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Lou Donaldson
BIO LOU DONALDSON --------------------------------------- "My first impulse is always to describe Lou Donaldson as the greatest alto saxophonist in the world." -- Will Friedwald, New York Sun Jazz critics agree that “Sweet Poppa Lou” Donaldson is one of the greatest alto saxophonists of all time. He began his career as a bandleader with Blue Note Records in 1952 and, already at age 25, he had found his sound, though it would continue to sweeten over the years -- earning him his famed nickname -- “Sweet Poppa Lou.” He made a series of classic records for Blue Note in the 50’s, and takes pride in having showcased many musicians who made their first records as sidemen for him: Horace Silver, Clifford Brown, Grant Green, Blue Mitchell, Donald Byrd, Horace Parlan, and others. After also making some excellent recordings for Cadet and Argo Records in the early 60s, Lou’s return to Blue Note in 1967 was marked by one of his most famous recordings, Alligator Bogaloo. Lou was awarded an honorary Doctorate of Letters by North Carolina A & T University and a scholarship was established in his name that is awarded to the most gifted jazz musician at North Carolina A & T University each year. He was inducted into the International Jazz Hall of Fame, is an NEA Jazz Master – our nation’s highest award bestowed upon jazz artists, and is the recipient of countless other honors and awards for his outstanding contributions to jazz, America’s “classical music.” Lou was born in Badin, North Carolina on November 1, 1926 -- the second of 4 children born to father Andrew, a minister and graduate of Livingstone College, and mother, Lucy, graduate of Cheney University who was a teacher, music director and concert pianist who recognized Lou’s expert ear for music and introduced him to the clarinet. -
Queen of the Blues © Photos AP/Wideworld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105 ETF 46 56 2/13/03 2:15 PM Page 47
03-0105_ETF_46_56 2/13/03 2:15 PM Page 46 J Queen of the Blues © Photos AP/WideWorld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105_ETF_46_56 2/13/03 2:15 PM Page 47 thethe by Kent S. Markle RedRed HotHot BluesBlues AZZ MUSIC HAS OFTEN BEEN CALLED THE ONLY ART FORM J to originate in the United States, yet blues music arose right beside jazz. In fact, the two styles have many parallels. Both were created by African- Americans in the southern United States in the latter part of the 19th century and spread from there in the early decades of the 20th century; both contain the sad sounding “blue note,” which is the bending of a particular note a quar- ter or half tone; and both feature syncopation and improvisation. Blues and jazz have had huge influences on American popular music. In fact, many key elements we hear in pop, soul, rhythm and blues, and rock and roll (opposite) Dinah Washington have their beginnings in blues music. A careful study of the blues can contribute © AP/WideWorld Photos to a greater understanding of these other musical genres. Though never the Born in 1924 as Ruth Lee Jones, she took the stage name Dinah Washington and was later known leader in music sales, blues music has retained a significant presence, not only in as the “Queen of the Blues.” She began with singing gospel music concerts and festivals throughout the United States but also in our daily lives. in Chicago and was later famous for her ability to sing any style Nowadays, we can hear the sound of the blues in unexpected places, from the music with a brilliant sense of tim- ing and drama and perfect enun- warm warble of an amplified harmonica on a television commercial to the sad ciation. -
