DOCSLIB.ORG

CLASSIC JAZZ This Page Intentionally Left Blank CLASSIC JAZZ

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

CLASSIC JAZZ This page intentionally left blank CLASSIC JAZZ A Personal View of the Music and the Musicians FLOYD LEVIN Foreword by BENNY CARTER UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London Title page illustration: The author and his wife, Lucille—Emperor and Empress of the 1985 Jazz Jubilee, Sacramento, California. Unless otherwise credited, all illustrations are by the author or are from his collection. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2000 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Levin, Floyd. Classic jazz : a personal view of the music and the musicians / Floyd Levin. p. cm. Includes index. isbn 0-520-21360-2 (cloth : alk. paper) 1. Jazz—History and criticism. 2. Jazz musi- cians—United States. I. Title. ml3508.l48 2000 781.65—dc21 00-022554 Manufactured in the United States of America 08 07 06 05 04 03 02 01 00 10987654321 The paper used in this publication meets the mini- mum requirements of ansi/niso z39.48-1992 (r 1997) (Permanence of Paper). To Lucille, my loving wife and perceptive editor, who shared these wonderful experiences with me. Her sincere praises buoyed my efforts, and her unerring criticisms deftly improved my narration. This page intentionally left blank CONTENTS FOREWORD BY BENNY CARTER xv PREFACE xvii ACKNOWLEDGMENTS xxiii INTRODUCTION 1 1 KID ORY AND THE REVIVAL ERA 9 Kid Ory / 11 Kid Ory’s Legendary 1921 Nordskog/Sunshine Recordings / 14 Papa Mutt Carey / 24 Buster Wilson / 28 Andrew Blakeney / 31 Ram Hall / 34 Dink Johnson / 37 Bud Scott / 39 Joe Darensbourg / 42 Ed “Montudie” Garland / 46 Teddy Buckner / 61 viii Contents 2 A PERSONAL VIEW OF THE MUSIC 64 Lieutenant Jim Europe’s Hellfighters— The 369th Infantry Jazz Band / 65 “I Wish I Could Shimmy Like My Sister Kate”— The First Recorded Hit of the Jazz Age / 68 The World Premiere of “Rhapsody in Blue” / 73 “Relaxin’ at the Touro”— Memories of Muggsy Spanier / 78 Spud Murphy / 82 A Memorable Jack Teagarden Record Date / 85 The Duke Ellington Sacred Music Concert— New Orleans, 1970 / 89 Dick Hyman’s Historic Direct-to-CD Recording Session / 92 3 A PERSONAL VIEW OF THE MUSICIANS 97 Benny Carter / 97 James P. Johnson / 99 Brun Campbell and Scott Joplin / 104 Rex Stewart’s Memories of Jelly Roll Morton / 109 Anita Gonzales and the Untold Story of Jelly Roll Morton’s Last Years / 114 Johnny Guarnieri / 124 I’m Just Wild about Eubie— Memories of Eubie Blake / 128 Jess Stacy / 135 Milt Hinton / 139 Spiegle Willcox / 142 Eddie Miller / 145 Morty Corb / 148 Barney Bigard / 151 Wild Bill Davison / 156 Rosy McHargue / 159 Artie Shaw / 163 Andy Razaf / 165 Contents ix Coot Grant and Sox Wilson / 169 The World’s Greatest Jazz Band / 172 4 THE INFLUENCE OF NEW ORLEANS MUSICIANS ON CLASSIC JAZZ 177 The Jazz Journey—From Lulu White’s Mahogany Hall to Carnegie Hall / 177 Papa Celestin and the Voodoo Queen / 181 Danny Barker—The Jazz Troubadour / 190 Lorenzo Tio, Jr., and the Clarinetists of the Crescent City / 195 Willie James Humphrey, Jr. / 202 George Lewis / 206 Alton Purnell / 209 Bill Russell / 212 5 THE GREAT LOUIS ARMSTRONG 218 Louis Armstrong’s Underrated Recordings during the Big-Band Era / 219 “Ambassador Satch” on the World Stage / 222 A Sentimental Journey—Louis’ Funeral / 225 6 JAZZ ON THE WEST COAST 230 Los Angeles in the Swing Era / 230 The Palomar Ballroom Fire / 233 The Firehouse Five and the Good Time Jazz Record Company / 240 The Yerba Buena Jazz Band and the Jazz Man Label / 246 Benny Strickler / 248 Turk Murphy’s Final Triumph / 251 I Remember Bob Scobey / 254 Dave Dexter, Jr. / 259 The Poor Angel Hot Jazz Society / 262 Dick Cary’s Tuesday Night Band / 263 x Contents 7 UNSUNG HEROES 268 Pete Daily / 268 Stew Pletcher / 272 Sammy Lee / 275 Pud Brown / 278 Bob McCracken / 280 Pat Gogerty / 282 Rick Fay / 283 8 THE SEVEN-YEAR CHALLENGE TO COMPLETE THE LOUIS ARMSTRONG STATUE 287 A Fund Is Created in Old New Orleans / 287 “For the Love of Louis,” by Ned Brundage / 290 Bing Crosby to the Rescue / 301 July 4, 1976 / 308 EPILOGUE 313 INDEX 315 ILLUSTRATIONS The author and his wife, Lucille—Emperor and Empress of the 1985 Jazz Jubilee iii Floyd Levin’s first article 10 Kid Ory’s Creole Jazz Band 13 The 1921 Kid Ory recordings with the imprint of two competing record companies 15 Nordskog’s recording system 18 Nordskog, the first record-pressing plant on the West Coast 18 The Nordskog Recording Company production facility in Santa Monica, California 23 Mutt Carey’s New Orleans Stompers 27 Buster Wilson 29 Minor “Ram” Hall 35 Kid Ory with Bud Scott and Mutt Carey 40 Joe Darensbourg doing his famous rendition of “The Sheik of Araby” 44 Ed “Montudie” Garland 47 A 1919 advertisement