Bernard Addison
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Records to Consider
VOLUME XXIII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1992 Dec 12-13, 1992 Vocals have always been with BBJ PROGRAMS are subject to change due to un SINGING GROUPS us, even though swing pur avoidable circumstances or station convenience. Many ists tend to overlook the con requests are receivedfor tape copies o f the programs, tribution made by lyrics in popularizing the Big Bands but stringent copyright laws applying to the records that are the basis of it all. The Mills Brothers, the Pied used prevent us from supplying such copies. Pipers, the Sentimentalists, the Modernaires, the Ink Spots, the Stardusters and the Merry Macs all make ( RECORDS TO CONSIDER) recorded appearances on this salute to the vocal groups, along with a few instrumental and single vocal HERE’S THAT SWING THING Pat Longo hits of the forties. Orchestra -Vocals by Frank Sinatra, Jr. USA Records - 19 Cuts - CD or Cassette Dec 19-20, 1992 It’s a very special BIG BAND CHRISTMAS time with very special Billy May was one of the arrangers for this recording, music, captured as which immediately makes it a must-have. Pat Longo’s performed in the studio and in broadcasts during the Orchestra has a two decade history of solid perfor Christmas seasons of years past. Both Big Bands and mance, some of it a bit far out for some Big Band single vocalists recall the Sounds of Christmas in a traditionalists, but most simply solid swing. Sax man simpler time; perhaps a better time. Recollections of Longo was vice-president of a California bank until he Christmas experiences fill in the moments between the realized money wasn’t what he wanted to handle the music to weave a spell. -
J. Dorsey, Earl Hines Also Swell Trombone Showcased
DOWN BEAT Chicago. April 15. 1941 Chicago fl by his latest cutting. Everything Depends On You, in which he spots Gems of Jazz’ and Kirby Madeline Green and a male vocal trio. On BBird 11036, it’s a side which shows a new Hines, a Hines who can bow to the public’s de Albarns Draw Big Raves; mands and yet maintain a high artistic plane. Backer is In Suiamp Lande, a juniper, with the leader’s I—Oh Le 88, Franz Jackson’s tenor and a »—New ' J. Dorsey, Earl Hines Also swell trombone showcased. Je Uy, 3—dmapi Jelly (BBird 11065) slow 4—Perfid by DAVE DEXTER, JR. blues with more sprightly Hines, 5—The A and a Pha Terrelish v ical by Bill 6—High I JvlUSICIANS SHOULD FIND the new “Gems of Jazz” and Eckstein. Flipover, I’m Falling 7—There' For You, is the only really bad John Kirby albums of interest, for the two collections em side of the four. It’s a draggy pop 9—Chapeí brace a little bit of everything in the jazz field. The “Gems” with too much Eckstein. [O—Th> l include 12 exceptional sides featuring Mildred Bailey, Jess 11—f Unti Stacy, Lux Lewis, Joe Marsala and Bud Freeman. Made in Jimmy Dorsey 12—Frenes 1936, they’ were issued only in England on Parlophone and Hot as a gang of ants on a WATCH O have been unavailable domestically until now. warm rock, Jim and his gang click again with two new Tudi« Cama Ma «mvng tl B a i 1 ey’s rata versions uf Yours (the Man Behind the Counter in soda-jerk getup in that rat. -
Frisco Dwindles to Two Franklin Ave^ Brooklyn; No «Overt ASTOR HOTEL (Time« Square)