CATALOGUE WELCOME to NAXOS JAZZ LEGENDS and NAXOS NOSTALGIA, Twin Compendiums Presenting the Best in Vintage Popular Music
NAXOS JAZZ LEGENDS/NOSTALGIA CATALOGUE WELCOME TO NAXOS JAZZ LEGENDS AND NAXOS NOSTALGIA, twin compendiums presenting the best in vintage popular music. Following in the footsteps of Naxos Historical, with its wealth of classical recordings from the golden age of the gramophone, these two upbeat labels put the stars of yesteryear back into the spotlight through glorious new restorations that capture their true essence as never before. NAXOS JAZZ LEGENDS documents the most vibrant period in the history of jazz, from the swinging ’20s to the innovative ’40s. Boasting a formidable roster of artists who forever changed the face of jazz, Naxos Jazz Legends focuses on the true giants of jazz, from the fathers of the early styles, to the queens of jazz vocalists and the great innovators of the 1940s and 1950s. NAXOS NOSTALGIA presents a similarly stunning line-up of all-time greats from the golden age of popular entertainment. Featuring the biggest stars of stage and screen performing some of the best- loved hits from the first half of the 20th century, this is a real treasure trove for fans to explore. RESTORING THE STARS OF THE PAST TO THEIR FORMER GLORY, by transforming old 78 rpm recordings into bright-sounding CDs, is an intricate task performed for Naxos by leading specialist producer-engineers using state-of-the-art-equipment. With vast personal collections at their disposal, as well as access to private and institutional libraries, they ensure that only the best available resources are used. The records are first cleaned using special equipment, carefully centred on a heavy-duty turntable, checked for the correct playing speed (often not 78 rpm), then played with the appropriate size of precision stylus. -
Elite Music Productions This Music Guide Represents the Most Requested Songs at Weddings and Parties
Elite Music Productions This Music Guide represents the most requested songs at Weddings and Parties. Please circle songs you like and cross out the ones you don’t. You can also write-in additional requests on the back page! WEDDING SONGS ALL TIME PARTY FAVORITES CEREMONY MUSIC CELEBRATION THE TWIST HERE COMES THE BRIDE WE’RE HAVIN’ A PARTY SHOUT GOOD FEELIN’ HOLIDAY THE WEDDING MARCH IN THE MOOD YMCA FATHER OF THE BRIDE OLD TIME ROCK N ROLL BACK IN TIME INTRODUCTION MUSIC IT TAKES TWO STAYIN ALIVE ST. ELMOS FIRE, A NIGHT TO REMEMBER, RUNAROUND SUE MEN IN BLACK WHAT I LIKE ABOUT YOU RAPPERS DELIGHT GET READY FOR THIS, HERE COMES THE BRIDE BROWN EYED GIRL MAMBO #5 (DISCO VERSION), ROCKY THEME, LOVE & GETTIN’ JIGGY WITH IT LIVIN, LA VIDA LOCA MARRIAGE, JEFFERSONS THEME, BANG BANG EVERYBODY DANCE NOW WE LIKE TO PARTY OH WHAT A NIGHT HOT IN HERE BRIDE WITH FATHER DADDY’S LITTLE GIRL, I LOVED HER FIRST, DADDY’S HANDS, FATHER’S EYES, BUTTERFLY GROUP DANCES KISSES, HAVE I TOLD YOU LATELY, HERO, I’LL ALWAYS LOVE YOU, IF I COULD WRITE A SONG, CHICKEN DANCE ALLEY CAT CONGA LINE ELECTRIC SLIDE MORE, ONE IN A MILLION, THROUGH THE HANDS UP HOKEY POKEY YEARS, TIME IN A BOTTLE, UNFORGETTABLE, NEW YORK NEW YORK WALTZ WIND BENEATH MY WINGS, YOU LIGHT UP MY TANGO YMCA LIFE, YOU’RE THE INSPIRATION LINDY MAMBO #5BAD GROOM WITH MOTHER CUPID SHUFFLE STROLL YOU RAISE ME UP, TIMES OF MY LIFE, SPECIAL DOLLAR WINE DANCE MACERENA ANGEL, HOLDING BACK THE YEARS, YOU AND CHA CHA SLIDE COTTON EYED JOE ME AGAINST THE WORLD, CLOSE TO YOU, MR. -
Lou Donaldson the Natural Soul Mp3, Flac, Wma
