DOCSLIB.ORG

Black Music Research Bulletin, Fall 1989

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Black Music Research Bulletin, Fall 1989 Columbia College Chicago Digital Commons @ Columbia College Chicago Center for Black Music Research: Black Music Research Newsletter Publications Fall 9-1-1989 Black Music Research Bulletin, Fall 1989 Samuel Floyd Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cbmrnews Part of the Arts and Humanities Commons, and the Education Commons Recommended Citation Floyd, Samuel, "Black Music Research Bulletin, Fall 1989" (1989). Center for Black Music Research: Black Music Research Newsletter. 29. https://digitalcommons.colum.edu/cbmrnews/29 This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Center for Black Music Research: Black Music Research Newsletter by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. BLACK MUSIC RESEARCH BULLETIN C B ;\I R COLUMBIA COLLEGE CHICAGO Vol. 11, No. 2 ISSN 0898-8536 Fall 1989 Contents Mose McQuitty's Unknown Career: A Personal History of Black Music in Mose McQuitty's Unknown 1 Career: A Personal History America of Black Music in America D. Alex Albright by D. Alex A/!iright, East Carolina University, Greenville, North Carolina A South Carolina Band in 5 When he died in 1937 in Fayette­ with seldom any print advertise­ London, 1914 ville, North Carolina, the Chicago ments or reviews, only bills posted Jeffrey P. Green Defender's boldface obituary called by advance men and a noonday pa­ Aspects of Musical Activities 10 Mose McQuitty a "great personality rade to announce themselves on the in the Black Communities of ... one of the most noted baritones day of their show. They were in town Baltimore and Washington, and bass players on the boards." The one day and in another the next, their D.C., 1840 to the Early 1920s Defender summarized his career as livelihood always dependent on good Doris Evans McGinty "one of many high lights that carried weather, management, and luck. Mc­ CBMR Editorial 12 him from the bottom of the ladder to Quitty followed the routine on roads Samuel A. Floyd. Jr. the lofty heights of fame." Few con­ and railways from coast to coast in crete details accompanied the obitu­ the United States and Canada for Call for Proposals for the 13 ary to indicate the extent of McQuit­ forty years, from 1896 until a few 1991 National Conference on ty's fame; a note that members of the months before his death. Black Music Research Silas Green show had donated funds However, his importance as noted "for the famous musical master'' was in the Defender was, if anything, un­ the only indication of those for derstated. The numbers in his career The Center for Black Music whom he had played, and it had are awesome-he toured for more Research was established in been a few years since he had trav­ than twenty-five seasons with min­ 1983 to discover, dissemi- eled with that legendary troupe strel and tented vaudeville shows, for nate, preserve, and promote ("Mose McQuitty, Vet Actor Dies" seven seasons with circuses and wild aspects of black music in all 1937, 10). west shows, and for two with travel­ its forms-from blues, jazz, No doubt many newcomers to the ing theatrical productions. He also gospel, and ragtime to opera black entertainment scene at the time played extended engagements with and concert works. read such a prominently displayed orchestras in such theaters as the The publications of the Cen- obituary as an indication of McQuit­ Standard and Dunbar in Philadel­ ter for Black Music Research ty's standing with one of its report­ phia, the Wigwam in Kansas City, include: ers, probably Bob Hayes (whose and the Lincoln in Jacksonville, Flor­ "Here and There" column for most of ida. Black Music Research Journal the 1930s kept up with old-timers) From the beginning of his career CBMR Monographs rather than of his true fame. Their McQuitty played with the best show Black Music Research Bulletin error in judgement is understandable bands and musicians. He began in CBMR Digest because of the ephemeral nature of 1896 with P. T. Wright's Nashville many of the shows with which Mc­ Students, P. G. Lowrey on trumpet Quitty played, performing in tents (Sampson 1988, 121); W. C. Handy 2 describes a tour with Frank Mahara's Minstrel Carnival while McQuitty was in his band (Handy (1941] 1970, Mose McQuitty's Life on the Road 47); and he ended his career in 1937 with the show that was soon to be­ September 1896-April 1899 P. T. Wright's Nashville Students come Bessie Smith's last (Sloan 1986; May 1899-November 1899 Forepaugh Circus Oxley 1965, 3). What happened be­ November 1899-March 1900 Lowrey and Green's Nashville tween those years is documented in Students Co. McQuitty's routebook-show, place, March ]~November 1900 Sells & Forepaugh Circus and date for every