DOCSLIB.ORG

CASH BOX 26 WEST 47Th STREET

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

VOLUME XIV FEBRUARY 1, 1953 NUMBER 20 tars in the folk field in recent months whose “Indian Love Call” on the Iin- it not only in the folk hut also in the shown with Lew Chudd (center) presi- . K. Makela (right), his manager. His in 1 Tell” backed with “All That I Ask Is Sympathy”. www.americanradiohistory.com Here’s How Wurlitzer’s Low Pressure Tone Arm Plus the 2 Mil Zenith Cohra Stylus 2 MIL STYLUS RIDES FREELY ON SHOULDER OF 45 RPM FINE GROOVE RECORD en Hundreds The Rudolph Wurlitzer Company • North Tonawanda, N. Y. www.americanradiohistory.com FIRST CLASS PERMIT No. 43309 (Sec. 34.9, P. L. & R.) NEW YORK, N. Y. BUSINESS REPLY CARD NO POSTAGE STAMP NECESSARY IF MAILED IN THE UNITED STATES 4c—POSTAGE WILL BE PAID BY— THE CASH BOX 26 WEST 47th STREET NEW YORK (19). N. Y. www.americanradiohistory.com OPERATORS: FOR YOUR CONTINUED PROFITS — MAIL THIS POSTCARD NOW! O nO OO *vj Ui Ui K) — ADDRESS ^ > ^I— £ C» NAME OE RECORD HERE CDM CD Co £ > « ? ARTIST ^ o> OR P CD > CA ^ BAND I a S c/> » mX 73 CD HERE CD CD < > www.americanradiohistory.com The CashBox February 7, 1953 Volume XIV Number 20 • PUBLISHED EVERY WEEK BY Speediest Wav To Bigger The Cash Box Puhlishing Co., Inc. 26 West 47th Street, New York 36, N. Y. (All Phones: JUdson 6-2640) JOE ORLECK • And Better Profits: CHICAGO OFFICE 32 West Randolph St., Chicago 1, III. (All Phones: DEarborn 2-0045) BILL GERSH • LOS ANGELES OFFICE 6363 Wilshire Blvd., Los Angeles, Cal. (Phone: WEbster 1-1121) JOEL FRIEDMAN « EXECUTIVE STAFF BILL GERSH, Publisher JOE ORLECK, Editor and Advertising Director TEN DIMES BOB AUSTIN, General Mgr., Music Dept. TO SID PARNES, Associate Editor and Music Editor NORMAN ORLECK, Associate Music Editor MARTY OSTROW, Research A. ARTESE, Office Manager M. BOREN STEIN, Circulation POPSIE, Staff Photographer BRUNO DUTKOWSKY, Art Director • ADVERTISING RATES on request. All advertising closes Friday at 12 Noon preceding week of issue. THE DOLLAR! Advertisements subject to approval of publishers. • SUBSCRIPTION RATES, $15 per year anywhere in the U.S.A. Special listing for jobbers and distributors at $48 per year includes 40 word classified advertisement each week for an entire year (52 weeks) plus the full Isn’t it strange (and extremely logieal) operators, business men who have been, and year’s subscription free of charge. Airmail, First Class, that, after all these years, no one has ever the majority still are, charging 5c per play, as well as Special Delivery subscription rates on re- the same as they quest. Subscription rates for all foreign countries on questioned the Woolworth Stores’ theory of did forty, and fifty, and request. Three weeks advance notice required for even more years ago, to continue to charge change of address. ten dimes make a dollar, faster dnd better • a nickel, when the dime has, long long ago, and steadier than any other merchandising THE CASH BOX covers the coin operated machines superseded the nickel, as “the new Ameri- industry, and all allied to this industry throughout the ever yet devised? United States and all over the world. The Cash method can nickel”. Box is on hand at various American consular offices throughout the World. This coverage includes operators, And why arfe the coin operated horses and Of course there happens to be a big dif- jobbers, distributors and manufacturers and all allied ference between the nickel the to:—automatic coin operated music equipment; auto- the kiddie rides and all the other gadgets and dime as matic coin operated vending and service machines; far as the operators going so great are concerned. as well as coin operated amusement equipment; in all and games on dime play divisions. The music record fields, recording and everywhere in the country, and being so The fact remains that ten dime plays artists, publishers of music, disc jockeys, radio sta- tions, and all others identified with, or allied to, the magnificently supported by the nation’s mean a foliar. Whereas, twenty nickel plays, music machines industry are completely covered. Manu- facturers and distributors of various merchandise, parts, coin machine operators? mean the same dollar. supplies, components and all materials used in the vend- ing, music and amusement fields are covered by The Dime play!! But, the point here is that the average Cash Box. Banks, finance firms, loan organizations and other financial institutions, expressly interested in the operator, the man who realizes that, when financing of coin operated machines of all types, are Even the shoe shine boys are getting more covered. he paid $250 for a phonograph, had been than double, and even triple, what they used given a good (?) chance to “get off the “THE CONFIDENTIAL PRICE LISTS" to get before. Candy bars have jumped in "The Confidential Price Lists” are the one and only nut” on 20 nickel plays for the dollars he officially recognized price quotation guide of all new price. Food has been hiked. Drinks are had accumulated to and used machines in the United States. "The Con- pay off to the finance Price higher. And pubic teephone booths all fidential Lists” are an exclusive, copyrighted company, or the bank, that handled his feature of The Cash Box. “The Confidential Price mark the “dime” in big, bold, square let- Lists” report each week’s low anc^ high prices for all paper, is today, with phonos costing him new and used coin operated machines, regardless of ters right on the doors. age, listing all market changes, and continually add- $1,000 or more, up against it, if he con- ing on all the new equipment as this equipment is tinues to try to announced to the industry. “The Confidential Price Yes, the dime is “it”, as far as America do the same thing on nickels. Lists” are recognized by many cities and states through- is concerned. out the country as the “official price book of the Dime play is, therefore, the answer to coin operated machines industry.” They are an in- this operator, all tegral part of The Cash Box and appear in each Naturally, there would be no reason for and other operators ’round week’s issue. “The Confidential Price Lists” are offi- this industry, whether automatic phonos or the nation whether it’s games phonos or cially used in the settlement of estates, for buying, sell- ing and trading of all coin operated equipment, and are games, to charge ten cents, if there wasn’t vending machines. also officially reco-gnized for taxation purposes. “The Confidential Price Lists” are used by finance firms, inflationary wave sweeping the nation, an It takes only ten dimes to make up a factors, loan companies, bankers, and other financial the sister nation institutions to guide them in making loans to members to such an extent that even dollar. of the coin operated machines industry. They have been across our northern border now finds that legally recognized in courts throughout the United States But it takes twenty nickels to make and Canada. “The up Confidential Price Lists” have been its dollar is worth more than ours. acclaimed by the coin operated machines industry. En- the same dollar. tire business transactions and legal cases are based of what the Office of Price upon the quotations Regardless appearing in “The Confidential And that’s the difference between black Price Lists.” Stabilization may think, or do, or act upon, • and red ink on any operator’s statement. CORRESPONDENTS IN LEADING CITIES the fact remains, the American Dollar is THROUGHOUT THE UNITED STATES • worth a lot less than it ever was worth be- Take your choice; ENTIRE CONTENTS COPYRIGHTED 1953 by The fore. plays at Cash Box Publishing Co., Inc. No reproduction in part Ten 10c mean a dollar. or whole allowed without written permission from the to ask juke box Twenty plays at 5c mean a dollar. publishers. It is, therefore, ridiculous | www.americanradiohistory.com February 7 1 953 The Cash Box^ Music Page 4 (EDITORIAL) , The Problem of THE CASH BOH 45 rpm Disks JUKE BOX TUNES The Top Ten Tunes Netting Hecviest Ploy In The Notion's Juke loiet, Compiled From Reports Sub- mitted Weekly To The Cosh Bom Sy Leoding Music Operotori Throughout The Country. Almost everyone now agrees that 45 rpm is the pop record speed of the future. There can no longer he any doubt that this type of disk is best suited to the pop market and in particular to AL—Aladdin CO—Columbia CODE Kl —King PE—Peacock SP—Specialty AP—Apollo CR—Coral LO—London PR—Prestige SW—Swingtime juke box operators’ needs. AT—Atlantic DA—Dano FE—Federal MA—Mars RA—Rainbow TE—Tempo BU--Bullet DE— Decca 4 Star—Four Stor ME—Mercury RE—Regent TN—Tennessee BR—Brunswick DN—Devon IM—Imperial MG—MGM SA—Savoy CA—Capitol DY—Derby IN— Intro MO—Modern SE—Seger UN—United But while everyone agrees that this is the record of the future, CH—Chess ES—Essex JU —Jubilee OR—Oriole SIT—Sittin' In VI—RCA Victor there still remains the problem of today. And that is that we are Pos. Last at transition period. Week present undergoing the DONT LET THE STARS GET IN YOUR EYES PERRY COMO Operators who are constantly switching to 45 rpm find them- CA-2216 (F-2216)—Skeets McDonald ME-70023 (45-70023)—Lola Ameche selves unable to obtain ' as many records as they could formerly CA-2256 (F-2256)—Gisele MacKenzie ME-70047 (45-70047)—Bobby Maxwell CO-2 1025 (4-21025)—Ray Price VI-20-5040 (47-5040)—Johnnie & Jack get on 78.
Recommended publications
  • That Meddlesome Bird OFFICE of CULTURALLY and LINGUISTICALLY RESPONSIVE INITIATIVES