for Jim Europe’s 369th Infantry Jazz Band 65 xii Illustrations Original sheet music for “I Wish I Could Shimmy Like My Sister Kate” 70 Program for the 1924 world premiere of “Rhapsody in Blue” 75 Paul Whiteman listening to his concertmaster, Kurt Dieterle, playing his newly discovered instrument, the “Violiphone” 77 Muggsy Spanier with the author 79 Jack Teagarden 86 Benny Carter flanked by fellow Esquire Jazz Award winners Woody Herman, Benny Goodman, Barney Bigard, and radio personality Al Jarvis 98 James P. Johnson with Louis Gonzales, Leonard Bibbs, and Albert Nicholas 100 Brun Campbell at age 16, 1900 105 Jelly Roll Morton in 1921 at the Cadillac Cafe, Los Angeles 121 Jelly Roll Morton with his vaudeville partner, Rosa 122 Jelly Roll Morton’s grave 124 Johnny Guarnieri 126 Eubie Blake with the author 130 Spiegle Willcox receiving the 1995 American Federation of Jazz Societies’ Benny Carter Award 143 Rosy McHargue with the author 160 Coot Grant and Sox Wilson in an early vaudeville publicity photo 169 The 1968 lineup of the World’s Greatest Jazz Band 173 Lulu White’s Mahogany Hall 178 Oscar “Papa” Celestin 182 Danny Barker 191 Willie Humphrey 204 George Lewis 207 Bill Russell 213 Bill Russell’s archives 216 Fire at Los Angeles’s famous Palomar Ballroom in 1939 234 Illustrations xiii Bandleader Charlie Barnet and his orchestra on the bandstand of the Palomar Ballroom 236 The Firehouse Five Plus Two 241 Les Koenig’s Good Time Jazz label 244 The Yerba Buena Jazz Band 247 Turk Murphy, Dick Lammi, Bob Helm, Bob Short, Wally Rose, and Claire Austin 251 Bob Scobey’s Frisco Jazz Band 255 Dick Cary 265 Pete Daily 269 Sammy Lee 276 Advertisement for “Hello Louis!” 298 Trummy Young, Louis Armstrong, and Bob McCracken 299 Louis Armstrong and his 70th birthday cake 300 Louis Armstrong with the author after the “Hello Louis!” concert 301 Los Angeles Times cartoon three days after Louis Armstrong’s death 303 Sculptor Elizabeth Catlett with the Louis Armstrong statue 307 The Louis Armstrong statue after its 1980 dedication 309 Donald Marquis’ account of the dedication of Louis Armstrong Park 310 This page intentionally left blank FOREWORD The music called jazz is blessed to have so many devoted friends and fans, none more faithful than Lucille and Floyd Levin. Throughout the years this dynamic duo, a familiar sight at musical events in Los Ange- les and elsewhere, have always given their support and encouragement to the performers and promoters. Somehow, during the years running his own business, Floyd found time to write articles about what he saw and heard. Since his retire- ment, he has devoted full time to his special interest and increased even further his activities on behalf of our music. The result is this book, a varied compilation of Floyd’s articles over the last forty years. They attest to his wide knowledge, devotion, and intuitive sensitivity to our art form. No one is better qualified to cover this vast material and long span of time. His musical interests are all-encompassing and eclectic, running from the earliest jazz to the present day. Floyd and Lucille have intimately been involved with the music and the musicians covered in this volume. Their organizational achieve- ments are also multiple. Elsewhere you will read about their work in the founding of jazz societies, the production of jazz events, and the creation of honors to musicians. I am personally indebted to Floyd for creating the Benny Carter Award, presented annually by the American Federation of Jazz Societies. I first met Floyd and Lucille some fifty years ago and count them among my dearest friends. I am therefore extremely pleased that the xvi Foreword University of California Press is publishing Floyd’s Classic Jazz: A Per- sonal View of the Music and the Musicians. This book will join the many other fine volumes covering the devel- opment and history of classic jazz and will help to illuminate our gen- uinely American art form. Benny Carter June 1998 PREFACE For years, when asked, “When are you going to write a book?” my re- ply has always been, “Never!” Aware that a book project would require months or perhaps years of preparation, I feared the task would disrupt my ongoing daily ac- tivities. They include conducting jazz history interviews; writing album notes; reviewing concerts, festivals, records, and books; corresponding with fans and musicians around the world; and conducting extensive research into the darkened recesses of jazz’s origin. Over the years, my hundreds of essays delineated a personal relation- ship with the most respected artists in jazz. Several of my articles were highly praised, but they all appeared in publications with limited distri- bution.
Recommended publications
  • Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel

    Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel

    Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel Suhadolnik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Musicology) in the University of Michigan 2016 Doctoral Committee: Associate Professor Charles Hiroshi Garrett, Chair Professor David Ake, University of Miami Associate Professor Stephen Berrey Associate Professor Christi-Anne Castro Associate Professor Mark Clague © Sarah Ezekiel Suhadolnik 2016 DEDICATION To Jarvis P. Chuckles, an amalgamation of all those who made this project possible. ii ACKNOWLEDGEMENTS My dissertation was made possible by fellowship support conferred by the University of Michigan Rackham Graduate School and the University of Michigan Institute for the Humanities, as well as ample teaching opportunities provided by the Musicology Department and the Residential College. I am also grateful to my department, Rackham, the Institute, and the UM Sweetland Writing Center for supporting my work through various travel, research, and writing grants. This additional support financed much of the archival research for this project, provided for several national and international conference presentations, and allowed me to participate in the 2015 Rackham/Sweetland Writing Center Summer Dissertation Writing Institute. I also remain indebted to all those who helped me reach this point, including my supervisors at the Hatcher Graduate Library, the Music Library, the Children’s Center, and the Music of the United States of America Critical Edition Series. I thank them for their patience, assistance, and support at a critical moment in my graduate career. This project could not have been completed without the assistance of Bruce Boyd Raeburn and his staff at Tulane University’s William Ransom Hogan Jazz Archive of New Orleans Jazz, and the staff of the Historic New Orleans Collection.
  • The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938

    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.
  • Jazz and the Cultural Transformation of America in the 1920S

    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.
  • What We've Made of Louis Prima John J