day of his ca­ November 1900-January 1901 M. l. Swain's Nashville Students reer-which often offers tanta.lizing June 1901-September 1901 Johnson and Stater's Minstrels historical details and footnotes: "No September 1901-November 1901 Guyer and West's Minstrels show. Big time" (Dec. 7, 1898, P. T. December 1901-January 1902 Wigwam Theater, Kansas City Wright's, New Orleans); "Citizens August 1902-March 1907 Frank Mahara's Minstrel Carnival hung a colored man today'' (Sept. 18, May 1907- March 1909 Dandy Dixie Minstrels 1900, Sells and Forepaugh, Ripley, April 1909-April 1910 F. L. Mahara's Minstrels Tennessee); ''No show, saloon fight April 1910-July 1910 Billy Kersands's Minstrels over slot machine. AU in." (July 23, July 1910-January 1911 Barton & Niswall's Dixie Minstrels 1904, Frank Mahara's, Antigo, Wis­ April 1911-August 1911 Kelly's Colored 40 consin), followed the next day by August 1911-November 1911 Dandy Dixie Minstrels "sore head from yesterday's brawl"; December 19111- February 1912 Lincoln Theater, Jacksonville, Florida "Kersands joins" (Sept. 21, 1908, March 1912-July 1912 Dixie Minstrels Dandy Dixie, Chattanooga, Tennes­ July 1912- February 1915 Allen's Minstrels see); "Jack Johnson gave recpt for us, April 1915-December 1915 Sparks's Circus entire co. at his house" (Aug. 2, 1910, December 1915-April 1916 Richard & Pringle Minstrels Barton & Niswall's, Chicago); "Mary April 1916-November 1916 Sparks's Circus killed keeper" (Sept. 12, 1916, November 1916-September 1920 Standard Theater, Philadelphia Sparks's Circus, Kingsport, Tennes­ September 1920-June 1924 Dunbar Theater, Philadelphia see), and the next day, "Hung Mary" August 1924-0ctober 1924 Shuffle Along touring show (an elephant); "Matinee only. Closed November 1925-March 1926 Rusco & Hockwald's Georgia acct Spanish Influenza, scores of peo­ Minstrels ple die of same disease, go see about April 1926--0ctober 1926 Miller Brother's 101 Ranch Wild West work" (Oct. 3, 1918, Standard The­ and Far East Show ater Orchestra, Philadelphia) and November 1926-March 1927 Strut tin' Sam from A/abam touring "Standard opened, quarantine lifted show today'' (Oct. 30, 1918); "Chief J no. March 1927-April 1927 Bryant's Orchestra, Compton's, Los Wm. Johnson killed by Frisco RR De­ Angeles tective, 3 men killed in action" (Nov. April 1927-September 1927 Miller Brothers 101 Ranch Wild West 1, 1925, Miller Bros. 101, en route to Show Birmingham, Alabama); "Ofay break­ November 1927-February 1933 Silas Green from New Orleans fast dance" (Dec. 24, 1933, Ross's August 1933-November 1934 Ross's Harlem Babies Orchestra Harlem Babies Orchestra, Jackson­ December 1934- May 1935 Silas Green from New Orleans ville, Florida). May 1935-November 1935 Dawnie Brothers Circus Physically, his routebook is an im­ November 1935-December 1936 Backer's Georgia Minstrels pressive thing. Kept in an accounts book with 400 of its 450 pages bear­ ing entries, it weighs twelve pounds cook, talent scout, and seamstress Sloan 1986). Mattie Sloan remembers and measures 12 x 17 x 3 inches. In­ (Sloan 1986); her husband, Frank when he died: "Frank brought me cluded in it are nearly thirty pages of Sloan, was Winstead's bandleader the book. He said Fat wanted me to scrapbook items: programs, ticket (Hayes 1936, 11). McQuitty had con­ have it. I was the only one that stubs, business cards, clippings, and cluded his career with Winstead's would keep it. I was always keeping publicity photos that cover the first second show, Backer's Georgia Min­ things. But he told me not to put it at twenty-five years of his career. When strels, and settled in Fayetteville, the house, to put it with the rest of McQuitty died, Mattie Barber Sloan where he sold bootleg whiskey for the stuff" (Sloan 1986). Fortunately, came into its possession. She was E. S. "Fat" Winstead and played she did not, because Winstead's then working with Winstead's dances for "ofays" every Tuesday warehouse and all of Mattie Sloan's Mighty Minstrels as bookkeeper, and Friday (McQuitty 1937, 393; "stuff" burned shortly afterwards. 3 From then until 1986 she kept to take it. McQuitty's routebook at her home in Today, the handful of people who Laurinburg, North Carolina. remember Mose McQuitty recall him In the ensuing years a few people as Uncle Mose, the grandfatherly fig­ rifled its pages. It begins suddenly on ure who lived mostly for his music "Tues. Sept. 22, 1896 Spickards, Mo" and a couple of evening drinks. They with Wright's Nashville Students. knew him from Winstead's, Charles Several pages between that beginning Collier's Silas Green show, and and the end of the scrapbook are Ross's Harlem Babies Orchestra missing, probably victims of the "ri­ (Sloan 1986; Powell 1988; Abraham flers." I met Sloan after I had written 1987; Pettiford 198-8; Rotinson 1988).
