DOCSLIB.ORG

The Tiger Vol. LIV No. 16

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Tiger Vol. LIV No. 16 Carolina Invades Clemson Carolina's Gamecocks invade Tigertown next Tuesday night looking for a second win over the South Carolina's Oldest Bengals. The Tigers will be out to avenge the lost which they suffered in Columbia. The ACC clash will be the last for the Tigers on their home College Newspaper courts this season. Read the complete story on The Tiger page four. aHe Roars For Clemson College" Circulation—6,000 CLEMSON COLLEGE, SOUTH CAROLINA, FEBRUARY 17, 1961 LIV—NO. 16 Mid-Winters Earl Bostic No Stranger Pledges Total 159 As Fraternities To Varied Musical Realms 1 By HERBERT ROWLAND Tiger Associate Editor Conclude First Social Rush Week Non-jazz fans often raise the question, "Who is Earl Bostic?" Those who are well acquainted with the Third Lecture jazz field ask no such question, for Earl is one of the Omicron And Tri Chi Get best known alto sax men in the business. His ranking of third in the Playboy jazz poll, with not too many Sir Hugh Foote, Veteran British votes separating him from the second place man, pre- Fifteen New Co-ed Pledges sents positive proof of his popularity among those who Clemson's seven fraternities se- "This first Clemson Rush Week Delta Kappa Alpha: Dick really like jazz. Diplomat, Explains Africa 1961 lected a total of 159 men for can be considered a tremendous Brown; Claude Cooper; Walter pledgeship to climax their first success. The quality of rushces Cox, Jr.; Charles Cuttano; Billy This is not to say that Bostic is a stranger to other "Africa-the Third Force" will When Sir Hugh was appointed Of all the examples of Sir Rush Week. A total of 15 coeds was extremely high and the fra- Dillard; Woody Dillard; Butch Hugh's ability to consolidate fields of musical endeavor. Just a quick look at some be the subject of the next series the governor of embattled Cyprus have, been -selected for pledgeship ternities selected outstanding Durand; Robert Ellis; Malloy lecture at 7:30 p.m. February 23 in 1957, a government official said, and bring peace to a chaotic of his album titles as "Let's Dance With Earl Bostic," in Clemson's two sororities. pledge classes." Evans; Henry Faris; Robby Fog- in Tillman Hall. Sir Hugh Foote, If anyone can solve the tangle world, the most striking was in le; Dennis Hopf; Rodney James; "C'mon Dance With Earl Bostic," "Bostic For You," veteran British diplomat and in Cyprus, Hugh Foote can." Palestine where both Jews and Lewis Kay, Chairman of the The pledge classes of the fra- Arabs considered him a friend! IFC Rush Committee, stated, ternities and sororities are: Don Mahaffey; Nick Milasnovich; "Dance Time" and "Bostic Showcase Of Swinging world traveler, will deliver the Largely through Sir Hugh's ef- Dave Moorhead; Tommy Risher; Sir High represents one of ******** ******* Dance Hits" present one of the best rounded groups address. forts, peace came to the island Phil Scoville; Roy Strickland; and a republic was instituted. the world's most informed dip- and Bob Trogdon. of music truly designed for dancing currently avail- Suddenly thrust into the mod- lomats on current events and Rush Week Ends ern world after World War II, While serving as governor of Sigma Alpha Zeta: Austin able under one artist. Jamaica for six years, he was personalities. He is the person- tottering Africa stands at a Boyd; Bill Davidson; Red a key figure in the islands' move al friend of many leading states- Dislikes Current "Jungle Music" crossroad in her destiny. The Hodge; Herndon McElmurray; toward independence within the men, including British Labor- emerging new nations are faced Pat McGreevy; Wesley Mucken- The Bostic sax is famous for a full-blown and ori- Caribbean Federation. Today leader Hugh Gaitskell. fuss; JJack Neely; Liston Ne- ginal style. Never one to conform to the dictates of with choosing- Communism or Dr. C. B. Green, chairman of Democracy. The Congo crisis is his reputation still lingers as fuss; Jack Neely; Liston Ne- existing trends ,Earl makes no exception in favor of the the Series Lecture Committee, only one instance where these one of the islands' fairest and and Rowland. current "jungle music" trend. A love of music first most progressive governors. commented: "Each year the Lec- Kappa Delta Chi: Ed Blakeney; two forces are meeting head-on ture Committe tries to have a drove Bostic to give up a job as a teacher and go on in today's Africa. For many years Sir Hugh work- Louie Blanton; David Bodie; Jam- the road. This same love has kept him foremost ed diligently as governor of Nige- lecture in the field of foreign af- es Boling; Thomas Brockman; among sax men and arrangers for these many