    What We've Made of Louis Prima John J

    Marquette University e-Publications@Marquette College of Communication Faculty Research and Communication, College of Publications 1-1-2005 Taming the Wildest: What We've Made of Louis Prima John J. Pauly Marquette University, [email protected] Published version. "Taming the Wildest: What We've Made of Louis Prima," in Afterlife as Afterimage: Understanding Posthumous Fame. Eds. Steve Jones and Joli Jensen. New York: Peter Lang International Academic Publishers, 2005: 191-208. Publisher Link. © 2005 Peter Lang International Academic Publishers. Used with permission. chapter 1 O Taming the Wildest What We've Made of Louis Prima jOHN j. PAULY For over forty years, Louis Prima had survived one change after another in the pop~ ular music business. He was, in succession, a trumpet section player in his home~ town ofNew Orleans, the front man for a popular New York City jazz quintet, and the leader of a touring big band. In the 1950s, with his career flagging, he reinvent~ ed himself as a spectacular Las Vegas lounge act, then nudged his career through the 1960s with help from his old friend, Walt Disney. He explored many forms of popular music along the way, but aspired only, in his own words, to "play pretty for the people." The same man who wrote the jazz classic "Sing, Sing, Sing," would also record easy listening instrumental music, Disney movie soundtracks, and ltalian~American novelty songs. In all these reincamations, he performed with an exuberance that inspired his Vegas nickname, "the wildest." Prima's career would end in deafening silence, however. He spent the last thirty~five months of his life in a coma, following a 197 5 operation in which doctors partially removed a benign tumor from his brain stem.
  • St James Infirmary Guide.Pdf

    St James Infirmary Guide.Pdf

    The St. James Infirmary is an Occupational Safety & Health Clinic for Sex Workers founded by COYOTE--Call Off Your Old Tired Ethics, and is a joint project between Exotic Dancers Alliance and the STD (Sexually Transmitted Disease) Prevention and Control Services of the City and County of San Francisco Department of Public Health. Our mission is to provide non-judgmental and compassionate health care and social services for all Sex Workers while preventing occupational illnesses and injuries throughout the sex industry. We provide services for current, former, and transitioning Street and Survival Sex Workers, Escorts, Sensual Massage workers, Erotic Performers and Entertainers, Exotic Dancers, Peep Show workers, Bondage/ Dominatrix/Sado-Masochism (BDSM) workers, Adult Film actors, Nude Models, Internet Pornography workers, Phone Sex operators, and Sex Toy Store workers. HOW TO USE THIS GUIDE This resource guide was prepared by Sex Workers for Sex Workers, and is produced with funds received from The California Endowment, the Franklin Benevolent Corporation and the SFDPH AIDS office. The information throughout the following pages is meant to provide you with helpful tips so that you can make informed choices about your health and well-being. Organizations with a © have received In-Service trainings from St. James Infirmary staff and/or collaborated and/or networked with us to provide comprehensive services to Sex Workers. We welcome your comments and suggestions about any of the following information, and we hope to see you soon at the
  • Jazzletter PO Box 240, Oiai CA93024-0240

    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.
  • Guide to the Milt Gabler Papers

    Guide to the Milt Gabler Papers

    Guide to the Milt Gabler Papers NMAH.AC.0849 Paula Larich and Matthew Friedman 2004 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Personal Correspondence, 1945-1993..................................................... 5 Series 2: Writings, 1938 - 1991............................................................................... 7 Series 3: Music Manuscripts and Sheet Music,, 1927-1981.................................. 10 Series 4: Personal Financial and Legal Records, 1947-2000...............................
  • ALBUMS BARRY WHITE, "WHAT AM I GONNA DO with BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50S YOU" (Prod

    ALBUMS BARRY WHITE, "WHAT AM I GONNA DO with BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50S YOU" (Prod

    DEDICATED TO THE NEEDS OF THE MUSIC RECORD INCUSTRY SLEEPERS ALBUMS BARRY WHITE, "WHAT AM I GONNA DO WITH BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50s YOU" (prod. by Barry White/Soul TO ME" (prod.by Baker,Harris, and'60schestnutsrevved up with Unitd. & Barry WhiteProd.)(Sa- Young/WMOT Prod. & BobbyEli) '70s savvy!Fast paced pleasers sat- Vette/January, BMI). In advance of (WMOT/Friday'sChild,BMI).The urate the Lennon/Spector produced set, his eagerly awaited fourth album, "Sideshow"men choosean up - which beats with fun fromstartto the White Knight of sensual soul tempo mood from their "Magic of finish. The entire album's boss, with the deliversatasteinsupersingles theBlue" album forarighteous niftiest nuggets being the Chuck Berry - fashion.He'sdoingmoregreat change of pace. Every ounce of their authored "You Can't Catch Me," Lee thingsinthe wake of currenthit bounce is weighted to provide them Dorsey's "Ya Ya" hit and "Be-Bop-A- string. 20th Century 2177. top pop and soul action. Atco 71::14. Lula." Apple SK -3419 (Capitol) (5.98). DIANA ROSS, "SORRY DOESN'T AILWAYS MAKE TAMIKO JONES, "TOUCH ME BABY (REACHING RETURN TO FOREVER FEATURING CHICK 1116111113FOICER IT RIGHT" (prod. by Michael Masser) OUT FOR YOUR LOVE)" (prod. by COREA, "NO MYSTERY." No whodunnits (Jobete,ASCAP;StoneDiamond, TamikoJones) (Bushka, ASCAP). here!This fabulous four man troupe BMI). Lyrical changes on the "Love Super song from JohnnyBristol's further establishes their barrier -break- Story" philosophy,country -tinged debut album helps the Jones gal ingcapabilitiesby transcending the with Masser-Holdridge arrange- to prove her solo power in an un- limitations of categorical classification ments, give Diana her first product deniably hit fashion.
  • Biography and Film of His Life

    Biography and Film of His Life

    Phil Upchurch 1 A prolific guitarist whose distinctively funky, blues-steeped jazz style has graced well over a thousand recordings across the popular music spectrum, the legendary Phil Upchurch has also recorded 27 albums of his own leadership, as well as movie soundtracks. Jazz enthusiasts love and respect Phil Upchurch for his singular approach to composition. In developing his sound, Phil demonstrates no allegiance to any of his contemporaries and is indisputably one of the best in his field. He goes from classical to jazz to contemporary funk as easy as walking from one room to another. He is also an amazing electric bassist. In honor of Upchurch’s instrumental mastery, D’Angelico Guitars is soon to release a Second Edition of his signature Phil Upchurch Guitar. Adding to his media profile is Phil’s newfound second career as a fresh face for television advertising. Phil's most recent on-camera commercials have been Secured Horizon, "AARP," Tropicana and Verizon Wireless. He also has had, Cameo filmappearances in, “His Eyes Are Watching God” and White Men Can’t Jump” to name a few. Phil Upchurch has been a prominent figure in the blues, soul, R&B and jazz circles for more than 50 years. In addition to his work with the legendary Jimmy Smith, Upchurch has performed and recorded, in the United States and internationally, with some of the music industry’s biggest names. His talents have teamed him with musical legends such as Quincy Jones, Bob Dylan, Julio Iglesias, Ray Charles, Ramsey Lewis, Carmen McRae, George Benson, Donny Hathaway, Chaka Khan, Michael Jackson, Carmen McRae, Marlena Shaw, Eddie Harris, Brother Jack McDuff, Joe Williams, Stan Getz, Cannonball Adderley, Herbie Hancock, Grover Washington, Jr.
  • Helen D. Miller, Individually and As Executrix of Alton G

    Helen D. Miller, Individually and As Executrix of Alton G

    18 Misc.2d 626 (1959) Helen D. Miller, Individually and as Executrix of Alton G. Miller, Plaintiff, v. Universal Pictures Company, Inc. et al., Defendants. Supreme Court, Special and Trial Term, New York County. May 22, 1959. David Mackay​, ​Jesse Climenko​ and ​Herbert L. Scharf​ for plaintiff. Adolph Schimel​ and ​Edgar M. Rubin​ for Universal Pictures Company, Inc., defendant. Cohen & Sandomire (​Henry Cohen​ of counsel), for Decca Records, Inc., defendant. HENRY EPSTEIN, J. Plaintiff is the widow and executrix of the late Glenn Miller, well-known orchestra leader and musician. Miller died in 1944 while in military service. For some years prior to his entry into war activities Miller had created original arrangements of musical selections, had developed a well-known style and performance associated in the public mind with his own name — Glenn Miller. From 1938 to 1944 these musical performances grew rapidly in popular favor. In 1939 and 1941 Miller contracted to grant Radio Corporation of America ("R. C. A." hereafter) exclusive right to use of his name and likeness in producing advertising and selling phonograph records. This exclusive right covered seven of the eight numbers used in the motion picture "The Glenn Miller Story". It covered all but a very few numbers played by Miller's orchestra before he had developed his unique style. The sales by R. C. A. of the individual Miller records of these numbers to the date of the instant action ranged from some 300,000 to over 2 million on all of which Miller, and since his death his estate, have received royalties.
  • ARTIE SHAW NEA Jazz Master (2005)

