DOCSLIB.ORG

Earl "Fatha" Hines Collection, 1903-1983, Bulk 1903-1983

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

http://oac.cdlib.org/findaid/ark:/13030/kt3199s16p No online items Finding Aid to the Earl "Fatha" Hines Collection, 1903-1983, bulk 1903-1983 Finding Aid written by Matthew Weber The Jean Gray Hargrove Music Library Hargrove Music Library University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-2623 Email: [email protected] URL: https://guides.lib.berkeley.edu/music_library_archives © 2007 The Regents of the University of California. All rights reserved. Finding Aid to the Earl "Fatha" ARCHIVES HINES 1 1 Hines Collection, 1903-1983, bulk 1903-1983 Finding Aid to the Earl "Fatha" Hines Collection, 1903-1983, bulk 1903-1983 Collection Number: ARCHIVES HINES 1 The Jean Gray Hargrove Music Library University of California, Berkeley Berkeley, California Finding Aid Written By: Matthew Weber Date Completed: June 2011 © 2011 The Regents of the University of California. All rights reserved. Collection Summary Collection Title: Earl "Fatha" Hines collection Date (inclusive): 1903-1983, Date (bulk): bulk 1903-1983 Collection Number: ARCHIVES HINES 1 Creators : Hines, Earl "Fatha" Extent: Number of containers: 27Linear feet: 32.1 Repository: University of California, Berkeley. Music Library University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-2623 Email: [email protected] URL: https://guides.lib.berkeley.edu/music_library_archives Abstract: Collection of items relating to the personal and musical life of Earl "Fatha" Hines, jazz pianist and bandleader. Languages Represented: Collection materials are in English Physical Location: For current information on the location of these materials, please consult the Library's online catalog. Access Collection is open for research. Publication Rights All requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of the Music Library. Preferred Citation [Identification of item], Earl "Fatha" Hines Collection, ARCHIVES HINES 1, Music Library, University of California, Berkeley. Alternate Forms Available There are no alternate forms of this collection. Separated Material Two containers of material which have not been inventoried are part of this collection : one steamer trunk containing Hines stage clothing, and one box of 16mm motion picture reels (assumed to contain footage of Hines performances). These containers reside in the Music Librarys vault. Indexing Terms The following terms have been used to index the description of this collection in the library's online public access catalog. Hines, Earl, 1903-1983 Big band music Jazz Jazz--1931-1940 Finding Aid to the Earl "Fatha" ARCHIVES HINES 1 2 Hines Collection, 1903-1983, bulk 1903-1983 Jazz vocals Piano music (Jazz) Accruals No additions are expected. System of Arrangement Arranged to the container level. Biographical Information (b Duquesne, PA, 28 Dec 1903; d Oakland, CA, 22 April 1983). American jazz pianist and bandleader. He studied the trumpet briefly with his father, took his first piano lessons with his mother, and later studied with other teachers in Pittsburgh. He first played professionally in 1918, accompanying the singer Lois Deppe, with whom he later made his first recordings; his earnings allowed him to study with two local pianists. Hines moved to Chicago in 1923. He played with Carroll Dickerson's orchestra at the Entertainers Club (c1925), on a 42-week tour to the West Coast and Canada (1925-6) and back in Chicago at the Sunset Club. During this last engagement Hines and his fellow sideman Louis Armstrong doubled as members of Erskine Tate's Vendome Theater Orchestra. In 1927 Hines became director of Dickerson's group under Armstrong's nominal leadership and at the end of the year he joined Jimmie Noone's band at the Apex Club. In 1928 Hines recorded several titles with Noone, including Apex Blues (1928, Voc.), and made a series of influential recordings with Armstrong, among them the highly original trumpet and piano duet Weather Bird (1928, OK); he also recorded a group of solos for QRS. On his 25th birthday Hines inaugurated his own band at the Grand Terrace in Chicago, where he played for ten years; the band became known through nationwide tours and, from 1934, radio broadcasts. Until 1947 he continued to lead big bands, featuring such important figures as Billy Eckstine, Sarah Vaughan, Charlie Parker, Dizzy Gillespie and many others. From 1948 to 1951 Hines played with Armstrong's All Stars and afterwards worked with small groups led by himself and others, attracting critical notice in the mid-1960s for his solo, trio and quartet playing. He led his own small band into the 1980s, and continued to perform regularly in the USA and abroad until the weekend before his death. [From The New Grove Dictionary of Music and Musicians] Scope and Content of Collection This collection contains papers, correspondence, compositions, and realia of and pertaining to Earl Hines. In