JAMU 20141105-1 – Swing
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Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
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. -
Ernest Elliott
THE RECORDINGS OF ERNEST ELLIOTT An Annotated Tentative Name - Discography ELLIOTT, ‘Sticky’ Ernest: Born Booneville, Missouri, February 1893. Worked with Hank Duncan´s Band in Detroit (1919), moved to New York, worked with Johnny Dunn (1921), etc. Various recordings in the 1920s, including two sessions with Bessie Smith. With Cliff Jackson´s Trio at the Cabin Club, Astoria, New York (1940), with Sammy Stewart´s Band at Joyce´s Manor, New York (1944), in Willie ‘The Lion’ Smith´s Band (1947). Has retired from music, but continues to live in New York.” (J. Chilton, Who´s Who of Jazz) STYLISTICS Ernest Elliott seems to be a relict out of archaic jazz times. But he did not spend these early years in New Orleans or touring the South, but he became known playing in Detroit, changing over to New York in the very early 1920s. Thus, his stylistic background is completely different from all those New Orleans players, and has to be estimated in a different way. Bushell in his book “Jazz from the Beginning” says about him: “Those guys had a style of clarinet playing that´s been forgotten. Ernest Elliott had it, Jimmy O´Bryant had it, and Johnny Dodds had it.” TONE Elliott owns a strong, rather sharp, tone on the clarinet. There are instances where I feel tempted to hear Bechet-like qualities in his playing, probably mainly because of the tone. This quality might have caused Clarence Williams to use Elliott when Bechet was not available? He does not hit his notes head-on, but he approaches them with a fast upward slur or smear, and even finishes them mostly with a little downward slur/smear, making his notes to sound sour. -
Howard Scott
THE RECORDINGS OF HOWARD SCOTT An Annotated Tentative Discography SCOTT, Howard born: c. 1900 Played with Shrimp Jones (late 1923); recorded with Fletcher Hendserson starting with Edison session (Nov. 1923), and played with Henderson from Jan. 1924 till Apr. 1925. With Bill Brown (fall 1925); Allie Ross (spring 1926); Joe? Wynne (Aug. 1927); Alex Jackson (early 1929); Lew Leslie show (1929-30); Kaiser Marshall (early 1932); possibly with Chick Webb (c. 1932); Benny Carter (late 1932); recorded with Spike Hughes (May 1933); James P. Johnson (1934). Frank Driggs met him first in fall of 1971; the last surviving member of Fl. Henderson´s first regular band, he is retired from a Civil Service job, reportedly is executive of the New Amsterdam Musical Association in Harlem, and still well and hearty! (W.C. Allen, Hendersonia, 1973) SCOTT, HOWARD STYLE Howard Scott has a habit of dropping pitch at the end of his notes and bending his notes downward to the consecutive notes, very similar to Louis Metcalf. Stylistically, he is a follower of Johnny Dunn´s kind of playing. Because of sufficient technical ability and expertize he is able to turn his style in the direction of his stronger colleagues in the Henderson band, Joe Smith and Louis Armstrong. This may have been the cause for Henderson to engage him from the Shrimp Jones band. It is interesting to recognize how Scott develops into a sincere hot soloist, beginning with some awkward old-fashioned 6/8 phrasing in session 001 to a respectable hot blues accompanist at later sessions. It really seems to be a blow of fate that he had to retain when Armastrong joined the band. -
Benny Goodman's Band As Opening C Fit Are Russell Smith, Joe Keyes, Miller Band Opened a Week Ago Bassist
orsey Launches Brain Trust! Four Bands, On the Cover Abe Most, the very fine fe« Three Chirps Brown clarinet man. just couldn't mm up ’he cornfield which uf- 608 S, Dearborn, Chicago, IK feted thi» wonderful opportunity Entered as «cwwrf Hom matter October 6.1939. at the poet oHice at Chicano. tllinou, under the Act of March 3, 1379. Copyright 1941 Taken Over for shucking. Lovely gal io Betty Bn Down Beat I’ubliAing Co., Ine. Janney, the Brown band'* chirp New York—With the open anil rumored fiancee of Most. ing of his penthouse offices Artene Pie- on Broadway and the estab VOL. 0. NO. 20 CHICAGO, OCTOBER 15, 1941 15 CENTS' lishment of his own personal management bureau, headed by Leonard Vannerson and Phil Borut, Tommy Dorsey JaeÆ Clint Brewer This Leader's Double Won Five Bucks becomes one of the most im portant figures in the band In Slash Murder business. Dorsey’s office has taken New York—The mutilated body of a mother of two chil- over Harry James’ band as Iren, found in a Harlem apartment house, sent police in nine well as the orks of Dean Hud lates on a search for Clinton P. Brewer last week. Brewer is son, Alex Bartha and Harold ihe Negro composer-arranger who was granted a parole from Aloma, leader of small “Hawaiian” style combo. In Addi the New Jersey State Penitentiary last summer after he com tion. Dorsey now is playing father posed and arranged Stampede in G-Minor, which Count to three music publishing houses, the Embassy, Seneca and Mohawk Ie’s band recorded. -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz. -
Aaron SACHS: Frank SACKENHEIM: Fats SADI: Eddie SAFRANSKI
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Aaron SACHS: "Clarinet & Co" Phil Sunkel, Bernie Glow -tp; Frank Rehak -tb; AARON SACHS -cl,ts; Gene Allen -bs; Nat Pierce - p; Aaron Bell -b; Osie Johnson -d; recorded February 18 and 21, 1957 in New York 33134 RONDO BLUES 3.45 Rama RLP 1004 33135 JUST SICK BLUES 2.54 --- 33136 BLUE SOPHISTICATE 4.02 --- 33137 CONVERSATION 2.39 --- 33138 MONA'S KIMONA 4.01 --- 33139 COUNTRYFIELD 3.46 --- 33140 WIGGINS 3.26 --- Aaron Sachs -cl,ts; Hal Overton -p; Jimmy Raney -g; Aaron Bell -b; Osie Johnson -d; recorded March 04, 1957 in New York 33141 GORME HAS HER DAY 3.07 --- 33142 I CAN'T BELIEVE 2.58 --- 33143 HAL'S LOFT 2.43 --- 33144 NANCY 3.22 --- ------------------------------------------ Frank SACKENHEIM: "WDR3:Jazz.Cologne" Frank Sackenheim Trio: Frank Sackenheim -ts; Henning Gailing -b; Jonas Burgwinkel -d; recorded July 10, 2005 in Funkhaus Wallrafplatz, Köln 77097 DEIN IST MEIN GANZES HERZ 7.55 Aircheck 77098 L.O.V.E. 5.22 --- 77099 RED ROSES 8.16 --- 77100 SPEAK LOW 11.40 --- 77101 ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT 7.53 --- 77102 GAMES THAT LOVERS PLAY 8.05 --- ------------------------------------------ Fats SADI: "Ensadinado" Fats Sadi -vib; Jimmy Woode -b; Francy Boland -p; Kenny Clarke -d; recorded March 21, 1966 in Köln 16279 NIGHT LADY 4.18 Saba SB15111 16280 ENSADINADO 4.46 --- 16281 GOODBYE 3.16 --- 16282 THE SAME 5.06 --- 16283 ALL OF YOU 3.24 --- 16284 -
Fletcher Henderson and His Orchestra Fletcher Henderson and His Orchestra Vol
Fletcher Henderson And His Orchestra Fletcher Henderson And His Orchestra Vol. 1 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Fletcher Henderson And His Orchestra Vol. 1 Country: Denmark MP3 version RAR size: 1979 mb FLAC version RAR size: 1230 mb WMA version RAR size: 1840 mb Rating: 4.2 Votes: 246 Other Formats: VOC RA MMF AU AHX AAC AUD Tracklist A1 Gulf Coast Blues A2 Down Hearted Blues A3 Dicty Blues A4 Do Doodle Dom A5 Just Hot A6 Down South Blues A7 You Got To Get Hot A8 Charleston Crazy B1 Old Black Joe's Blues B2 Potomac River Blues B3 Cotton Picker's Ball B4 Lots O'Mama B5 Chicago Blues B6 Feelin' The Way I Do B7 Tea Pot Dome Blues B8 Mobile Blues Credits Alto Saxophone – Don Redman Banjo – Charlie Dixon Baritone Saxophone – Billy Fowler Bass Tuba – Bob Escudero