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At Last We Are Able to Offer the 5 Missing Jazz Oracle Titles Again!
They’re back!!! At last we are able to offer the 5 missing Jazz Oracle titles again! RE-PRESSED! ROGER WOLFE KAHN – Recorded in New York 1925-1928 BDW8013 1 CD £12.99 A selection of the most jazz-oriented recordings by this fine dance orchestra made for Victor, Perfect, Brunswick and Columbia. Features Miff Mole, Arthur Schutt, Joe Venuti, Eddie Lang, Artie Shaw, and Charlie Teagarden. Also includes a previously unissued performance of Rhythm of the Day. RE-PRESSED! DALLAS RHYTHM – Recorded in Dallas and St Louis 1924-1929 BDW8021 1 CD £12.99 Includes the complete recordings of Dallas-based bandleader Jack Gardner, as well as selected recordings by Randolph McCurtain, Phil Baxter and Herman Waldman. The 32-page booklet includes extensive liner notes by researcher Dick Raichelson, as well as previously unpublished information and newly-found details of the activities of these territory bandleaders. RE-PRESSED! DIME STORE HOT DANCE 1927-1930 BDW8023 1 CD £12.99 A selection of hot dance recordings from 1927 to 1930 made for release on the Plaza and Compo stable of labels. Features hot solo work by Tommy Gott, Bob Effros, Tommy Dorsey, Jimmy Dorsey, Arthur Schutt and others. Exhaustive booklet with full band personnel and recording dates. RE-PRESSED! ARCADIA SHUFFLE 1924-1925 BDW8027 1 CD £12.99 The complete recordings of the Arcadian Serenaders and the Original Crescent City Jazzers, and selected recordings by the Arcadia Peacock Orchestra of St. Louis. Includes extensive notes by James K. Williams and many recently- discovered photographs. Plus full recording details, personnel and dates. -
THE INFLUENCE of BIX BEIDERBECKE – VOLUME ONE: USA by Max Easterman Even Though It Became Known As “The Jazz Age”, Real Ja
THE INFLUENCE OF BIX BEIDERBECKE – VOLUME ONE: USA By Max Easterman Even though it became known as “The Jazz Age”, real jazz was rarely popular in its own right during the 1920s, as witness the rarity of many of the finest jazz recordings from this era. Jazzmen – particularly white jazzmen – made much more money and often won greater fame using it to pep up dance music than they ever did making pure jazz recordings, though, of course, it’s by the jazz they played on records that we now judge their worth. Such is the distorting mirror of history! Of course, to the general public of the time, arranged dance music played with a rhythmic bounce and offering the occasional jazz-like solo was what they thought of as “jazz”. Two recordings suffice to illustrate the point. The recording of Paul Whiteman’s Back In Your Own Backyard , issued in March 1928, sold 88,000 copies; Bix’s recording of Somebody Stole My Gal , recorded a few weeks later, made sales of only 2400. The first is a highly arranged dance band recording containing just two short solos by Bix; the latter is a romping jazz gem, on which Bix flies like a bird throughout and inspires his fellows to greater things than they knew they were capable of. Bix was a legend in his lifetime for the men who played with him, or listened to him and tried to play like him. But for the general public, who bought the discs, he was just another name, a name which only became significant, for some of them, long after his death. -
RCA Victor LPV 500 Series
RCA Discography Part 23 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor LPV 500 Series This series contains reissues of material originally released on Bluebird 78 RPM’s LPV 501 – Body and Soul – Coleman Hawkins [1964] St. Louis Shuffle/Wherever There's A Will, Baby/If I Could Be With You/Sugar Foot Stomp/Hocus Pocus/Early Session Hop/Dinah/Sheikh Of Araby/Say It Isn't So/Half Step Down, Please/I Love You/Vie En Rose/Algiers Bounce/April In Paris/Just Friends LPV 502 – Dust Bowl Ballads – Woody Guthrie [1964] Great Dust Storm/I Ain't Got No Home In This World Anymore/Talkin' Dust Bowl Blues/Vigilante Man/Dust Cain't Kill Me/Pretty Boy Floyd/Dust