    That Meddlesome Bird OFFICE of CULTURALLY and LINGUISTICALLY RESPONSIVE INITIATIVES

    OFFICE OF CULTURALLY AND LINGUISTICALLY RESPONSIVE INITIATIVES Brownies’ Books: Grades 9 & 10 May 2020 The Brownies’ Books are comprised of stories (folktales, fantasies, as well as more realistic stories), poems, games, articles on current events of the era, letters from young readers and photographs. In 1920, these literary magazines celebrated African American identity, urged racial pride, and encouraged its young readers to aspire to positions of leadership within their communities. The books are intended to be read with other members of the family. Many of the life lessons taught in the books are applicable to the uplift of young people of all races today. The office of CLRI, has chosen literary works from the Brownies’ Books, edited by renowned scholar, W.E.B. Du Bois, for you and your child’s reading pleasure. Each literary work has standards‐ aligned reading, writing, and critical thinking activities to supplement core‐curriculum reading materials. The Brownies’ Books are written by diverse authors, and particularly, authors of African American descent. According to historical literacy expert, Dr. Gholdy Muhammad, citing W.E.B. Du Bois, the Brownies’ Books are “designed for all children, but especially for ours.” Moreover, “the content of the readings was intended to recognize and cultivate the genius within youth” (Muhammad, 2020, p.152). Please be informed that the Brownies’ Books are historical documents that use period language and phrases common during the 1920s era. While we have maintained the authenticity of this literature, please understand some of the dialects are not common terms or phrases that are widely used today. The text represents people of color in a positive light dispelling falsehood and stereotypes.
  • Cash Box Disk Jockey Poll in Which They Were Named the Top Vocal Group

    Cash Box Disk Jockey Poll in Which They Were Named the Top Vocal Group

    VOLUME XV JUNE 26, 1954 NUMBER 40 *r > The Four Aces follow up their string of Decca hits with still another smash, “Three Coins In The Fountain”. The boys, who in a period of a couple of years, have turned out one great record after another, have made their waxing of this theme from the Twentieth Century-Fox film their newest best-seller. And adding to the laurels which the group has won is the latest Cash Box disk jockey poll in which they were named the top vocal group. www.americanradiohistory.com STRIKES A TERRIFIC CHORD WITH o MORE MONEY Location patrons have put their More and better music for the approval on the Wurlitzer public. More and more earn- 1700HF by putting more nickels, ings for the operator. That climes and quarters in the just about sums up why the coin boxes of these high eye- Wurlitzer 1 700HF, whether meas- appeal, high fidelity phono- ured by its output of music or graphs than any juke box its intake of money, is the great- ever est Wurlitzer of all time. -HEAR IT— BUY IT RLITZER DISTRIBUTOR NG, HIGH FIDELITY 1700HF TAKES THE MASK OFF THE MUSIC The Rudolph Wurlitzer Company • North Tonawanda, New York Established 1856 www.americanradiohistory.com The Cask Box FOUNDED BY BILL GERSH June 26, 1954 (Music Editorial) Volume XV Number 40 Publishers BILL GERSH JOE ORLECK The Cash Box Publishing Co., Inc. 26 West 47th Street, New York 36, N. Y. (All Phones: JUdson 6-2640) JOE ORLECK • CHICAGO OFFICE 32 West Randolph St., Chicago 1, 111.
  • 1950S Playlist