1951 Chicago. December 14, 1951 NEWS-FEATURES DOWN BEAT 11 LOPA (Chicago and Much) no cuvar or minimum). Roy Kral’« piano and vocal« blending with Jackie Cain’s voice and Ken SWINGIN' THE GOLDEN GATE ny Buchanan*« bam for a welcome and unique sound and sight. On The Town DE LISA (5521 S. State) no minimum or eovor). A big bright show which often S' ' — ------------------------------------------------------- features the singing of Joo Williams and NEW YORK always the band of drummer Red Saunders. Number Of Jazz Clubs In HOTSPOTS trio—Frank Cerrehia on guitar. Norman Mondav morning breakfast shows draw un piano, and Justin Arndt on base. •elebritiea. THE ALBtKl (13» E. 36«h| PImUi Cy LITTLE CLUB (70 S. 55th). Sonny Walter after 10 p.». every night but Mon* Kendis trio, with Lionel Meth soloing at 1111 CLUB (1111 W. Bryn Mawr; no day, pint the Johnny Smith trio. piano. minimum or cover). Johnny Lane’s Dixie DINE AND DANCE erew, with Benny Woodworth, trampet) BEDFORD REST (Eastern Parkway and Lane, clarinet; George Winn, trombone and Frisco Dwindles To Two Franklin ave^ Brooklyn; no «overt ASTOR HOTEL (Time« Square). Ted euphonium; Roy Wasson, piano, and Hey- minimum). Semi-organised jam ECMioni Huston's band in Columbia room from 10 Hey Humphrey, drums. By RALPH J. GLEASON Sunday. p.m. Broadway eoektail lounge now open, 113 CLUB (113 E. 47th) no cover or San Francisco—The small jazz combos may be all over the CAFE SOCIETY (2 Sheridan Square). where you can dance to Alan Holmes’ minimum). Friis Jones, formerly of Pitts Claude Hopkina quartet playa for dancing. -
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
Louis Armstrong
A+ LOUIS ARMSTRONG 1. Chimes Blues (Joe “King” Oliver) 2:56 King Oliver’s Creole Jazz Band: King Oliver, Louis Armstrong-co; Honore Dutrey-tb; Johnny Dodds-cl; Lil Hardin-p, arr; Arthur “Bud” Scott-bjo; ?Bill Johnson-b; Warren “Baby” Dodds-dr. Richmond, Indiana, April 5, 1923. first issue Gennett 5135/matrix number 11387-A. CD reissue Masters of Jazz MJCD 1. 2. Weather Bird Rag (Louis Armstrong) 2:45 same personnel. Richmond, Indiana, April 6, 1923. Gennett 5132/11388. Masters of Jazz MJCD 1. 3. Everybody Loves My Baby (Spencer Williams-Jack Palmer) 3:03 Fletcher Henderson and his Orchestra: Elmer Chambers, Howard Scott-tp; Louis Armstrong-co, vocal breaks; Charlie Green-tb; Buster Bailey, Don Redman, Coleman Hawkins-reeds; Fletcher Henderson-p; Charlie Dixon- bjo; Ralph Escudero-tu; Kaiser Marshall-dr. New York City, November 22-25, 1924. Domino 3444/5748-1. Masters of Jazz MJCD 21. 4. Big Butter and Egg Man from the West (Armstrong-Venable) 3:01 Louis Armstrong and his Hot Five: Louis Armstrong-co, voc; Edward “Kid” Ory-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; May Alix-voc. Chicago, November 16, 1926. Okeh 8423/9892-A. Maze 0034. 5. Potato Head Blues (Armstrong) 2:59 Louis Armstrong and his Hot Seven: Louis Armstrong-co; John Thomas-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; Pete Briggs-tu; Warren “Baby” Dodds-dr. Chicago, May 10, 1927. Okeh 8503/80855-C. Maze 0034. 6. Struttin’ with Some Barbecue (Armstrong) 3:05 Louis Armstrong and his Hot Five. -
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell Glenn Miller Original release label “Sun Valley Serenade” Though Glenn Miller and His Orchestra’s well-known, robust and swinging hit “In the Mood” was recorded in 1939 (and was written even earlier), it has since come to symbolize the 1940s, World War II, and the entire Big Band Era. Its resounding success—becoming a hit twice, once in 1940 and again in 1943—and its frequent reprisal by other artists has solidified it as a time- traversing classic. Covered innumerable times, “In the Mood” has endured in two versions, its original instrumental (the specific recording added to the Registry in 2004) and a version with lyrics. The music was written (or written down) by Joe Garland, a Tin Pan Alley tunesmith who also composed “Leap Frog” for Les Brown and his band. The lyrics are by Andy Razaf who would also contribute the words to “Ain’t Misbehavin’” and “Honeysuckle