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Randy Aldcroft 2 JAZZ DUETS for Tenor & Bass Trombones Volume II Randy Aldcroft 1
These duets were written for the intermediate and advanced student interested in playing jazz. The range of notes gets higher and the duets get harder with each volume. The chord changes are included to help learn the structure and chord progressions, and so the duets may be played with a rhythm section if desired. Learn a little piano so you may visualize and hear the chord structures and follow their patterns. “Roll” those 8th notes. Keep the duets “swinging”. - Randy Aldcroft 2 JAZZ DUETS for Tenor & Bass Trombones Volume II randy aldcroft 1. q=128 > ° œ ˙ œ > œ œ œ > ? b3 Œ Œ œ bœ Œ Œ Œ nœ œ bœ Œ Œ Trombone b 4 F7 B¨7 F7 B¨7 - 3 j 3 3 j 3 ? b3 ‰‰ œ ‰‰ œ Œ Bass Trombone ¢ b 4 œ œ œ œ ˙ ™ œ œ œ œ œ ˙ ™ œ œ 5 > > ™ > nœ> ™ - > ™ bœ> ™ > ™ ° nœ œ œ œ bœ> ™ ˙ ™ ˙ ™ œ œ ˙ œ œ ˙ ? bb Œ ‰ F7 B¨7 EØ7 A7(b9) D‹7 BØ7 E7(b9) AØ7 > D7(b9) > > > œ> ™ b-œ > ™ œ ™ > ™ ? b ™ œ #˙ ™ nœ œ ˙ ‰ œ #˙ ¢ b ˙ ™ œ œ ™ nœ œ > > ° 13 nœ> ™ œ ™ #œ> ™ nœ> ™ b˙ ™ ˙ ™ œ œ ˙ œ bœ> ? bb Œ Œ A¨Ø7 > ™ D¨7(b9) G¨Œ„Š7 C7(b9) F7 B¨7 bœ> ™ bœ > > j 3 3 j 3 ? b œ ™ œ ™ b˙ ™ nœ œ œ ‰ ‰ ¢ b œ œ œ œ ˙ ™ œ œ œ œ œ 3 19 > > ™ > ° nœ œ œ œ œ bœ> nœ œ œ œ bœ> ™ ˙ ™ ˙ ™ œ œ ˙ ? bb Œ Œ Œ Œ F7 B¨7 - F7 B¨7 EØ7 A7(b9) D‹7 > > > ? b œ Œ œ ™ œ #˙ ™ nœ œ ˙ ¢ b ˙ ™ œ ˙ ™ œ œ ™ nœ œ Copyright © 2015 Randy Aldcroft - All Rights Reserved Published and Distributed by Cherry Classics Music www.CherryClassics.com 14 Aldcroft - Jazz Duets Vol. -
“Kiss Today Goodbye, and Point Me Toward Tomorrow”
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By BRYAN M. VANDEVENDER Dr. Cheryl Black, Dissertation Supervisor July 2014 © Copyright by Bryan M. Vandevender 2014 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 Presented by Bryan M. Vandevender A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Dr. Cheryl Black Dr. David Crespy Dr. Suzanne Burgoyne Dr. Judith Sebesta ACKNOWLEDGEMENTS I incurred several debts while working to complete my doctoral program and this dissertation. I would like to extend my heartfelt gratitude to several individuals who helped me along the way. In addition to serving as my dissertation advisor, Dr. Cheryl Black has been a selfless mentor to me for five years. I am deeply grateful to have been her student and collaborator. Dr. Judith Sebesta nurtured my interest in musical theatre scholarship in the early days of my doctoral program and continued to encourage my work from far away Texas. Her graduate course in American Musical Theatre History sparked the idea for this project, and our many conversations over the past six years helped it to take shape. -
Guide to the Bill Holman Collection
Guide to the Bill Holman Collection NMAH.AC.0733 Scott Schwartz, Ann Kuebler, and Pam Kirby 2001 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..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Music Manuscripts, 1952 - 1999.............................................................. 4 Series 2: Photographs and Business Records, 1975-1997.................................... 28 Bill Holman Collection NMAH.AC.0733 Collection Overview Repository: Archives Center, National Museum of American History Title: Bill Holman Collection Identifier: NMAH.AC.0733 Date: -
Introduction