    1950S Playlist

    1/10/2005 MONTH YEAR TITLE ARTIST Jan 1950 RAG MOP AMES BROTHERS Jan 1950 WITH MY EYES WIDE OPEN I'M DREAMING PATTI PAGE Jan 1950 ENJOY YOURSELF (IT'S LATER THAN YOU THINK) GUY LOMBARDO Jan 1950 I ALMOST LOST MY MIND IVORY JOE HUNTER Jan 1950 THE WEDDING SAMBA EDMUNDO ROS Jan 1950 I SAID MY PAJAMAS (AND PUT ON MY PRAY'RS) TONY MARTIN/FRAN WARREN Jan 1950 SENTIMENTAL ME AMES BROTHERS Jan 1950 QUICKSILVER BING CROSBY/ANDREWS SISTERS Jan 1950 CHATTANOOGIE SHOE SHINE BOY RED FOLEY Jan 1950 BIBBIDI-BOBBIDI-BOO PERRY COMO Feb 1950 IT ISN'T FAIR SAMMY KAYE/DON CORNELL Feb 1950 RAG MOP LIONEL HAMPTON Feb 1950 THE THIRD MAN THEME ANTON KARAS Feb 1950 MY FOOLISH HEART GORDON JENKINS Feb 1950 THE CRY OF THE WILD GOOSE FRANKIE LAINE Feb 1950 THE FAT MAN FATS DOMINO Feb 1950 DADDY'S LITTLE GIRL MILLS BROTHERS Feb 1950 MUSIC MUSIC MUSIC TERESA BREWER Mar 1950 THE THIRD MAN THEME GUY LOMBARDO Mar 1950 CANDY AND CAKE MINDY CARSON Mar 1950 MY FOOLISH HEART BILLY ECKSTINE Mar 1950 IF I KNEW YOU WERE COMIN' I'D'VE BAKED A CAKE EILEEN BARTON Mar 1950 WANDERIN' SAMMY KAYE Mar 1950 DEARIE GUY LOMBARDO Apr 1950 COUNT EVERY STAR HUGO WINTERHALTER Apr 1950 HOOP-DEE-DOO PERRY COMO Apr 1950 BEWITCHED BILL SNYDER Apr 1950 PETER COTTONTAIL GENE AUTRY Apr 1950 ARE YOU LONESOME TONIGHT BLUE BARRON May 1950 THE OLD PIANO ROLL BLUES HOAGY CARMICHAEL/CASS DALEY May 1950 BEWITCHED DORIS DAY May 1950 VALENCIA TONY MARTIN May 1950 I DON'T CARE IF THE SUN DON'T SHINE PATTI PAGE May 1950 I WANNA BE LOVED ANDREWS SISTERS May 1950 BONAPARTE'S RETREAT KAY STARR Jun 1950 MONA
  • Tommy Dorsey 1 9

    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 .........................................................................................................
  • The Sam Eskin Collection, 1939-1969, AFC 1999/004

    The Sam Eskin Collection, 1939-1969, AFC 1999/004

    The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia.
  • Country Update

    Country Update

    Country Update BILLBOARD.COM/NEWSLETTERS MARCH 1, 2021 | PAGE 1 OF 18 INSIDE BILLBOARD COUNTRY UPDATE [email protected] What’s Up With Strait Talk With Songwriter Dean Dillon Bryan’s ‘Down’ >page 4 As He Awaits His Hall Of Fame Induction Academy Of Country Life-changing moments are not always obvious at the time minutes,” says Dillon. “I was in shock. My life is racing through Music Awards they occur. my mind, you know? And finally, I said something stupid, like, Raise Diversity So it’s easy to understand how songwriter Dean Dillon (“Ten- ‘Well, I’ve given my life to country music.’ She goes, ‘Well, we >page 10 nessee Whiskey,” “The Chair”) missed the 40th anniversary know you have, and we’re just proud to tell you that you’re going of a turning point in his career in February. He and songwriter to be inducted next fall.’ ” Frank Dycus (“I Don’t Need Your Rockin’ Chair,” “Marina Del The pandemic screwed up those plans. Dillon couldn’t even Rey”) were sitting on the front porch at Dycus’ share his good fortune until August — “I was tired FGL, Lambert, Clark home/office on Music Row when producer Blake of keeping that a secret,” he says — and he’s still Get Musical Help Mevis (Keith Whitley, Vern Gosdin) pulled over waiting, likely until this fall, to enter the hall >page 11 at the curb and asked if they had any material. along with Marty Stuart and Hank Williams Jr. He was about to record a new kid and needed Joining with Bocephus is apropos: Dillon used some songs.
  • 100 Years: a Century of Song 1930S

