DOCSLIB.ORG

The Value Shown Is for Tapes Shipped on METAL Reels. Subtract $25 PER

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Value Shown Is for Tapes Shipped on METAL Reels. Subtract $25 PER The Value shown is for tapes shipped on METAL reels. Subtract $25 PER REEL from the shown value for tapes shipped on HUBS only. Subtract $15 PER REEL for tapes shipped on PLASTIC reels. Tapes that occupy 1/2 of a reel will ship on 7" Plastic reels. # Artist Title Label Value Reels Adventures In Sound One World Jazz Phillips 1 200 Atlantic Family Atlantic Family Live At Montreaux Atlantic 4 750 Benny Goodman Benny Goodman Sextet (Mono) Columbia 1 200 Benny Goodman Benny Goodman Carnegie Hall (Mono) Columbia 1 200 Benny Goodman Live At Basin Street East 11-13-1959 - 1 200 Bert Kaempfert The Famous Seven Of Bert Kaempfert Olympic 2 350 Betty Carter Live With The Norman Simmons Trio - 1 200 Big Maybelle Smith 1958 Newport Jazz Festival - 7"Reel - 1/2 100 Bob James All Around The Town Columbia 4 750 The Genie: Themes & Variations From The TV Bob James Columbia 2 350 Series "Taxi" Bud Powell A Portrait Of Thelonious Columbia 2 450 Buddy Tate Trio When I'm Blue Black & Blue 2 350 GNP Challengers, The Light My Fire with Classical Gas 1 200 Crescendo Charlie Barnett Charlie Barnett (Mono) - 1 200 Charlie Rouse Unsung Hero Project 3 2 450 Claude Bolling Big Band - 2 350 Claude Bolling & Yo-Yo Ma Bolling: Suite For Cello & Jazz Piano Trio CBS 2 450 Claude Bolling Concerto For Classical Guitar And Jazz Piano Angel 2 350 Claude Bolling Live At The Meridian - Paris CBS 2 350 Claude Bolling Suite For Violin And Jazz Piano Columbia 2 350 Count Basie Basie In Sweden Roulette 1 350 Count Basie Basie Party - 2 500 Count Basie Count Basie and the Kansas City 7 Impulse 1 350 Crusaders, The The Best Of The Crusaders MCA 2 350 Dave Brubeck Quartet 1963 Newport Jazz Festival Columbia 2 500 Dave Brubeck Quartet Jazz Impressions of Japan Columbia 2 400 Dave Brubeck Quartet Live in Newport 1958 Columbia 2 500 Dave Brubeck Quartet Time Out Columbia 2 500 Dave Brubeck Quartet Time Out - Outtakes Columbia 1 200 Don Byas Anthropology Black Lion 2 350 Don Byrd & Gigi Gryce Modern Jazz Perspective (Mono) Columbia 2 350 Don Ellis Live At The Fillmore East 1969 - 1 200 Don Grusin Monitor & Master Mixes - 4 750 Duke Ellington 1956 Newport Jazz Festival Columbia 2 450 Duke Ellington & Count Basie Battle Royal - The Duke Meets The Count CBS 2 450 Duke Ellington Blues In Orbit CBS 2 450 Duke Ellington Duke Ellington At The Bal Masque Columbia 2 450 Duke Ellington Ellington Indigos (4 Songs) Columbia 1 200 Duke Ellington & Carmen McRae It Don't Mean A Thing If It Ain't Got That Swing Columbia 1 350 Duke Ellington Black And Tan Columbia 1 350 Duke Ellington Nutcracker Suite/Peer Gynt Suites 1 & 2 Odyssey 2 450 Earl Hines Sextet Once Upon A Time Impulse 1 200 Ella Fitzgerald