addition to material of biographical interest, the collection also includes many charts (i.e., arrangements) used by his various performing ensembles. Series 1 Personal Papers Physical Description: Manuscript, typescript, photocopies, photographs, and printed material. Arrangement Arranged alphabetically by folder title (with the exception of the Acquisition Folder). Carton 1, Folder 1 Acquisition Folder 2001 Scope and Content Note Includes a list of Hines awards, a letter from Hines executor to Prof. Olly Wilson, and a copy of Charles Ferris & Lisa Mezzacappa's paper The Earl "Fatha" Hines collection at UC Berkeley : Archiving as process and possibility. Carton 1, Folder 2 88 Varieties undated Physical Description: 2 pages, typescript; 4 extra xerox copies. Scope and Content Note Short article about Hines, written by Torben Ulrich. Carton 1, Folder 3 Arrangement index May 1982 Scope and Content Note Includes Barbara Lashleys Tune List and an index for "Library A". Finding Aid to the Earl "Fatha" ARCHIVES HINES 1 3 Hines Collection, 1903-1983, bulk 1903-1983 Series 1Personal Papers Carton 1, Folder 4 "Bios" undated Scope and Content Note Various promotional materials of a biographical nature. Carton 26, Folder Black Filmmakers Hall of Fame 1978 17 Scope and Content Note Promotional materials and press cuttings relating to the Black Filmmakers Hall of Fame. Carton 1, Folder 5 Business cards undated Scope and Content Note Business cards, apparently given to Earl Hines from various contacts. Carton 1, Folder 6 Business - Music 1/30/68-7/11/80, undated Scope and Content Note Correspondence and miscellaneous documents; includes Hines' NYC performers card. Carton 1, Folder 7 Catalogues Undated Scope and Content Note Various mail-order catalogues in Hines' possession. Carton 25, Folder Checkbook 8/9/82-4/16/83 5 Scope and Content Note Notebook-style checkbook, apparently used for payroll disbursements. Carton 1, Folder 8 Clippings 4/10/54-4/26/83, undated Scope and Content Note Clippings from various newspapers and magazines relating to Hines' career. Carton 21, Folder Clippings 6/37-8/12/70, undated 4 Scope and Content Note Mostly Xerox copies of clippings from old newspapers relating to Hines' career. Carton 26, Folder Contracts/Concert Engagements 1973-1978 18 Carton 26, Folder Contracts/Concert Engagements (1979-1983) 1979-1983 19 Carton 1, Folder 9 Correspondence - 1940s 11/3/47 Carton 1, Folder Correspondence - 1960s 10/4/66-10/10/67 10 Carton 1, Folder Correspondence - 1970s 8/5/71-8/25/78 11 Carton 1, Folder Correspondence - 1980s 2/12/81-9/19/82 12 Carton 1, Folder Correspondence - undated Undated 13 Carton 1, Folder Dancing's All of You 7/15/78 14 Scope and Content Note Grant application and supporting treatment for a film to be made by Tony de Nonno about tap dancing. Hines' involvement with this project is unclear. Carton 1, Folder Death of Earl Hines 4/24/83-4/27-83, undated 15 Scope and Content Note Telegrams and cards of condolence on Hines' death. Finding Aid to the Earl "Fatha" ARCHIVES HINES 1 4 Hines Collection, 1903-1983, bulk 1903-1983 Series 1Personal Papers Carton 1, Folder Drawing of Hines 8/11/82 16 Carton 1, Folder Erotica undated 17 Scope and Content Note Various erotic and sex-related materials owned by Hines. Carton 1, Folder Family items 3/5/81-3/6/81 18 Scope and Content Note Material mostly relating to the deaths of Hines' two daughters. Carton 1, Folder Financial records - 1940s 7/30/44-3/31/47 19 Carton 1, Folder Financial records - 1950s 9/22/50-4/19/59 20 Carton 1, Folder Financial records - 1960s 12/18/62-12/29/65 21 Carton 1, Folder Financial records - 1970s 1/1/1970-12/31/1979 22 Carton 1, Folder Financial records - 1980s 1/1/80-4/27/83 23 Carton 1, Folder Financial records - undated 24 Carton 2, Folder 1 Fliers Scope and Content Note Advertising concert and club appearances of Hines and associates. Carton 2, Folder 2 Freemasons undated Scope and Content Note Copies of Masonic pamphlets. Carton 2, Folder 3 Hall of Fame undated Scope and Content Note Programs and other documents relating to the America's Music & Entertainment Hall of Fame. Carton 26, Folder Hines - Agreements 5/3/67-9/16/82 20 Scope and Content Note File from Stanley Dance. Carton 26, Folder Hines - Copyright Certificates 11/25/68-4/24/74 21 Scope and Content Note File from Stanley Dance. Carton 23, Folder Hines portrait Undated 5 Carton 26, Folder Itineraries 1978-1982 22 Scope and Content Note File from Stanley Dance. Carton 2, Folder 4 Legal papers 8/15/74-1/27/83 Carton 2, Folder 5 Medical 6/8/79-7/7/83, undated Scope and Content Note Various documentation relating to Hines' medical conditions. Finding Aid to the Earl "Fatha" ARCHIVES HINES 1 5 Hines Collection, 1903-1983, bulk 1903-1983 Series 1Personal Papers Carton 2, Folder 6 Memorial 4/28/83 Scope and Content Note Several copies of the order of service for Hines' funeral.
Recommended publications
  • Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy

    Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy

    Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A.
  • 2XHDST1094.Pdf

    2XHDST1094.Pdf

    here is no more challenging role in music than that of the solo performer. To succeed in this field of creative endeavour requires a high level of confidence, prodigious technical expertise and, where jazz is concerned, a rare continuity of inspiration. TEarl Hines had all of these qualities, and more. As in the case of the other jazz masters, when you listen to the extemporisations of “Fatha” Hines, you are not simply hearing music of a most elevated order – you are listening to a virtuoso who shaped the course of jazz history, a man who single-handedly (a highly inappropri- ate metaphor in one sense) changed the role of the piano in jazz and brought his unique influence to bear on a multitude of musicians. When Stanley Dance produced these sides in New York, Hines was in his 69th year and had more than half a century of music—making behind him. He was in ebullient form, attacking the music with all the weapons in his pianistic armoury. As the basis for his free-ranging, sometimes quixotic, improvisations, he chose six songs whose music was composed by Harold Arlen, a most gifted writer who was responsible for some of the more sophisticated popular songs of the thirties and forties. But, in truth, the real composer here is Hines himself. Where Teddy Wilson or a Tommy Flanagan would play songs like this and tailor their improvisations accord- ing to the cloth of the original composition, Hines takes up the Arlen jacket, turns it inside out, and gives it a brilliantly patterned lining, brass buttons, a velvet collar, gold braid and a florid buttonhole.
  • American Music Review the H

    American Music Review the H

    American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Spring 2013 Invisible Woman: Vi Redd’s Contributions as a Jazz Saxophonist By Yoko Suzuki, University of Pittsburgh The story of alto saxophonist Vi Redd illustrates yet another way in which women jazz instrumentalists have been excluded from the dominant discourse on jazz history. Although she performed with such jazz greats as Count Basie, Max Roach, Dizzy Gillespie, and Earl Hines, she is rarely discussed in jazz history books except for those focusing specifically on female jazz musicians. One reason for her omission is that jazz historiography has heavily relied on commercially produced recordings. Despite her active and successful career in the 1960s, Redd released only two recordings as a bandleader, in 1962 and 1964. Reviews of these recordings, along with published accounts of her live performances and memories of her fellow musicians illuminate how Redd’s career as a jazz instrumentalist was greatly shaped by the established gender norms of the jazz world. Elvira “Vi” Redd was born in Los Angeles in 1928. Her father, New Orleans drummer Alton Redd, worked with such jazz greats as Kid Ory, Dexter Gordon, and Wardell Gray. Redd began singing in church when she was five, and started on alto saxophone around the age of twelve, when her great aunt gave her a horn and taught her how to play. Around 1948 she formed a band with her first husband, trumpeter Nathaniel Meeks. She played the saxophone and sang, and began performing professionally.
  • Django Reinhardt