    100 Years: a Century of Song 1930S

    100 Years: A Century of Song 1930s Page 42 | 100 Years: A Century of song 1930 A Little of What You Fancy Don’t Be Cruel Here Comes Emily Brown / (Does You Good) to a Vegetabuel Cheer Up and Smile Marie Lloyd Lesley Sarony Jack Payne A Mother’s Lament Don’t Dilly Dally on Here we are again!? Various the Way (My Old Man) Fred Wheeler Marie Lloyd After Your Kiss / I’d Like Hey Diddle Diddle to Find the Guy That Don’t Have Any More, Harry Champion Wrote the Stein Song Missus Moore I am Yours Jack Payne Lily Morris Bert Lown Orchestra Alexander’s Ragtime Band Down at the Old I Lift Up My Finger Irving Berlin Bull and Bush Lesley Sarony Florrie Ford Amy / Oh! What a Silly I’m In The Market For You Place to Kiss a Girl Everybody knows me Van Phillips Jack Hylton in my old brown hat Harry Champion I’m Learning a Lot From Another Little Drink You / Singing a Song George Robey Exactly Like You / to the Stars Blue Is the Night Any Old Iron Roy Fox Jack Payne Harry Champion I’m Twenty-one today Fancy You Falling for Me / Jack Pleasants Beside the Seaside, Body and Soul Beside the Sea Jack Hylton I’m William the Conqueror Mark Sheridan Harry Champion Forty-Seven Ginger- Beware of Love / Headed Sailors If You were the Only Give Me Back My Heart Lesley Sarony Girl in the World Jack Payne George Robey Georgia On My Mind Body & Soul Hoagy Carmichael It’s a Long Way Paul Whiteman to Tipperary Get Happy Florrie Ford Boiled Beef and Carrots Nat Shilkret Harry Champion Jack o’ Lanterns / Great Day / Without a Song Wind in the Willows Broadway Baby Dolls
  • Savoy and Regent Label Discography

    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.
  • Astern Illinois University the Keep

    Astern Illinois University the Keep

    Eastern Illinois University The Keep May 1980 5-2-1980 Daily Eastern News: May 02, 1980 Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/den_1980_may Recommended Citation Eastern Illinois University, "Daily Eastern News: May 02, 1980" (1980). May. 2. http://thekeep.eiu.edu/den_1980_may/2 This is brought to you for free and open access by the 1980 at The Keep. It has been accepted for inclusion in May by an authorized administrator of The Keep. For more information, please contact [email protected]. Weather Friday will be partly sunny with highs in the upper 60s to low 70s. Friday night will be partly cloudy with lows in the upper 40s. astern ews Saturday will be partly sunny with Friday, May 2, 1980/ Charleston , Ill.Nol. 65, No. 142/3 Sections/24 Pages highs in the low 70s. anges to be made business school... nda De Vries ·be met. tern works toward the goal of Ivarie said in order for Eastern to g accreditation from the receive accreditation, the number and Assembly of Collegiate quality of faculty members must be of Business, students will improved. see changes take place in the "Our class size is too large and our of Business here. faculty are carrying too large of Illinois Board of Higher Edu­ loads,'' Ivarie said. cently asked all Illinois public He said in order to improve this 'ties to review their business area, more quality faculty members in order to· plan for future must be hired so there are fewer ments and to examine existing students per faculty member.
  • Tommy Irvine Jazz Collection SPC.2018.038