Pneumonia Blues/Blowin' Down This Road/Tom Joad/Dust Bowl Refugee/Do Re Mi/Dust Bowl Blues/Dusty Old Dust LPV 503 – Lady in the Dark/Down in the Valley: An American Folk Opera – RCA Victor Orchestra [1964] Lady In The Dark: Glamour Music Medley: Oh Fabulous One, Huxley, Girl Of The Moment/One Life To Live/This Is New/The Princess Of Pure Delight/The Saga Of Jenny/My Ship/Down In The Valley LPV 504 – Great Isham Jones and His Orchestra – Isham Jones [1964] Blue Prelude/Sentimental Gentleman From Georgia/(When It's) Darkness On The Delta/I'll Never Have To Dream Again/China Boy/All Mine - Almost/It's Funny To Everyone But Me/Dallas Blues/For All We Know/The Blue Room/Ridin' Around In The Rain/Georgia Jubilee/You've Got Me Crying Again/Louisville Lady/A Little Street Where Old Friends Meet/Why Can't This Night Go On Forever LPV 505 – Midnight Special – Leadbelly [1964] Easy Rider/Good Morning Blues/Pick A Bale Of Cotton/Sail On, Little Girl, Sail On/New York City/Rock Island Line/Roberta/Gray Goose/The Midnight Special/Alberta/You Can't Lose-A Me Cholly/T.B. -
Read Peter Mintun's Detailed Filmography of These
Shorts Warner Archive 1 1 Video Piracy Warning 12/10/2009 2009 Directed by Unidentified 2 Rambling ‘Round Radio Row #1 1932 Directed by Unidentified 1408 Jerry Wald, Syd Gary (hosts), Boswell Sisters, Abe Lyman, Stoopnagle (F. Chase Taylor) & Bud (Budd Hulick), Kate Smith, Nat Brusiloff, Jack Miller (piano) 3 Rambling ‘Round Radio Row (1932/I) 1932 Directed by Jerry Wald 1447 Art Jarrett, Art Jarrett, Jr., Loyce Whiteman, Harry Barris, Burton Lane, Sylvia Froos, Benny Krueger, Rudy Wiedoft 4 Rambling ‘Round Radio Row #4 1932 Directed by Jerry Wald 1452 J.C. Flippen, Howard Lanin’s Orchestra, Aunt Jemima (Tess Gardella) Baby Rose Marie, Johnny Marvin, Four Lombardo Brothers, William Hall 5 Rambling ‘Round Radio Row #5 1933 Directed by Unidentified 1453 Smith Ballew, Frances Langford, Happiness Boys, Funnyboners (trio), Jerry Wald, Reis & Dunn, Arthur Tracy, Jacques Renard, Freddie Rich, Jack Denny, Meyer Davis 6 Rambling ‘Round Radio Row #6 (1933/I) 1934 Directed by Unidentified 1473 Harry Rose (The Broadway Jester), The Three Keys, Lew Conrad & His Orchestra, Don Carney (Uncle Don), Harriet Lee & Her Boyfriends, Charles ‘Buddy’ Rogers, Jerry Wald 7 Rambling Round Radio Row (1933/II) 1933 Directed by Jerry Wald 1474 Ted Pearson (host), Paul Whiteman’s (new) Rhythm Boys, Pickens Sisters, Ann Leaf (piano), Frank Hazard, Tito Guizar 8 Rambling ‘Round Radio Row (1934/I) 1933 Directed by Unidentified 1632 Eddie Bruce, Tito Guizar, Shirley Howard, Men About Town, Alan Reed (as Blubber Bergman, Stutterer) 9 Rambling ‘Round Radio Row (1934/II) 1934 Directed by Unidentified 1662 Bunny Poe, Patsy Flick (mailman), Frank Novak, George Jessel, Vera Van, Shemp Howard, Ramon & Rosita (assisted by Tony Sacco) 10 Rambling ‘Round Radio Row #8 (1934/III) 1934 Directed by Unidentified 1664 Harriet Lee, Baby Rose Marie, Frank Novak, Jr. -
Crazy Rhythm Music by JOSEPH MEYER and ROGER WOLFE KAHN Arranged by MIKE LEWIS
CRAZY RHYTHM Music by JOSEPH MEYER and ROGER WOLFE KAHN Arranged by MIKE LEWIS INSTRUMENTATION Conductor 1st Trombone Optional Alternate Parts 1st E Alto Saxophone 2nd Trombone C Flute b 2nd E Alto Saxophone 3rd Trombone (Optional) Tuba b 1st B Tenor Saxophone 4th Trombone (Optional) Horn in F b 2nd B Tenor Saxophone Guitar Chords (Doubles 1st Trombone) b E Baritone Saxophone Guitar (Optional) 1st Baritone T.C./B Tenor Saxophone b (Optional) Piano (Doubles 1st Trombone)b 1st B Trumpet Bass 2nd Baritone T.C./B Tenor Saxophone b 2nd B Trumpet Drums (Doubles 2nd Trombone)b 3rd B b Trumpet 4th Bb Trumpet (Optional) b Preview Only Legal Use Requires Purchase CRAZY RHYTHM Music by JOSEPH MEYER and ROGER WOLFE KAHN Arranged by MIKE LEWIS NOTES TO THE CONDUCTOR “Crazy Rhythm” is a standard composed way back in 1928 for the musical, Here’s Howe. As with many show tunes, this song has become a standard performed by countless jazz instrumentalists and vocalists worldwide. This chart is played as a moderate swing tempo with some unusual rhythmic patterns that showcase ensemble blending and a variety of jazz articulations. Saxes should not use vibrato in the unison intro. A general rule in jazz is all unisons should be played without vibrato. There is a somewhat challenging rhythmic pattern in measure 41 which gives the musical illusion of changing the meter to 3/4 time. Be sure to count through and it comes out even after 4 measures—after all, it is “Crazy Rhythm.” I suggest spending some time working Mike Lewis with this section. -
