DOCSLIB.ORG

Taste of Drums

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Taste of Drums S/2140 y c : ae Poa ae Ce al STE OF DRU Ss OSIE JOHNSON * JOHN PACHECO* LARRY BUNKER °?ALVIN STOLLER JAKE HANNA * MAX ROACH * PHIL KRAUS * BOB ROSENGARDEN Side A: in learning the rudiments. So you see, if a student is west-coast drummers. Each one has had a tremendous eager to get behind a set of handsome traps, he had amount of experience with big bands and their excel- LIMEHOUSE BLUES better be prepared that it will be quite a while before lent drumwork has made them the favorite of such SING, SING, SING he will play a real set of drums. stars like Frank Sinatra, Nat Cole and Billy May. MONTEREY Ever since the days of Benny Goodman, when he fea- Alvin's backing to the Pete Rugolo Orchestra on tured a fellow named Gene Krupa, the drummer has “TWISTED IMAGE” and Larry’s swinging two-beat feel TWISTED IMAGE been the glamour boy in most of the big bands. A drum- on “‘WHEN THE SAINTS GO MARCHING IN” are prime PIES OF QUINCY mer has to be more than a soloist. He has to be a pol- examples of pros at work. ished performer whose taste and imagination are the Osie Johnson started out by doing most of the bril- Side B: backbone of any band, whether it be small or large. He liant drumwork behind the greatest east coast jazz in- IN THE HALL is the one that single-handedly holds the entire band strumentalists. Osie began to be typed as only a jazz OF THE MOUNTAIN KING together like a puppeteer. Drummers today have to drummer; but, let it be known that Osie is one of the know much more than a snare, bass,cymbals and tom finest all-around drummers. One of the most famous WE THREE tom. He has to be an articulate percussionist as well drum solos was Gene Krupa’s on “‘SING, SING, SING’ BONGOLINA (xylophone, bongos and the many diversified instru- with the Benny Goodman Orchestra. It is recreated ments that make up this family). once again by Osie Johnson and Bob Rosengarden in WHEN THE SAINTS This is the reason behind this album—to bring forth an exciting interplay. GO MARCHING IN to the discerning public the finest drummers perform- Jake Hanna is another supreme drummer, who has USKA DARA ing today. Not only are they acknowledged masters in been the backbone of Woody Herman's swinging Fourth their field, but they can hold their own in any type of Herd. Once again Jake comes through as he and the Me UAPUIST Bs RODONTOMO 2 oa ae, Bob Shad orchestra. rest of the Herman rhythm section support Terry Gibbs Original. Recording Engineer .......................... Frank Abbey Phil Kraus and Bob Rosengarden are considered two flawlessly, in ‘“WE THREE.”’ John Pacheco is known as WASTETING 2 8 2. es fees tae moi gus Hal Diepold blgier NCIS hoo ee ee ae ee Peter Spargo of the finest drummers in the business. Bob has been the “‘Daddy of the Pachanga”’ and there is no finer Procucuomr COOtaatOl Win. re Harry Ringler featured with Mitch Miller, Steve Allen and is a favorite Latin drummer playing today. Pacheco is featured on Album: GOOrdinanvion 24.) al). ne ee Elena Festa of many top recording artists. Phil Kraus is a brilliant “LIMEHOUSE BLUES,” “‘BONGOLINA” and “MON- BMD porapny he eR .. The Composing Room, Inc. Peau eStats Moskof-Morrison, Inc. percussionist who takes a back seat to no one. Phil is TEREY.’’ “‘USKA DARA” features the work of a bril- PHAting and FAaDricatiom 2 ise Globe Albums, HAC: always called on to perform the more difficult percus- liant 14-year-old drummer named Kerim Capli, whose sion assignments, but when he plays the drums, he is mastery of intricate Turkish rhythms and great pop one of the solidest | have ever heard. Bobby and Phil feel, have to be heard to be believed. Going back hundreds of centuries to ancient civiliza- perform impeccably and tastefully on ““BONGOLINA”’ The unique feature about drummers is that the ar- tions, the drum, although in a crude form, was the prin- and “‘MONTEREY”’ while their duet on timps on “IN ranger leaves a great