Load more

Recommended publications
  • Black US Army Bands and Their Bandmasters in World War I
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of Fall 8-21-2012 Black US Army Bands and Their Bandmasters in World War I Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Lefferts, Peter M., "Black US Army Bands and Their Bandmasters in World War I" (2012). Faculty Publications: School of Music. 25. https://digitalcommons.unl.edu/musicfacpub/25 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 Version of 08/21/2012 This essay is a work in progress. It was uploaded for the first time in August 2012, and the present document is the first version. The author welcomes comments, additions, and corrections ([email protected]). Black US Army bands and their bandmasters in World War I Peter M. Lefferts This essay sketches the story of the bands and bandmasters of the twenty seven new black army regiments which served in the U.S. Army in World War I. They underwent rapid mobilization and demobilization over 1917-1919, and were for the most part unconnected by personnel or traditions to the long-established bands of the four black regular U.S. Army regiments that preceded them and continued to serve after them. Pressed to find sufficient numbers of willing and able black band leaders, the army turned to schools and the entertainment industry for the necessary talent.
    [Show full text]
  • 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.
    [Show full text]
  • Johnny O'neal
    OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson 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 Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society.
    [Show full text]
  • La Méringue Entre L'oralité Et L'écriture : Histoire D'un Genre Musical Haïtien
    Document generated on 09/27/2021 8:46 a.m. Canadian University Music Review Revue de musique des universités canadiennes --> See the erratum for this article La méringue entre l’oralité et l’écriture : histoire d’un genre musical haïtien Claude Dauphin Number 1, 1980 URI: https://id.erudit.org/iderudit/1013735ar DOI: https://doi.org/10.7202/1013735ar See table of contents Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Dauphin, C. (1980). La méringue entre l’oralité et l’écriture : histoire d’un genre musical haïtien. Canadian University Music Review / Revue de musique des universités canadiennes, (1), 49–65. https://doi.org/10.7202/1013735ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 1980 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ LA MERINGUE ENTRE I/ORALITÉ ET L'ÉCRITURE : HISTOIRE D'UN GENRE MUSICAL HAÏTIEN Claude Dauphin La meringue, genre et forme musicale autant que danse sociale, est une manifestation bien affirmée du nationalisme haïtien. Le titre de l'ouvrage de Jean Fouchard, La meringue, danse nationale d'Haïti (1973), symbolise ainsi une dimension bien concrète de la typologie culturelle haïtienne.
    [Show full text]
  • Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 8-26-2016 Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/musicfacpub Part of the African American Studies Commons, American Popular Culture Commons, and the Music Commons Lefferts, Peter M., "Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography" (2016). Faculty Publications: School of Music. 64. http://digitalcommons.unl.edu/musicfacpub/64 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 08/26/2016 Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln This document is one in a series---"Chronology and Itinerary of the Career of"---devoted to a small number of African American musicians active ca. 1900-1950. They are fallout from my work on a pair of essays, "US Army Black Regimental Bands and The Appointments of Their First Black Bandmasters" (2013) and "Black US Army Bands and Their Bandmasters in World War I" (2012/2016). In all cases I have put into some kind of order a number of biographical research notes, principally drawing upon newspaper and genealogy databases. None of them is any kind of finished, polished document; all represent work in progress, complete with missing data and the occasional typographical error.
