hoot (Bob Brookmeyer) 4:43 From album BOB BROOKMEYER AND FRIENDS (Columbia CS 9037 / 468413) Bob Brookmeyer-vtb; Stan Getz-ts; Gary Burton-vib; Herbie Hancock-p; Ron Carter- b; Elvin Jones-dr. New York City, May 1964. Herbie Hancock: THE COMPLETE BLUE NOTE SIXTIES SESSIONS (all compositions by Herbie Hancock) Recorded at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey (all sessions) Three Wishes 5:10 Donald Byrd-tp; Wayne Shorter-ts; Herbie Hancock-p; Butch Warren-b; Billy Higgins-dr. December 11, 1961. From album Donald Byrd: FREE FORM (Blue Note 95961) Watermelon Man 7:08 Freddie Hubbard-tp; Dexter Gordon-ts; Herbie Hancock-p; Butch Warren-b; Billy Higgins-dr. May 28, 1962. From album TAKIN’ OFF (Blue Note 84109 / 46506) Yams 7:56 Jackie McLean-as; Donald Byrd-tp; Herbie Hancock-p; Butch Warren-b; Tony Williams-dr. February 11, 1963. Jackie McLean: VERTIGO (Blue Note LT-1085) Blind Man, Blind Man 8:16 Donald Byrd-tp; Grachan Moncur III-tb; Hank Mobley-ts; Grant Green-g; Herbie Hancock-p; Chuck Israels-b; Tony Williams-dr. March 19, 1963. MY POINT OF VIEW (Blue Note 84126 / 84126-2) Mimosa 6:34 Herbie Hancock-p; Paul Chambers-b; Willie Bobo-dr, timb; Oswaldo „Chihuahua“ Martinez-bongos, finger cymbals. August 30, 1963. INVENTIONS AND DIMENSIONS (Blue Note 84147 / -2) One Finger Snap 7:16 Freddie Hubbard-co; Herbie Hancock-p; Ron Carter-b; Tony Williams-dr. June 17, 1964. EMPYREAN ISLES (Blue Note 84175 / -2) Maiden Voyage 7:55 Dolphin Dance 9:16 Freddie Hubbard-tp; George Coleman-ts; Herbie Hancock-p; Ron Carter-b; Tony Williams-dr.
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]
  • Savoy and Regent Label Discography
    Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli.
    [Show full text]
  • Ed Dix Collection Finding Aid (PDF)
    University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketch …………………………………………………………………… 2 Scope and Content …………………………………………………………………… 2 Series Notes …………………………………………………………………………… 3 Container List …………………………………………………………………… 5 Series I: Scrapbooks …………………………………………………………… 5 Series II: Awards & Honors …………………………………………………… 8 Series III: Interviews …………………………………………………………… 8 Series IV: Reviews & Articles …………………………………………… 8 Series V: Photographs …………………………………………………… 13 Series VI: Brookmeyer Memorial …………………………………………… 13 Series VII: Educational Materials …………………………………………… 14 Series VIII: Correspondence …………………………………………………… 14 Series IX: Miscellaneous …………………………………………………… 22 Series X: Brookmeyer Compositions/Arrangements …………………………… 23 Addendum I …………………………………………………………………………… 28 Series I: General Business …………………………………………………… 28 Series II: Publications …………………………………………………… 32 Series III: Correspondence …………………………………………………… 33 Series IV: Miscellaneous …………………………………………………… 48 Series V: Additional Photographs …………………………………………… 50 Series VI: Media …………………………………………………………… 50 Series VII: Oversize Material …………………………………………… 51 MS275 – Ed Dix Collection 1 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION BIOGRAPHICAL SKETCH Tenor saxophonist, bandleader, and financial planner, Ed Dix was born in Kansas City in 1930. He began playing clarinet at age five, but switched to tenor sax at fourteen. While in high school, he toured the U.S. in bands styled after Glenn Miller’s. He was, himself, influenced by the playing of Lester Young, the tenor saxophonist in Count Basie’s band. For the first years of his adult life, Dix continued to tour in bands. It was Mary Ann (Dix’s wife, married 1950) who got him an audition for the Ralph Flanagan Band, with which he toured throughout the country – even playing at the Palladium. Dix also led a band of his own: The Eddie Dix Orchestra (“Music That Clicks with Dix”).
    [Show full text]