deal to their imagination. He must cipal manner of communication. Through the years, THE HALL OF THE MOUNTAIN KING” ts highly imagi- have taste and musicianship and a great sense of natives improved on the construction of the drum. native. In ““LIMEHOUSE BLUES” there is the most ex- knowing what to do and doing it at the rignt time. Con- From the primitive hollow tree trunk to today’s many citing bongo ensemble ever put on records. Phil and trary to the general belief that drummers are always simulated types of drums, the drum has gone through Bobby are joined by two of the finest Latin drummers, loud, they should not become obvious. The only peo- many evolutions, but one idea is related to the past— Pacheco and Willie Rodriguez. ple they have to impress are the musicians around the drum still communicates. | don’t have to go into any long dissertation about them. When a band or a combo sounds flowing with a It is popular with the masses because rhythmical Max Roach. He is, not only one of the finest modern crisp, tight sound it is usually the result of a proficient pulses are felt by all, whether musically inclined or jazz drummers around, but his impeccable taste in drummer and in this album you have excellent exam- not. One of the biggest letdowns for any student of the other forms of music is beyond question. He is also ples from the best. drums is that they don’t perform on a set right away. considered one of the best teachers in his field. Max’s TIME RECORDS, INC., 2 WEST 45TH ST., NEW YORK, N.Y. 10036 They have to go through months of playing on a prac- performance on “PIES OF QUINCY” will bear this out. tice pad. This is a rubber pad which aids the student Alvin Stoller and Larry Bunker are the two finest Time Records, Inc., guarantees the quality and workmanship of its product. ' PRINTED IN U.S.A. oa 52140 SERIES 2000 .
Load more

Recommended publications
  • Chet Baker Pretty/Groovy Mp3, Flac, Wma
    Chet Baker Pretty/Groovy mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Pretty/Groovy Country: US Released: 1958 MP3 version RAR size: 1735 mb FLAC version RAR size: 1189 mb WMA version RAR size: 1592 mb Rating: 4.8 Votes: 397 Other Formats: APE FLAC WMA MP2 AUD AIFF APE Tracklist A1 Look For The Silver Lining A2 Time After Time A3 Travelin' Light A4 My Funny Valentine A5 There Will Never Be Another You A6 The Thrill Is Gone A7 But Not For Me B1 Band Aid B2 The Lamp Is Low B3 Carson City Stage B4 Long Ago And Far Away B5 Easy To Love B6 Winter Wonderland B7 Batter Up Credits Bass – Carson Smith Clarinet – Jimmy Giuffre Drums – Larry Bunker Guitar – David Wheat Photography By, Design – Bill Shaefer Piano – Russ Freeman Saxophone – Bill Perkins Trumpet – Chet Baker Notes Plain labels with writing on both sides. Barcode and Other Identifiers Matrix / Runout: Side A : PJ-ST-774 H Matrix / Runout: Side B : PJ-ST-775 H Other versions Category Artist Title (Format) Label Category Country Year Chet Pretty/Groovy (LP, World Pacific WP-1249 WP-1249 US 1958 Baker Comp) Records Chet Pretty/Groovy (LP, LPM 2082 Music LPM 2082 Italy Unknown Baker Comp) TOCJ-9443, Chet Pretty / Groovy (CD, World Pacific, TOCJ-9443, Japan 2002 WP-1249 Baker Comp, Ltd, RE, RM) World Pacific WP-1249 World Pacific K18P-9262, Chet Pretty/Groovy (LP, K18P-9262, Records, Japan 1983 WP-1249 Baker Comp, RE) WP-1249 Pacific Jazz World Pacific PJ 1249, Chet Pretty/Groovy (LP, PJ 1249, Records, Japan 1991 PJ-1249 Baker Comp, Mono, RE) PJ-1249 Pacific Jazz Related Music albums to Pretty/Groovy by Chet Baker Chet Baker - The Thrill Is Gone My Ideal Chet Baker - Baker's Holiday: Chet Baker Sings And Plays Billie Holiday Chet Baker - The Best Of Chet Baker Matt Dusk - My Funny Valentine: The Chet Baker Songbook Chet BAKER - Sings and plays with bud shank russ freeman and strings Chet Baker - Deep In A Dream - The Ultimate Chet Baker Collection Chet Baker - Chet Baker Chet Baker - Chet Baker In Tokyo Chet Baker - The Very Best Of Chet Baker Chet Baker Quartet - Chet Baker Quartet.