G. U. War Writer Visits Fr. Lyons Gen. Butler at Alumni
N VOL. VII GEORGETOWN UNIVERSITY, WASHINGTON, D. C, FEBRUARY 5, 1926 No. 15 G. U. WAR WRITER GEN. BUTLER AT The Hoya will tender an informal JUNIOR PROM IS VISITS FR. LYONS dinner on next Wednesday evening ALUMNI LUNCHEON to the present members of the staff COLORFUL AFFAIR Floyd Gibbons was Former in recognition of fidelity of service. Pupil of Father Lyons—Comes University Organization Honored New accessesions to the staff will Annual Premier Social Function From Campaign with the At Monthly Meeting by Pres- be eligible for a 'subsequent occa- Lives Up to Expectations— French in Morroco—Wounded ence of General Butler—Mr. sion. Music Best Yet—Favors and and Lost Sight of Eye in World Hugh Fegan Outlines Progress Supper Meet With Approval— War—Was First War Corres- Of Law School. Committee to be Praised for pondent to Cable Complete Ac- DR. EGAN'S MEMORY Task They Performed. count of Torpedoing of a Ship. General Smedley D. Butler, addressing the January luncheon of the Georgetown RECEIVES TRIBUTE Floyd Gibbons, war correspondent, and Alumni Club, held at the City Club, Jan- Last Friday evening, January 29, the uary 20, told the group of 100 alumni pres- former Georgetown student, was a recent Junior Class of the College, held its ent, that he has a warm place in his heart Noted Georgetown Graduate visitor to Father Lyons, at the college. for everything Georgetown. "George- Prom in the Mayflower Hotel. The Jun- The President of Georgetown was a pro- Honored— Memorial Services town was the first college to give the ior Prom, which is looked forward to as fessor here during Gibbon's school days, In the Mayflower Hotel—Was and they recalled with interest those other Marines a chance," General Butler de- Brilliant Scholar and Diplomat. -
Ampico All Erolls for Sale.Xlsx
Total standard MIDI files = 1266 Ampico Popular MIDI and e-roll files A = Ampico A (from 1980s); Total e-roll files = 1261 Writer/composer order AA = Ampico A, AB = Ampico B (2014) Coloured entries MIDI only issue Title Writer(s) Composer (Writer) details Pianist Roll No. time midi file name date Stephen Adams (1841-1913, Brockway as Holy City, The Adams 56824 1919 4:52 Holy City (Adams) Brockway AA actually Michael Maybrick) Kmita Bells of St Mary’s, The Adams A. Emmett Adams (1889-1938) Fairchild 1241 12 1923 4:14 Bells of St Marys (Adams) Fairchild A Ain’t She Sweet Ager Milton Ager (1893-1979) Carroll 208681 05 1927 2:54 Ain't She Sweet (Ager) Carroll A Are You Happy Ager Lopez 209351 12 1927 2:57 Are You Happy (Ager) Lopez A Are You Sorry Ager Confrey 206251 08 1925 2:55 Are You Sorry A Away From You (Waltz) Ager Grofe 205851 04 1925 3:06 Away From You A Bagdad Ager Carroll 205221 10 1924 2:48 Bagdad (Ager) Carroll A Crazy Words - Crazy Tune Ager Grofe 208611 05 1927 2:48 Crazy Words, Crazy Tune, Grofe AA Forgive Me Ager Lopez 209111 10 1927 2:59 Forgive Me A Happy Days are Here Again Ager Arden 212591 05 1930 3:05 Happy Days Here Again (Ager) Arden 1930 A Hard Hearted Hannah Ager Grofe 205491 01 1925 3:15 Hard Hearted Hannah A I Wonder What's Become of Sally? Ager Fairchild 205191 09 1924 4:28 I Wonder What's Become of Sally AA I Want To See My Tennessee Ager Johnson 205551 01 1925 2:54 I Want to See my Tennessee A Forever and Ever from "Rain Or Shine" Ager & Yellen Arden 210191 06 1928 2:36 Forever and Ever, Arden AA Rain or Shine from “Rain or Shine” Ager & Yellen Lopez 209961 05 1928 3:14 Rain or Shine (Ager) Lopez AA I'll Get By Ahlert Fred E. -