Lou Donaldson The Natural Soul mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: The Natural Soul Country: US Released: 1986 Style: Soul-Jazz, Hard Bop MP3 version RAR size: 1767 mb FLAC version RAR size: 1621 mb WMA version RAR size: 1543 mb Rating: 4.2 Votes: 259 Other Formats: MP3 VOC WMA MP4 DTS DXD AA Tracklist Hide Credits Funky Mama A1 9:05 Written-By – John Patton Love Walked In A2 5:10 Written-By – George & Ira Gershwin Spaceman Twist A3 5:35 Written-By – Lou Donaldson Sow Belly Blues B1 10:11 Written-By – Lou Donaldson That's All B2 5:33 Written-By – Alan Brandt, Bob Haymes Nice 'N Greasy B3 5:24 Written-By – Johnny Acea Companies, etc. Copyright (c) – Manhattan Records Phonographic Copyright (p) – Manhattan Records Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Alto Saxophone – Lou Donaldson Design [Cover] – Reid Miles Drums – Ben Dixon Guitar – Grant Green Liner Notes – Del Shields Organ – John Patton Photography By [Cover Photo] – Ronnie Brathwaite Producer – Alfred Lion Recorded By [Recording By] – Rudy Van Gelder Trumpet – Tommy Turrentine Notes Recorded on May 9, 1962. 1986 Manhattan Records, a division of Capitol Records, Inc. Other versions Category Artist Title (Format) Label Category Country Year The Natural Soul (LP, BLP 4108 Lou Donaldson Blue Note BLP 4108 US 1963 Album, Mono) The Natural Soul (CD, CDP 7 84108 2 Lou Donaldson Blue Note CDP 7 84108 2 US 1989 Album, RE) TOCJ-7176, The Natural Soul (CD, Blue Note, TOCJ-7176, Lou Donaldson Japan 2008 BST-84108 Album, RE) Blue Note BST-84108 The Natural Soul 4BN 84108 Lou Donaldson Blue Note 4BN 84108 US 1986 (Cass, Album, RM) The Natural Soul (LP, BST-84108 Lou Donaldson Blue Note BST-84108 US 1973 Album, RE) Related Music albums to The Natural Soul by Lou Donaldson Lou Donaldson - Mr. -
100 Years: a Century of Song 1950S
100 Years: A Century of Song 1950s Page 86 | 100 Years: A Century of song 1950 A Dream Is a Wish Choo’n Gum I Said my Pajamas Your Heart Makes / Teresa Brewer (and Put On My Pray’rs) Vals fra “Zampa” Tony Martin & Fran Warren Count Every Star Victor Silvester Ray Anthony I Wanna Be Loved Ain’t It Grand to Be Billy Eckstine Daddy’s Little Girl Bloomin’ Well Dead The Mills Brothers I’ll Never Be Free Lesley Sarony Kay Starr & Tennessee Daisy Bell Ernie Ford All My Love Katie Lawrence Percy Faith I’m Henery the Eighth, I Am Dear Hearts & Gentle People Any Old Iron Harry Champion Dinah Shore Harry Champion I’m Movin’ On Dearie Hank Snow Autumn Leaves Guy Lombardo (Les Feuilles Mortes) I’m Thinking Tonight Yves Montand Doing the Lambeth Walk of My Blue Eyes / Noel Gay Baldhead Chattanoogie John Byrd & His Don’t Dilly Dally on Shoe-Shine Boy Blues Jumpers the Way (My Old Man) Joe Loss (Professor Longhair) Marie Lloyd If I Knew You Were Comin’ Beloved, Be Faithful Down at the Old I’d Have Baked a Cake Russ Morgan Bull and Bush Eileen Barton Florrie Ford Beside the Seaside, If You were the Only Beside the Sea Enjoy Yourself (It’s Girl in the World Mark Sheridan Later Than You Think) George Robey Guy Lombardo Bewitched (bothered If You’ve Got the Money & bewildered) Foggy Mountain Breakdown (I’ve Got the Time) Doris Day Lester Flatt & Earl Scruggs Lefty Frizzell Bibbidi-Bobbidi-Boo Frosty the Snowman It Isn’t Fair Jo Stafford & Gene Autry Sammy Kaye Gordon MacRae Goodnight, Irene It’s a Long Way Boiled Beef and Carrots Frank Sinatra to Tipperary -
Jazzletter P-Q Ocrober 1986 P 5Jno;..1O
