Number 108 • Summer 2005 2005 Conference Breaks All Records! Events Our Recent Annual Conference in Austin Was a Great Success, and Just a Whole Lot of Fun

Total Page:16

File Type:pdf, Size:1020Kb

Number 108 • Summer 2005 2005 Conference Breaks All Records! Events Our Recent Annual Conference in Austin Was a Great Success, and Just a Whole Lot of Fun Newsletter Association For Recorded Sound Collections Number 108 • Summer 2005 2005 Conference Breaks All Records! Events Our recent annual conference in Austin was a great success, and just a whole lot of fun. The weather was magnificent, the banquet outstanding, the March 17-20, 2006. 40th Annual ARSC Conference, Seattle, Washington. http:// fellowship stimulating, and the presentations were interesting and varied. www.arsc-audio.org/ Official attendance for the Austin conference was 175, which bested our previous record by around 50 persons, and we had 75 first-timers, many August 13-14, 2005. CAPS Show and Sale, of whom indicated that they would be attending future conferences. Buena Park, CA. http://www.ca-phono.org/ show_and_sale.html Thanks to our Lo- cal Arrangements August 15-21, 2005. Society of American Committee, tours Archivists (SAA), Annual Meeting, New to the Lyndon B. Orleans, LA. http://www.archivists.org/ Johnson Presiden- conference/index.asp tial Library and the Austin City September 11-15, 2005. International Asso- Limits studio went ciation of Sound and Audiovisual Ar- chives (IASA), Annual Conference, Barcelona, without a hitch, Spain. Archives speak: who listens? http:// and other than a www.gencat.net/bc/iasa2005/index.htm brief Texas frog- strangler, the October 7-10, 2005. Audio Engineering Soci- weather was ety (AES), Annual Convention, New York City. beautiful and http://www.aes.org/events/119/ David Hough, audio engineer for the PBS program Austin City Lim- cooperative. its, on the set of the show at the KLRU studios on the UT campus. October 23, 2005. Mechanical Music We had nearly 100 Extravaganza. Wayne, NJ. guests at the banquet at Threadgill’s. The room was perfect and the presenta- http://www.antique-sound.com/ tion by the Kitchen Sisters well-received. I don’t know about what anyone else had, but the chicken-fried steak, fried okra, and pecan pie were delicious! November 30-December 3, 2005. Association (Continued on page 3) of Moving Image Archivists (AMIA), An- nual Conference, Austin, Texas. http://www .amiaconference.com/ Davies and Strachwitz First-class Please send notices of events to the editor. Receive ARSC Awards Newsletter Traditional music empresario Chris At the spring Board of Contents Strachwitz and jazz restorer John R.T. Da- Directors meeting in Austin, ARSC Conference page 1 vies were awarded ARSC’s Lifetime the board voted to return to ARSC Awards page 1 Achievement Award and the Distinguished mailing the Newsletter first President’s Message page 2 Service Award at the annual conference in class. The Newsletter ARSC Board page 3 Austin in April. The Lifetime Achivement switched from first class to Copyright and Fair Use pages 5-6 Award was presented to Strachwitz for his bulk in the late 1990s, but it Grammy Grants page 7 pioneering work in researching traditional had become increasingly Conference CDs page 8 musics in the Americas. Davies was honored difficult recently to have all Capitol v. Naxos page 10 with the Distinguished Service to Historic of the copy ready to meet 2005 Recording Registry page 12 Recordings Award for his meticulous trans- newsletter deadlines and LC Moves to Virginia page 14 fers of classic recordings of jazz and blues. still be pertinent when the Call for Papers page 15 (Continued on page 4) Newsletter arrived. Mac A. Sheets page 16 New Members pages 18-19 Association for Recorded Sound Collections www.arsc-audio.org President’s Message ARSC conferences just keep getting better and better, and Austin was ARSC Newsletter no exception. From the pre-conference workshop through the final banquet, all previous attendance records were shattered. I guess everything really is bigger in Texas! For those of you who missed the conference, we will soon Issue 108 be mounting all of the session abstracts on the ARSC website, and confer- Summer 2005 ence tapes are now for sale (see page eight). The ARSC Newsletter is published three times a During the past year, a number of board members worked extremely year in June, October, and January. Submis- hard to pull the Austin conference together. I’d like to give special thanks to sions should be addressed to the editor. Sub- Louise Spear and the Program Committee, David Hunter and the Local Ar- missions by email are encouraged. rangements Committee, Conference Manager Kurt Nauck, Anna-Maria Manuel and the Outreach Committee, as well as Education Committee Co- Editor Chairs Sara Velez and Nancy Seeger and Technical Committee Co-Chairs David Seubert Michael Casey and Adrian Cosentini. Not only did they put together a fabu- Davidson Library lous program, but they also mounted an unprecedented publicity campaign University of California which