    ARTIE SHAW NEA Jazz Master (2005)

    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ARTIE SHAW NEA Jazz Master (2005) Interviewee: Artie Shaw (May 23, 1910- December 30, 2004) Interviewer: Bruce Talbot Date: October 7 and 8, 1992 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 100 pp. Note: Expletives have been deleted from this Web version of the transcript, and are marked thus: [expletive deleted]. An unaltered transcript is available for use by researchers at the Archives Center, National Museum of American History. Talbot: This is October the 7th [1992], and this is day . the first of two days’ interviews with Artie Shaw. Shaw: Are we o.k.? [recording engineer:] Yeah, we got a great level. Shaw: Before we get into this, or maybe as a way of getting into it, I showed you this material on the book I’ve been working on on-and-off since about 1978. What is it now? This is . It’s been 12 years. I’ve published another book in between. I’ve done some CDs. I’ve done a lot of other stuff. But this one . I’ll tell you the point of it. I wanted to do a trilogy. I had at one time . I don’t know. You’re a reader, so you may know the book. Most people don’t even know of it. Romain Rolland wrote a book called Jean- Christophe. Did you ever read it or hear of it? For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Talbot: Heard of it.
  • Artie Shaw Died December 29, 2004 at the Age of 94

    Artie Shaw Died December 29, 2004 at the Age of 94

    http://www.jazzhot.bigstep.com/generic15.html Original source of this page with musical excerpts http://www.npr.org/programs/morning/features/2002/mar/shaw/#hear NPR has several-recorded audio interviews with Shaw as well as music clips of his most well-known recordings Artie Shaw died December 29, 2004 at the age of 94. ARTIE SHAW -- JOURNEY OF SELF DISCOVERY J JAZZ RHYTHM / Dave Radlauer BEFORE HIS HUGE SUCCESS OF THE LATE 30s ARTIE SHAW WAS JUST ANOTHER HARDWORKING, VERY TALENTED MUSICIAN. MUSIC WAS ACTUALLY HIS SECOND CAREER CHOICE WHICH HE INTITIALLY ENTERED ONLY TO MAKE ENOUGH MONEY TO FOLLOW HIS REAL ASPIRATION, WHICH WAS TO BECOME A WRITER. ON HIS WAY TO SIMPLY EARNING A LIVING, DEEPER INVOLVEMENT IN MUSIC SEIZED ARTHUR JACOB ARSHAWSKY’S FERTILE MIND AND WILLING HEART. DURING SHAW’s NEARLY TWO DECADES IN THE ENTERTAINMENT BUSINESS, THE MUSIC ALWAYS CAME FIRST. FOR HIM FAME, FORTUNE AND BECOMING AN AMERICAN ICON WERE HARMFUL TO HIS PRIMARY DRIVE: WHICH WAS TO CREATE MUSIC. [SHAW ON PLAYING A HORN:] “SO YOU'RE TRYING TO PLAY A HORN, AND HERE'S THIS CLUMSY SERIES OF KEYS ON A PIECE OF WOOD AND YOU'RE TRYING TO MANIPULATE THEM WITH THE REED AND THE THROAT MUSCLES, AND WHAT THEY CALL AN EMBOUCHURE. YOU'RE TRYIN' TO MAKE A SOUND THAT NO ONE EVER GOT BEFORE, OR A COMBINATION OF SOUNDS CREATING . AN EMOTION FINALLY. IT'S LIKE ASKING A POET HOW DO YOU GET THIS COMBINATION, HOW DID YOU GET THESE WORD? WELL YOU DO THAT IN MUSIC.