years Sir Hugh will explain the forces, ria and tried to prepare the colo- fairs. Sir Hugh's qualifications Bill Carson; Kenneth Clary; Tim circumstances and other factors since the early thirties. ny for independence. There he al- should make anything he has to Clancy; John Collins; Val Dyches; at work in Africa today as well most lost his life when a terror- say interesting." Charles Grant; Robert Haas; Russ Lionel Hampton, a Clemson favorite, was one of as speculate her course in the ist slashed his jacket in a assas- Clemson's lecture engagement Hebert; James Hightower; John the many masters of music with whom Earl Bostic years ahead. sination attempt. An article in is only one of many Sir Hugh will Laney; Carl Leonard and Henry gained his experience before striking out on his own in Described In TIME the latest Reader's Digest enti- make in his current United States McAlhaney. 1939. The Hampton influence can be heard in much The extensive diplomatic ca- tled "Democracy is Working in tour. A small banquet will be held Also, George Mims Jr.; James of Earl's current work; a soft vibraphone and rhythm rer of Sir Hugh dates hack to Nigeria" bears testimony to the in his honor at the Clemson House Mullins; Buddy O'Kelley; James section backing his fluid style. This is certainly a the 1930's. Through the years, fruit Sir Hugh has produced. following the lecture. Parker; Fred Robinette; Ken Rus- welcome bit of news to those who remember the stel- he has built up a firm reputa- sell; Doug Richardson; Eddie lar performances given by "Hamp" in his appearances tion as a man who has left Rice; W. R. Shives;' Griff Stan- ley; Mickey Vehorn; Franklin on our campus. peace in his wake. TIME mag- azine described him as "one of Whaley; Robert Wall; Ronald Music For The "Juker", Romancer Or Listener London's finest soldiers... a Temporary Traffic SAZ Rushee Meets Schachte, Glaze Young; Wayne Pearson; Donnie career diplomat with a reputa- Golightly; James Welborn; Robert For those who like to "kick it out" we can say be tion for all kinds of people in Ballentine; Wayne Hoard; Bill not dismayed by all this talk of the soft and sweet, every kind of dispute . ." Blackwood; and Bill Martin. for Mr. Bostic has something for you too. The recent ********* Permits Available Numeral Society: Mac Og- King album, "Bostic Rocks" should satisfy even the burn; Bill Hartin; Billy Wells; Temporary traffic permits are presently available most hard to please "juker" and at the same time give Dick Cone; Bill James; John some relief to those who have exhausted their dance for students who have legitimate reasons to desire such Brownlee; Sandy Morrison; talents. exemption from the existing traffic regulations, ac- Jerry Burton; David Smith; cording to Dean Richard C. Armstrong of the Student Harold Hock; Tommy Page; Like to Tango? Then give the Bostic rendition Erik Croen; Martin Stokes; of "Blue Tango" a whirl, and we're sure you'll agree Affairs office. Bob Hunt; Alfred Pinckney; that Latin rhythms are also a specialty with the Bostic Permits can be obtained for stu- Bubba James; Fred Moorhead; band. Listeners like Bostic too. Earl is a favorite dents wishing to load or unload!cars on the campus prior to and and Luther Lott. wherever he goes, whether it be a night spot in New bulky items in unauthorized park- after dance weekends, Also, Jimmy Carter; Tommy Simpson; Jack Steppe; Carl Liv- York or his annual two-week tour of Alaska. Music ing areas. Dean Armstrong com- Students are urged to pay traf- for dancing, romancing or just plain listening, no mat- mented that many students who ingston; Barry Meyer; William fic fines immediately after they ter your preference the band visiting our campus this received tickets for this during Parker; Johnny Britton; Wayne weekend will fit the bill. fraternity, rush season could have are received. If a fine is stall un- Kennedy; Bill Sykes; Larkin avoided penalties if they had ob- paid three days after it is re- Jennings; Cal McMeekin; Richard Maxwell; Rudy Kizer; and Joe The bigger the audience, the better Earl plays, or tained a temporary permit. ceived, the amount will double. so the story goes. Well, let's see to it that he gets a Fraternities 'Juke It' On Saturday McComb. If, for some reason, a student Those who do not have the Phi Kappa Delta: Buddy Bish- chance to play before an overflow crowd, both at the has to park an unregistered car dance and concert. Kick it out time is here so let's means to pay their fines within op; Emerson Byrd; Billy Ayres; on the campus due to mechanical R. O. Atkinson; Talmadge Frick; make the most of it and welcome Earl Bostic in the difficulty, he will be eligible for the three day limit should con- true Clemson manner.
Load more

Recommended publications
  • UNION ELECTRIC COMPANY Ing the Letters, Boetic Prepar­ Ed to L>Egin His Nationwide in Welcoming the Faculty and Students DURHAM, NORTH CAROLINA Auditions
    "Baby, Dou'f“ You Cry," “J eys, whv kave been ipiniuag it CAKaiwA niga SATURDAY. SEPT. 10th. 1949 Don’t Care Who Knows” aud aloiost daily ever siiice ite re­ PAOEWOim Jacqyef To “ Did You See Jackie Robinson lease • couple of months Appear In Hit That Ballf”, appears to uemonstratlog oace more the' have come up with a real smaah power of the disc jockey. Atlanta in “ Lovely In Her Evening Uown,” His Decca record of Dinah Tempted Billie Holiday Wows ATLANTA, Gu — The com­ the ballad, which ia sung by the ing one-night stand of lUiuois Johnson’s band’s romantic bal- By Religious Jacquet and his high-fyling ladier, Arthur Prysock, is sched­ Sextete at the Memorial Audi­ uled for release on September Music Again torium in Atlanta will be mark­ 15 and tremendous interest al­ NEW YORK — Diash Wash- Harlem, Broadway ed by an assembly of this city’s ready has been aroused on the top diiiC-Jockeys, who will turn ington, currently holdiug down strength of that one Mutual the top spot in most recohl pop­ By FLOYD SMELSOH Also appearing the same night out to greet the mighty mile of Network airing. ularity ratings, has for the se­ NLW-VORK — Billie HoUi- as gai'st artist of the Art Ford the saxophone iu hi*', first local program uver W.IM.X., New appearance. cond time in a year been the re­ <U>-, ag«iii provf* iHJUvinciofly cipient of a serious offer to en­ concluai\'ely her right to the York l>aily Ne«s Television.
    [Show full text]
  • John Pizzarelli and Freddy Cole: Celebrating the Centenary of Nat
    TD Jazz Concerts John Pizzarelli and Freddy Cole: Celebrating the centenary of Nat King Cole @ 100 Thursday, February 14, 2019 at 8:00pm Pre-concert Talk at 7:00pm This is the 913th concert in Koerner Hall John Pizzarelli, vocals & guitar Mike Karn, bass Konrad Paszkudzki, piano Freddy Cole, piano & vocals Elias Bailey, bass Randy Napoleon, guitar Quentin Baxtor, drums John Pizzarelli World-renowned guitarist and singer John Pizzarelli, established as one of the prime contemporary interpreters of the Great American Songbook, has expanded that repertoire by including the music of Paul McCartney, Joni Mitchell, Neil Young, Tom Waits, Antônio Carlos Jobim, and The Beatles. Having concentrated on the music of Paul McCartney, Johnny Mercer, and Frank Sinatra over the last two years, Pizzarelli has returned to the bossa nova of Jobim with his 2017 release Sinatra & Jobim @ 50. With co- vocalist Daniel Jobim, grandson of the legendary Brazilian composer, the two explore songs Sinatra and Jobim recorded, as well as add new songs flavoured with the spirit of the classic Francis Albert Sinatra and Antonio Carlos Jobim album. Pizzarelli has toured North America, South America, Asia, and Europe, performing shows centered on Frank Sinatra’s centennial, the songs of Johnny Mercer, and a McCartney program, in which his quartet is joined by strings and a horn section. He also tours on a double bill with pianist Ramsey Lewis. While plenty of jazz greats influenced his work, Nat King Cole has been Pizzarelli’s hero and foundation over the last 25 years. He devoted two albums to his music, Dear Mr.
    [Show full text]
  • SU SIGNS NAME BAND EARL BOSTIC to PLAY at 1955 JUNIOR PROM by JIM PLASTINO Earl Bostic's Background Has News Editor Been Quite Unsual, for a Popular Musician
    Seattle nivU ersity ScholarWorks @ SeattleU The peS ctator 3-3-1955 Spectator 1955-03-03 Editors of The pS ectator Follow this and additional works at: http://scholarworks.seattleu.edu/spectator Recommended Citation Editors of The peS ctator, "Spectator 1955-03-03" (1955). The Spectator. 526. http://scholarworks.seattleu.edu/spectator/526 This Newspaper is brought to you for free and open access by ScholarWorks @ SeattleU. It has been accepted for inclusion in The peS ctator by an authorized administrator of ScholarWorks @ SeattleU. Remember Remember Movie SEATTLE UNIVERSITY Your Sunday Night Spectator Mite Cans Vol. XXII SEATTLE, WASHINGTON, THURSDAY, MARCH 3, 1955 No. 19 SU SIGNS NAME BAND EARL BOSTIC TO PLAY AT 1955 JUNIOR PROM By JIM PLASTINO Earl Bostic's background has News Editor been quite unsual, for a popular musician. Born in Tulsa, Okla- Oneof the nation's foremost homa, he attended Creighton Uni- music-makers, Earl Bostic, versity in Omaha for one year and will be the man on the band- then went to Xavier University in stand for Seattle U's Junior New Orleans, La., wherehe gradu- Prom, May ated with a BA degree. Both uni- 27. versities are Catholic, and a nunat Prom Chairman Mike Weber an- Xavier University is credited with nounced yesterday that the con- giving Bostic most of his musical tracts had been signed, after sev- knowledge. eral weeks of negotiations with Earl's life and work have been booking agents in Hollywood. described by some critics as "a Weber and Tom Holt, business fabulous musical career." He has manager, said that Bostic will carry eight pieces withhim for the Seattle U stopover.
    [Show full text]
  • History of Jazz Tenor Saxophone Black Artists
    HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz.
    [Show full text]
  • Lionel Hompton # Jozz Fes'tivol '"?Iæfy O '- C) O
    { I !t i ; I I I i 1 I l Ë I I i I I i I Lionel Hompton # Jozz Fes'tivol '"?iÆFY o '- c) o =o- o ! p o C f ol o-- (I) Dr. lionel Hampton, producer *rJ assisted by Dr. lynn J. Skinner Welcome to the 3lst University of Idaho Lionel HamptonJazzÏestival! The Lionel HárirptonJazzEestivalhas become one of the greatest jzzzfestivals in the world. join Pleæe us in celebratin g a clæsically American art form - Iazz. At the Lionel HamptonJazzEestivalwe seek to enrich the lives of young people with this music - year after year. "GAtes" Keeps on Swingin' Lionel Hampton started his musicalcareer æ a drummer. Hamp wæ playing drums with Louie Armstrong and one night at the gig, Louie turned to Hamp and said, "Swing it Gates, Swing!" Hamp asked Louie what he meantand he said, "l'm calling you Gates because you swing like a gatel" From that point in time until this very day Hamp is known as "Gates" because of his incredible ability to "swing". The story came to Dr. Skinner directly from Hamp. 1 I Welcome to the 1998 Jazz Festival atthe University of Idaho - Moscow, Idaho! Page For more informoÌion concerning the Concert Schedule Lionel Homplon Jozz Feslivol, contoct: 5 Lionel Hampton School of MusicJøz Ensembles 11 Dr. Lynn J. Skinner, Execulive Direclor Welcome Letters 13 Lionel Homplon Jozz Feslivol Clinic Schedule t5 Lionel Hompton School of Music Lionel Hampton - Biography 17 Universify of ldoho Guest futist Biographies .......... 23 Moscow, ldoho 83844-4014 Adjudicator Biog*pfri.r .................. 53 (208)885-ó513 l208l88 5-67 65 Fox: Lionel HamptonJazz Festival Staff ,..
    [Show full text]
  • 6. Count Basie's Cleveland Connections
    6. Count Basie's Cleveland Connections illiam Basie, pianist and bandleader, was not a In his autobiography, Good Morning Blues, Basie Clevelander, but he certainly perfonned recalled he married the girl from Cleveland in 1943 in Wfrequently in Cleveland and hired a number of Seattle. Their honeymoon was a series ofone-night band Clevelanders to play in his swinging band. Basie' s appearances. strongest tie to Cleveland is frequently forgotten. He The Basie band was working in New York when Katy married a girl from Cleveland and their only child was was about to have a baby. She returned to Cleveland and born here. stayed with her parents. Katy and Bill Basie's only child, Diane Basie, was born in Cleveland. He rushed to Catherine Morgan Basie Cleveland to be with his wife and Catherine Morgan left Cleveland daughter. at the age of 16 in 1931 to become a Later, when they rejoined Basie in dancer. She joined a very popular New York, he said he had vivid vaudeville act, the Whitman Sisters. memories of seeing Katy getting off She was one of three girls in the the plane from Cleveland carrying dance company who called their baby. He said, "It was a special themselves "The Snake Hips thrill bringing my family home from Queens." When they appeared at the the airport that day, Old Base, his Lafayette Theatre in New York City, wife and daughter." there was a jazz band from Kansas They moved into an apartment City on the same bill. The young building near New York' s Central dancer from Cleveland noticed the Park.
    [Show full text]
  • Tommy Irvine Jazz Collection SPC.2018.038
    http://oac.cdlib.org/findaid/ark:/13030/c8g166g7 No online items Inventory of the Tommy Irvine Jazz Collection SPC.2018.038 Jade Delao California State University Dominguez Hills Archives and Special Collections 2018-12-05 University Library South -5039 (Fifth Floor) 1000 E. Victoria St. Carson, CA 90747 [email protected] URL: https://www.csudh.edu/libarchives/ Inventory of the Tommy Irvine SPC.2018.038 1 Jazz Collection SPC.2018.038 Language of Material: English Contributing Institution: California State University Dominguez Hills Archives and Special Collections Title: Tommy Irvine Jazz Collection creator: Cole, Nat King, 1919-1965 creator: Holiday, Billie, 1915-1959 creator: Eckstine, Billy creator: Garner, Erroll creator: Shearing, George creator: Vaughan, Sarah, 1924-1990 Identifier/Call Number: SPC.2018.038 Physical Description: 24 boxes Date (inclusive): 1908-1981, undated Date (bulk): 1940-1953 Language of Material: Collection material is in English. Abstract: This collection contains approximately 444 records held in 76 album sets with performances from musicians, many of which fall under the musical genre of jazz. Most of the records are 10" Shellac, 78 RPMs. Notable musicians featured in this collection include: George Shearing, Billy Eckstine, Nat King Cole, Erroll Garner, Billie Holiday, Sarah Vaughan, and others. Physical Description: Shellac, 10'', 78 RPM Conditions Governing Access There are no access restrictions on this collection. Conditions Governing Use All requests for permission to publish or quote from manuscripts must be submitted in writing to the Director of Archives and Special Collections. Permission for publication is given on behalf of Special Collections as the owner of the physical materials and not intended to include or imply permission of the copyright holder, which must also be obtained.
    [Show full text]
  • From 1941, When Charlie Parker's First Commercially
    From 1941, when Charlie Parker’s first commercially recorded solos (“Hootie Blues” and “Jumpin’ the Blues,” with the Jay McShann Orchestra) dropped on Decca Records, his aesthetic decisions and virtuoso flair moved the collective sensibility of jazz in a new direction. And, to paraphrase the mantra that cropped up after Parker died in March 1955, Bird still lives. To illuminate the degree to which he continues to influence and inspire, we asked six elite jazz artists to share their thoughts about Parker. Through their work, on and off the bandstand (each of the respondents teaches), Bird’s notes and tones will go on living through the 21st century and, perhaps, beyond. BY TED PANKEN 64 Spring 2020 JAZZIZ Photo by Fabrice Bourgelle Photo by Andy Earl JAZZIZ Spring 2020 65 Brown, they all play eighth notes in the way that Charlie Parker instigated. When I was 14, I heard Bird play “Tico-Tico” on the jukebox at a candy store. I got it immediately; something resonated right then and there. It was unlike anything I’d heard. I thought, “This guy makes more sense than anybody.” It’s the melodic, linear sense No jazz musician of the past 60 years his. “Moose the Mooche” is a perfect of logic, musical phrases that seamlessly has more palpably channeled the sound example, the way he uses accents on the connect to the next phrase, like of Charlie Parker than alto saxophonist offbeat, and uses unexpected offbeats. A sentences in a well-written paragraph; Charles McPherson, who turned 80 last July later tune, “She Rote,” is very rhythmic, his ability to take the best four or five and recently recorded his 25th album as and so is “Bird Feathers.” His music notes of the moment and find the right a leader.