Charles University of Prague Faculty of Education
CHARLES UNIVERSITY OF PRAGUE FACULTY OF EDUCATION DEPARTMENT OF MUSIC EDUCATION DIPLOMA DISSERTATION ELENA GONATA FACULTY OF EDUCATION CHARLES UNIVERSITY DEPARTMENT OF MUSIC EDUCATION SAXOPHONE AND ITS ROLE IN JAZZ MUSIC ELENA GONATA MUSIC EDUCATION- CHOIR CONDUCTING SUPERVISOR OF DISSERTATION: Doc. PhDr. Stanislav Pecháček, Ph.D. 2008/09 PRAGUE PEGAGOGICKÁ FAKULTA UNIVERZITY KARLOVY KATEDRA HUDEBNÍ VÝCHOVY SAXOFON A JEHO ROLE V JAZZOVÉ HUDBĚ ELENA GONATA HUDEBNÍ VÝCHOVA- SBORMISTROVSTVÍ VEDOUCÍ DIPLOMOVÉ PRÁCE: Doc. PhDr. Stanislav Pecháček, Ph.D. 2008/09 PRAHA Declaration I confirm that this is my own work and the use of all materials from other sources has been properly and fully acknowledged. Prague 20/04/2009 Acknowledgements First of all I would like to thank my supervisor Mr. Stanislav Pecháček., for the help he offered me not only on my diploma work, but also throughout these five years I have been a student in the University. Mr. Stanislav Pecháček has been patient, understanding and helpful throughout my academic career and while my University career is coming into an end I feel obliged to pay a big respect to my tutor. In extent, I would like to thank all of the tutors whom I was a student throughout these five years, from the beginning of my academic career. Special thanks to Mrs. Afroditi Kathmeridou a tutor of Classical and Jazz Conservatory of Prague, who has always been there for me, supporting me not only as a tutor but as a friend as well. A significant figure in my life who 1 want to thank is Mrs. Kristi Pavlou, my tutor in Cyprus for a whole ten years. -
From Baroque
From Baroque to BOP and BEYOND * * * * An extended and detailed history and examination of the Western music known as Classical and as Jazz, and the fight/conflict/ intercourse/blending, fusion and marriage between them. � By Lynn René Bayley AN E-BOOK PUBLISHED ON THE INTERNET FOR FREE READING AND STUDY. ENJOY…AND LEARN! The greater the contrast, the greater the potential. Great energy only comes from a corre- spondingly great tension of opposites. – Carl Jung Acknowledgements My thanks to Brent Fischer for providing me with the full version of his father’s Piece for Soft Brass, Woodwinds and Percussion, as well as several of Clare Fischer’s compositions not recorded until late in his life; to Alice Russell for her kind permission to allow me to use the description of the Lydian Chromatic Concept in this book; to Diane Bayley for introducing me to the jazz-classical works of J.J. Johnson, Allyn Ferguson and Yusef Lateef; to Joe Pearce for sending me a blurb on the music of Daniel Schnyder; to Keith Nichols for his kind information on the Tom Satterfield arrangement of Lime- house Blues; to Peter Mintun for uploading the rare recordings of Dana Suesse’s music; to Alonzo Levister for kindly providing me with recordings of his Bedrock Suite and excerpts from Blues in the Subway as well as the final title of this book; to Bruce Wolosoff for directing me to the remarkable mu- sic of Vijay Iyer; and to Levister, Wolosoff, Byron Olson, Charles Ruggero and David Balakrishnan for reading my manuscript and offering positive feedback and corrections. -
University of Oklahoma Graduate College Jack Teagarden, J.J. Johnson, and Bill Watrous: a Transcription of an Improvised Solo Fr
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JACK TEAGARDEN, J.J. JOHNSON, AND BILL WATROUS: A TRANSCRIPTION OF AN IMPROVISED SOLO FROM EACH THAT CHANGED THE STYLE OF JAZZ TROMBONE A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By BRET MICAH STEED Norman, Oklahoma 2018 JACK TEAGARDEN, J.J. JOHNSON, AND BILL WATROUS: A TRANSCRIPTION OF AN IMPROVISED SOLO FROM EACH THAT CHANGED THE STYLE OF JAZZ TROMBONE A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ________________________________ Dr. Irvin Wagner, Chair ________________________________ Dr. Karl Sievers ________________________________ Dr. Eugene Enrico ________________________________ Dr. Jeff Swinkin ________________________________ Dr. Judith Pender © Copyright by BRET MICAH STEED 2018 All Rights Reserved Table of Contents List of Figures…………………………………………….