    [Show full text]
  • Pioneers of the Concept Album
    Fancy Meeting You Here: Pioneers of the Concept Album Todd Decker Abstract: The introduction of the long-playing record in 1948 was the most aesthetically signi½cant tech- nological change in the century of the recorded music disc. The new format challenged record producers and recording artists of the 1950s to group sets of songs into marketable wholes and led to a ½rst generation of concept albums that predate more celebrated examples by rock bands from the 1960s. Two strategies used to unify concept albums in the 1950s stand out. The ½rst brought together performers unlikely to col- laborate in the world of live music making. The second strategy featured well-known singers in song- writer- or performer-centered albums of songs from the 1920s, 1930s, and 1940s recorded in contemporary musical styles. Recording artists discussed include Fred Astaire, Ella Fitzgerald, and Rosemary Clooney, among others. After setting the speed dial to 33 1/3, many Amer- icans christened their multiple-speed phonographs with the original cast album of Rodgers and Hammer - stein’s South Paci½c (1949) in the new long-playing record (lp) format. The South Paci½c cast album begins in dramatic fashion with the jagged leaps of the show tune “Bali Hai” arranged for the show’s large pit orchestra: suitable fanfare for the revolu- tion in popular music that followed the wide public adoption of the lp. Reportedly selling more than one million copies, the South Paci½c lp helped launch Columbia Records’ innovative new recorded music format, which, along with its longer playing TODD DECKER is an Associate time, also delivered better sound quality than the Professor of Musicology at Wash- 78s that had been the industry standard for the pre- ington University in St.
    [Show full text]
  • Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot.
    [Show full text]
  • Aaron SACHS: Frank SACKENHEIM: Fats SADI: Eddie SAFRANSKI
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Aaron SACHS: "Clarinet & Co" Phil Sunkel, Bernie Glow -tp; Frank Rehak -tb; AARON SACHS -cl,ts; Gene Allen -bs; Nat Pierce - p; Aaron Bell -b; Osie Johnson -d; recorded February 18 and 21, 1957 in New York 33134 RONDO BLUES 3.45 Rama RLP 1004 33135 JUST SICK BLUES 2.54 --- 33136 BLUE SOPHISTICATE 4.02 --- 33137 CONVERSATION 2.39 --- 33138 MONA'S KIMONA 4.01 --- 33139 COUNTRYFIELD 3.46 --- 33140 WIGGINS 3.26 --- Aaron Sachs -cl,ts; Hal Overton -p; Jimmy Raney -g; Aaron Bell -b; Osie Johnson -d; recorded March 04, 1957 in New York 33141 GORME HAS HER DAY 3.07 --- 33142 I CAN'T BELIEVE 2.58 --- 33143 HAL'S LOFT 2.43 --- 33144 NANCY 3.22 --- ------------------------------------------ Frank SACKENHEIM: "WDR3:Jazz.Cologne" Frank Sackenheim Trio: Frank Sackenheim -ts; Henning Gailing -b; Jonas Burgwinkel -d; recorded July 10, 2005 in Funkhaus Wallrafplatz, Köln 77097 DEIN IST MEIN GANZES HERZ 7.55 Aircheck 77098 L.O.V.E. 5.22 --- 77099 RED ROSES 8.16 --- 77100 SPEAK LOW 11.40 --- 77101 ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT 7.53 --- 77102 GAMES THAT LOVERS PLAY 8.05 --- ------------------------------------------ Fats SADI: "Ensadinado" Fats Sadi -vib; Jimmy Woode -b; Francy Boland -p; Kenny Clarke -d; recorded March 21, 1966 in Köln 16279 NIGHT LADY 4.18 Saba SB15111 16280 ENSADINADO 4.46 --- 16281 GOODBYE 3.16 --- 16282 THE SAME 5.06 --- 16283 ALL OF YOU 3.24 --- 16284
    [Show full text]
  • Ahmad Jamal Moody James Burrell Kenny Stitt Sonny Max Roach
    Riddle take it slow and tender all the way. A high point of the collection is the treat­ men! of lust Another Rhumba. I his be­ MUSIC comes a riot of alxmdonment and a wiy workout for «ingcr and orchestra as Riddle keeps building instrumentally to .sing 1960 clash and climax. The Gershwin Songbook is a rare 'reat in popular music. Norman Granz has Rood Down Beat's Fifth Annual reason to be proud. As for Fitzgerald fans, Exclusively Featuring: "The they had better break open the piggshank. Decade of the 50's" • "The 0 A-Tj 60s George Crater Billie Holiday Meets Lenny Bruce” • "The “ ALL OR NOTHING AT ALL—Verv» MG V-8329: Do Natkin' Til J’oa Hear from Vf»; Jazz Festivals" • "Photog­ Cheek to Ckeek; III Wind; Speak Low; I Winked ou the Mm" But Not for Me; All or NotUm raphy Portfolio” • "Stereo al All; We’ll Be Together Again; Sophisticated Lady; April in Paris; Say It Isn't So; Love It Buyers Guide”, a review Hrre to Stay. Pertonnel: Mi*» Holiday, vocal*; Harry' Edi- Down Beat Index for 1959 a»n, trumpet; Ben Webater, tenor; Barney kettel, Joe Mondragon and many other features • Red Mitchell ba**; Alvin Stoller, drum*. Rating: RRi This allium is the result of two sessions: one in 1956, the other in 1957. Usually this would be of little consequence. but there is such a disparity between the two that it is a fact which must lx- noted. The four takes from the ’57 session. Moon; But Not, Say it, and Love Is Here, The Rect Maher Publications find l ady Day in gocxl form and in vocal 1.
    [Show full text]
  • THE JERRY GRAY STORY – 1947 [Updated Jun 15, 2018 – Version JG.002E]
    THE JERRY GRAY STORY – 1947 [Updated Jun 15, 2018 – Version JG.002e] January 26, 1947 [Sunday]: Jerry Gray arranged tunes made famous by Glenn Miller for New York City-based “Here’s To Ya” broadcast over the CBS radio network, January 26, 1947, 2:30 – 3:00 pm local time, performed by the Phil Davis Orchestra [including Trigger Alpert and Bernie Privin] and the Hires Hands vocal group [including Bill Conway]. Sponsored by Hires Root Beer. Moonlight Serenade – arranged by Jerry Gray Don’t Sit Under The Apple Tree – arranged by Jerry Gray Moonlight Cocktail – arranged by Jerry Gray A String Of Pearls – arranged by Jerry Gray Serenade In Blue – arranged by Jerry Gray In The Mood – arranged by Jerry Gray Chattanooga Choo Choo – arranged by Jerry Gray _______________ Harrisburg Telegraph [Harrisburg, Pennsylvania], Jan 18, 1947, Page 19: NEW SUNDAY MUSICAL SHOW HEARD ON WHP ‘Here’s To Ya’ Opens Jan. 26; Stars Louise Carlyle, Phil Hanna, Phil Davis “Here’s To Ya,” sparkling half-hour of popular and familiar music, featuring Contralto Louise Carlyle, Baritone-Emcee Phil Hanna, Phil Davis’ orchestra, and the Hires Hands singing group, starts on the Columbia network and WHP Sunday, January 26, 2:30-3 p.m. “Here’s To Ya” will be the first of a series of new shows to be added to the WHP schedule during the first few weeks of 1947 daytime schedule. Time and all information on the new programs will be announced in the near future on this page. Louise Carlyle, feminine star of “Here’s To Ya,” got her first big break several years ago as vocalist with her brother Russ’ orchestra.
    [Show full text]
  • Dizzy Gillespie and the Big Band: GILLESPIANA (Verve V6-8394)
    JAMU 20150422-2 –Dizzy Gillespie-Lalo Schifrin suites (ukázky) Dizzy Gillespie and His Orchestra: A PORTRAIT OF DUKE ELLINGTON (Verve V6-8386) A1 In A Mellow Tone 3:44 A2 Things Ain't What They Used To Be 4:50 A3 Serenade To Sweden 4:23 A4 Chelsea Bridge 2:34 A5 Upper Manhatten Medical Group 3:05 A6 Do Nothin' Till You Hear From Me 2:38 B1 Caravan 5:18 B2 Sophisticated Lady 3:19 B3 Johnny Come Lately 3:35 B4 Perdido 4:47 B5 Come Sunday 2:56 Trumpet – Dizzy Gillespie Trombone – Bennie Green French Horn – Joe Singer, Ray Alonge, Richard Berg Tuba – Jay McAllister Flute – Robert DiDomenica Woodwind – Ernest Bright, John Murtaugh, Paul Richie, Stan Webb Vibraphone – George Devens Piano, Celeste – Hank Jones Bass – George Duvivier Drums – Charlie Persip Arranged By – Clare Fisher Recorded on 27-28 April, 1960 in NYC. Dizzy Gillespie and the Big Band: GILLESPIANA (Verve V6-8394) A1 Prelude 5:52 A2 Blues 11:16 A3 Panamericana 4:39 B1 Africana 7:31 B2 Toccata 12:01 Trumpet – Clark Terry, Dizzy Gillespie, Ernie Royal, Joe Wilder, John Frosk Trombone – Britt Woodman, Frank Rehak, Paul Faulise, Urbie Green Horns – Al Richman, Gunther Schuller, James Buffington, Julius Watkins, Morris Secon, William Lister Tuba – Don Butterfield Saxophone – Leo Wright Piano, Written-By, Arranged By – Lalo Schifrin Bass – Art Davis Drums – Chuck Lampkin Bongos – Jack Del Rio Congas – Candido Timbales, Timpani – Willie Rodriguez Recorded November 14-15, 1960 in New York Dizzy Gillespie and the Big Band: CARNEGIE HALL CONCERT (Verve V6-8423) A1 Manteca 6:22 A2 This Is
    [Show full text]
  • An Historical Survey of the Development of the Vibraphone As an Alterna Tive Accompanying Instrument in Jazz
    AN HISTORICAL SURVEY OF THE DEVELOPMENT OF THE VIBRAPHONE AS AN ALTERNA TIVE ACCOMPANYING INSTRUMENT IN JAZZ. BY FRANK A MALLOWS (MLLFRA002) A MINOR DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE A WARD OF THE DEGREE OF MASTER OF MUSIC. SOUTH AFRICAN COLLEGE OF MUSIC UNIVERSITY OF CAPE TOWN SOUTH AFRICA 2004 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town 11 DECLARATION This work has not been previously submitted in whole, or in part, forthe award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. SIGNATURE DATE (Frank Arthur Mallows) III ABSTRACT AN HISTORICAL SURVEY OF THE DEVELOPMENT OF THE VIBRAPHONE AS AN ALTERNATIVE ACCOMPANYING INSTRUMENT IN JAZZ. by Frank Arthur Mallows 7 Muswell Hill Road Mowbray Cape Town A minor dissertation submitted in partial fulfilment of the requirements for the award of the degree of Master of Music. South African College of Music University of Cape Town South Africa 2004 The vibraphone, a melodic percussion instrument in which metal bars are struck with mallets to produce the sound and with a chromatic range of usually three octaves, was developed in the United States of America in the early 1900s.
    [Show full text]
  • Tommy Dorsey 1 9
    TOMMY DORSEY 1 9 4 6 Prepared by: DENNIS M. SPRAGG CHRONOLOGY PART 1 - CHAPTER 12 Updated November 28, 2017 January 1946 INSIDE ORCHESTRAS – MUSIC “There has been considerable discussion in N. Y. about the reports of a fire at the Vogue Record Laboratories in Detroit, which is claimed to have destroyed masters of Art Mooney's first disks for that company. Apparently the feeling is that the first story was just an "out" for the company to evade promised release dates due to its inability to start production. Fire story, however, is on the level. Beside Mooney's masters, four sides by Charlie Shavers were destroyed. Shavers, trumpeter with Tommy Dorsey's band, had cut four jumpers with a small band.”1 TD – MCA SPAT LOOKS SETTLED “Tommy Dorsey's difficulties with Music Corp. of America, which led the leader several weeks ago to order MCA to stop booking his orchestra,, have been smoothed over. Dorsey and MCA execs had one or two meetings during the past week during which the differences were patched up. This was one dispute between the leader and MCA that was kept almost completely under cover. Its cause is still vague, although it is known that the friction was over money, not over the bookings. At any rate, Dorsey is again being submitted by the agency. He has nothing booked following the current Capitol theatre, N. Y. run and may go straight to the Coast after its completion. Incidentally, the, new contract between RCA Victor and Dorsey has been completed, It's a three-year deal, effective yesterday (Tues.) and replacing an old deal that still had more than a year to run.
    [Show full text]
  • Erroll Garner
    1 The PIANO of ERROLL GARNER Solographer: Jan Evensmo Last update: June 20, 2020 2 Born: Pittsburgh, June 15, 1921 Died: Los Angeles, Jan. 2, 1977 Introduction: Erroll Garner was one of the very first jazz artists I ever heard, and I will never forget the astonishment and joy I felt when listening to “Lullaby Of Birdland”, “Caravan” and other exciting performances. He was held in high esteem in Oslo Jazz Circle already from the middle fifties. History: Brother of Linton Garner. He played professionally in the Pittsburgh area from 1938 to 1941 with Leroy Brown’s orchestra. By 1944 he had moved to New York, where he started to play in nightclubs; he served as a substitute for Art Tatum in Tatum’s trio with Tiny Grimes and Slam Stewart, remaining when it became the Slam Stewart Trio (1945). He then formed his own trio with bass and drums, a format he retained for the whole of his career when not playing as a soloist, and he quickly captured a large audience. In 1947, while working in the Los Angeles area, he recorded with Charlie Parker. In 1950s and 1960s he was one of the most frequently seen jazz musicians on television, and in 1957-8 he undertook the first of many overseas tours. He remained active until February 1975, becoming one of the most familiar figures on the jazz scene and issuing a great many recordings (ref. New Grove Dictionary of Jazz). Message: This solography is the first version of the planned result from awarding me the “Erroll Garner – Martha Glaser Archive Research Award”.
    [Show full text]
  • 1 BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot.
    [Show full text]
  • Morgenstern, Dan. [Record Review: Teddy Edwards: It's All Right!] Down
    Records are reviewed by Don De Micheal, Gilbert M. Erskine, Ira Giller, Ralph Johnson, Bill Mathieu, Marian MtPartland, Dan Morge s10 Don Nelsen, Harvey Pekar, Bob Porter, Bill Quinn, William Russo, Horvey Siders ., Carol Sloane, Pele Welding, and Michael z" ~ri, . Reviews are signed by the writers. Wenri. Ratings are: * * * * * excellent, * * * * very good, * * * sood, * * fair, * poor. When two catalog numbers are listed, the first is mono, and the second Is stereo. Sonny Criss crop that seem to have special appeal for World, Care and his feature, whil UP, UP AND AWAY-Prestige 7530: Up, jazz musicians, are given elegant and swing­ salves is superb on Friends and ~nGon. Up dllil All11i-y;Willofll Wup for Me; Tl,is is for Bt11111; Su,my; Serappt• from the AppJe; ing treatment. Walton's solo .on the former form on Dream, Lose, and his feat fine Paris Blues. will pin your ears back if you're listening. an old favorite of his. T.he openin Ure-_ Personnel: Criss. alto saxophone; Cedar Wal­ nd ton, piano; Tal Farlow, guirar; Bob Cranshaw, (The piano needed tuning, though.) And closing cadenzas on Friends are som!th~ bass; Lenny McBrowne, drums. Paris is not the Ellington tune, but a down to hear. 10g home, juicy slow blues with Sonny and Tai Hanna's bridge on Together is the n] Rating: * O Criss' third and best* * album* * for -Prestige in a preaching mood. non-tenor solo spot. The pianist co Y would be something else even without Tal Roses to Cranshaw and McBrowne, flawlessly, Barksdale (an underr ated to~~ Farlow, but the great guitarist's presence solid keepers of the time and taste.
    [Show full text]