obviously paid off. An extra measure of thanks should also go to Kurt Santa Barbara, CA 93106-9010 and David, who had to work long hours during the final weeks before the [email protected] conference to accommodate the large number of registrants. Telephone: 805-893-5444 At the conclusion of the annual Business Meeting in Austin, I had the Fax: 805-893-5749 great pleasure of announcing the results of the elections. Sam Brylawski was elected First Vice-President/President-Elect, and will assume the duties of Advertising Manager president at the conclusion of the 2006 conference. Our new Second Vice- President/Program Chair is Patrick Feaster, who is familiar to many of you Martin Fisher as an expert on the early history of recorded sound. David Seubert has 4816 Foley Drive moved from a Member-at-Large position on the board to that of Secretary, Nashville, TN 37211-4826 [email protected] while Louise Spear has now assumed a position as Member-at-Large. Our Telephone: 615-731-1544 other new Member-at-Large is Richard Green, who is currently running un- opposed for President of IASA. I’m thrilled that Richard will be in a posi- tion to facilitate communication between ARSC and IASA. Last, but cer- Board of Directors tainly not least, is Steve Ramm, who graciously agreed to run for another Brenda Nelson-Strauss, President two-year term as Treasurer. Samuel Brylawski, First Vice-President/ In addition to the board, five judges were also elected to the ARSC President-Elect Blue Ribbon Awards Committee. David Hamilton will continue to serve as Patrick Feaster, Second Vice President/ the classical music judge, Dan Morgenstern as the jazz judge, Bill Schurk as Program Chair the popular music judge, and Dick Spottswood as a judge-at-large. Kip Lor- David Seubert, Secretary/Editor, ARSC Bulletin nell will be joining the committee as a judge-at-large. The committee recog- Steven I. Ramm, Treasurer nized winners of the 2004 ARSC Awards for Excellence in Recorded Sound Peter Shambarger, Executive Director Richard Green, Member-At-Large during the Austin conference, in addition to announcing winners of the 2005 Louise Spear, Member-At-Large Lifetime Achievement Award and Award for Distinguished Service to His- toric Recordings. The committee will announce the finalists for all other Claims or other notifications of issues not 2005 ARSC Awards at the end of June, with winners to be announced in the received must be sent to: fall Newsletter and recognized during the 2006 conference. Executive Director Once again I would like to thank all members of the board and the ex- PO Box 543 ecutive committee for their hard work over the past year on ARSC’s behalf. Annapolis, MD 21404-0543 Our record-breaking conference attendance and the frequency of postings [email protected] and detailed discussions on the ARSClist indicates that ARSC is becoming increasingly relevant to collectors, archivists, and audio engineers. I hope to work with all of you during the next year to build upon this momentum. Brenda Nelson-Strauss, ARSC President ARSC Newsletter 2 Number 108 • Summer 2005 www.arsc-audio.org Association for Recorded Sound Collections Conference (Continued from page 1) ARSC Elects New Board As always, ARSC members spent a lot of time in The results of the election of a new board of direc- the exhibits room, which remained lively throughout the tors were announced at the annual conference in Austin. conference. The following companies and individuals Sam Brylawski ([email protected]), now edi- were represented: tor of the Encyclopedic Discography of Victor Records at UC Santa Barbara, was elected to the position of First Audio Turntable Ltd. ● Chace Productions ● Joe Vice-President/President-Elect, where he will serve for Hickerson ● Mainspring Press ● Nauck’s Vintage one year before assuming the post of President. Richard Records ● Oxford University Press ● Revenant Records ● Routledge - Taylor & Francis ● Safe Green ([email protected]) of Library and Ar- Sound Archive ● University of Illinois Press chives Canada also joins the board as a Member-At- Large. Patrick Feaster ([email protected]) of Indi- The silent auction was also very successful, in ana University joins the ARSC board as Second Vice terms of items received and bidder interest. Sales totaled President/Program Chair. over $1,600, with all revenue going to ARSC’s general fund. Members re-elected to the board include Program Chair Louise Spear ([email protected]) of the For the first time, we passed out response cards to Grammy Foundation, who was elected to the other registrants; here are some of the comments received: Member-At-Large position. David Seubert • I find the eclectic mix one of the most rewarding ([email protected]), formerly Member-At- aspects of ARSC. Large, assumes the post of Secretary. Keeping ARSC’s • I’ve been to many conferences, and ARSC was finances in good hands is Steve Ramm by far the most beneficial and enjoyable. ([email protected]), who was elected to his seventh • The presentations tactfully balanced material for consecutive term as Treasurer.
