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DB0709_001_COVER.qxd 5/18/09 4:39 PM Page 1 DOWNBEAT 75TH ANNIVERSARY COLLECTOR’S EDITION 75TH ANNIVERSARY DownBeat.com $4.99 07 JULY 2009 JULY 0 09281 01493 5 JULY 2009 U.K. £3.50 DB0709_001b-001c_COVER.qxd 5/14/09 1:43 PM Page a2 DB0709_001b-001c_COVER.qxd 5/14/09 1:41 PM Page a3 DB0709_001_P4_COVER.qxd 5/14/09 1:47 PM Page a4 DB0709_002-005_MAST.qxd 5/14/09 1:50 PM Page 3 DB0709_002-005_MAST.qxd 5/14/09 1:51 PM Page 4 SEVENTY FIFTH ANNIVERSARY July 2009 VOLUME 76 – NUMBER 7 President Kevin Maher Publisher Frank Alkyer Editor Jason Koransky Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 800-554-7470 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Jennifer Odell, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob, Kevin Whitehead; North Carolina: Robin Tolleson; Philadelphia: David Adler, Shaun Brady, Eric Fine; San Francisco: Mars Breslow, Forrest Bryant, Clayton Call, Yoshi Kato; Seattle: Paul de Barros; Tampa Bay: Philip Booth; Washington, D.C.: Willard Jenkins, John Murph, Bill Shoemaker, Michael Wilderman; Belgium: Jos Knaepen; Canada: James Hale, Diane Moon; Denmark: Jan Persson; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Brian Priestley; Israel: Barry Davis; Japan: Kiyoshi Koyama; Netherlands: Jaap Lüdeke; Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. Jack Maher, President 1970-2002 John Maher, President 1950-1969 SUBSCRIPTION INFORMATION: Send orders and address changes to: DOWNBEAT, P.O. Box 906, Elmhurst, IL 60126–0906. Inquiries: U.S.A. and Canada (800) 554-7470; Foreign (630) 941-2030. CHANGE OF ADDRESS: Please allow six weeks for your change to become effective. When notifying us of your new address, include current DOWNBEAT label showing old address. DOWNBEAT (ISSN 0012-5768) Volume 76, Number 7 is published monthly by Maher Publications, 102 N. Haven, Elmhurst, IL 60126-3379. Copyright 2009 Maher Publications. All rights reserved. Trademark registered U.S. Patent Office. Great Britain registered trademark No. 719.407. Periodicals postage paid at Elmhurst, IL and at additional mailing offices. Subscription rates: $34.95 for one year, $59.95 for two years. Foreign subscriptions rates: $56.95 for one year, $103.95 for two years. Publisher assumes no responsibility for return of unsolicited manuscripts, photos, or art- work. Nothing may be reprinted in whole or in part without written permission from pub- lisher. Microfilm of all issues of DOWNBEAT are available from University Microfilm, 300 N. Zeeb Rd., Ann Arbor, MI 48106. MAHER PUBLICATIONS: DOWNBEAT magazine, MUSIC INC. magazine, UpBeat Daily. POSTMASTER: SEND CHANGE OF ADDRESS TO: DOWNBEAT, P.O. BOX 906, Elmhurst, IL 60126–0906. CABLE ADDRESS: DOWNBEAT (on sale June 16, 2009) MAGAZINE PUBLISH- ERS ASSOCIATION Á DB0709_002-005_MAST.qxd 5/14/09 1:51 PM Page 5 DB0709_006-007_INSIDE.qxd 5/15/09 9:53 AM Page 6 I V E R S N N A R A Y • ★ H T 4 F 3 I 9 F 1 - E Y C T N JUL09 N I E S V • E INSIDE S D ★ N O Y J A E Z B Z , S & 75TH ANNIVERSARY B L U E COLLECTOR’S ISSUE 38 Benny Goodman Benny, Meet DownBeat. DownBeat, Benny. By John McDonough Through extensive and insightful reporting, DownBeat helped Benny Goodman become a band-leading star in the mid-’30s. On the flip side, covering Goodman during his ascent shot a small Chicago-based musician’s journal to international prominence. Benny Goodman DOWNBEAT ARCHIVES 8 First Take My Story: Artists Explore Their DownBeat Archives 12 Chords & 48 Sonny Rollins 56 Dave Brubeck 64 Marian McPartland Discords Consistent Path A Curious Relationship From Her Piano to Her Pen DownBeat By Ted Panken By Jason Koransky By Paul de Barros readers have never shied away from expressing The Archives their thoughts about the 74 Duke Ellington 92 Jimmy Dorsey 112 Lionel Hampton music and September 1939 November 1937 April 2, 1959 the magazine. Here are some 76 Mel Tormé 94 Bunny Berigan 114 Sarah Vaughan of the most April 21, 1948 May 1938 March 2, 1961 compelling letters from the 78 Stan Kenton 96 Billie Holiday 116 Harry Carney past 75 years. May 19, 1950 November 1, 1939 May 25, 1961 20 Riffs 80 Anita O’Day 100 Louis Armstrong 118 Cecil Taylor June 28, 1950 April 7, 1948 October 26, 1961 From early interviews with 82 Jimmy 102 Charlie Parker 120 Carmen McRae Roy Haynes, McPartland January 28, 1953 September 13, 1962 Mary Lou January 13, 1954 Williams and 104 Miles Davis 122 Hank Mobley Clifford Brown, 84 Count Basie November 2, 1955 March 29, 1973 to Norah April 20, 1955 Jones’ Student 106 Thelonious Monk 124 Frank Zappa Music Award 86 Jimmy Giuffre October 30, 1958 Music ’71 Annual win and Roy November 30, 1955 Yearbook Hargrove’s 108 Louis Prima/ “Auditions” 88 Chick Corea Keely Smith 130 Blindfold Test: profile, here May 10, 1973 February 19, 1959 Dizzy Gillespie & are some of the Louie Bellson first DownBeat 90 Benny Golson 110 Max Roach March 23,1967 pieces on many March 2002 May 20, 1958 of the music’s legends and current stars. Go to DownBeat.com to see larger versions of all of the archive covers featured on the cover of this issue. 6 DOWNBEAT July 2009 75th Anniversary Collector’s Issue DB0709_006-007_INSIDE.qxd 5/13/09 6:18 PM Page 7 DB0709_008-011_FT.qxd 5/14/09 6:47 PM Page 8 FIRST TAKE Seated (from left): Dizzy Gillespie, Cannonball Adderley, J.J. Johnson and Candido; standing A Place That Jazz Has (from left): Art Davis, Jo Jones, Victor Feldman, Roy Eldridge, Nat Adderley, Louis Hayes, Called Home for 75 Years Leo Wright, Sam Jones and Coleman Hawkins By Jason Koransky his headline in the February 1939 issue of DownBeat introduced a story that defended the merits of jazz com- Tposition. A photocopy of the story has been tacked to the wall by my desk for years. It’s always good for a laugh. But a greater significance exists to this piece. DownBeat was less than five years old in 1939. Debates raged about the merits of jazz, whether swing music had a place in decent society. For example, a headline in the December 1937 issue of DownBeat screamed, “Ellington Refutes Cry That Swing Started Sex Crimes!” Jazz needed its DOWNBEAT ARCHIVES media supporters, and DownBeat stepped in as a bold voice in the era’s Coincidentally, writing about Goodman more than 40 years ago music debates, serving as a staunch defender of jazz. offered McDonough an entree into DownBeat. Dan Morgenstern was the The fact that DownBeat is celebrating its 75th anniversary with this editor. McDonough met Morgenstern in 1967 when culling the DownBeat issue shows who won the debates. Jazz found a home in these pages, and archives for a story he was writing on John Hammond for the Chicago over the past eight decades DownBeat has helped nurture, promote, criti- Tribune’s magazine. McDonough interviewed Goodman for the story, and cize, change and honor the music. The magazine’s design, shape, paper after it came out, he received an invitation from Goodman to attend a party stock, owners, publishers, editors, writers, photographers, advertisers and in New York celebrating the 30th anniversary of the clarinetist’s classic musicians covered may have changed over the years, but at its core, the 1938 Carnegie Hall concert. Morgenstern asked McDonough to write magazine has retained one simple purpose: to serve as the “Bible of jazz.” about the party for DownBeat, and ever since McDonough has served as a The photo on this page offers a glimpse into the world that DownBeat valuable contributor to the magazine. has worked so hard to cover. It appears to be a mundane event—musi- Writing for the magazine has opened doors for McDonough to become cians mulling in a lounge at New York’s Idlewild Airport (now Kennedy), part of the music. “Going to that Goodman party was like going to a pri- preparing to depart to Europe. But it’s who these musicians are that made vate party with the reunited Beatles,” said McDonough, a DownBeat it important for DownBeat to publish the photo: From Dizzy Gillespie and senior correspondent. “This was the first time I was struck with how jour- Cannonball Adderley to Coleman Hawkins and Jo Jones, the group, on its nalism gave you great access to people and events, which you otherwise way to a Jazz at the Philharmonic tour, offered a summit of some of the wouldn’t necessarily have access to. It spoils you after a while.” legends of the music.
Recommended publications
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  • Johnny Hodges: an Analysis and Study of His Improvisational Style Through Selected Transcriptions

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  • Jazz in the Garden Concert of the Season at the Museum of Modern Art, 11 West 53 Street, on Thursday, June 30, At

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  • The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters

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  • Notre Dame Collegiate Jazz Festival Program, 1999

    Notre Dame Collegiate Jazz Festival Program, 1999

    Archives of the University of Notre Dame Archives of the University of Notre Dame '"1; it all began with the cord between the fingers, its sound penetrated et'en the bottom of the soul and there it remained, "'thborts later came the drum, Tony Mowod j·9PM marvel.ous , Evelyn Hawkins 9-Midnight r h y t h m I C, sensual. WeeknightG (except W~)'l) its sound t'ibrated in my hands, TIMDlG1$ E\'IJlYTJlNCi••.md JlOW'! THE lBfEf entering the center of my heart, and there it stayed, -Helio Orulo N/ltiOIGl Pu~ttc itJriitJ www.wvpc.oig 1999 Committee Tom Hayes Sean Lipscomb Curtis Norvett . AmySaks .,., 'ate Paul Rickets Jenn Roberts Carol Konrad Bernardo's Stephen Donndelinger Festival Chairperson :FORMAL WEAR 'RENTALS Lisa Zimmer ,"BERNARpO'S RENTS THE BEST FITl1NG TUXEDOS" Jill Borchardt WE SELL BRAND .NAME TUXEDOS & ACCESSORIES John Forgash WE SUIT ANY OCCASl{)N Master of Ceremonies Kate Bohn Curtis Norvett 255·8818 Evan Edinger 3131 GraDe ROIICI· Mishawaka Amy Harpole Assistant Producer Paul Krivickas Marie Hogan Jane Kulm Program / Poster Design Julie Reising Jenny Schaaf -il.: Archives of the University of Notre Dame Past Chairpersons I want to echo my colleagues in welcoming you to the 41 st Annual 1959 Bill Graham Collegiate Jazz Festival, sponsored by the Student Union Board of the 1961 Jim Haughton University of Notre Dame. Notre Dame has so much to offer, and I sincerely 1961 Da\'e Sommer Dear Participants in the Collegiate Festival: hope that you will take advantage of the other opportunities that are taking 1962 Tom Eiff place on our beautiful campus while you are spending time with us this week­ 1963 Charlie Murphy Welcome to the University ofNotre Dame campus! We are quite proud of end.
  • GIVING a JAZZ RECORD AS a GIFT by Eric Myers National Times, December 7, 1980 ______

    GIVING a JAZZ RECORD AS a GIFT by Eric Myers National Times, December 7, 1980 ______

    GIVING A JAZZ RECORD AS A GIFT by Eric Myers National Times, December 7, 1980 ______________________________________________________________ The National Times opera critic JOHN CARMODY, Sydney Morning Herald jazz critic ERIC MYERS and rock writer SHANE NICHOLS prepared this guide to records most likely to be gratefully received. They cover a range of tastes and should be available. ______________________________________________________________ f you are buying a jazz record as a gift, you should determine the style preferred. There are so many different, although related, idioms I congregating under the banner of "jazz" that it is rarely possible, these days, to buy a "jazz" album that suits all tastes. Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). If the recipient likes big band jazz, you could do no better than the three-record set Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). This was a performance at the Crystal Ballroom, Fargo, North Dakota, on 1 November 7, 1940. Many critics believe, with some justice, that this particular line-up of musicians was the greatest that Ellington ever assembled. This was a special performance - the first night Ray Nance played in the trumpet section, having just replaced Cootie Williams, who had left to join Benny Goodman. Rex Stewart is also in the section. The saxophones include Barney Bigard (clarinet), Johnny Hodges (alto) and Ben Webster (tenor) among others; Tricky Sam Nanton and Lawrence Brown are among the trombones; and the great Jimmy Blanton is on bass. It is a distinguished line-up, and the band roars through the Ellington repertoire with all the qualities that made it the greatest big band in jazz.
  • Saxophone Colossus”—Sonny Rollins (1956) Added to the National Registry: 2016 Essay by Hugh Wyatt (Guest Essay)*

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    “Saxophone Colossus”—Sonny Rollins (1956) Added to the National Registry: 2016 Essay by Hugh Wyatt (guest essay)* Album cover Original album Rollins, c. 1956 The moniker “Saxophone Colossus” aptly describes the magnitude of the man and his music. Walter Theodore Rollins is better known worldwide as the jazz giant Sonny Rollins, but in addition to Saxophone Colossus, he has also been given other nicknames, most notably “Newk” because of his resemblance to baseball legend Don Newcombe. To use a cliché, Saxophone Colossus best describes Sonny because he is bigger than life. He is an African American of mammoth importance not only because he is the last major remaining jazz trailblazer, but also because he helped to inspire millions of fans and others to explore the religions and cultures of the East. A former heroin addict, the tenor saxophone icon proved that it was possible to kick the drug habit at a time in the 1950s when thousands of fellow musicians abused heroin and other narcotics. His success is testimony to his strength of character and powerful spirituality, the latter of which helped him overcome what musicians called “the stick” (heroin). Sonny may be the most popular jazz pioneer who is still alive after nearly seven decades of playing bebop, hard bop, and other styles of jazz with the likes of other stalwart trailblazers such as Thelonious Monk, Dizzy Gillespie, Bud Powell, Clifford Brown, Max Roach, and Miles Davis. He follows a tradition begun by Louis Armstrong, Duke Ellington, and Charlie Parker. Eight months after overcoming his habit at a drug rehabilitation facility called “the farm” in Lexington, Kentucky, Sonny made what the jazz cognoscenti rightly contend is his greatest recording ever—ironically entitled “Saxophone Colossus”—which was recorded on June 22, 1956.
  • University of Cincinnati News Record. Wednesday, May 28, 1969. Vol. LVI

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    ~\C~Nl'~,\ fUC\ Uniye+:9'ity of Cinoinnati h •• ' J , ,-'t N'E"W'-S ·~.RE'~C-ORD Pub lis ned Tu e sd ay s andFridays during the Ac a d em ic Year l'xcept :IS scheduled, ...1.50, , ~ .. ,~ I_OJ Cincinnati. Ohio, Wednesday, May 28, 1969 No. 51 ~19 _ '\9" Vol. 56 ~ . Painter Talks '-On Disorders, Board Petitions- Court To Eliminate Comments OnUBA Demands Names Of Individuals From Order The Board further, on the disorder marked virtually every Mark Painter- stated that he does Editor's Note: by Jim Lipovsky suggestion of the Student Senate other large university in the land. not support the United Black The following statement .uias and others, has decided to Now, therefore, in light of Association's demands that are formally approved by a recent activities, the Board of In the wake of recent disorders unanimousuote of the tic Board underscore the applicability of the on the UC' campus, Student Body concerned with teacher hiring and Order to all persons on campus by . Directors votes as follows: firing because he opposes the , of Directors at a special meeting 1) As the legal governing and President Mark Painter offered his held' last Sunday morning. May petitioning the Court to eliminate opinions on several of the issues placement of 'faculty review or individual names and groups from policy-making body of" the veto powers in the' hands of any 26. The statement was submitted University, the Board of Directors facing the University. by the Board-Administration the Or'd er , since a)' these Speaking to the News Record, student organization.
  • Mi M®, 7273 the FUNCTION of ORAL TRADITION in MARY LOU's MASS by MARY LOU WILLIAMS THESIS Presented to the Graduate Counci

    Mi M®, 7273 the FUNCTION of ORAL TRADITION in MARY LOU's MASS by MARY LOU WILLIAMS THESIS Presented to the Graduate Counci

    37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 Fledderus, France. The Function of Oral Tradition in Mary Lou's Mass by Mary Lou Williams. Master of Music (Musicology), August, 1996,141 pp., 44 titles. The musical and spiritual life of Mary Lou Williams (1910 - 1981) came together in her later years in the writing of Mary Lou's Mass. Being both Roman Catholic and a jazz pianist and composer, it was inevitable that Williams would be the first jazz composer to write a setting of the mass. The degree of success resulting from the combination of jazz and the traditional forms of Western art music has always been controversial. Because of Williams's personal faith and aesthetics of music, however, she had little choice but to attempt the union of jazz and liturgical worship. After a biography of Williams, discussed in the context of her musical aesthetics, this thesis investigates the elements of conventional mass settings and oral tradition found in Mary Lou's Mass.