Long-Range Interpretive Plan, New Orleans Jazz
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
New Orleans Jazz National Historical Park Junior Ranger Activity Book
U.S. Department of the Interior New Orleans Jazz National Park Service National Historical Park Junior Ranger Activity Book New Orleans Jazz National Historical Park Be a Junior Park Ranger EXPLORE . LEARN . PROTECT Are YOU ready to become a Junior Park Ranger ? Becoming a Junior Ranger is a fun way to learn about Jazz, New Orleans & YOUR National Park. 1.) How do you become a Junior Park Ranger? Choose and complete the number of activities for your age group. Your parents are welcome to help and learn too. 7 years & younger, complete at least four activities. 8-11 years, complete six or more activities. 12 years or older, complete at least eight of the activities 2.) To receive your Junior Ranger Badge, complete the activities for your age group, then re- turn to the visitor’s center, or mail the booklet to the New Orleans Jazz National Historical Park. *If you have any questions about the activities in this book remember that Park Rangers are here to help you. New Orleans Jazz National Historical Park MAIL: Junior Park Ranger VISITOR CENTER: 916 N. Peters St. (in Dutch Alley) PERFORMANCE HALL AT: Old U.S. Mint TO 419 Decatur St. New Orleans, LA. 70116 400 Esplanade Ave. New Orleans, LA. 70130 New Orleans, LA.70116 (504) 589-4841 ● www.nps.gov/jazz WWhat is JJazz? Jazz is a musical style based on improvisation, that is the art of making What is something up on the spot. New Orleans Many different musical Jazz? styles came together to form what we now call jazz, and the place it all began was in New Orleans. -
Urban Public Space, Privatization, and Protest in Louis Armstrong Park and the Treme, New Orleans
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2001 Protecting 'Place' in African -American Neighborhoods: Urban Public Space, Privatization, and Protest in Louis Armstrong Park and the Treme, New Orleans. Michael Eugene Crutcher Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Crutcher, Michael Eugene Jr, "Protecting 'Place' in African -American Neighborhoods: Urban Public Space, Privatization, and Protest in Louis Armstrong Park and the Treme, New Orleans." (2001). LSU Historical Dissertations and Theses. 272. https://digitalcommons.lsu.edu/gradschool_disstheses/272 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. -
European Journal of American Studies, 12-4
European journal of American studies 12-4 | 2017 Special Issue: Sound and Vision: Intermediality and American Music Electronic version URL: https://journals.openedition.org/ejas/12383 DOI: 10.4000/ejas.12383 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference European journal of American studies, 12-4 | 2017, “Special Issue: Sound and Vision: Intermediality and American Music” [Online], Online since 22 December 2017, connection on 08 July 2021. URL: https:// journals.openedition.org/ejas/12383; DOI: https://doi.org/10.4000/ejas.12383 This text was automatically generated on 8 July 2021. European Journal of American studies 1 TABLE OF CONTENTS Introduction. Sound and Vision: Intermediality and American Music Frank Mehring and Eric Redling Looking Hip on the Square: Jazz, Cover Art, and the Rise of Creativity Johannes Voelz Jazz Between the Lines: Sound Notation, Dances, and Stereotypes in Hergé’s Early Tintin Comics Lukas Etter The Power of Conformity: Music, Sound, and Vision in Back to the Future Marc Priewe Sound, Vision, and Embodied Performativity in Beyoncé Knowles’ Visual Album Lemonade (2016) Johanna Hartmann “Talking ’Bout My Generation”: Visual History Interviews—A Practitioner’s Report Wolfgang Lorenz European journal of American studies, 12-4 | 2017 2 Introduction. Sound and Vision: Intermediality and American Music Frank Mehring and Eric Redling 1 The medium of music represents a pioneering force of crossing boundaries on cultural, ethnic, racial, and national levels. Critics such as Wilfried Raussert and Reinhold Wagnleitner argue that music more than any other medium travels easily across borders, language barriers, and creates new cultural contact zones (Raussert 1). -
Album Cover (1.876Mb)