    [Show full text]
  • The Harlem Renaissance: a Handbook
    .1,::! THE HARLEM RENAISSANCE: A HANDBOOK A DISSERTATION SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY ELLA 0. WILLIAMS DEPARTMENT OF AFRO-AMERICAN STUDIES ATLANTA, GEORGIA JULY 1987 3 ABSTRACT HUMANITIES WILLIAMS, ELLA 0. M.A. NEW YORK UNIVERSITY, 1957 THE HARLEM RENAISSANCE: A HANDBOOK Advisor: Professor Richard A. Long Dissertation dated July, 1987 The object of this study is to help instructors articulate and communicate the value of the arts created during the Harlem Renaissance. It focuses on earlier events such as W. E. B. Du Bois’ editorship of The Crisis and some follow-up of major discussions beyond the period. The handbook also investigates and compiles a large segment of scholarship devoted to the historical and cultural activities of the Harlem Renaissance (1910—1940). The study discusses the “New Negro” and the use of the term. The men who lived and wrote during the era identified themselves as intellectuals and called the rapid growth of literary talent the “Harlem Renaissance.” Alain Locke’s The New Negro (1925) and James Weldon Johnson’s Black Manhattan (1930) documented the activities of the intellectuals as they lived through the era and as they themselves were developing the history of Afro-American culture. Theatre, music and drama flourished, but in the fields of prose and poetry names such as Jean Toomer, Langston Hughes, Countee Cullen and Zora Neale Hurston typify the Harlem Renaissance movement. (C) 1987 Ella 0. Williams All Rights Reserved ACKNOWLEDGEMENTS Special recognition must be given to several individuals whose assistance was invaluable to the presentation of this study.
    [Show full text]
  • The Development of Duke Ellington's Compositional Style: a Comparative Analysis of Three Selected Works
    University of Kentucky UKnowledge University of Kentucky Master's Theses Graduate School 2001 THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Eric S. Strother University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Strother, Eric S., "THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS" (2001). University of Kentucky Master's Theses. 381. https://uknowledge.uky.edu/gradschool_theses/381 This Thesis is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Master's Theses by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF THESIS THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Edward Kennedy “Duke” Ellington’s compositions are significant to the study of jazz and American music in general. This study examines his compositional style through a comparative analysis of three works from each of his main stylistic periods. The analyses focus on form, instrumentation, texture and harmony, melody, tonality, and rhythm. Each piece is examined on its own and their significant features are compared. Eric S. Strother May 1, 2001 THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS By Eric Scott Strother Richard Domek Director of Thesis Kate Covington Director of Graduate Studies May 1, 2001 RULES FOR THE USE OF THESES Unpublished theses submitted for the Master’s degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors.
    [Show full text]
  • Immigrant Musicians on the New York Jazz Scene by Ofer Gazit A
    Sounds Like Home: Immigrant Musicians on the New York Jazz Scene By Ofer Gazit A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Chair Professor Jocelyne Guilbault Professor George Lewis Professor Scott Saul Summer 2016 Abstract Sounds Like Home: Immigrant Musicians On the New York Jazz Scene By Ofer Gazit Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Chair At a time of mass migration and growing xenophobia, what can we learn about the reception, incorporation, and alienation of immigrants in American society from listening to the ways they perform jazz, the ‘national music’ of their new host country? Ethnographies of contemporary migrations emphasize the palpable presence of national borders and social boundaries in the everyday life of immigrants. Ethnomusicological literature on migrant and border musics has focused primarily on the role of music in evoking a sense of home and expressing group identity and solidarity in the face of assimilation. In jazz scholarship, the articulation and crossing of genre boundaries has been tied to jazz as a symbol of national cultural identity, both in the U.S and in jazz scenes around the world. While these works cover important aspects of the relationship between nationalism, immigration and music, the role of jazz in facilitating the crossing of national borders and blurring social boundaries between immigrant and native-born musicians in the U.S. has received relatively little attention to date.
    [Show full text]
  • African American Performers on Early Sound Recordings, 1892-1916
    African American Performers on Early Sound Recordings, 1892-1916 Finding music by African Americans on early phonograph records is more difficult than one might surmise. African American artists rarely performed on early recordings. Racial prejudice may only be a contributing factor. Although African American singers and musicians were well known, in its early years, the recording industry was not looking for known artists. At its inception, beginning in the 1890s, it was the song that sold a record, and not (with some exceptions), the artist. Talent scouts from the record companies were on the lookout to recruit anybody with a good clear voice, and good diction. Recruits were trained to utilize the various techniques of making a successful recording--such as backing away from the recording horn at loud passages to avoid "blasting." There was no need to seek out famous stage artists. The Berliner, Edison, and Columbia companies of the 1890s had established a cadre of professional white "recorders" able to render both up to the minute hits as well as old favorites--and for a lower fee than a famous performer required. These white recorders could also reproduce the works of African-American performers with "authentic" language usage. So why hire Ernest Hogan, Cole and Johnson, Williams and Walker, and others when the in-house talent could do the job? Besides, many artists famous for their strong stage voices did not record as clearly as the professional record makers. Earliest African American Recording Artists http://memory.loc.gov/cgi‐bin/query/r?ammem/dukesm:@field(DOCID+@lit(ncdhasm.b0814))In 1890 George W.
    [Show full text]
  • Britt Woodman, En Av Duke Ellingtons Legendariska Trombonister På 5 O-Talet
    BULIETIN NUnIMER t, MARs 2000. Åna. z Britt Woodman, en av Duke Ellingtons legendariska trombonister på 5 O-talet qp,- Photo Ray Avery, Los Angeles, California Duke Ellington Society of Sweden, DESS ISSN 1400-8831 DESS c/o Göran Wall€n Redaktionsgrupp: Postgiro 11 63 75 - 7 Skogstorpsvägen 39, l9l 39 Sollentuna. Bo Holmqvist, Alf Lav€r, Göran Wallön Telefon/fax bostad: 08-96 52 34 DESS medlemsavgift Pay to: Accountno: 284O83 992 Vid köp av Azure-kassetter och CD fu per kalenderår: Svenska Handelsbanken Clearing no:6917 anviind vårt Postgiro eller Bankgiro Inom Norden 150 kr SWIFT: hand se ss Postgiroru. för prenumeration Membership outside Scan- for onward transmission av DEMS från Belgien är Pg 433 27 36-0 dinavia $ 25 pro annum. to DESS Ordföranden tar till orda: Första numretpå nyaårtusendet, kul !! Så vandrar vi vidare mot nya upplevelser. Nästa stora Ellingtonhän- Postgiro vid sina inbetalningar. Vi har därför beslutat att sluta använ- delse blir konferensen i maj månad i Holl;'wood, närmare bestämt da Bankgiro, vilket innebär att vi sparar 2000 kr i fast avgift per år, 24 - 2A maj på Holly'wood Roosevelt Hotel, fax:001-213-462-8156. det belopp som Handelsbanken kräver för att vi skall få använda För anmälan till konferensen vänd er till The Duke Ellington Society Bankgirotjänsten. Det får räcka med Postgiro. of So. Calif., fax: 001-323-933-2676 och cmail: [email protected] |lera kända ansikten kommer att finnas på plats. Bill Berry med stor- I övrigt så finns det Ellington musik lite här och där. I kyrkor, på band, Kenny Burrell m.fl.
    [Show full text]
  • [Sample Title Page]
    ART SONGS OF WILLIAM GRANT STILL by Juliet Gilchrist Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Luke Gillespie, Research Director ______________________________________ Mary Ann Hart, Chair ______________________________________ Patricia Havranek ______________________________________ Marietta Simpson January 27, 2020 ii To my mom and dad, who have given me everything: teaching me about music, how to serve others, and, most importantly, eternal principles. Thank you for always being there. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Figures ................................................................................................................................. vi Chapter 1: Introduction .................................................................................................................... 1 Chapter 2: Childhood influences and upbringing ............................................................................ 5 Chapter 3: Still,
    [Show full text]
  • Jersey Jazz May 2016 Marty Grosz
    JerseyStoriesJazz Happy 86th Birthday Marty Grosz By Lynn Redmile t’s not often you will hear Thomas Fats Waller wrote most of the group’s arrangements. The Iintroduced as “that ponderous pachyderm at the band performed extensively, recorded two albums piano, that elephantine elf of the ivories, that for Jazzology (Extra! In 1989 and Live at the L.A. mastodon of mirth, that caliph of the keys, that Classic in 1994) and recorded Laughing at Life in Sultan of the Steinway, that Bwana of the 1991 for Stomp Off. Marty continues to perform Bösundorfer, that guru of the groupettos, that Emir and has appeared at guitar concerts with such of the escape tones, that Pasha of the pralltrillers, greats as Joe Pass, Herb Ellis and Charlie Byrd. that Hammurabi of the hacha, that wazir of More recently, Marty has been recording with whoopie, that Nebuchadnezzar of nonsense.” But various groups around the country, and performing if you’re listening to the legendary Marty Grosz, in and around Philadelphia and New Jersey, often acoustic guitarist and one of jazz music’s great with Danny Tobias on trumpet/cornet. Bassist Ed comedians, you’ll hear it, as we did when we Wise accompanied Marty for many years, but celebrated his 86th birthday recently. since Ed’s relocation to New Orleans, that seat is Born in 1930 in Berlin, Martin Oliver “Marty” Grosz usually filled by Joe Plowman, a Philadelphia came to New York with his brother and parents in bassist. Marty’s Web site (www.martygrosz.com) 1933. His father, George Grosz, was one of the keeps fans updated regarding his upcoming principal artists associated with the Neue concerts.
    [Show full text]