…………………….………iv Abstract…………………………………………………….………………………….viii Chapter 1: Introduction……………………………..……………………………………1 Purpose of Study…..…………………………………………………………….3 Need for Study…..…….…………………………………………………….......3 Scope and Limitations….………………………………………………………..4 Methodology…….……….………………………………………………………6 Related Literature……………….……………………………………………….7 Chapter 2: Jazz Improvisation………………..………………………………………...10 Defined...………...……………..........................................................................10 Chapter 3: Transcription…………….………………………………………………….18 Defined……………….…...………...…………………………….…………...18 Process…..…...….…...…………………...……………………………………18 Importance…………………………….…………………..………...…………19 -
Tony Bennett PLAY GUIDE
AUGUST 23 – OCTOBER 20 Created by David Grapes & Todd Olson Arrangements by Vince di Mura Directed by Todd Olson Music Direction by Richard Carsey Milwaukee Repertory Theater presents I Left My Heart: A Salute to the Music of Tony Bennett PLAY GUIDE • Study Guide written by Neal Easterling Education Associate • Study Guide edited by Leda Hoffmann Literary Coordinator Jenny Kostreva Education Director August 23 – October 20 STACKNER CABARET Lisa Fulton Director of Marketing & Created by David Grapes & Todd Olson Communications Arrangements by Vince di Mura Directed by Todd Olson • Music Direction by Richard Carsey Graphic Design by Shawn Kavon MARK’S TAKE “Tony Bennett is one of those extraordinary artists who is constantly being rediscovered by new generations - and a terrific testament to the fact that wonderful songs sung by wonderful artists truly do stand the test of time. I Left My Heart is a fantastic vehicle to experience the fun and intimacy of the Stackner Cabaret for those who already love Tony Bennett, and for those who will come to love him!” -Mark Clements, Artistic Director Tickets: 414-224-9490 www.MilwaukeeRep.com TABLE OF CONTENTS Mark Clements 3 Artistic Director Synopsis ....................................................................................................... 4 Chad Bauman A Discussion with Todd Olson ...................................................................... Managing Director Tony Bennett ................................................................................................ 5 Milwaukee -
Iazzletter PO Box 240, O)Ai CA 93024-0240
G€ne Lrc Ad Libitum G Iazzletter PO Box 240, O)ai CA 93024-0240 network radio broadcasting. Thoughts for the Day Not that there was no social dancing in the nineteenth century. But the forms of it were sedate, quite different from what came about in the band era. To oversimplify' the early two Iltith the perfervid languageJlying about inwhat has become years of the twentieth century saw the popularity of The Land oJ' Unending Electiort, I am reminded of two kinds of dance: intimate face-to-face dance to slow music. came have the unfortunate pe r t inen t o b s ervations : and athletic dancing that to the Victorian designation 7 itterbugging. With the death of Whenever morality is based on theology, whenever right era, the slower dancing was often considered scandalous, for move is made dependent on divine authority, the most immoral, it permitted a man and woman to hold each other and unjust, infamous things can be justified and established. with bodies touching, and everybody knew what that didto Ludwig Feuerbach, philosopher, 1804-1872 you. The jitterbugs came to seem more outrageous. They had - a love for fast numbers, and the more skilled and adventur- Every gun that is made, every warship launched, every ous of them were extraordinary athletes. Since I was never to them rocket fired signifies, in the final sense, a theft from those who much of a dancer at any tempo, I paid little attention a joke, and hunger and are not fed, those who are cold and not clothed.