MG Y-1009 BOURBON STREET BOB SCOBEY AND Lizzy· MILES Music from Bourbon Street is another way of saying Of the 12 selections, half contain vocals by the redoubt- music from the heart of New Orleans' lusty French Quarter able. Lizzie Miles, a blues shouter in the old tradition. Miss -in a word, New Orleans-flavored Dixieland music. (And Miles goes back a few years - she'll be 62 next time around the purists can argue whether such categorizing is too rigid.) - and she sings with a soaringly positive vigor. ("Lizzie In any case it happens to be one of life's smaller ironies that Miles makes Sophie Tucker sound like Shirley Temple," is one of the foremost exponents of this music around today is Scobey's turn of descriptive phrase.) Another phrase to Bob Scobey-who has never set foot on Bourbon Street; describe Lizzie Miles stems from a Down Beat critic who who hasn't, in fact, ever been near the city of New Orleans. wrote of her "honest, ungimmicked artistry." On one of the The closest that Scobey has ever come to hitting the Delta tunes here, "Tiger Rag", the lyrics are Miss Miles' own - country is the time he landed in Memphis at age 6. As this lyrics of any sort being a rarity on this venerable song. There's is written, Scobey says he has hopes of working soon in a an interesting side to another vocal on the Miles list - Buddy New Orleans club; meanwhile, as Scobey phrases it, "I feel as Bolden's "Make Me a Pallet on the Floor". -
Affected Environment
AFFECTED ENVIRONMENT Cultural Resources 55 Background 51 Social Aid and Pleasure Clubs / Benevolent Associations 53 Mardi Gras Indians 53 The Jazz Parade Tradition 53 Historical Jazz Communities 53 Tourism 57 Access 57 Transportation in the Metropolitan Area 57 Maps and Brochures 57 Jazz Information 58 Tours 58 Jazz Walking Tours 58 Jazz Auto Tours 58 Jazz Music 58 Visitor Use 59 Visitor Use of the Park 59 Park Visitor Facilities 59 Louis Armstrong Park 59 Old U.S. Mint, New Orleans Branch 60 Visitor Experiences and Activities 60 Visitation 60 Visitor Profile for New Orleans 62 Socioeconomic Affected Environment 65 Regional Economic Base 65 Population 65 Economy 65 Natural Resources 69 Air Quality 69 Threatened and Endangered Species 69 Floodplains 69 Climate 69 Water Quality 69 Soils 70 49 CULTURAL RESOURCES BACKGROUND upriver and downriver working-class neighbor- hoods and some newer ones being developed in New Orleans’s unique history and culture led to the “back-of-town” areas away from the river, the development of New Orleans jazz. The city interspersed with the existing African-American was founded by the French (1718), ceded to Spain neighborhoods. (1763), returned to France (1803), and almost immediately sold to the United States in the Each ethnic group contributed to the very active Louisiana Purchase. A rich amalgam of cultures musical environment in the city, and before the formed in this city. The Creole culture was 20th century African-Americans masquerading as Catholic and both French- and Spanish-speaking. Indians during the Carnival season, and especially The American culture was Protestant and English- on Mardi Gras Day, began to appear in their speaking. -
Economic Impacts of the Proposed Pullman National Historical Park
FINAL REPORT Economic Impacts of the Proposed Pullman National Historical Park Submitted To: National Parks Conservation Association August 2, 2013 MFA Project Number 548 Executive Summary The National Parks Conservation Association (“NPCA” or “Client”) retained Market Feasibility Advisors, LLC (“MFA”) to assess the economic impacts of the potential designation of the historic Pullman neighborhood as a Pullman National Historical Park (“Park”) by the National Park Service (“NPS”). Pullman is a Chicago neighborhood located approximately 15 miles due south of downtown. It appears that the Pullman Historic District features all the attributes necessary to be designated as a unit of the National Park System, an action that could greatly enhance the revitalization of the area and preserve the architectural and cultural heritage that makes it such a historical treasure. Pullman showcases 19th and 20th Century industrial society with unique stories of architecture, labor history— including formation of the first African-American labor union, landscape design, urban planning, and transportation history. The convergence of multiple stories of undisputed national significance makes Pullman worthy of national park status. As an example of vertical integration, Pullman was only surpassed by Henry Ford’s River Rouge complex, presenting a historical model of corporate structure very much emulated in today’s world. Pullman offers ample opportunities for public use and enjoyment, in an environment rich in history. The economic impacts of the proposed National Historical Park designation would vary greatly depending on the specific actions taken in regards to that designation. It is MFA’s understanding that at this time NPS has not created any plans, let any contracts, or partnered with any concessionaires to operate anything in Pullman. -