    Tommy Irvine Jazz Collection SPC.2018.038

    http://oac.cdlib.org/findaid/ark:/13030/c8g166g7 No online items Inventory of the Tommy Irvine Jazz Collection SPC.2018.038 Jade Delao California State University Dominguez Hills Archives and Special Collections 2018-12-05 University Library South -5039 (Fifth Floor) 1000 E. Victoria St. Carson, CA 90747 [email protected] URL: https://www.csudh.edu/libarchives/ Inventory of the Tommy Irvine SPC.2018.038 1 Jazz Collection SPC.2018.038 Language of Material: English Contributing Institution: California State University Dominguez Hills Archives and Special Collections Title: Tommy Irvine Jazz Collection creator: Cole, Nat King, 1919-1965 creator: Holiday, Billie, 1915-1959 creator: Eckstine, Billy creator: Garner, Erroll creator: Shearing, George creator: Vaughan, Sarah, 1924-1990 Identifier/Call Number: SPC.2018.038 Physical Description: 24 boxes Date (inclusive): 1908-1981, undated Date (bulk): 1940-1953 Language of Material: Collection material is in English. Abstract: This collection contains approximately 444 records held in 76 album sets with performances from musicians, many of which fall under the musical genre of jazz. Most of the records are 10" Shellac, 78 RPMs. Notable musicians featured in this collection include: George Shearing, Billy Eckstine, Nat King Cole, Erroll Garner, Billie Holiday, Sarah Vaughan, and others. Physical Description: Shellac, 10'', 78 RPM Conditions Governing Access There are no access restrictions on this collection. Conditions Governing Use All requests for permission to publish or quote from manuscripts must be submitted in writing to the Director of Archives and Special Collections. Permission for publication is given on behalf of Special Collections as the owner of the physical materials and not intended to include or imply permission of the copyright holder, which must also be obtained.
  • A Musical History

    A Musical History

    the Glee Club’s 1906 Christmas vacation trip.This source parallels Howard’s account, but looks back half a century to the origins of what was then considered informal singing, except that the Glee Club was then the new informal singing group. 2 THE YALE GLEE CLUB OF 1909 james merriam howard, president, with eight future whiffenpoofs This account reveals that the Whiffenpoofs emerged from a tradition of singing in America, epitomized by the male quartet, that was already more than fifty years old. Marshall Bartholomew ’07s, in his unpublished manuscript A History of Music at Yale, remarked ‘the male quartet became a regular feature of Yale Glee Club concerts soon after the Civil War.’ 2 Even before the first Yale Glee Club was formed, close harmony had made its appearance on the Yale campus, as he records: In 1856, for example, there were informal singing groups which took fanciful titles unto them- selves, as similar groups do at present [the 1950s].We find the Beethoven Bummers - evidently pok- ing fun at the more serious Beethoven Society; also there were the Owls and the Four Sharps. 3 This tradition continued into the 1880s with other groups including the Midnight Caterwaulers of 1870 (a quintet), the Sing- 1 WHIFFENPOOF PRE-HISTORY yale glee club of 1865 ing Club of 1872 (a quartet), the Crows of 1872 (an octet), and the Offenbachanal- ORIGINS ians of 1874 (a quartet). The Beethoven The Reverend James Merriam Howard wrote his ‘authentic’ history of the Bummers lasted into the 1870s with as founding of the Whiffenpoofs for the 50th Whiffenpoof anniversary to set the many as fifteen singers 4 record straight about how the Whiffenpoofs began and how The Whiffenpoof Song Howard’s account understandably was created.
  • Uptown Conversation : the New Jazz Studies / Edited by Robert G

    Uptown Conversation : the New Jazz Studies / Edited by Robert G

    uptown conversation uptown conver columbia university press new york the new jazz studies sation edited by robert g. o’meally, brent hayes edwards, and farah jasmine griffin Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 2004 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin All rights reserved Library of Congress Cataloging-in-Publication Data Uptown conversation : the new jazz studies / edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. p. cm. Includes index. ISBN 0-231-12350-7 — ISBN 0-231-12351-5 1. Jazz—History and criticism. I. O’Meally, Robert G., 1948– II. Edwards, Brent Hayes. III. Griffin, Farah Jasmine. ML3507.U68 2004 781.65′09—dc22 2003067480 Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1 contents Acknowledgments ix Introductory Notes 1 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin part 1 Songs of the Unsung: The Darby Hicks History of Jazz 9 George Lipsitz “All the Things You Could Be by Now”: Charles Mingus Presents Charles Mingus and the Limits of Avant-Garde Jazz 27 Salim Washington Experimental Music in Black and White: The AACM in New York, 1970–1985 50 George Lewis When Malindy Sings: A Meditation on Black Women’s Vocality 102 Farah Jasmine Griffin Hipsters, Bluebloods, Rebels, and Hooligans: The Cultural Politics of the Newport Jazz Festival, 1954–1960 126 John Gennari Mainstreaming Monk: The Ellington Album 150 Mark Tucker The Man 166 John Szwed part 2 The Real Ambassadors 189 Penny M.