Notes Introduction 1. Although throughout this book, the identification of a Jewish "race" is associ ated with an anti-Semitic impulse, Jewish usage of "racial" terminology indi cates a certain ambivalence. See Harriet D. Lyons and Andrew P. Lyons, "A Race or Not a Race: The Question of Jewish Identity in the Year of the First Universal Races Congress;' in Ethnicity, Identity, and History, ed. Joseph B. Maier and Chaim I. Waxman, 499-518 (New Brunswick: Transaction Books, 1983). Even today, many Jews use the term "the Jewish race" with pride. 2. The Haskalah, or Jewish Enlightenment, which began in late eighteenth century, Germany, was a response to the European Enlightenment. Middle-class Jews, anxious to distance themselves from the ghetto and religious prejudice, sought to modernize Jewish communities by exposing them to secular thought. The Maskilim (the proponents of the Haskalah) believed that Jews were persecuted because they differed from dominant communities in terms of culture, language, education, dress and manners. By modernizing their schools, learning the spo ken language of the country in which they lived, and adapting their manners to those of their neighbors, it was hoped that individual Jews would be treated like any other citizens. 3. Steve Allen, Funny People (New York: Stein and Day, 1981), 11. 4. Most of the women listed here are not discussed further in this book, although I would like to suggest that they could be. Also, this study does not confine itself (at least in its earlier chapters) to comic performance. I present this list self consciously and order it alphabetically as an attempt at organization. -
Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N. -
Registered Hostas Last Updated 12-24-2008
Registered Hostas Last updated 12-24-2008 A 1-A-Day Delight 2003 Academy Blushing Recluse 1999 A B-1 Bomber 2002 Academy Bonfire Glade 2003 A Big Splash 2004 Academy Brobdingnagian Viridity 2006 A Blue Streak 2001 Academy Celeborn 2000 A Lady in Blue 2004 Academy Chetwood 2005 A Many-splendored Thing 1999 Academy Cratered Blue 2008 A Very Good Boy 2005 Academy Devon Moor 2001 Aachen 2005 Academy Dimholt 2005 Aardvark 1991 Academy Fangorn Forest 2003 Abba Alive 1990 Academy Faux Sedge 2008 Abba Aloft 1990 Academy Fire 1997 Abba at Large 1990 Academy Flaxen Spades 2002 Abba Blue Plus 1990 Academy Flora 1999 Abba Dabba Do 1998 Academy Galadriel 2000 Abba Dew 1999 Academy Gilded Dawn 2008 Abba Fit 1990 Academy Glowing Embers 2008 Abba Fragrant Cloud 1990 Academy Gold Codswallop 2006 Abba Little Showoff 1990 Academy Golden Papoose 2004 Abba Nova 1990 Academy Grass Clippings 2005 Abba Spellbinder 1990 Academy Grins 2008 Abba Tops 1990 Academy Isengard 2003 Abbey Pond Cascades 2004 Academy Kakistocracy 2005 Abby 1990 Academy Lemon Knoll 2006 Abiqua Ambrosia 1987 Academy Lothlórien 2004 Abiqua Ariel 1999 Academy Mallorn 2003 Abiqua Aries 1999 Academy Mavrodaphne 2000 Abiqua Big Sky 2008 Academy Mirkwood 2003 Abiqua Blue Crinkles 1999 Academy Muse 1997 Abiqua Blue Edger 1987 Academy Nazgul 2003 Abiqua Blue Jay 1987 Academy Palantir 2003 Abiqua Blue Madonna 1988 Academy Redundant 1998 Abiqua Blue Shield 1988 Academy Rivendell 2005 Abiqua Delight 1999 Academy Shiny Vase 2001 Abiqua Drinking Gourd 1989 Academy Smiles 2008 Abiqua Elephant Ears 1999 -
Music Copying
Philip Mantione 505-204-6027(cell) [email protected] www.philipmantione.com Music Preparation and Copying Experience MUSIC PREPARATION SERVICE EMPLOYERS NYC (1997 - 2010) • Emily Grishman Music Preparation • Katharine Edmonds Music • Chelsea Music Los Angeles (1996-97) • Suzie Katayama at Sony Music • Eric Stonerook Music SKILL SET • Highly proficient Finale user (16 years of experience). • Experience using Sibelius • Experience copying for musical theatre, film, TV, recording sessions, industrials and concerts. • Experience creating Piano Conductor parts from full score. • Experience copying Piano Vocals and Full Scores. • Experience with Proofreading and Music Librarian work. EDUCATION 1996 - M.M. - Composition - CSULA 1988 - Muscians' Institute - GIT - Honors Graduate 1982 - B.S. - State University of New York at Buffalo (SUNYAB) AFM DUAL-MEMBERSHIP • Local 802 - NYC (1997 - present) • Local 47 - Los Angeles (1996-97, 2010 - present) CREDITS SELECTED MUSICAL THEATRE PRODUCTIONS: BROADWAY AND OFF-BROADWAY Allegro A Tree Grows in Brooklyn Bounce Death Takes a Holiday Dessa Rose Dirty Rotten Scoundrels Side Show Spamalot Witches of Eastwick Never Gonnna Dance A Little Night Music Annie Get Your Gun Wild Party Frog and Toad Marie Christine Everything's Ducky Fiddler on the Roof The Full Monty It Ain't Nothin' But The Blues Tony Awards Parade Seussical Follies Bat Boy Thoroughly Modern Millie The Rocky Horror Show Best Little Whorehouse in Texas Nine to Five Urinetown Swing Radio City Music Hall Christmas Little Fish Brooklyn Into -
The Sam Eskin Collection, 1939-1969, AFC 1999/004
The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia. -
The Victor Black Label Discography
The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig ISBN 978-1-7351787-3-8 ii The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig American Discography Project UC Santa Barbara Library © 2017 John R. Bolig. All rights reserved. ii The Victor Discography Series By John R. Bolig The advent of this online discography is a continuation of record descriptions that were compiled by me and published in book form by Allan Sutton, the publisher and owner of Mainspring Press. When undertaking our work, Allan and I were aware of the work started by Ted Fa- gan and Bill Moran, in which they intended to account for every recording made by the Victor Talking Machine Company. We decided to take on what we believed was a more practical approach, one that best met the needs of record collectors. Simply stat- ed, Fagan and Moran were describing recordings that were not necessarily published; I believed record collectors were interested in records that were actually available. We decided to account for records found in Victor catalogs, ones that were purchased and found in homes after 1901 as 78rpm discs, many of which have become highly sought- after collector’s items. The following Victor discographies by John R. Bolig have been published by Main- spring Press: Caruso Records ‐ A History and Discography GEMS – The Victor Light Opera Company Discography The Victor Black Label Discography – 16000 and 17000 Series The Victor Black Label Discography – 18000 and 19000 Series The Victor Black -
View Was Provided by the National Endowment for the Arts
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOOTS THIELEMANS NEA Jazz Master (2009) Interviewee: Toots Thielemans (April 29, 1922 – August 22, 2016) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: August 31 and September 1, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 80 pp. Brown: Today is August 31, 2011. My name is Anthony Brown, and I am conducting the Smithsonian Institution Oral History with NEA Jazz Master, harmonica virtuoso, guitarist and whistler, Toots Thielemans. Hello… Thielemans: Yes, my real name is Jean. Brown: Jean. Thielemans: And in Belgium… I was born in Belgium. Jean-Baptiste Frédéric Isidor. Four first names. And then Thielemans. Brown: That’s funny. Thielemans: And in French-speaking Belgium, they will pronounce it Thielemans. But I was born April 29, 1922. Brown: That’s Duke Ellington’s birthday, as well. Thielemans: Yes. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: All right. Thielemans: Yes, same day. Brown: Yeah, same day. Just a few years later. [laughs] Thielemans: [laughs] Oh, Duke. Okay. Brown: Where in Belgium? What city? Thielemans: In Brussels. Brown: That’s the capitol. Thielemans: In a popular neighborhood of Brussels called Les Marolles. There was… I don’t know, I wouldn’t know which neighborhood to equivalent in New York. Would that be Lower East Side? Or whatever… popular. And my folks, my father and mother, were operating, so to speak, a little beer café—no alcohol but beer, and different beers—in this café on High Street, Rue Haute, on the Marolles. -