Rose.” For as much as it was an original work, “In the Mood” is also an amalgamation, a “mash-up” before the term was coined. It arrived at its creation via the mixture and integration of three or four different riffs from various earlier works. Its earliest elements can be found in “Clarinet Getaway,” from 1925, recorded by Jimmy O’Bryant, an Arkansas bandleader. For his Paramount label instrumental, O’Bryant was part of a four-person ensemble, featuring a clarinet (played by O’Bryant), a piano, coronet and washboard. Five years later, the jazz piece “Tar Paper Stomp” by Joseph “Wingy” Manone, from 1930, beget “In the Mood’s” signature musical phrase. -
Dizzy Gillespie and His Orchestra with Charlie Parker, Clyde Hart, Slam Stewart, Cozy Cole, Sonny Stitt, Milt Jackson, Al Haig, Thelonious Monk, Sid Catlett, Etc
lonoital Sem.iom 1W! and his Orchestra DIZZIE GILLESPIE CHARLIE PARKER CLYDE HART SLAM STEWART COZY COLE SONNY STITT AL HAIG MILT JACKSON THELONIOUS MONK DAVE BURNS SID CATLETT SAGA6920 L WORLD WIDE 6900 Sidney Bechet Album (Recorded New York SIDE ONE 1945/1947) with Mezz Mezzrow, Hot Lips Page, Will Bill HE BEEPED WHEN HE SHOULD Davidson, etc. HAVE BOPPED (a) GROOVIN' HIGH (b) 0, 6901 Louis Armstrong Volume 1 (Recorded New M York 1938/1947) DIZZY ATMOSPHERE (b) with Jack Teagarden, Bud Freeman, Fats Waller, 00 BOP SH'BAM (c) and his Orchestra Bobby Hackett, etc. OUR DELIGHT (d) 6902 Duke Ellington — His most important Second ✓-SALT PEANUTS (f) War Concert (1943) with Harold Baker, Taft Jordan, Ray Nance, Jimmy Hamilton, etc. SIDE TWO 6903 Count Basie at the Savoy Ballroom (1937) ONE BASS HIT part two (a) In the restless, insecure world of jazz, fashions change with embarr- Despite the scepticism of many of his colleagues, Gillespie and the with Buck Clayton, Ed Lewis, Earl Warren, Lester Young, etc. ALL THE THINGS YOU ARE (b) assing frequency, and reputations wax and wane with the seasons. band, were successful. The trumpeter only stayed for six months, ✓ HOT HOUSE (e) Comparatively few artists have succeeded in gaining universal, con- however, and was soon in the record studios, cutting three of the 6904 Louis Armstrong — Volume 2 (Recorded New THAT'S EARL, BROTHER (c) sistent respect for their musical achievements, and still fewer have tracks on this album, 'Groovin' High', 'Dizzy Atmosphere', and 'All York 1948/1950) with Jack Teagarden, Earl Hines, Barney Bigard, THINGS TO COME (a) been able to reap the benefits of this within their own lifetime. -
Fantastic Felines Sparkle for Swingtime
Volume 23, Number 3 Published by C. Robie Booth, Ltd. Autumn 2012 Photo by C. Robie Booth Fantastic Felines Sparkle for Swingtime These swingin’ chicks are three of a half-dozen singers for the Georgie Wonders Or- chestra appearing for Swingtime Jazz Society Oct. 14 at Colonie Elks Lodge. From left: Katherine Hudson-Sabins, Linda Egan Johnson and Erin Upson. Story, Page 3. The Night Owl Ye Olde Puzzler All of Swingtime’s contestants correctly identified the seminal bassist Jimmy dynamics and swirling flourishes, as heard on a Blanton. Predictably, the winners were recent “Skylark,” are without peer . Her origi- largely bassists: Bill Delaney, Pete Toigo nal “Crazyology” is a wonderful romp. Re- and Mike Wicks, plus drummer Tim member Rocky Palmer and the Ritz? ? ? We’re Coakley. sorry to see the Brown Derby in downtown Al- bany go out of business. Some Fridays they had Ye Newe Puzzler excellent jazz. Who was a protégé of Jean Goldkette who led Recently discovered a wonderful singer, Judy one of the first big bands under the Goldkette Starr, on Hal Kemp’s “I’ve Got a Pocketful of umbrella, which also included the Don Redman Dreams.” orchestra? Also “discovered” was Margie Woodward, a Our mystery man, a Detroit drummer born in beautiful leading lady in many B movies of the Kentucky, began his band in the mid-1920s. His 1930s and ‘40s. She starred with two of the first sidemen included Benny Carter, Coleman Haw- Dick Tracys, Ralph Byrd and Warren Morgan. kins, Rex Stewart, Fats Waller, James P. John- The third and last Tracy was Warren Beatty. -