    Django Reinhardt

    Data » Personalities » Django Reinhardt http://romani.uni-graz.at/rombase Django Reinhardt Peter Wagner Today is the 1st of November, 1928, All Saint’s Day, late in the evening. The Reinhardt family shares this holiday with the souls of the deceased, particularly with a young one, only lately deceased, for whom the caravan has been decorated with artificial flowers. Young Django Reinhardt is returning from a concert, most probably preoccupied by an offer by Jack Holton, the English master of symphonic jazz, to move to him to England and play in his orchestra. Fate, however, had decreed otherwise. He lights the candles, and with them the flowers, and immediately the whole caravan catches fire; the family is glad to escape with their lives. For the young, promising musician, this incident is a catastrophe. His left leg is badly burnt, it will later have to be operated on, but what is worse, two fingers of his left hand remain unable to function, which is to lose the basis of existence for a goldsmith or a musician. But not Django Reinhardt. A fanatic love of music had already rooted in him, and a present – a guitar which should support his therapy – makes it break out. Notwithstanding his handicap, an inner need to express himself via music makes him return in all his virtuosity within one and a half years, equipped with additional, original means of expression. His new technique arouses amazement and curiosity with a whole generation of guitarists and musical researchers. It is difficult to judge the role of his handicap in this still significant– mainly among the Roma – school.
  • The History and Development of Jazz Piano : a New Perspective for Educators

    The History and Development of Jazz Piano : a New Perspective for Educators

    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1975 The history and development of jazz piano : a new perspective for educators. Billy Taylor University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Taylor, Billy, "The history and development of jazz piano : a new perspective for educators." (1975). Doctoral Dissertations 1896 - February 2014. 3017. https://scholarworks.umass.edu/dissertations_1/3017 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. / DATE DUE .1111 i UNIVERSITY OF MASSACHUSETTS LIBRARY LD 3234 ^/'267 1975 T247 THE HISTORY AND DEVELOPMENT OF JAZZ PIANO A NEW PERSPECTIVE FOR EDUCATORS A Dissertation Presented By William E. Taylor Submitted to the Graduate School of the University of Massachusetts in partial fulfil Iment of the requirements for the degree DOCTOR OF EDUCATION August 1975 Education in the Arts and Humanities (c) wnii aJ' THE HISTORY AND DEVELOPMENT OF JAZZ PIANO: A NEW PERSPECTIVE FOR EDUCATORS A Dissertation By William E. Taylor Approved as to style and content by: Dr. Mary H. Beaven, Chairperson of Committee Dr, Frederick Till is. Member Dr. Roland Wiggins, Member Dr. Louis Fischer, Acting Dean School of Education August 1975 . ABSTRACT OF DISSERTATION THE HISTORY AND DEVELOPMENT OF JAZZ PIANO; A NEW PERSPECTIVE FOR EDUCATORS (AUGUST 1975) William E. Taylor, B.S. Virginia State College Directed by: Dr.
  • Jazz and Radio in the United States: Mediation, Genre, and Patronage

    Jazz and Radio in the United States: Mediation, Genre, and Patronage

    Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition.
  • French Stewardship of Jazz: the Case of France Musique and France Culture

    French Stewardship of Jazz: the Case of France Musique and France Culture

    ABSTRACT Title: FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE Roscoe Seldon Suddarth, Master of Arts, 2008 Directed By: Richard G. King, Associate Professor, Musicology, School of Music The French treat jazz as “high art,” as their state radio stations France Musique and France Culture demonstrate. Jazz came to France in World War I with the US army, and became fashionable in the 1920s—treated as exotic African- American folklore. However, when France developed its own jazz players, notably Django Reinhardt and Stéphane Grappelli, jazz became accepted as a universal art. Two well-born Frenchmen, Hugues Panassié and Charles Delaunay, embraced jazz and propagated it through the Hot Club de France. After World War II, several highly educated commentators insured that jazz was taken seriously. French radio jazz gradually acquired the support of the French government. This thesis describes the major jazz programs of France Musique and France Culture, particularly the daily programs of Alain Gerber and Arnaud Merlin, and demonstrates how these programs display connoisseurship, erudition, thoroughness, critical insight, and dedication. France takes its “stewardship” of jazz seriously. FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE By Roscoe Seldon Suddarth Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Associate Professor Richard King, Musicology Division, Chair Professor Robert Gibson, Director of the School of Music Professor Christopher Vadala, Director, Jazz Studies Program © Copyright by Roscoe Seldon Suddarth 2008 Foreword This thesis is the result of many years of listening to the jazz broadcasts of France Musique, the French national classical music station, and, to a lesser extent, France Culture, the national station for literary, historical, and artistic programs.
  • How to Play in a Band with 2 Chordal Instruments