Great Instrumental
I grew up during the heyday of pop instrumental music in the 1950s and the 1960s (there were 30 instrumental hits in the Top 40 in 1961), and I would listen to the radio faithfully for the 30 seconds before the hourly news when they would play instrumentals (however the first 45’s I bought were vocals: Bimbo by Jim Reeves in 1954, The Ballad of Davy Crockett with the flip side Farewell by Fess Parker in 1955, and Sixteen Tons by Tennessee Ernie Ford in 1956). I also listened to my Dad’s 78s, and my favorite song of those was Raymond Scott’s Powerhouse from 1937 (which was often heard in Warner Bros. cartoons). and to records that my friends had, and that their parents had - artists such as: (This is not meant to be a complete or definitive list of the music of these artists, or a definitive list of instrumental artists – rather it is just a list of many of the instrumental songs I heard and loved when I was growing up - therefore this list just goes up to the early 1970s): Floyd Cramer (Last Date and On the Rebound and Let’s Go and Hot Pepper and Flip Flop & Bob and The First Hurt and Fancy Pants and Shrum and All Keyed Up and San Antonio Rose and [These Are] The Young Years and What’d I Say and Java and How High the Moon), The Ventures (Walk Don't Run and Walk Don’t Run ‘64 and Perfidia and Ram-Bunk-Shush and Diamond Head and The Cruel Sea and Hawaii Five-O and Oh Pretty Woman and Go and Pedal Pusher and Tall Cool One and Slaughter on Tenth Avenue), Booker T. -
Lot 1 ZEAL and ZEST Stable B8 Bay Colt Foaled 30.08.2013
Account of SUMMERHILL SALES. (The property of A Partnership) Lot 1 ZEAL AND ZEST Stable B8 Bay colt Foaled 30.08.2013 Sire More Than Ready (USA)Southern Halo (USA)....................Halo (USA) Traffic Guard (USA) Woodman's Girl (USA) ........ Woodman (USA) 2004 Street Scene (IRE) Zafonic (USA)..................... Gone West (USA) Lady Vivienne (IRE) ...... Golden Fleece (USA) Dam Windrush (USA) Seeking the Gold (USA)Mr. Prospector (USA) Zodwa Tempest Dancer (USA) ........Storm Cat (USA) 2005 Balabos (USA) Theatrical (IRE) ...................... Nureyev (USA) Al Balessa (USA)..........Rare Performer (USA) TRAFFIC GUARD (USA) (Bay 2004-Stud 2012). 5 wins-2 at 2-from 6f to 11¾f, £145,052, €167,357, 542,800Dhs, Windsor August S., L, 2d Leopardstown Irish Champion S., Gr.1, Newmarket Earl of Sefton S., Gr.3, Windsor Winter Hill S., Gr.3, UAE Two Thousand Guineas, Gr.3, Goodwood Thoroughbred S., L, 3d Nad al Sheba Jebel Hatta S., Gr.2, Goodwood Glorious S., Gr.3. Half-brother to SP Seanchai (2d Pimlico Hilltop S., L). His oldest progeny are 2YOs. 1st dam ZODWA, by Windrush (USA). Winner at 2600m. Half-sister to ANTONIUS DU BOIS, Always Al. This is her first foal. 2nd dam BALABOS (USA), by Theatrical (IRE). Placed at 1800m. Half-sister to FOWDA (USA), Otani (USA), Brite Diamond (USA) (dam of BRIGHT TOWN (USA)). Dam of 9 foals, 8 to race, 5 winners, inc:- ANTONIUS DU BOIS (Antonius Pius (USA)). 3 wins at 2, R352,400, Fairview Champion Juvenile Cup, Gr.3, Kenilworth Langerman H., Gr.3, 4th Kenilworth Cape Classic, Gr.3. Always Al (Al Mufti (USA)).