Jazzletter P-Q ocrober 1986 P 5jNo;..1o . u-1'!-an J.R. Davis,.Bill Davis, Rusty Dedrick, Buddy DeFranco, Blair The Readers . Deiermann, Rene de Knight,‘ Ron Della Chiesa (WGBH), As of August 25, I986, the JazzIetrer’s readers were: Louise Dennys, Joe Derise, Vince Dellosa, Roger DeShon, Michael Abene, John Abbott, Mariano F. Accardi, Harlan John Dever, Harvey Diamond, Samuel H. Dibert’, Richard Adamcik, Keith Albano, Howard Alden, Eleanore Aldrich, DiCarlo, Gene DiNovi, Victor DiNovi, Chuck Domanico, Jeff Alexander, Steve Allen, Vernon Alley, Alternate and Arthur Domaschenz, Mr. and Mrs. Steve Donahue, William E. Independent Study Program, Bill Angel, Alfred Appel J r, Ted Donoghue, Bob Dorough, Ed Dougherty, Hermie Dressel, Len Arenson, Bruce R. Armstrong, Jim Armstrong, Tex Arnold, Dresslar, Kenny Drew, Ray Drummond, R.H. Duffield, Lloyd Kenny Ascher, George Avakian, Heman B. Averill, L. Dulbecco, Larry Dunlap, Marilyn Dunlap, Brian Duran, Jean Bach, Bob Bain, Charles Baker (Kent State University Eddie Duran, Mike Dutton (KCBX), ' School of Music), Bill Ballentine, Whitney Balliett, Julius Wendell Echols, Harry (Sweets) Edison,Jim_Eigo, Rachel Banas, Jim Barker, Robert H. Barnes, Charlie Barnet, Shira Elkind-Tourre, Jack Elliott, Herb Ellis, Jim Ellison, Jack r Barnett, Jeff Barr, E.M. Barto Jr, Randolph Bean, Jack Ellsworth (WLIM), Matt Elmore (KCBX FM), Gene Elzy Beckerman, Bruce B. Bee, Lori Bell, Malcolm Bell Jr, Carroll J . (WJR), Ralph Enriquez, Dewey Emey, Ricardo Estaban, Ray Bellis MD, Mr and Mrs Mike Benedict, Myron Bennett, Dick Eubanks (Capital University Conservatory of Music), Gil Bentley, Stephen C. Berens MD, Alan Bergman, James L. Evans, Prof Tom Everett (Harvard University), Berkowitz, Sheldon L. -
Blues Notes June 2016
VOLUME TWENTY-ONE, NUMBER SIX • JUNE 2016 Sunday, June 5th @ 5 pm - Zoo Bar CURTIS SALGADO Tuesday, June 7th @ 6 pm • 21st Saloon, Omaha, NE $10 for BSO members, $20 for non-members Join the BSO or renew at the door Advance tix @ www.eventbrite.com GOLDEN STATE - LONE STAR REVUE Also Appearing Thursday, June 30th @ 5 pm $15 Wednesday, June 8th @ 6 pm • Zoo Bar, Lincoln, NE 21st Saloon, Omaha WEEKLY BLUES SERIES 4727 S 96th Plaza SOARING WINGS BLUES FESTIVAL Thurs. shows @ 6pm • Sat. shows @ 8 pm with John Primer & Watermelon Slim Bands subject to change Saturday, June 4th June 2nd .............................................................Davy Knowles ($10) June 4th (8 pm) ... Swamp Productions Presents Swampboy Blues Band, SUMMER ARTS FESTIVAL Sweet Tea, Bad Judgement & 40 Sinners ($5) June 10, 11, & 12 June 7th (Tues)........................................................... Curtis Salgado Featuring ($10 BSO Members, $20 Non Members, Bernard Allison Friday, June10th advance tickets at www.eventbrite.com) June 9th (5 pm) ......................................... Tale of 3 Cities Tour ($10) BLUES AT BEL AIR Hector Anchondo, Amanda Fish, and Delta Sol - Sunday June 12th Front and Center opens at 5pm! featuring June 10th (9 pm) ........Achilles Last Stand - Led Zepplin Tribute ($5) The Mighty Jailbreakers June 11th (8 pm) .... Luther James Band ($5) Summer Arts Fest After Party and The Bel Airs June 16th (5 pm) .......... Markey Blue ($10) - Dilemma opens at 5pm June 18th (8 pm) ........ Blue House and the Rent to Own Horns ($5) BRIDGE BEATS June 23rd (5 pm) ....Bruce Katz Band ($10) - Far & Wide opens at 5pm Saturday June 10th & 24th June 25th (8 pm) ............................................Rhythm Collective ($5) June 30th (5 pm) ................... -
Wavelength (November 1984)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 11-1984 Wavelength (November 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (November 1984) 49 https://scholarworks.uno.edu/wavelength/49 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. I I ~N0 . 49 n N<MMBER · 1984 ...) ;.~ ·........ , 'I ~- . '· .... ,, . ----' . ~ ~'.J ··~... ..... 1be First Song • t "•·..· ofRock W, Roll • The Singer .: ~~-4 • The Songwriter The Band ,. · ... r tucp c .once,.ts PROUDLY PR·ESENTS ••••••••• • • • • • • • •• • • • • • • • • • • • • • • ••••••••• • • • • • • • •• • • • • • • • • • • • • • •• • • • • • • • • • • • ••••••••••• • •• • • • • • • • ••• •• • • • • • •• •• • •• • • • •• ••• •• • • •• •••• ••• •• ••••••••••• •••••••••••• • • • •••• • ••••••••••••••• • • • • • ••• • •••••••••••••••• •••••• •••••••• •••••• •• ••••••••••••••• •••••••• •••• .• .••••••••••••••••••:·.···············•·····•••·• ·!'··············:·••• •••••••••••• • • • • • • • ...........• • ••••••••••••• .....•••••••••••••••·.········:· • ·.·········· .....·.·········· ..............••••••••••••••••·.·········· ............ '!.·······•.:..• ... :-=~=···· ····:·:·• • •• • •• • • • •• • • • • • •••••• • • • •• • -