    How to Play in a Band with 2 Chordal Instruments

    FEBRUARY 2020 VOLUME 87 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
  • Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)

    Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)

    Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297).
  • Le Jazz Et Nice : Une Histoire De " Feeling "…

    Le Jazz Et Nice : Une Histoire De " Feeling "…

    Le jazz et Nice : une histoire de " feeling "… Le jazz et Nice : une histoire de " feeling "… Prémices du jazz à Nice Dans les années 1920, la musique afro-américaine se répand à Paris sous la forme d’une musique de danse aux rythmes nouveaux et vivants qui séduisent la population meurtrie par la première guerre mondiale. En outre, dans les villes littorales des Alpes Maritimes, notamment à Nice, elle trouve, avec l’essor du tourisme autour de ces mêmes années, des facteurs favorables à son succès dans les lieux de divertissements et de spectacles. Le jazz, à Nice, préservera toujours des espaces permettant l’expression de ce caractère festif. L’effervescence musicale de la zone côtière méditerranéenne attire les musiciens des Etats-Unis mais aussi des autres régions françaises et favorise l’émergence d’une pépinière de musiciens locaux qui reste foisonnante jusqu’à nos jours. Le Negresco, le Savoy, le Ruhl et bien d’autres palaces au noms prestigieux, ainsi que les casinos, contribuent à la diffusion de la nouvelle musique. Parmi ces derniers, le Palais de la Méditerranée, œuvre de l’architecte Dalmas inaugurée en 1929, dont la façade monumentale de style " art déco " est encore visible aujourd’hui. Elle s’ouvrait sur une superbe salle de spectacle d’une capacité d’accueil de huit cents places où se produisaient les musiciens. Une profusion de cabarets et de dancings moins luxueux mais dont la part est tout aussi importante, draine une population noctambule vers la musique venue d’outre Atlantique. La prestation du jeune Louis Armstrong au Casino Municipal de Nice en 1935 révèle l’élaboration d’un style qui dorénavant attribue au soliste et à l’improvisation une part grandissante.
  • Trevor Tolley Jazz Recording Collection

    Trevor Tolley Jazz Recording Collection

    TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre.
  • STANLEY FRANK DANCE (K25-28) He Was Born on 15 September

    STANLEY FRANK DANCE (K25-28) He Was Born on 15 September

    STANLEY FRANK DANCE (K25-28) He was born on 15 September 1910 in Braintree, Essex. Records were apparently plentiful at Framlingham, so during his time there he was fortunate that the children of local record executives were also in attendance. This gave him the opportunity to hear almost anything that was at hand. By the time he left Framlingham, he and some friends were avid record collectors, going so far as to import titles from the United States that were unavailable in England. By the time of his death, he had been writing about jazz longer than anyone had. He had served as book editor of JazzTimes from 1980 until December 1998, and was still contributing book and record reviews to that publication. At the time of his death he was also still listed as a contributor to Jazz Journal International , where his column "Lightly And Politely" was a feature for many years. He also wrote for The New York Herald- Tribune, The Saturday Review Of Literature and Music Journal, among many other publications. He wrote a number of books : The Jazz Era (1961); The World of Duke Ellington (1970); The Night People with Dicky Wells (1971); The World of Swing (1974); The World of Earl Hines (1977); Duke Ellington in Person: An Intimate Memoir with Mercer Ellington (1978); The World of Count Basie (1980); and Those Swinging Years with Charlie Barnet (1984). When John Hammond began writing for The Gramophone in 1931 he turned everything upside down and Stanley began corresponding with Hammond and they met for the first time during Hammond's trip to England in 1935.