Recommended publications
  • STREETS Ramblinʻ' BOYS
    Revue de Musiques Américaines 135 LELE DUDU COYOTECOYOTE Août-Septembre 2013 5 Frank SOLiVAN & DiRTY KiTCHEN Thomas HiNE Good Rockinʻ Tonight STREETSSTREETS RAMBLiNʻRAMBLiNʻ BOYSBOYS Les tribulations de Derroll Adams et Jack Elliott en Europe Avenue Country - Bluegrass & C° - Scalpel de Coyote - Kanga Routes - Crock ‚nʻ Roll - Noix de Cajun Plume Cinéma - Coyote Report - DisquʻAirs - Concerts & Festival - Cabas du Fana - Ami-Coyote Alain Avec la collaboration de FOURNiER STREETS RAMBLiN' BOYS Danny Adams et Anne Fournier Les tribulations de Derroll Adams et Jack Elliott sur les routes dʼEurope L'histoire vraie de deux faux cow-boys faisant irruption sur le Vieux Continent qui découvre la musique folk américaine. L’arrivée de Jack Elliott et Derroll Adams dans le Londres des années 50 déclenche un engouement pour cette musique, précédant le «folk revival» commercial pratiqué par les Brothers Four, le Kingston Trio ou Peter Paul & Mary. Après Paul Clayton et Alan Lomax, les deux troubadours sont les principaux artisans de cette éclosion. Ils font découvrir Woody Guthrie dans les rues, les clubs et aux terrasses des cafés, d’abord à Londres puis à Paris, à Milan et dans l’Europe entière. Derroll et son banjo influencent de jeunes musiciens comme Donovan, Youra Marcus, Gabriel Yacoub (fondateur de Malicorne) ou Tucker Zimmerman qui écrivit pour lui l’immortel Oregon. Jack est le chaînon manquant entre Woody Guthrie, le "Dust Bowl Troubadour" et Bob Dylan : dans la famille Folk on connaît Woody, le grand-père engagé, et Bob le petit-fils rebelle, mais on oublie trop souvent l’oncle Jack, infatigable trimardeur au service de la musique populaire.
    [Show full text]
  • Aint Gonna Study War No More / Down by the Riverside
    The Danish Peace Academy 1 Holger Terp: Aint gonna study war no more Ain't gonna study war no more By Holger Terp American gospel, workers- and peace song. Author: Text: Unknown, after 1917. Music: John J. Nolan 1902. Alternative titles: “Ain' go'n' to study war no mo'”, “Ain't gonna grieve my Lord no more”, “Ain't Gwine to Study War No More”, “Down by de Ribberside”, “Down by the River”, “Down by the Riverside”, “Going to Pull My War-Clothes” and “Study war no more” A very old spiritual that was originally known as Study War No More. It started out as a song associated with the slaves’ struggle for freedom, but after the American Civil War (1861-65) it became a very high-spirited peace song for people who were fed up with fighting.1 And the folk singer Pete Seeger notes on the record “Waist Deep in the Big Muddy and Other Love Songs”, that: "'Down by the Riverside' is, of course, one of the oldest of the Negro spirituals, coming out of the South in the years following the Civil War."2 But is the song as we know it today really as old as it is claimed without any sources? The earliest printed version of “Ain't gonna study war no more” is from 1918; while the notes to the song were published in 1902 as music to a love song by John J. Nolan.3 1 http://myweb.tiscali.co.uk/grovemusic/spirituals,_hymns,_gospel_songs.htm 2 Thanks to Ulf Sandberg, Sweden, for the Pete Seeger quote.