Remembering Frankie Laine Craig Cronbaugh
Remembering Frankie Laine Craig Cronbaugh Four Sessions: October 4, 11, 18, 25 Fridays, 1–3PM Pappajohn Education Center, Room 201 Remembering Frankie Laine Instructor: Craig Cronbaugh Day One This is Frankie Laine: That’s My Desire Recording from 1956 Frankie Laine’s final public appearance on public television at age 92 Frankie sings the song in 1952 on television The beginning Video of Frankie Laine pictures from baby to fame Video of Frankie Laine pictures with celebrities Video of early fame Frankie Laine pictures Audio of 1944 radio program recorded at Billy Berg’s nightclub Frankie Laine’s first record—1944 See the record Hear the Frankie’s very first studio recording—1944 Frankie Laine on Atlas Records—1945 Hear selected Atlas recordings Early fame Talk about Frankie’s rise to fame and association with Mercury Records Listen to Frankie’s first gold record—1947 Listen to clips of famous radio shows with Frankie as guest Listen to selected Mercury recordings by Frankie Watch Frankie Laine sing in first two of his movies—1949 and 1950 First CBS pilot show —1950 Watch Frankie perform on early Ed Sullivan Show (Toast of the Town) Watch Frankie sing in his third and fourth movies—1951 and 1952 Television shows First CBS pilot show —1950 The Frankie Laine Show—1954 and 1955 Watch guest appearances on selected television shows Day Two Fame in the fifties Talk about Frankie signing with Columbia Records Listen to selected Columbia recordings Watch Frankie sing and act in 1955 and 1956 movies and sing in 1956 movie Watch a variety of television -
Fats Domino, Early Rock 'N' Roller with a Boogie-Woogie Piano, Is Dead at 89
Fats Domino, Early Rock ’n’ Roller With a Boogie-Woogie Piano, Is Dead at 89 https://www.nytimes.com/2017/10/25/obituaries/fats-domino-89-one-of-rock-n-rolls-first-stars-is-dead.html October 25, 2017 By JON PARELES and WILLIAM GRIMES Fats Domino in 1967. Fats Domino, the New Orleans rhythm-and-blues singer whose two-fisted boogie-woogie piano and nonchalant vocals, heard on dozens of hits, made him one of the biggest stars of the early rock ’n’ roll era, died on Tuesday at his home in Harvey, La., across the Mississippi River from New Orleans. He was 89. His death was confirmed by the Jefferson Parish coroner’s office. Mr. Domino had more than three dozen Top 40 pop hits through the 1950s and early ’60s, among them “Blueberry Hill,” “Ain’t It a Shame” (also known as “Ain’t That a Shame,” which is the actual lyric), “I’m Walkin’,” “Blue !1 Monday” and “Walkin’ to New Orleans.” Throughout he displayed both the buoyant spirit of New Orleans, his hometown, and a droll resilience that reached listeners worldwide. He sold 65 million singles in those years, with 23 gold records, making him second only to Elvis Presley as a commercial force. Presley acknowledged Mr. Domino as a predecessor. “A lot of people seem to think I started this business,” Presley told Jet magazine in 1957. “But rock ’n’ roll was here a long time before I came along. Nobody can sing that music like colored people. Let’s face it: I can’t sing it like Fats Domino can. -
Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection.