DOCSLIB.ORG

John Coltrane Alabama Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
John Coltrane Alabama Pdf John coltrane alabama pdf Continue Alabama is a composition written by John Coltrane on his album Live at Birdland (1963). It was written in response to the bombing of a Baptist church on 16th Street on September 15, 1963, an attack by the Ku Klux Klan in Birmingham, Alabama, that killed four African-American women. Coltrane's quartet performed this play on television for an episode of Casual Jazz in 1963. Alabama was performed on Jack DeJohnett's 2016 album In Movement with two musicians whose fathers played on the original version: bassist Matthew Harrison and saxophonist Ravi Coltrane. Staff John Coltrane - tenor saxophone, soprano saxophone McCoy Tyner - piano Jimmy Harrison - bassist Alvin Jones - drums Watch also civil rights movement in popular culture Links - Bailey, C. Michael (2005-08-10). John Coltrane: John Coltrane: Live At Birdland. It's all about jazz. Received 2020-08-03. Muhammad, Ismail (2020-06-17). At John Coltrane's Alabama. Paris Review. Received 2020-08-03. This article, related to the civil rights movement, is a stub. You can help Wikipedia by expanding it.vte extracted from the (John_Coltrane_song) oldid'971109918 In the afternoon of November 18, 1963 John Coltrane went to Rudy Van Gelder's studio in Englewood Cliffs, New Jersey and recorded the melody of Alabama. He did not tell anyone in the studio, including members of his legendary quartet of McCoy Tyner, Alvin Jones and Jimmy Harrison, that the melody of O. The band played five takes from a moving piece of music, of which the latter found its way into Coltrane's recordings Live at Birdland on the Pulse label. Coltrane kept his thoughts and feelings to himself, but it was clear that he was playing a eulogy for the victims of the bombing that occurred in Birmingham, Alabama two months earlier. The sad melody reflects the sadness not only of this tragic event, but also of all the human injustice that caused the civil rights movement. On December 7, 1964, Coltrane's quartet played Alabama in Ralph Gleason's public television series Jazz Casual: The bombings were carried out by Ku Klux Klan extremists and were a turning point in the movement's history. The sad event is well documented elsewhere, one good reference here: About the 1963 Birmingham Bombing. Martin Luther King addressed a crowd of mourners at a memorial service for Eddie May Collins, Carol Denise McNair and Cynthia Diane Wesley at The Baptist Church on Sixteenth Street on September 18. A separate service was held for the fourth victim, Carol Robertson. He gave a moving speech, Eugirik for the dead children. Coltrane may have been referring to Martin Luther King's eulogy while performing the play. Both Coltrane's music and King's words are passionate and mournful, and they lack bitterness and hatred. Similar to King's speech, where he From mourning to the definition of anti-racism, there is a point in the melody where Alvin Jones switches from a very pretty accompaniment to a crescendo of volumes and plates played with hammers. The spiritual quest for Martin Luther King and John Coltrane led to mutual respect between the two leaders of their fields. Although Coltrane was not known to express political views, his music and search for a higher spiritual place served the civil rights movement well. He played with the quartet in a number of charitable activities for various civil rights reasons, such as the Civil Rights Allowance of periodic Freedomways on December 27, 1964. In an interview in 1966, Coltrane told Frank Kofsky: Music is an expression of the highest ideals... The brotherhood is there; and I believe with the fraternity, there would be poverty ... there would be no war ... I know there are bad forces, forces that bring suffering to others and suffering to the world, but I want to be a force that is truly good. Martin Luther King jr. praised jazz as a legacy of black music. In September 1964, as a guest of the Mayor of the City, Andy Brandt, King spent two days in West Berlin and gave a speech at the Berlin Jazz Festival in which he said, Jazz speaks for life. The blues tell the story of life's difficulties, and if you think for a moment, you will realize that they take the most difficult realities of life and put them into music, only to come out with some new hope or a sense of triumph. It's triumphal music. Contemporary jazz continues this tradition by singing songs of a more complex urban existence. When life itself offers no order and meaning, the musician creates order and meaning from the sounds of the earth that flow through his instrument. Unsurprisingly, so much of the search for identity among American blacks was championed by jazz musicians. Long before modern essayists and scholars wrote about racial identity as a problem for the multiracial world, musicians returned to their roots to confirm what was moving in their souls. Here is the original recording of the melody from the session on November 18, 1963, released on Coltrane Live in Birdland: If you liked reading this article, you can as well as others about the intersecting history of jazz and the civil rights movement: Fables Faubus, Charles Mingus Category: Song Tagged as: 60s, Pulse, Amazon Jazz Response to COVID-19 Listen with Music Unlimited Visit to the Relief Section or contact us John Coltrane in Civil Rights Live Alabama at Birdland (1964) although it was recorded at Van Gelder Studios, Englewood Cliffs, New Jersey on November 18, 1963 - three months after the dramatic events surrounding the bombing of a Baptist church on 16th Street on September 15, 1963. On this tragic four members of the Ku Klux Klan planted at least fifteen sticks of dynamite attached to the synchronization device under the front steps of the Church. The explosion killed four girls and injured many others. This was a turning point in the civil rights movement. The saxophonist is accompanied by members of his classical quartet: McCoy Tyner on piano, Jimmy Harrison on bass and Alvin Jones on drums. Coltrane was inspired by a speech by Martin Luther King, occurred at a church sanctuary three days after the bombing, and patterned his saxophone played on it. A few months before the release of Live at Birdland, Coltrane and his quartet performed Alabama on December 7, 1963, in an episode of Jazz Casual, which aired on National Educational Television (NET). It still feels as powerful today as it was then. It was September 15, 1963, sunday morning. A powerful explosion occurred at a Baptist church on 16th Street in Birmingham, Alabama. Four African-American girls - Denise McNair, 11, and Eddie Mae Collins, Cynthia Wesley and Carol Robertson, all 14 - were killed while attending Sunday school classes. Shortly before the explosion at 10.22am, a white man, later identified as Ku Klux Klan terrorist Robert Dynamite Bob Chambliss, was seen getting out of a white and turquoise Chevrolet and placing a window under the steps of the church. It contained 19 sticks of dynamite. Dozens of survivors, blood dripping from wounds on their faces caused by stained glass windows, staggered around the building in a cloud of white dust. The explosion crushed two nearby cars, such as toys, and knocked out windows. As police struggled to contain the crowd, the church's pastor, the Rev. John H Cross, grabbed a megaphone, telling the crowd: Police were doing their best. Please go home. Lord is our shepherd, he sobbed. We don't want to. Three days later, Martin Luther King Jr. delivered a touching speech at the church titled Evology for the Martyrs of Children: They tell us that we should worry not only about who killed them, but also about the system, the way of life, the philosophy that produced the killers. Shortly thereafter, Chambless was arrested and charged with murder and possession of dynamite without permission. But just under a month after the attack, on October 8, he was found not guilty of murder. He got a $100 fine for dynamite. A ceremonial eulogy two months after the church killings, on November 18, jazz saxophonist John Coltrane and his band - McCoy Tyner (piano), Jimmy Harrison (bass) and Alvin Jones (drums) - were at Van Gelder Studios in New Jersey to record two tracks. They've already recorded three tracks at the concert. what will become an amazing live on Birdland album. Coltrane did not tell members of his quartet what the melody was about when he handed them untitled pieces of music. The last of the five takes that day made it onto the album. Deeply moving, it was clearly a cry, an elegy, a eulogy. He didn't need texts. Sick beautiful, solemn, spare song was a meditation not only for the four little girls of Alabama, but also for black America and its struggle for civil rights. Alabama, as it was called, was inspired by the King's speech in the church, with Coltrane patterning his notes and wording on the cadence speech. It begins with Coltrane's saxophone interpretation of the preacher, with Tuner's heavy, sad chords answering like parishioners. A third of the way into a five-minute song, there is a pause, a deep breath, a moment to cope with emotions, to gather sad thoughts. Then the four instruments enter into a conversation with the meanings and nuances of King's speech. Another breath. Then Harrison's bass echoes King's deep baritone, joined by Coltrane's tenor, tall and enthusiastic. At the last minute, until then understated Jones, using hammers on drums and plates, begins to pound and rage like an angry preacher beating the pulpit, rising from grief to rage, screaming into the sky.
Load more

Recommended publications
  • Jim Hall's Comping On
    Jim Hall’s Comping on “The Days of Wine and Roses” By Tim Fischer Many guitarists find themselves at a loss when first asked to take on the role of the sole harmonic instrument in a small jazz combo. Often times, jazz guitarists develop their comping as members of a big band rhythm section, where three-note chord voicings with the root in the bass and four quarter notes to the bar are stock- in-trade. This traditional style of rhythm guitar does not always transition well into the small jazz combo, and many guitarists without small group combo experience are left with questions about voicings, rhythms, and bal- ancing silence with interaction. Mastering accompaniment, like improvisation, is a life-long process and is best developed by studying the recordings and transcriptions of the master musicians. In this article, we will study guitar comping in the rhythm section by looking at Jim Hall’s accompaniment behind Art Farmer’s solo on the standard “The Days of Wine and Roses,” from Farmer’s 1963 album Interaction. Jim Hall helped popularize the use of the guitar as a valid replacement for the piano in the rhythm section through his sideman work with such high-profile artists as Sonny Rollins,Art Farmer, Paul Desmond, Chico Hamilton, and Jimmy Guiffre during the 50’s and 60’s. Often cited as the father of modern jazz guitar, Hall’s accompaniment style in each one of the aforementioned artists’ recordings details how Hall adapted to the musi- cal demands of each situation. As the album title states, the Art Farmer quartet of 1963 and 1964 was based on active interaction between its members, which also included Steve Swallow on upright bass and Walter Perkins on drums.
    [Show full text]
  • 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]
  • Syllabus En 399.31 Blue Notes: the Literatures of Jazz
    SYLLABUS EN 399.31 BLUE NOTES: THE LITERATURES OF JAZZ Dr. Mark Osteen Office: HU 226. Phone: x 2363 Hrs: Tu-Tr 11-1 or by appointment. E-mail: [email protected] REQUIRED TEXTS: 1. Ted Gioia, The History of Jazz. New York: Oxford UP, 1997. 2. Feinstein and Kumunyakaa, eds., The Jazz Poetry Anthology. Indiana UP, 1991. 3. James Weldon Johnson, The Autobiography of an Ex-Colored Man. 1912. New York: Dover. 4. Langston Hughes, Collected Poems (includes The Weary Blues, Montage of a Dream Deferred, and Ask Your Mama). New York: Vintage, 1994. 5. August Wilson, Ma Rainey’s Black Bottom. New York: Plume, 1984. 6. Toni Morrison, Jazz. New York: Vintage, 1992. 7. Billie Holiday, w/ William Dufty, Lady Sings the Blues. 1956. Penguin. 8. John Clellon Holmes, The Horn. 1958. Thunder’s Mouth Press, 2000. 9. Geoff Dyer, But Beautiful: A Book about Jazz. New York: North Point Press, 1996. 10. Warren Leight, Side Man. 1999. Dramatists’ Play Service, 2000. 11. Jack Fuller, The Best of Jackson Payne. 2001. Chicago: U of Chicago Press, 2003. 12. Selected short stories: Handouts. 13. Excerpts from the autobiographies of Louis Armstrong, Duke Ellington, Charles Mingus, Miles Davis, Art Pepper, others (handouts). 14. Selected essays (handouts). AUDIO VISUAL MATERIAL The music for each week will be broadcast on Sundays from noon to 3 pm on WLOY AM 1620 or http://www.wloy.org. I will provide details and changes each week. ON RESERVE AT L/ND LIBRARY: Greatest Ragtime of the Century. Various Artists. Biograph Records. Ma Rainey, Heroes of the Blues: Very Best of Ma Rainey (Shout Factory) Ma Rainey’s Black Bottom: Original Broadway Cast Recording Louis Armstrong, Complete Hot Five and Hot Seven Recordings.
    [Show full text]
  • Guide to the Jack Siefert Woody Herman Collection
    Guide to the Jack Siefert Woody Herman Collection NMAH.AC.0659 Wendy Shay 2003 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 Biographical / Historical.................................................................................................... 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 4 Series 1: Correspondence........................................................................................ 4 Series 2: Photographs.............................................................................................. 6 Series 3: Business Records..................................................................................
    [Show full text]
  • LINER NOTES Print
    LONG NOTES GEORGE WINSTON LINUS AND LUCY – THE MUSIC OF VINCE GUARALDI – VOL. 1: George Winston on Vince Guaraldi (Vince’s name is pronounced “Gurr-al-dee”, beginning with a hard “G) “Vince Guaraldi once said that he wanted to write standards, not just hits, and that he did,” says George Winston. “His music is very much a part of the fabric of American culture, but not many people know the man behind the music, and it is unusual for someone’s music to be better known than their name (some other composers who have also been in this situation are Allen Toussaint, Randy Newman (in the early and mid 1960s), Joni Mitchell (in the mid 1960s), Leonard Cohen (in the mid-1960s), Laura Nyro, Percy Mayfield, Otis Blackwell, and Wendy Waldman). If I play Linus & Lucy and other Vince Guaraldi Peanuts pieces for most kids they will usually say right away, ‘That’s Charlie Brown music’. Vince’s soundtracks for the first 16 of the Peanuts animations from the 1960s & 1970s continue to delight millions of people around the world, and many of his albums remain in print. I like to help make the connection for people that Vince Guaraldi was a great jazz pianist, and that he was the composer of the soundtracks for the first 16 of the Peanuts animation, as well as of many other great jazz pieces. Vince’s best known standards are Cast Your Fate to the Wind, Linus and Lucy, Christmas Time is Here, as well as Skating, and Christmas is Coming. A lot of Vince’s music is seasonal, and it reminds me very much of my upbringing in Montana.
    [Show full text]
  • The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas the the Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas the Dave Oliphant
    Oliphant: The Wisconsin Texas Jazz Nexus The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas The The Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas The Dave Oliphant The institution of slavery had, of course, divided the nation, and Chicago. Texas blacks had earlier followed the cattle trails and on opposite sides in the Civil War were the states of Wis- north, but, in the 1920s, they also felt the magnetic pull of consin and Texas, both of which sent troops into the bloody, entertainment worlds in Kansas City and Chicago that catered decisive battle of Gettysburg. Little could the brave men of the to musicians who could perform the new music called jazz that Wisconsin 6th who defended or the determined Rebels of the had begun to crop up from New Jersey to Los Angeles, beholden Texas Regiments who assaulted Cemetery Ridge have suspected to but superseding the guitar-accompanied country blues and that, one day, musicians of their two states would join to pro- the repetitive piano rags. The first jazz recordings had begun to duce the harmonies of jazz that have depended so often on the appear in 1917, and, by 1923, classic jazz ensembles had begun blues form that was native to the Lone Star State yet was loved performing in Kansas City, Chicago, and New York, led by such and played by men from such Wisconsin towns and cities as seminal figures as Bennie Moten, King Oliver, Fletcher Jack Teagarden, courtesy of CLASSICS RECORDS. Teagarden, Jack Fox Lake, Madison, Milwaukee, Waukesha, Brillion, Monroe, Henderson, and Duke Ellington.
    [Show full text]
  • BRUBECK COLLECTION SERIES 5: VIDEO and FILM (Many Recording Have Multiple Shows with Various Dates)
    HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 5: VIDEO AND FILM (many recording have multiple shows with various dates) SUBSERIES A: Appearances (on VHS or DVD) Box 1: 1937-1961 “Round up at the Grant Ranch [in Ione]” [1937] silent (also available on film in subseries F) “Lake Tahoe 41” 1941 silent “A brief history of Dave Brubeck” 1990 (includes very short clips from circa 1950- 1987) “Stompin’ for Milli” color [1954] “A Visit with Darius Milhaud” 1955 “March of Dimes 1956” Ed Sullivan Show 1955, 1960, 1962 Subject is Jazz 1958, Subject is Jazz 1979, Ellington is Forever 1968, Dave Brubeck c.1980 Jam Session, Stars of Jazz 1958, Dave Brubeck on Ed Sullivan Show 1962, Belgium TV 1965 DBQ in Rome Italy 1959 Darius on “I’ve Got a Secret” Dave, Dari, Chris, and Dan—Tonight Show ’78, October 16, 1960 Ed Sullivan Show with Mort Sahl, Johnny Mathis, Peggy lee, and the Limeliters “Dave Brubeck #19, Sony Music Studios Columbia Jazz” [1961] “Dave Brubeck: Five Rare Ones” Jazz of Brubeck with Walter Cronkite 1961, Playboy After Dark with Hugh Hefner [1961], Jazz Casual with Ralph Gleason 1961, Look Up and Live no date, All-Star Swing Festival 1972 Dave Brubeck Quartet at Playboy Club, Chicago 1961 “Warren Taylor Tape” “All Night Long” 1961, Best of Carson 1983, Kennedy Center Tonight 1981 “Ralph Gleason’s Jazz Casual: Dave Brubeck featuring Paul Desmond” October 17, 1961 “Piano Legends” 1961, “Timex All-Star Swing Festival” 1972 Box 2: 1962-1975 “All Night Long” (movie that includes clips of Brubeck solos) 1962 “The Dave Brubeck Craven Filter Special” with Laurie Loman Australian TV 1962 “Warren Taylor Tape” Snowbird 1980, Newport 1978, Bravo Jazz Festival 1982, Dave Brubeck 1963 BBC-TV Special June 9, 1964 “Dave Brubeck Live in ’64 & ‘66” Live concerts from Belgium 1964 and Germany 1966 “Brubeck Video Scrapbook” BBC 1964, 1966, Jazz of Dave Brubeck no date, Playboy after dark [1961], 1972, Silver Anniversary tour 1976, Tonight Show 1978, Tonight Show 1982, Tonight Show 1983, Today 1990 WENH-TV St.
    [Show full text]
  • Mid-Century Modern Jazz: Music and Design in the Postwar Home
    Popular Music (2017) Volume 36/1. © Cambridge University Press 2016, pp. 55–74 doi:10.1017/S0261143016000672 Mid-century Modern Jazz: Music and Design in the Postwar Home TOM PERCHARD Goldsmiths, University of London, London, UK E-mail: [email protected] Abstract This article takes an imagined, transnational living room as its setting, examining jazz’s place in representations of the ‘modern’ middle-class home across the post-war West, and exploring the domestic uses that listeners both casual and committed made of the music in recorded form. In maga- zines as apparently diverse as Ideal Home in the UK and Playboy in the US, a certain kind of jazz helped mark a new middlebrow connoisseurship in the 1950s and 60s. Yet rather than simply locat- ing the style in a historical sociology of taste, this piece attempts to describe jazz’s role in what was an emergent middle-class sensorium. The music’s sonic characteristics were frequently called upon to complement the newly sleek visual and tactile experiences – of furniture, fabrics, plastics, the light and space of modern domestic architecture – then coming to define the aspirational bourgeois home; an international modern visual aesthetic was reflected back in jazz album cover art. But to describe experience or ambience represents a challenge to historical method. As much as history proper, then, it’s through a kind of experimental criticism of both music and visual culture that this piece attempts to capture the textures and moods that jazz brought to the postwar home. Introduction The speed, spite and weird danger of the early-century modernist imagination had been spelled out by manifesto writers of the 1910s, by typographic explosions across posters and little magazines in Paris, Milan and Zurich.
    [Show full text]
  • TELEVISION Part I of a Survey, by Leonard Feather
    ::3 TELEVISION Part I Of A Survey, By Leonard Feather FOR THE RECORD—and in the interests of enlightening Another one-shot special was Duke Ellington Swings posterity and giving credit that is seldom acknowledged— through Japan, a segment of the Columbia Broadcasting it should be said that the last few weeks of 1964 and the System's Twentieth Century series, seen just before Christ• first couple of months of 1965 were a fruitful period for mas. television jazz. In contrast with the Condon show, which could have The skeptic may reply: "Yeah? I didn't see Miles take said in a half-hour all it had to say, this was squeezed into over The Lawrence Welk Show." 30 minutes when it could well have run twice as long. Its But in assessing the manner and extent of the use of brevity was the only thing wrong with it; in almost every jazz in this medium it is reasonable to take certain facts other respect it was one of the best shows of its kind ever into consideration. One is that the prime-time evening screened. television program, for the most part, is aimed at securing Produced by Isaac Kleinerman and admirably written the attention of as many as possible of the 192,000,000 by Jack Beck, this was the story of a band on tour. It potential viewers in the United States. did not purport to be a program of music, though there Another is the inescapable logic of the argument that were enough extended excerpts from concerts to give it music per se is not visual, and that classical music, pop meaning on this level also.
    [Show full text]
  • Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2005 Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Studies Commons, History Commons, and the Music Commons Recommended Citation anderson, Benjamin Park, "Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement" (2005). Dissertations, Theses, and Masters Projects. Paper 1539626478. https://dx.doi.org/doi:10.21220/s2-9ab3-4z88 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. BLUE NOTES AND BROWN SKIN Five African-American Jazzmen and the Music they Produced in Regard to the American Civil Rights Movement. A Thesis Presented to The Faculty of the American Studies Program The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts By Benjamin Park Anderson 2005 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts imin Park Anderson Approved by the Committee, May 2005 Dr. Arthur Knight, Chair Ids McGovern . Lewis Porter, Rutgers University, outside reader ii TABLE OF CONTENTS Page Acknowledgements iv List of Illustrations V List of Musical Examples vi Abstract vii Introduction 2 Chapter I.
    [Show full text]
  • Guide to the Ernie Smith Jazz Film Collection
    Guide to the Ernie Smith Jazz Film Collection NMAH.AC.0491 Ben Pubols, Franklin A. Robinson, Jr., and Wendy Shay America's Jazz Heritage: A Partnership of the The Lila Wallace- Reader's Digest Fund and the Smithsonian Institution provided the funding to produce many of the video master and reference copies. 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 Biographical...................................................................................................................... 2 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Ernie Smith Presentation Reels................................................................ 4 Series 2: Additional Titles.....................................................................................
    [Show full text]
  • The Twenties and Louis Armstrong a Thesis Submitted to the Faculty of Atlanta University in Partial Fulfillment of The
    JAZZ: THE TWENTIES AND LOUIS ARMSTRONG A THESIS SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTERS OF ARTS BY LETA HENDRICKS DEPARTMENT OF AFRO-AMERICAN STUDIES ATLANTA, GEORGIA MAY, 1979 TABLE OF CONTENTS Page INTRODUCTION 1 Chapter I. THE TWENTIES 3 II. JAZZ BACKGROUND 17 III. LOUIS ARMSTRONG 54 SELECTED BIBLIOGRAPHY 83 SELECTED DISCOGRAPHY 93 INTRODUCTION Louis Armstrong has been one of the most important figures in jazz history. Armstrong helped change the sound and form of jazz. Traditionally the rugged and mordant cor¬ net had been the number one horn in jazz. In the late twenties, Louis changed to the fuller and brilliant sounding trumpet. The trumpet soon became the number one horn in jazz. He played his horn like no other musician before him. Armstrong's voicing and rhythm was almost flawless. He used a vocal technique for his horn and an instrumental technique for his singing. Armstrong's lung power and extraordinary lip muscles made him the King of Jazz. Louis Armstrong became the culture hero of Blacks during the twenties and thirties. Musicians and fans alike copied his speech, dress, and mannerisms. Arm¬ strong had as much impact on his culture as did White society on him. To understand the growth of Louis Armstrong there must be an understanding of the forces and events that shaped him and jazz during the twenties. Jazz, more than any other music, has been influenced by non-musical forces and events. Two of the main influences on jazz have been race and business.
    [Show full text]