Playboy Jazz Festival 1959 - 2 400 Ella Fitzgerald Live At Salle Pleyell 1953/1954 (Mono) Part 2 - 1 200 Ella Fitzgerald These Are The Blues Verve 1 190 Ella Fitzgerald & Count Basie Live At The Santa Monica Civic Auditorium 1972 - 2 400 Ella Fitzgerald & Shelley Mann Munich - 1 200 Enoch Light The Greatest Big Band Themes Of All Time Project 3 2 300 Frank Sinatra The Very Best Of Capitol 2 500 Frank Sinatra Sinatra-Basie (An Historic Music First) Reprise 1 300 Friedrich Gulda From Vienna With Jazz Columbia 2 350 George Benson Cookbook Outtakes (Benson Burner) Columbia 1 200 George Benson George Benson Cookbook Outtakes Reel 4 - 1 200 George Benson George Benson Cookbook Outtakes Reel 5 - 1 200 George Benson Give Me The Night Warner Bros. 2 400 George Benson The George Benson Cookbook Columbia 2 350 Gerry Mulligan What Is There To Say? Columbia 2 500 Gerry Mulligan & Mary McPartland 1958 Newport Jazz Festival - 1 200 Gerry Mulligan 1963 Newport Jazz Festival - 1 200 Gerry Mulligan Berlin 11/4/1960 - 1 200 Glen Gray & The Casa Loma Best Of The Big Bands - (Mono) - 2 350 Orchestra Groove Holmes Recorded Live Black & Blue 2 350 Harry James 1963 Monterey Jazz Festival Columbia 2 400 Herb Ellis And The All-Stars The Midnight Roll Epic 3 500 Herbie Mann Memphis Underground Atlantic 2 350 Herbie Mann Salute To The Flute (Mono) Epic 2 350 Illinois Jacquet God Bless My Solo Black & Blue 2 350 Irving Berlin Irving Berlin: A Hundred Years CBS 4 750 Jay McShann Kansas City Memories Decca 2 350 Jack Teagarden & Bobby Hackett 1958 Newport Jazz Festival - 1 200 Jimmy Guifree Berlin 5/30/1959 - 1 200 Jimmy Guifree Playboy Jazz Festival 1959 - 1 200 Jimmy Smith Bashin' Verve 2 350 Jimmy Witherspoon 1963 Monterey Jazz Festival 7" Reel Columbia 1/2 100 JJ Johnson 6 Bits (Session Tape) - 1 175 Joe Roland Quintet Easy Living Columbia 2 450 Joe Sullivan 1963 Monterey Jazz Festival 7"Reel - 1/2 100 Joe Williams Joe Williams With Count Basie Orchestra - 1 200 John McLaughlin Friday Night In San Francisco Columbia 2 450 John McLaughlin Passion, Grace & Fire Columbia 2 400 Johhny Hodges 10/17/1953 - Johnny's Blues - 7" Johnny Hodges - 1/2 100 Reel Johnny Hodges Johnny Hodges & Stan Getz (Mono) - 1 200 Johnny Mathis Merry Christmas Columbia 1 400 Judy Garland Live At Carnegie Hall Columbia 1 200 King Curtis Get Ready Atco 1 200 Laurindo Almeida 1963 Monterey Jazz Festival - 1 200 Laurindo Almeida & Modern Jazz 1963 Monterey Jazz Festival - (Saturday P.M.) - 1 200 Quartet Lena Horne & Gabor Zsabo Lena & Gabor (2 Songs) 7" Reel Skye 1/2 75 Lester Lanin At The Tiffany Ball Epic 2 350 Lionel Hampton Chameleon (Side B) 7" Reel Glad-Hamp 1/2 100 Lionel Hampton and His Jazz Giants Lionel Hampton and his Jazz Giants Vol. 2 Black & Blue 2 350 Liza Minelli Liza With A "Z" Columbia 2 300 Lloyd Glenn Heat Wave Black & Blue 2 350 Louis Armstrong Louis Armstrong & His All-Stars Vol. 2 CBS 4 750 Michel LeGrand I Love Paris (Mono) CBS 2 350 Miles Davis 1958 Newport Jazz Festival - 2 500 Miles Davis Friday Night Live at the Blackhawk Columbia 1 400 Miles Davis Kind Of Blue Columbia 2 500 Miles Davis Miles Ahead (Mono) - 2 450 Miles Davis Porgy And Bess Columbia 2 500 Miles Davis Sketches Of Spain Columbia 2 500 Miles Davis Sketches of Spain - Outtakes Columbia 1 200 Modern Jazz Quartet 1963 Monterey Jazz Festival - 2 400 Monty Stark Stark Reality – Now Stones Throw 2 350 Oscar Peterson Very Tall (Side 2 Only) Verve 1 200 Oscar Peterson Playboy Jazz Festival 1959 7" Reel - 1/2 100 Oscar Peterson The Trio Live Chicago 1969 Verve 2 350 Oscar Peterson JATP - 11/11/1951 (Mono) - 1 200 Ramsey Lewis Trio Solid Ivory Chess 4 750 Ray Brown All Star Big Band - 2 400 Roy Eldridge& Flip Phillips JATP 5/19/1952 (Mono) JATP 1 200 Sammy Davis Jr. Christmas Songs Reprise 1 250 Sarah Vaughn In Hi Fi (Mono) Columbia 1 200 Sarah Vaughn After Hours With Sarah Vaughn (Mono) Columbia 2 350 Sonny Rollins The Bridge BlueBird/RCA 1 350 Stan Getz Zardi's 1956 (A Set) (Mono) - 5 800 Stan Getz Zardi's 1956 (B Set) (Mono) - 5 800 Svend Asmussen June Night Columbia 1 350 Thelonious Monk 1963 Newport Jazz Festival - Thelonious Monk CBS 2 500 Thelonious Monk It's Monk's Time (Side 2) Columbia 1 350 Thelonious Monk Monk's Blues Columbia 2 500 Thelonious Monk Something In Blue Black Lion 2 450 Tiger Okoshi Tiger's Baku JVC 2 350 Tiger Okoshi Tiger's Baku Master Mixes JVC 2 350 Tom Scott & The L.A. Express Nine Lives Of Fritz The Cat - 1 200 Turk Murphy Jazz Band 1963 Monterey Jazz Festival - 1 200 Various A Story of Jazz Masters Columbia 4 750 Various JATP - EP's (1948) - 1/2 100 Various Jazz Giants At Their Best Columbia 2 450 Various Jazz History 1950's Miles Davis & Band Columbia 3 600 Various Jazz History 1950's Bop Columbia 2 400 Various Jazz History 1960's Bop Columbia 2 400 Various Jazz History 1960's The Modern Innovators Columbia 2 400 Various Jazz History 1960's The Vocalists Columbia 1 200 Various Jazz History 1970's Fusion Columbia 2 1/2 500 Various Jazz History 1970's The Modern Mainstream Columbia 2 400 Various Metronome All-Stars (Mono) - 1 200 Various Million Dollar Memories 1 200 Newport Jazz Festival 1956, 1958 & 1963 Various - 4 750 (Unreleased) Various Norman Granz Jam Session 9/2/1953 (Mono) - 2 400 Various Organ Boogie Woogie Suzy 2 350 Various (Spoken Word - Comedy) Stan Kenton Tribute (Mort Sahl & Others) - 1 200 Various The Hillbillies Album - 1 200 Weather Report Heavy Weather Columbia 2 450 Wes Montgomery The Incredible Jazz Guitar of Wes Montgomery Riverside 2 400 Wes Montgomery Movin' Along Riverside 2 400 Willie "The Lion" Smith 1958 Newport Jazz Festival 7" Reel - 1/2 100 .
Load more

Recommended publications
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • 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.
    [Show full text]
  • Note Sulla Rappresentazione Musicale E Audiovisiva Di Marsiglia
    04,2 I 2019 Archiv für Textmusikforschung Tra crimine e nostalgia: note sulla rappresentazione musicale e audiovisiva di Marsiglia Dario MARTINELLI (Kaunas)1 Summary Browsing through films and TV series located in Marseille, we notice how this city is often provided with recurrent topoi : the charming and nostalgic frontier/harbour city where an (often multi-ethnic) commu- nity of gangsters, sailors, adventurers and prostitutes comes and goes and engages in usually illegal activi- ties. Based on a sample of ca. 120 audiovisual texts, this article aims at emphasizing the consistency of significations conveyed by both visual and musical representations of the city of Marseille. As a case-study, the focus shall be the filmBorsalino , possibly the perfect synthesis of the above-mentioned topoi both on a visual-narrative and a musical level. Introduzione Geografia, storia, economia, performance, stile e retorica sono le sei principali contestualiz- zazioni del concetto di ‘autenticità’ che ho avuto modo di proporre in saggi come Martinelli 2010, 11-50 e 2016, 89-128. L’autenticazione di una data entità, ovvero, quel particolare processo che (a ragione o meno) ne assegna uno stato di autenticità combinando e sistema- tizzando caratteristiche e valori in maniera relativamente coerente (in altre parole: ideologiz- zando quell’entità), diventa particolarmente interessante quando quella entità è una città. Primo perché si tratta di un processo che coinvolge tutte e sei le contestualizzazioni, non solo quella geografica (che tuttavia, e ovviamente, rimane in primo piano), creando una ricca rete di relazioni tra i vari fattori coinvolti; secondo, perché i risultati di questo processo tendo- no a formare un gruppo di topoi culturali e mitici che spesso costituiscono la vera essenza dell’immagine pubblica e del soft power di quella città.
    [Show full text]
  • At the Renaissance
    0 / / y n> o o Calif VinHERSPOOK gaps with piano commentary as the horns riff on to the final chorus. A slow roll from Mel and ’Spoon launches into the classic C. C. Rider with Webster in background first, then Mulligan murmuring on the second chorus. “Shoot that man, Catch that cannon-ball,” ’Spoon exhorts. Then Mulligan enters to play a thoughtful and meaningful solo that must be considered by many his best blues playing on record. After a throbbing Witherspoon cries, “Where did you stay last night?” both IHt RtSMSSWtt horns ride on to the coda. the club, Hifijazz’ artists and repertoire director Roll ’Em Pete is up tempo and jumping. Webster riffs H Dave Axelrod flipped, it is rumored. Actually, Lewerke was behind the vocal, then embarks on his solo with ’Spoon urging one step ahead of Axelrod. He had already spoken to Mulli¬ him on. Another vocal, then Jimmy announces “Leroy Vinne¬ gan about such an undertaking and the baritonist assuredly gar,” and the bassist takes a solo. The Tailor takes two solo dug the idea. choruses with Witherspoon announcing his name and after a In recent years the growth of the coffee-wine-and-beer From that point there was no further difficulty. The choice final vocal it’s “Bye, bye.” houses in Hollywood and environs has become a marked of Ben Webster as balancing horn man was really a foregone Side two kicks off in walking tempo with Rowles bringing phenomenon. Several years ago at a jazz concert I attended, conclusion. Axelrod had used Webster in Witherspoon’s in ’Spoon with an oddly happy lament, belting out Every the master of ceremonies remarked there were some 32 such accompanying group on the highly successful date recorded Day.
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]
  • 2010 Competition Winners
    April 2010 2010 COMPETITION WINNERS 1st Ilji Kim Born in 1985 in Seoul, Korea, Ilji Kim entered the Yewon Conservatory of Music at the age of 12, where she became a first-prize winner in numerous competitions. In 2008 she moved to the US and continued her studies with Fenwick Smith at New England Conservatory of Music, where she is pursuing a master’s degree in music. She has participated in masterclasses with Hyeri Yoon, Linda Chesis, John Heiss, and Ransom Wilson, and was a finalists in the 2010 Pappoutsakis Flute Competition. Ilji Kim enjoys playing chamber music, painting, and improvising popular music. 2nd Laura Kaufman Laura Kaufman, age 20, is a junior at the Eastman School of Music where she studies with Bonita Boyd and performs in the East- man Philharmonia and Eastman Wind Ensemble. Last summer she participated in a 2009 National Flute Association masterclass with Katherine Hoover and this summer she will participate in the National Repertory Orchestra. Previous teachers include Tadeu Coelho, Mary Ann Archer, and Soo Kyung Park. 3rd Thomas James Wible Thomas Wible, age 23, is a native of Pittsburgh. He received his bachelor of music degree from the New England Conservatory of Music, where he was a student of Renee Krimsier. He is now Laura Kaufman Ilji Kim studying for a master’s degree in music at the Boston Conservatory as a merit scholarship student of Geralyn Coticone. He is also principal flutist of the Boston-based Freisinger Chamber Orchestra and a substitute flutist with the Boston Philharmonic Orchestra. In Concert Winners of the 2010 Young Artist Competition Sunday, April 25, 2010, 5:30 pm Yamaha Piano Salon, 689 Fifth Avenue Thomas (entrance on 54th Street between Fifth and Madison Avenues) James Wible Thomas Wible, flute; Linda Mark, piano IN THIS ISSUE Poem Charles T.
    [Show full text]
  • Reeves-Donegan Sell Sheet:Layout 1
    NEW DVD RELEASE! www.arkadiadvd.com AS SEEN ON TV 2 Programs on Each DVD of the Acclaimed AD LIB SERIES PRE-ORDER DATE SEPTEMBER 12, 2008 STREET DATE SEPTEMBER 23, 2008 “Reeves can wrap her voice around a melody like few other current jazz singers, hitting the high notes, the low notes, and everything in between as she caresses every phrase Artists Featured in with palpable warmth and joy.” the Ad Lib Series: —Billboard Magazine Z Dianne Reeves Jimmy Smith Jon Hendricks Duke Ellington Z Dorothy Donegan O.C. Smith Freda Payne Stanley Turrentine Count Basie A Red Norvo About The Series SONG SELECTION Clora Bryant The Ad Lib Series is a collection of 46 concert TV programs Show # 38: Show # 5: Jimmy Witherspoon presentingJ the best Jazz, Pop and Blues artists showcasing their Love for Sale – Dianne Reeves Lady Be Good – Snooky Young Linda Hopkins I’ll Understand – Dianne Reeves On A Clear Day – Dianne Reeves Lionel Hampton skills with a Jazz flair. Seen on TV internationally, Ad Lib (filmed Marilyn McCoo Answer Me – Dianne Reeves Everything Must Change– Dianne Reeves in 1980) was the first musical television series recorded in Stereo. Kenny Burrell The Homes – Billy Childs & A Fine Madness I Cried For You – Count Basie & Helen Humes Ernie Andrews F Welcome to My Love – Dianne Reeves St. Louis Blues – Dianne Reeves & Snooky Young George Shearing Paul Smith DIANNE REEVES: THE EARLY YEARS 1 Hour plus Bonus Features Billy Childs With special guests Billy Childs and Snooky Young, and a DVD BONUS FEATURES: Marshall Royal classic perO formance from Count Basie and Helen Humes Dianne Reeves Biography Jerome Richardson Ad Lib Highlights Reel (16 min.) Willie Bobo Digitally Mastered Audio & Video Cab Calloway Carrying the legendary torch of Ella Fitzgerald and Sarah Ester Phillips Dolby Stereo Audio Vaughan, Dianne Reeves embodies the long Jazz tradition while Blossom Dearie Instant Access to Songs Damita Jo remaining S distinctive and original.
    [Show full text]
  • Prestige Label Discography
    Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
    [Show full text]
  • 1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
    GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement.
    [Show full text]
  • Jimmy and Jeannie Cheatham Audiovisual Collection
    Title of Collection: Jimmy and Jeannie Cheatham Audiovisual Collection Reference Code: US-MoKcUMS-MSA149 Repository: Marr Sound Archives UMKC Miller Nichols Library 800 E. 51st Street Kansas City, MO 64110 Creator: Cheatham, Jimmy and Jeannie Biographical History: Jeannie and Jimmy Cheatham and the Sweet Baby Blues Band played in the Kansas City blues style at its best. Jeannie Cheatham’s musical style was shaped in the church choir in Akron, Ohio. She began to study piano when she was five and went on to play in the school band. She and Jimmy Cheatham taught at the University of Wisconsin before moving to San Diego in 1978. Jimmy Cheatham retired as Professor Emeritus status in 1993 from the University of California at San Diego as Professor of Music. Jimmy was such a valuable resource, however, that UCSD officials hired him back immediately to continue in his role as Jazz Ensemble Director. In 1993, Jimmy and the UCSD Jazz Ensemble were selected by the San Diego Music Awards Committee for Best Jazz Ensemble. The Cheathams and the Sweet Baby Blues Band were voted as the Best Jazz Band in the area by the same group. Jimmy taught Improvisation and Black Music History and was the Director of UCSD’s Jazz Program during his active teaching years. Over the years, he played bass trombone with Duke Ellington, Lionel Hampton, Thad Jones and Ornette Coleman, and was Musical Director for Chico Hamilton. He arranged all the songs for the Sweet Baby Blues Band and co-wrote with his wife, Jeannie, most of their original songs.
    [Show full text]
  • Guide to the Felix Grant Collection
    Guide to the Felix Grant Collection NMAH.AC.0410 Ben Nicastro and Scott Schwartz 1996 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 .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Biographical/Historical note.............................................................................................. 1 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 3 Felix Grant Collection, [sound recordings] NMAH.AC.0410 Collection Overview Repository: Archives Center, National Museum of American History Title: Felix Grant Collection, [sound recordings] Identifier: NMAH.AC.0410 Date: 1935-1985 Creator: Grant, Felix, 1918-1993 Ellington, Duke, 1899-1974 Extent: 4.3 Cubic feet (6 boxes) Language: English . Summary: Collection consists of 128 albums featuring
    [Show full text]
  • Promotional Materials Box 1
    HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 1: PAPERS SUBSERIES G: PROMOTIONAL MATERIALS BOX 1: 1940s & 1950s 1.G.1.1: POSTERS & FLYERS, 1940s & 1950s a- Guy Lombardo & His 14 Piece Orchestra [DB opening act], Dreamland Ballroom, Stockton, Feb 1947 [P; photocopy] b- A Show of Monotypes by Daniel Milhaud & New Chamber Music, Jul 1947 [P; ] c- Dave Brubeck: The Band That Jumps, Civic Aud., Stockton, Oct 4, 1947 [P] d- New Sounds In Modern Music w/ the Jazz-Work Ensemble, SF, 1949 [F] e- ”Goings On At The Playroom, 346 Jones Street [SF]...Starting January 28th/ The Three D’s,” n.d. [c1949; F] f- Photo of DB printed on pink card stock (ca. 3 x 7) g- DBQ table tents 1954 (photo copy) h- UC Berkeley University Extension Lifelong Learning catalog, Fall 1949. Includes jazz classes taught by Brubeck. 1.G.1.2: MAGAZINE ADVERTISING, 1950s a- DBQ Opening Tonight at Clayton Club, 11-13-51 [SF area newspaper ad] b- Seattle Guide (Oct 30-Nov 5, 1953) c- “Rubinstein’s New Lipstick Color: Jazz Red Hot & Cool,” Vogue (9-15-55 ) d- “O Thanks! All Ye Faithful” Down Beat (1-11-56) [DBQ Xmas greetings] e- DB letter [in English] to Polish fans, Tlumaczenie Listu - Strona (4-58) 1.G.1.3: NEWS RELEASES, 1950s a- “I hope the enclosed publicity material will...,” c1950 [promo for Trio] b- “What’s New With the DBQ,” Jan 1954 c- “What’s New With the DBQ,” Feb 1954 d- “What’s New With the DBQ,” Fall 1954 e- “DB coming on Aug 9th & 10th, “New Lagoon News [Salt Lake City] (1957 f- “Sustaining Fund Set Up For Brubeck’s Friend,” 1-24-58 [Al Naukana] g- ”DBQ to Warsaw for ANTA,” 2-25-58 h- American Embassy Karachi, Pakistan.
    [Show full text]