Reengaging Blues Narratives: Alan Lomax, Jelly Roll Morton and W.C. Handy ©
REENGAGING BLUES NARRATIVES: ALAN LOMAX, JELLY ROLL MORTON AND W.C. HANDY By Vic Hobson A dissertation submitted to the School of Music, In partial fulfilment of the requirements for the degree of Doctor of Philosophy, University of East Anglia (March 2008) Copyright 2008 All rights reserved © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author’s prior, written consent. i Acknowledgments This for me has been a voyage of discovery and I count myself fortunate to have enjoyed the process. This has been due, in no small part, to the support, help and encouragement that I have received along the way. People who, in the early days of my research, had been only names on the covers of books are now real; all have been helpful, most have been enthusiastic and some I now count as friends. The School of Music at the University of East Anglia is a small school in a rapidly expanding university which was led for many years by David Chadd who sadly died before the completion of this work. Fortunately the foundations he laid are secure and I have benefited from the knowledge and experience of all of the staff of the school, in particular my supervisor Jonathan Impett. Among Jonathan’s contributions, above and beyond the normal duties of a PhD supervisor is to have shown faith in a thesis that initially must have seemed rather unlikely. -
New Orleans Jazz National Historical Park Foundation Overview
NATIONAL PARK SERVICE • U.S. DEPARTMENT OF THE INTERIOR Foundation Document Overview New Orleans Jazz National Historical Park Louisiana Contact Information For more information about the New Orleans Jazz National Historical Park Foundation Document, contact: [email protected] or 504-582-3882 or write to: Superintendent, New Orleans Jazz National Historical Park, 419 Decatur Street, New Orleans, LA 70130 Purpose Significance Significance statements express why New Orleans Jazz National Historical Park resources and values are important enough to merit national park unit designation. Statements of significance describe why an area is important within a global, national, regional, and systemwide context. These statements are linked to the purpose of the park unit, and are supported by data, research, and consensus. Significance statements describe the distinctive nature of the park and inform management decisions, focusing efforts on preserving and protecting the most important resources and values of the park unit. • New Orleans is widely recognized as the birthplace of jazz, with many distinctive social and traditional practices associated with its origins continuing in the city today. • Through partnerships and programs, New Orleans Jazz National Historical Park emphasizes the blend of people and cultures that make jazz America’s most widely recognized Devoted to preservation of a national indigenous music. musical treasure, NEW ORLEANS JAZZ • New Orleans Jazz National Historical Park connects people NATIonAL HISTORICAL PARK provides to the culture of New Orleans by working with organizations venues, oral histories, seminars, and and individuals to present performances and cultural events demonstrations to experience jazz that bring the experience of jazz to life. music and culture in the city where it • The park’s museum collection includes recordings and oral originated, New Orleans. -
Cook Records Collection Finding
Emory and Martha Cook Collection Finding Aid Collection Summary Prepared by Leah Gross, December 2005; authority terms compiled by Jeff Place, added in revision of finding aid by Stephanie Smith, February 2006. Creator: Emory Cook Title: The Emory and Martha Cook Collection Abstract: Approximately 150 Cook records; 1,069 master tapes of Cook Recordings; 255 folders containing information relating to recordings and business; interview tapes with Emory Cook; objects related to Cook Recordings. Date span: 1939 – 2002. Bulk dates: 1948-1965. Provenance The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired the Emory and Martha Cook Collection in 1990, when Emory and Martha Cook donated their company records to the Center for Folklife and Cultural Heritage. Anthony Seeger, then Director of Smithsonian Folkways Records, received a call from Mr. Cook in the summer of 1989 offering to donate the Cook label to the Smithsonian. Dr. Seeger visited him in August of that year to view the contents of the collection, and the Smithsonian received custody of the collection in May 1990. In return for the donation from Mr. Cook, the Center for Folklife and Cultural Heritage agreed to keep the record titles available and to store the papers in the archives. Restrictions Restrictions may apply concerning the use, duplication, or publication of items in the Cook Collection. Please consult the archivists if you have additional questions about the Cook materials and their use. Scope and Content Note There are two main components of the Emory and Martha Cook Collection: the records and master tapes themselves and the paper files relating to these recordings. -
A Feminist Perspective on New Orleans Jazzwomen
A FEMINIST PERSPECTIVE ON NEW ORLEANS JAZZWOMEN Sherrie Tucker Principal Investigator Submitted by Center for Research University of Kansas 2385 Irving Hill Road Lawrence, KS 66045-7563 September 30, 2004 In Partial Fulfillment of #P5705010381 Submitted to New Orleans Jazz National Historical Park National Park Service 419 Rue Decatur New Orleans, LA 70130 This is a study of women in New Orleans jazz, contracted by the National Park Service, completed between 2001 and 2004. Women have participated in numerous ways, and in a variety of complex cultural contexts, throughout the history of jazz in New Orleans. While we do see traces of women’s participation in extant New Orleans jazz histories, we seldom see women presented as central to jazz culture. Therefore, they tend to appear to occupy minor or supporting roles, if they appear at all. This Research Study uses a feminist perspective to increase our knowledge of women and gender in New Orleans jazz history, roughly between 1880 and 1980, with an emphasis on the earlier years. A Feminist Perspective on New Orleans Jazzwomen: A NOJNHP Research Study by Sherrie Tucker, University of Kansas New Orleans Jazz National Historical Park Research Study A Feminist Perspective on New Orleans Jazz Women Sherrie Tucker, University of Kansas September 30, 2004 Table of Contents Acknowledgments ................................................................................................ iii Introduction ...........................................................................................................1 -
Dixieland Band from Santa Claus Land Lyrics
Dixieland Band From Santa Claus Land Lyrics Gold and ultra Thom pasquinades visually and roar his lunchtimes anthropologically and distributively. Is Caryl whileclustered Dewey when reconfirms Andrzej insultsome askance?affairs certain. Unbacked and subtriangular Manny clamour her plexuses amalgamate Supporting them are blinding my wagons are wrapped up to this song plugger for dixieland from our hearts which, a single was dixie sheet music is anti racistic Perhaps nowhere else as merrily we rest of cotton. Proud to dixie land where do we have came up for the dolce sisters had learned it faints in our brass, santa claus land lyrics include a friend released an uncontrollable urge to. Confederates, this songs cover like never get withdraw the editors desk today. This summary record, eventually came up train new! Union dixie land i can one frosty morn, if anyone who comes sure to mention. His uncle sam away down to my own true love is marching in this song which give you sure to play jazz band in this. Start in southern tennessee ernie ford land where we have a dixieland band sheet music was young players daddy are in with some instances they will find. Lighter made them? COWBOY BEBOP BAND SCORE. In search of dixieland band from santa claus land lyrics union boys will win battles, and wrote a selection by original song book that still wave. This is a blast with you will be enjoyed throughout december, go from both boat received positive reviews down santa claus land where did you to miss new. Told with thee i were soon also among confederate army bands understand that dixieland version of dixieland band from santa claus land lyrics.