Swingville Label Discography
Swingville Label Discography: 2000 Series: SVLP 2001 - Coleman Hawkins and The Red Garland Trio - Coleman Hawkins and The Red Garland Trio [1960] It’s a Blue World/I Want to Be Loved/Red Beans/Bean’s Blues/Blues For Ron SVLP 2002 - Tiny In Swingville - Tiny Grimes with Richardson [1960] Annie Laurie/Home Sick/Frankie & Johnnie/Down with It/Ain’t Misbehaving/Durn Tootin’ SVLP 2003 - Tate's Date - Buddy Tate [1960] Me ‘n’ You/Idling/Blow Low/Moon Dog/No Kiddin’/Miss Ruby Jones SVLP 2004 - Callin' the Blues - Tiny Grimes [1960] Reissue of Prestige 7144. Callin’ the Blues/Blue Tiny/Grimes’ Times/Air Mail Special SVLP 2005 – Coleman Hawkins’ All Stars - Coleman Hawkins with Joe Thomas and Vic Dickenson [1960] You Blew Out the Flame/More Bounce to the Vonce/I’m Beginning to See the Light/Cool Blue/Some Stretching SVLP 2006 - The Happy Jazz of Rex Stewart - Rex Stewart [1960] Red Ribbon/If I Could Be with You/Four or Five Times/Rasputin/Please Don’t Talk About me When I’m Gon/San/You Can Depend on Me/I Would Do Most Anything For You/Tell Me/Nagasaki SVLP 2007 - Buck Jumpin' - Al Casey [1960] Buck Jumpin’/Casey’s Blues/Don’t Blame Me/Ain’t Misbehavin’/Honeysuckle Rose/Body & Soul/Rosetta SVLP 2008 - Swingin' with Pee Wee - Pee Wee Russell [1960] What Can I Say Dear/Midnight Blue/Very Thought of You/Lulu’s Back in Town/I Would Do Most Anything For You/Wrap Your Troubles in Dreams/Englewood SVLP 2009 - Yes Indeed! - Claude Hopkins [1960] It Don’t Mean a Thing/Willow Weep For Me/Yes Indeed/Is It So/Empty Bed Blues/What Is This Thing Called Love/Morning Glory SVLP 2010 – Rockin’ in Rhythm - Swingville All Stars (Al Sears, T. -
Grover Kemble and Za Zu Zaz Reunion
Volume 39 • Issue 7 July/August 2011 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. above: Winard Harper Sextet; below: Allan Harris. Photos by Tony Mottola. 2011 “Ring dem Bells!” azzfest 2011 on June 11 at the College of Saint J Elizabeth in Morristown kicked off with the ringing of the noon bells at Anunciation Hall just as Emily Asher’s Garden Party was set to begin playing outside its entrance. That caused only a minor setback at our brand new venue where the benefits outweighed any clouds and drizzle. All activities had been seamlessly moved indoors, which turned out to be a boon for one and all, with no missed notes. Dolan Hall proved to be a beautiful venue and the Jazz Lobsters easily fanned across its stage. The languid start to “Splanky” gave way to a crisp, sparking horn crescendo. Bari sax man Larry McKenna was featured as arranger and soloist on “You Go to My Head,” and his velvety, luxurious tone sparked bandleader/ pianist James Lafferty’s continued on page 30 New JerseyJazzSociety in this issue: Deconstructing Dave NEW JERSEY JAZZ SOCIETY April Jazz Social: Dave Frank . 2 Dave Frank digs into Dave McKenna at April Jazz Social Bulletin Board . 2 Governor’s Island Jazz Party 2011 . 3 Text and photos Mail Bag. 3 by Tony Mottola NJJS Calendar . 3 Co-Editor Jersey Jazz Jazz Trivia . 4 Editor’s Pick/Deadlines/NJJS Info . 6 ianist and educator May Jazz Social: Sue Giles . 52 PDave Frank explored Crow’s Nest . -
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............................... -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana