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Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Red Hot Songs
Red Hot Songs 1 2 4 5 A B C D E F G H I J K L M N O P Q R S T U V W Y Z Red Hot Songs - ['] Song Title Artist/Group or Commentary 'Lasses Candy Original Dixieland Jass Band 'Round My Heart Coon Sanders Nighthawks Orchestra 'S Wonderful 'Tain't Clean Boyd Senter Trio http://cij-assoc.com/jazzpages/alphasonglist.html [2003-02-19 00:49:52] The Red Hot Jazz Archive - Songs Red Hot Songs - [1] Song Title Artist/Group or Commentary 1-2-1944 (intro, song - "Valencia") 12-24-1944 (intro, Bing, Pops & The King's Men) 12-28-1938 (intro) 12th Street Blues Anthony Parenti's Famous Melody Boys 12th Street Blues Anthony Parenti's Famous Melody Boys 12th Street Rag Richard M. Jones 18th Street Stomp Fats Waller 18th Street Strut The Five Musical Blackbirds 18th Street Strut The Bennie Moten's Kansas City Orchestra http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/1.html (1 of 2) [2003-02-19 00:50:48] The Red Hot Jazz Archive - Songs 1919 Rag Kid Ory's Creole Orchestra 1943 (Gracie's "Concerto for Scales and Clinker") 19th Street Blues Dodds And Parham http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/1.html (2 of 2) [2003-02-19 00:50:48] The Red Hot Jazz Archive - Songs Red Hot Songs - [2] Song Title Artist/Group or Commentary 29th And Dearborn Johnny Dodds and his Chicago Boys 29th And Dearborn Richard M. Jones' Three Jazz Wizards http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/2.html [2003-02-19 00:51:05] The Red Hot Jazz Archive - Songs Red Hot Songs - [4] Song Title Artist/Group or Commentary 47th Street Stomp Jimmy Bertrand's -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 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]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation 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 Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
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”. -
Louis Armstrong
A+ LOUIS ARMSTRONG 1. Chimes Blues (Joe “King” Oliver) 2:56 King Oliver’s Creole Jazz Band: King Oliver, Louis Armstrong-co; Honore Dutrey-tb; Johnny Dodds-cl; Lil Hardin-p, arr; Arthur “Bud” Scott-bjo; ?Bill Johnson-b; Warren “Baby” Dodds-dr. Richmond, Indiana, April 5, 1923. first issue Gennett 5135/matrix number 11387-A. CD reissue Masters of Jazz MJCD 1. 2. Weather Bird Rag (Louis Armstrong) 2:45 same personnel. Richmond, Indiana, April 6, 1923. Gennett 5132/11388. Masters of Jazz MJCD 1. 3. Everybody Loves My Baby (Spencer Williams-Jack Palmer) 3:03 Fletcher Henderson and his Orchestra: Elmer Chambers, Howard Scott-tp; Louis Armstrong-co, vocal breaks; Charlie Green-tb; Buster Bailey, Don Redman, Coleman Hawkins-reeds; Fletcher Henderson-p; Charlie Dixon- bjo; Ralph Escudero-tu; Kaiser Marshall-dr. New York City, November 22-25, 1924. Domino 3444/5748-1. Masters of Jazz MJCD 21. 4. Big Butter and Egg Man from the West (Armstrong-Venable) 3:01 Louis Armstrong and his Hot Five: Louis Armstrong-co, voc; Edward “Kid” Ory-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; May Alix-voc. Chicago, November 16, 1926. Okeh 8423/9892-A. Maze 0034. 5. Potato Head Blues (Armstrong) 2:59 Louis Armstrong and his Hot Seven: Louis Armstrong-co; John Thomas-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; Pete Briggs-tu; Warren “Baby” Dodds-dr. Chicago, May 10, 1927. Okeh 8503/80855-C. Maze 0034. 6. Struttin’ with Some Barbecue (Armstrong) 3:05 Louis Armstrong and his Hot Five. -
Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne -
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 ......................................................................................................... -
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. -
PROTEST POP MUSIC ATTACK! Musicians Not Hearings on Leaders Wire Scarce—Pollack Tea Charges Senators Who Start Feb
CHICAGO. FEBRUARY IS, PROTEST POP MUSIC ATTACK! Musicians Not Hearings on Leaders Wire Scarce—Pollack Tea Charges Senators Who Start Feb. 16 Sidemen Themselves Took Fast Rap Have Wrong Picture New York—Trial of Pvta. Mike Bryan and George Auld on nar Of True Situation cotic charges, originally scheduled "Good Thing If Ban On for February 4, was «witched to Chicago "Im rearing induction« February 16 by joint agreement Records Wipes Out All nay alter the situation, but there of the government and defense at Jive and Jazz," They Say hat- been no serious snortagi of torneys Bryan ha» already been good musicians up to this point,” given u sentence of a year in jail ■aid Ben Pollack, manager of the y a military court on charges of Chicago—Indignant pro | Chieo Marx orchestra, during their desertion, this because of his ab tests from America’s nam recent engagement at the Oriental sence from a military stockade in theater here. Miami last month. bandleaders flooded the U. S. Two other defendants, Teddy Senate in U aahington last Reig and Rose Reynolds, will prob “If you’re talking about the week as a mult of ihe rurtitin- ‘name’ sidemen, chaps who have ably plead guilty to chargee of built reputations with big bandx, evasion of the marijuana tax law. wide publicity drriding popu Andrew Weinberger, Auld’a at that’s something else again,” add lar American mnide stirred up ed the chubby discoverer of more torney, said he thought he would real musical talent than any lead fight the ease pointing out that by the senate's investigate« Auld was merely charged with con er in the field. -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
13. Cleveland Jazz Guitarists
13. Cleveland Jazz Guitarists itariSts who grew up in still a teenager. He joined the leveland have been among musicians' union when he was 16. By Gthe most important and most 1940, when he was 17, he was playing acclaimed in jazz history. They all at parties and country clubs around drew their inspiration from the all Cleveland. "I played with band leaders time grand masters of jazz guitar, Clint Noble and Jack Horowitz," he Django Reinhardt and Charlie said, but he had bigger plans. Christian. "In 1941, I went to New York to become famous. My father borrowed Fred Sharp $50 on his life insurance policy and Anyone who was even a casual gave me the money to go. Joe Sharp listener ofjazz in Cleveland from the never had money at all. In New York, 1940s to the '80s probably heard I put in for my union card. You had to guitarist Fred Sharp. He played with stay six months to get your card and I some ofthe biggest names in jazz and went to the union floor every day and was the man Jim Hall credited as his started to get some club dates. The teacher. scale was $7 then for a club date, but In the mid-1930s, when Sharp was most everybody paid $4." growing up in the Glenville area of Courtesy of Fred Sharp When he was still in his teens, Fred Sharp and Babik Reinhardt, Cleveland and listening to music on Sharp remembered he almost starved the 23-year-old son of Sharp's the radio, the guitar, with a few guitar idol Ojango Reinhardt, in trying to become famous in New exceptions, was not a solo jazz voice, Paris in 1967 York. -
Jazzletter PO Box 240, Oiai CA93024-0240
GerE Lrc Ad Libitwm & Jazzletter PO Box 240, Oiai CA93024-0240 Rodin, Dick Morgan, Benny Goodman and Glenn Miller had The Glenn Miller Years II a suite. We all moved into that, practically the whole band, with the exception of Pollack, sleeping on chairs, couches, of the apartment was 1411' The Pollack band was booked to play at the Little Club on the floor, anywhere. The number came up: Room l4l l,with Benny 44th Street in New York, and opened there in March 1928. And that is how that title We hadbeen out ofwork about five weeks Bud Freeman years later recalled that the band's personnel at Goodman's Boys. home and said, 'I've got a recording date that time included himself, Gil Rodin, and Benny Goodman when Benny came can get some money, buy some food, on saxes; Glenn on trombone, Al Harris on trumpet, Jimmy with Brunswick. We McPartland playing jazzcornet, Goodman's brother Harry on eat."' least in that period of the big bands, bass, Vic Briedis on piano, Dick Morgan on guitar, and of (Jazz mtsicians, at have always found charming and course Pollack on drums. had a term, that I for one to staying in someone else's hotel Freeman said, "We were only there a couple of months and inventive: they referred paying for it as "ghosting.") were continually getting in trouble with the boss. We were room without registering or o'We Miller, myself and two or jusl an independent bunch of individuals and were always made that date. Goodman, playing different kinds of numberclike Blue and fluffing the boss off and getting just as fed up with him as he three more, we named Room l4l l.