Clarinet – Don Redman Drums – Kaiser Marshall Piano – Fletcher Henderson Tenor Saxophone – Coleman Hawkins Trombone – Teddy Nixon Trumpet – Elmer Chambers, Howard Scott Notes Coating Cover Flipback Style. Related Music albums to Fletcher Henderson And His Orchestra Vol. 1 by Fletcher Henderson And His Orchestra Fletcher Henderson - The Immortal Fletcher Henderson Monette Moore - Down Hearted Blues/Gulf Coast Blues Fletcher Henderson And His Orchestra / Fletcher Henderson His Orchestra - The Gouge Of Armour Avenue / Hard Hearted Hannah Fletcher Henderson - Swing 1929 To 1937 Fletcher Henderson And His Dixie Stompers - 1927-28 Fletcher Henderson - The Harmony & Vocalion Sessions Volume 2 1927-1928 Fletcher Henderson And His Orchestra - 1934 Fletcher Henderson's Orchestra Featuring Louis Armstrong - Coleman Hawkins - Joe Smith - Fletcher Henderson Orchestra 1923-1927. -
Download the TROMBONE of Benny Morton
1 The TROMBONE of HENRY STERLING MORTON “BENNY” Solographers: Jan Evensmo & Ola Rønnow Last update: March 11, 2020 2 Born: NYC. Jan. 31, 1907 Died: NYC. Dec. 28, 1985 Introduction: Benny Morton was the most elegant of the black trombone players of the swing era, his music always had great qualities, and he had only a very few competitors on his instrument. He certainly deserves to be remembered! Early history: Step-father was a violinist. Studied at Textile High School in New York and began ‘gigging’ with school friends. Spent several years on and off with Billy Fowler’s orchestra from 1924. With Fletcher Henderson (1926-28). With Chick Webb (1930-31), then rejoined Fletcher Henderson (March 1931). With Don Redman from 1932 until 1937, joined Count Basie in October 1937. Left Basie in January 1940 to join Joe Sullivan’s band at Café Society. With Teddy Wilson sextet from July 1940 until 1943, then worked in Edmond Hall’s sextet (ref. John Chilton: Who’s Who of Jazz). Message: My co-solographer Ola Rønnow is a professional bass trombone player in the orchestra of the Norwegian National Opera , as well as playing trombone in Christiania 12, a local swing orchestra with a repertoire from the twenties and thirties. He has contributed many of the comments, particularly those which show a profound knowledge of the instrument, and an insight which I can only admire. 3 BENNY MORTON SOLOGRAPHY FLETCHER HENDERSON & HIS ORCHESTRA NYC. May 14, 1926 Russell Smith, Joe Smith, Rex Stewart (tp), Benny Morton (tb), Buster Bailey, Don Redman (cl, as), Coleman Hawkins (cl, ts), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Ma rshall (dm). -
Original Dixieland Jazz Band) Original Dixieland Jazz Band, 26
MUNI 20110926 – úvodní přednáška DIXIELAND 1. Dixieland Jass Band One-Step (Original Dixieland Jazz Band) Original Dixieland Jazz Band, 26. 2. 1917 Nick LaRocca-co; Eddie Edwards-tb; Larry Shields-cl; Henry Ragas-p; tony Sbarbaro [Spargo]-dr. Victor 18255/matrix number 19331-1. RCA ND 90560. NEW ORLEANS 2. Canal Street Blues (Joe Oliver-Louis Armstrong) King Oliver’s Creole Jazz Band, 5. 4. 1923 Joe “King” Oliver, Louis Armstrong-co; Honore Dutrey-tb; Johnny Dodds-cl; Lil Hardin-p; Arthur “Bud” Scott-bjo; Bill Johnson-tu?; Warren “Baby” Dodds-dr. Gennett 5133/11384-B. Masters MJCD 1. 3. King Porter Stomp (Ferdinand Joseph Lamenthe Morton) Jelly Roll Morton-solo piano, 17. 7. 1923 Gennett 5289/11537. Masters MJCD 19. BIG BANDS 4. Copenhagen (C. Davis-W. Melrose) Fletcher Henderson Orchestra, 30. 10. 1924 Elmer Chambers, Howard Scott-tp; Louis Armstrong-co; Charlie Green-tb; William “Buster” Bailey, Don Redman, Coleman Hawkins-reeds; Fletcher Henderson-p; Charlie Dixon-bjo; Ralph Escudero-tu; Joseph “Kaiser” Marshall-dr. Vocalion 14926/13928/9. Masters MJCD 21. 5. Rhapsody in Blue (George Gershwin/arr. Ferde Grofe) George Gershwin, Paul Whiteman and his Concert Orchestra, 21. 4. 1927 3 tp, 3 tb, 2 h, 4 sax, 5 vio, 2 vla, vcl, bjo, cel, tu, b, dr. Victor 35822/30173-8 & 30174-6. ASV AJA 5170. 6. East St. Louis Toodle-Oo (Duke Ellington-Bubber Miley) Duke Ellington and his Orchestra, 19. 12. 1927 Louis Metcalf, James “Bubber” Miley-tp; Tricky Sam Nanton-tb; Otto Hardwick-as, bs, bass sax; Harry Carney-bs, as, ss, cl; Rudy Jackson-cl, ts; Duke Ellington-p; Fred Guy-bjo; Wellman braud-b; Sonny Greer-dr. -
A Linked-Data Jazz Project for Stanford University Libraries
A Linked-Data Jazz Project for Stanford University Libraries Linked-Data Jazz Project Report December 2013 page Goal . 2 Background Objectives Audio surrogate example . 3 Status . 5 End notes . 7 Images . 8 1. Disc photos 2. COM index Experiment: RDI Label + issue-number links to re-releases 9 For access to internal document links and external URLs, please read this document on a computer, pad, etc. Page | 1 Goal Use linked data to rehabilitate and extend the reach of the explicit and implicit discographic relationships in the metadata that was built from 600,000+ commercial 78 rpm sound recordings during the early 1980s by the Rigler and Deutsch Record Index (RDI) project.1 Background The RDI project dealt with the historical sound collections at the Library of Congress and the New York Public Library, plus those at Stanford, Syracuse, and Yale universities. The work began by taking two high-resolution photographs of each disc-side – one photo with lighting designed to capture printed labels and a second aimed at highlighting information embossed into the disc surface (e.g., matrix numbers ). The metadata itself was created by data-entry staff who keyed input from enlarged images of the disc labels that were projected onto screens from copies of the photos stored on microfilm. An individual metadata record was created for each side of a disc – each side being equivalent to a separate recording session or take. It was common industry practice, especially with jazz and popular music, to release 78 rpm discs with different combinations -
Chronological Discography
Chronological Discography arranger g guitar as alto saxophone 0 pipe organ bb brass bass (sousaphone/tuba) p piano bj banjo ss soprano saxophone bs baritone saxophone t trumpet c comet tb trombone cl clarinet ts tenor saxophone d drums v vocals db double bass vib vibraphone dir director vn violin f flute This chronological list contains most known releases on which Danny Barker plays and sings. Titles are given as they appear on the record labels. Where possible, the first issue number is given, but the complexity of subsequent reissues is such that these are not shown. In preparing the list much use has been made of the works cited in the acknowledgment section as well as Stagg and Crump: New Orleans: the Revival (Dublin, 1973). 1931 Ward Pinkett (t, v); Albert Nicholas (cO; Jack Russin (p); Danny ]une9 NewYork Barker(g);Joe Watts (db); Sam Weiss (d) Dave's Harlem Highlights 95337-1 Everything is okey-dokey (WP:v) Bluebird B-6144 Dave Nelson (1, v); Clarence Brereton (t); Melvin Herbert/Harry 95338-1 I'm on a see-saw (WP:v) Bluebird B-6130 Brown (t); Wilbur de Paris (tb); Buster Bailey (cl, as); Glyn Paque (cl, 95339-1 Red sails in the sunset (WP:v) Bluebird B-6131 as); Charles Frazier (ts); Wtryman Caroer (ts, f); Sam Allen (p); 95340-1 Tender is the night (WP:v) Bluebird B-6131 •Danny Barker (bj); Simon Marrero (bb); Gerald Hobson (iii 95341-1 I'mpaintingthetownred 69905-1 Somebody stole my gal Timely Tunes C-1587 (to hide a heart that's blue) Bluebird B-6130 69906-1 Rockin' Chair Timely Tunes C-1576 95342-1 Tap Room Special (Panama) Bluebird B-6193 69907-2 Loveless Love Timely Tunes C-1577 69908-2 St.