    [Show full text]
  • View the Program Book for How I Got Over
    A conversation with Judith Casselberry, Charrise Barron, Mellonee Burnim, Joyce Marie Jackson, Randal Jacobs, and Matthew D. Morrison Performances by Marcelle Davies-Lashley, Jhetti, and Samuel Guillaume Sunday, December 10, 2017 3:00 p.m. Apollo Theater Front Cover: Mahalia Jackson; March on Washington for Jobs and Freedom 1957 LIVE WIRE: HOW I GOT OVER - THE SPIRIT OF GOSPEL MUSIC In 1963, when Mahalia Jackson sang “How I Got Over” before 250,000 protesters at the March on Washington for Jobs and Freedom, she epitomized the sound and sentiment of Black Americans one hundred years after Emancipation. To sing of looking back to see “how I got over,” while protesting racial violence and social, civic, economic, and political oppression, both celebrated victories won and allowed all to envision current struggles in the past tense. Gospel is the good news. Look how far God has brought us. Look at where God will take us. On its face, the gospel song composed by Clara Ward in 1951, spoke to personal trials and tribulations overcome by the power of Jesus Christ. Black gospel music, however, has always occupied a space between the push to individualistic Christian salvation and community liberation in the context of an unjust society— a declaration of faith by the communal “I”. From its incubation at the turn of the 20th century to its emergence as a genre in the 1930s, gospel was the sound of Black people on the move. People with purpose, vision, and a spirit of experimentation— clear on what they left behind, unsure of what lay ahead.
    [Show full text]
  • Gospel Music and the Sonic Fictions of Black Womanhood in Twentieth-Century African American Literature
    “UP ABOVE MY HEAD”: GOSPEL MUSIC AND THE SONIC FICTIONS OF BLACK WOMANHOOD IN TWENTIETH-CENTURY AFRICAN AMERICAN LITERATURE Kimberly Gibbs Burnett A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the degree requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature in the Graduate School. Chapel Hill 2020 Approved by: Danielle Christmas Florence Dore GerShun Avilez Glenn Hinson Candace Epps-Robertson ©2020 Kimberly Gibbs Burnett ALL RIGHTS RESERVED ii ABSTRACT Kimberly Burnett: “Up Above My Head”: Gospel Music and the Sonic Fictions of Black Womanhood in TWentieth-Century African American Literature (Under the direction of Dr. Danielle Christmas) DraWing from DuBois’s Souls of Black Folk (1903), which highlighted the Negro spirituals as a means of documenting the existence of a soul for an African American community culturally reduced to their bodily functions, gospel music figures as a reminder of the narrative of black women’s struggle for humanity and of the literary markers of a black feminist ontology. As the attention to gospel music in texts about black women demonstrates, the material conditions of poverty and oppression did not exclude the existence of their spiritual value—of their claim to humanity that was not based on conduct or social decorum. At root, this project seeks to further the scholarship in sound and black feminist studies— applying concepts, such as saturation, break, and technology to the interpretation of black womanhood in the vernacular and cultural recordings of gospel in literature. Further, this dissertation seeks to offer neW historiography of black female development in tWentieth century literature—one which is shaped by a sounding culture that took place in choir stands, on radios in cramped kitchens, and on stages all across the nation.
    [Show full text]
  • Download Booklet
    120762bk DorseyBros 14/2/05 8:43 PM Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Available in the Naxos Jazz Legends and Nostalgia series … 8.120625* 8.120628 8.120632* 8.120681* 8.120697* 8.120746* * Not available in the USA NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 120762bk DorseyBros 14/2/05 8:43 PM Page 2 THE DORSEY BROTHERS Personnel Tracks 1, 3 & 4: Bunny Berigan, trumpet; Tracks 8-11: Manny Klein & unknown, trumpet; ‘Stop, Look and Listen’ Original 1932-1935 Recordings Tommy Dorsey, trombone; Jimmy Dorsey, Tommy Dorsey, Glenn Miller, trombones; clarinet, alto sax; Larry Binyon, tenor sax; Jimmy Dorsey, clarinet, alto sax; unknown, alto Whether you call them The Fabulous or The over to the newly formed American Decca label. Fulton McGrath, piano; Dick McDonough, sax; Larry Binyon (?), tenor sax; Fulton Battling Dorsey Brothers, Tommy (1905-1956) In the two knock-down drag-out years that guitar; Artie Bernstein, bass; Stan King, drums McGrath (?), piano; Dick McDonough, guitar; and Jimmy Dorsey (1904-1957) were major followed, the Dorseys produced some Track 2: Bunny Berigan, trumpet; Tommy Artie Bernstein (?), bass; Stan King or Ray influences on the development of jazz in the outstanding and exciting jazz, all the while Dorsey, trombone; Jimmy Dorsey, clarinet; McKinley, drums 1920s and ’30s.
    [Show full text]
  • Down by the Riverside”-- Sister Rosetta Tharpe with Lucky Millinder and His Orchestra (1944) Added to the National Registry: 2004 Essay By: Gayle Wald (Guest Post)*
    “Down by the Riverside”-- Sister Rosetta Tharpe with Lucky Millinder and His Orchestra (1944) Added to the National Registry: 2004 Essay by: Gayle Wald (guest post)* Sister Rosetta Tharpe “Down by the Riverside,” a slave spiritual that dates to the 19th century, was recorded dozens of the times in the 20th century by religious as well as secular artists. But no treatment of the song is as revealing of cultural trends in the commercialization and popularization of “sacred” music as the jaunty version recorded in 1944 by the Lucky Millinder Orchestra featuring “Sister” Rosetta Tharpe. Perhaps no “Down by the Riverside” has ever been so toe-tappingly entertaining. Tharpe, born in the hamlet of Cotton Plant, Arkansas in 1917, was one of the foremost gospel musicians of the 20th century, known equally for her vibrant singing and her virtuosity on guitar. She developed her musical skills under the tutelage of her mother, an evangelist for the Church of God in Christ, a Pentecostal denomination that encouraged robust and lively musical expressions of faith. For the first two decades of her life, Tharpe performed entirely within religious contexts. She played frequently at traveling meetings and tent revivals, particularly in the South. Yet by the late 1930s, her desire for freedom from a rocky marriage and thirst for bigger and different audiences led her to New York City, where she was signed as a solo artist for Decca Records. Eventually, she came to work with Millinder, also a Decca artist and one of the era’s most celebrated bandleaders. In the early 1940s, the Millinder Orchestra was known for churning out danceable pop hits, of the sort that offered listeners relief from the somber drumbeat of world war.
    [Show full text]
  • Joan Baez Imitates Bob Dylan
    Twentieth-Century Music 18/2, 249–279 © The Author(s), 2021. Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi: 10.1017/S1478572221000013 Matrices of ‘Love and Theft’: Joan Baez Imitates Bob Dylan MIMI HADDON Abstract This article uses Joan Baez’s impersonations of Bob Dylan from the mid-1960s to the beginning of the twenty-first century as performances where multiple fields of complementary discourse con- verge. The article is organized in three parts. The first part addresses the musical details of Baez’s acts of mimicry and their uncanny ability to summon Dylan’s predecessors. The second con- siders mimicry in the context of identity, specifically race and asymmetrical power relations in the history of American popular music. The third and final section analyses her imitations in the context of gender and reproductive labour, focusing on the way various media have shaped her persona and her relationship to Dylan. The article engages critical theoretical work informed by psychoanalysis, post-colonial theory, and Marxist feminism. Introduction: ‘Two grand, Johnny’ Women are forced to work for capital through the individuals they ‘love’. Women’s love is in the end the confirmation of both men’s and their own negation as individ- uals. Nowadays, the only possible way of reproducing oneself or others, as individuals and not as commodities, is to dam this stream of capitalist ‘love’–a ‘love’ which masks the macabre face of exploitation – and transform relationships between men and women, destroying men’s mediatory role as the representatives of state and capital in relation to women.1 I want to start this article with two different scenes from two separate Bob Dylan films.
    [Show full text]
  • 405, Dept. of African American Stds, 81 Wall Street
    Prof. D. A. Brooks [email protected] Office: 405, Dept. of African American Stds, 81 Wall Street Spring 2015 Meets Tu/Th 2:30-3:45pm Location: WLH 208 Office Hours: Tu: 4-5pm, W: 3:30pm-5pm & by appointment AFAM 403/THST 431/AM STDS 386 “…Who Run the World”: Black Women and Popular Music Culture [Billie] Holiday demonstrates… the value of important lives and voices Otherwise dismissed. --Lindon Barrett, Blackness and Value My persuasion can build a nation. --Beyonce From Bessie Smith and Billie Holiday to Tina Turner and Beyonce, from Nina Simone and Grace Jones to Lauryn Hill and Nicki Minaj, black women have used various forms of musical expression as sites of social and ideological resistance and revision. Through an exploration of voice, lyricism, kinesthetic performance, instrumentality and visual aesthetics, this course examines the “world wide underground” of black women’s sonic cultures, and it re-interrogates pop music subculture theories through the intersecting prisms of race, gender, class and sexuality. It considers the ways that black women musicians operate as socio- political and cultural intellectuals, and it reads their work as historically-situated cultural texts that resonate in multiple contexts. Throughout the semester, we will explore the ways in which black women culture workers have stylized and innovated disruptive and iconic performance practices within the context of American popular music culture, from the postbellum era through the present day. Part of the aim of this course is to trace the tensions between the enormous influence and ubiquity of the black female singing voice in globalized popular cultures and the ways in which a range of entertainers have nonetheless negotiated eccentric and “obscure” musical gestures that signaled and affirmed the existence of resistant musical aesthetics in the face of panopticism.
    [Show full text]
  • The Strutter
    The Strutter VOLUME 30 NUMBER 4 Traditional Jazz in the Philadelphia Tri-State Area OCTOBER 2019 Porter’ and ‘what kind of music IS this?’ We combine OUR NEXT CONCERT vintage pop, western swing, traditional jazz and even tango in the programs we put together. If you're Buck and a Quarter Quartet curious about our name,” continues Bianchi, “we Sunday, October 13, 2019 started out as a trio (The Three-Quarter Quartet) and 2:00 to 4:30 pm quickly added two additional musicians.” Community Arts Center, Wallingford, PA John Bianchi – Vocals, Clarinet, Saxes, Ukulele, Song- writer, Leader John Landry – Violin, Vocals, Songwriter Angus Loten – Tenor Banjo, Guitar, Percussion, Bird Whistle Ben Mealer – Ukulele, Percussion, Vocals Brian Nalepka – Bass, Tuba, Vocals Michaela Gomez – Guitar Visit the Buck and a Quarter ($1.25) website Watch the band perform ”The Very Thought of You” Some welcome silliness – ”Frankfurter Sandwiches” Member admission is $10, general admission is $20. Introductory offer - start a new, first-time TSJS annual Photo by Saskia Kahn membership ($20) at the door and receive free admission to this concert (this offer is not applicable to The Buck and a Quarter Quartet is the Brooklyn and renewing or reactivating membership.) Full-time Manhattan-based string band that appears several students with ID and children accompanied by a paying times every month at leading clubs and venues throughout New York City and the surrounding area. adult are free. There are no advance sales or Since the band’s founding in 2014, gigs have included reservations. Dancing is welcome at all performances.
    [Show full text]
  • It's the Girl
    “It’s the Girl”—The Boswell Sisters with the Dorsey Brothers Orchestra (1931) Added to the National Registry: 2010 Essay by David W. McCain (guest post)* The Boswell Sisters Original label Sheet music The date was July 8, 1931. The place was New York City. A trio of sisters from New Orleans named Martha, Connie and Vet--the Boswell Sisters--arrived at the studios of Brunswick Records to record a song titled “It’s the Girl,” written by Abel Baer and Dave Oppenheim. During the Great Depression records were not selling well. Vet Boswell described the Boswells’ recording sessions as “icing on the cake,” explaining that radio and stage appearances were far more financially lucrative. Recording artists at this time were paid a flat rate with no royalties. Radio quickly established the Boswell Sisters as household names in America during the Depression, but records spread their fame abroad. When the Boswell Sisters toured England and Holland in 1933 and 1935, it was their recordings which made them a top box office draw. By the date of their recording “It’s the Girl,” the Boswells knew who to request as their accompanists. Only four months earlier at their very first session for Brunswick (March 19, 1931), a house orchestra comprised of Bob Effros (trumpet); Tommy Dorsey (trombone); Jimmy Dorsey (clarinet); Arthur Schutt (piano); Dick McDonough (guitar); Joe Tarto (string bass) and Stan King (drums) had accompanied the Boswell Sisters on “Whad’ja Do To Me?” and “When I Take My Sugar to Tea.” This recording was released as Brunswick 6083. Vet Boswell recalled that after the first run-through of this session, the Boswells received a standing ovation as well as cheers and whistles from “the boys” who accompanied them.
    [Show full text]
  • Jazz Guitar: the History, the Players
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Spring 4-2002 Jazz Guitar: The History, The Players James Aubrey Crawford University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Crawford, James Aubrey, "Jazz Guitar: The History, The Players" (2002). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/528 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. UNIVERSITY HONORS PROGRAM .I 'J SENIOR PROJECT - APPROVAL Name: __~.)~'~~~~C:~~~4~~~~~~~~~---------- ____________________________ __ College: &b + SciCNtc..c..-S Faculty Mentor: -Pcp.y..\ U.4!C I have reviewed this completed senior honors thesis with this student and certify that it is a project com . ors level undergraduate research in this field. Signed: , Faculty Mentor Date: 4 W/ 0:2 Comments (Optional): Jazz Guitar: The History, The Players Jim Crawford Paul Haar, Faculty Mentor, UT Jazz Faculty Thomas Broadhead, Director, University Honors Thanks to Paul Haar of the UT Jazz Facultyfor his help, guidance, and his ability to manufacture time from thin air in order to meet with me. Thanks also goes to Konrad Whitt for allowing me to burn CDs at his expense, and steal his stereo for my presentations.
    [Show full text]
  • William Russell: Jazz Lover, Collector, and Musicologist an Annotated Bibliography
    William Russell: Jazz Lover, Collector, Musicologist An Annotated Bibliography Ben Wagner Born Russell William Wagner in 1905, William (Bill) Russell was a violinist; an avant-garde composer deeply interested in percussion; accompanist to a touring puppet troupe; a meticulous musical-instrument repairman; a jazz-record producer; an archivist; a writer; and, above all, a New Orleans jazz collector of extraordinary breadth. More than anything else, he simply loved classic New Orleans–style jazz, which he called the “best music I’d ever heard.”1 He sought out obscure, old-time jazz players and was instrumental in the revival of the career of Bunk Johnson. Russell privately showed many kindnesses to jazz musicians down on their luck, encouraging their careers. In an age of segregation, Russell had many close associations with African Americans, organizing recording sessions in houses and rented halls because blacks were not allowed in New Orleans recording studios, nor could they play openly with white musicians. He did much to document and advocate New Orleans as the true birthplace of jazz. Although there were some inaccuracies in his early writings—and the debate continues about the many-faceted origins of American jazz—Russell’s overall analysis has stood up well against later scholarship. He certainly was one of the first to note the importance of place in the development of jazz. From the early 1930s to the end of his life, Russell acquired and documented anything he could find related to jazz: oral-history recordings and transcripts, jam-session recordings, musical instruments, photographs, programs, postcards, ads, city guidebooks, correspondence, sheet music, magazines.
    [Show full text]