    [Show full text]
  • The Changing Face of Harlem – the Savoy Sessions Dan Morgenstern Grammy Award for Best Album Notes 1976
    The Changing Face of Harlem – The Savoy Sessions Dan Morgenstern Grammy Award for Best Album Notes 1976 The history of jazz is often told in terms of geography—a journey from New Orleans to Chicago to Kansas City to New York, and from there, throughout the world. Like any generalization, this way of outlining the music's development has its shortcomings. New York had been a jazz landmark long before it became the chief incubator of a new style eventually called bebop. And for jazz purposes, New York in the main meant Harlem, the largest (and once most glamorous) black metropolis outside Africa. In the '20s, Harlem was practically the entertainment capital of America, if not the western world. “The world's most glamorous atmosphere .... Why, it's just like Arabian Nights,” said young Duke Ellington when first confronted with its splendors in 1923. To the contemporary mind, conditioned to think of Harlem as a “ghetto,” a vast slum, a breeding ground for social ills, this may seem like fantasy. But even today, there are fine streets and houses in Harlem, there is the Apollo Theater (the last remaining bastion of a once proud show business tradition), there are places to eat and drink well, and places to hear music. But sadly, for every one of the latter, there were a couple of dozen in Harlem‘s heyday. These ranged from basement clubs and unpretentious saloons that might feature a piano player and/or a singer to such elaborate operations as the Cotton Club, with its especially composed, staged and choreographed revues featuring the best in black talent and catering exclusively to whites (black show people were allowed to watch).
    [Show full text]
  • Joe Newman Sextet and Jimmy Rushing Perform Thursday Evening in Jazz Concert at Museum of Modern Art
    ^— V'<f f* NO. 81 THE MUSEUM OF MODERN ART For release at |1 WEST 53 STREET, NEW YORK 19, N. Y. will after TELEPHONE: CIRCLE 5-8900 Friday, July 1, I960 JOE NEWMAN SEXTET AND JIMMY RUSHING PERFORM THURSDAY EVENING IN JAZZ CONCERT AT MUSEUM OF MODERN ART The Joe Newman Sextet and Jimmy Rushing, blues singer, will give the fourth concert in the Jazz in the Garden series at the Museum of Modern Art on Thursday evening, July 7/ at 8:30 p.m. Joe Newman, on trumpet, will be joined by Eddie Jones, bass, Nat Pierce, piano, Sonny Payne, drums, Al Gray, trombone, and Frank Wess, tenor sax and flute. Co-sponsored and produced by Metronome Magazine, the series of ten promenade concerts is being presented every Thursday evening at 8:30 through August 18. A different Jazz group is featured each week. All musicians in the Joe Newman Sextet except Nat Pierce are currently with the Count Basle band. Newman, discovered by Lionel Hampton at Alabama State Teachers C611ege, played with Hampton before joining Basie. Eddie Jones, born in Red Bank, Hew Jersey, studied at Howard University, taught music, and became the Basie bassist in 1953« Nat Pierce was a student at New England Conversatory. Turning professional, he played with bands around Boston, formed his own group, and became Woody Herman's pianist in 1932. He has arranged for Count Basie and Ella Fitzgerald. Sonny Payne, a native New Yorker, first played drums at the age of 10. He has been with Basie since 1955, after working with Hot Lips Page, Earl Bostic and others.
    [Show full text]
  • Saxophone Students
    The University of North Texas College of Music Handbook for Saxophone Students 2009—2010 Table of Contents Contact Information for Saxophone Teachers.................................................3 Lesson Designations and Enrollment Requirements.......................................4 Lesson Assignments and Course Syllabi........................................................6 Lesson Attendance Policy...............................................................................6 Saxophone Departmental and Guest Recitals..................…...........................6 Saxophone Quartet.........................................................................................7 Concerto Competition......................................................................................7 Graduate Saxophone Literature Classes........................................................7 Related Field in Classical Saxophone Performance or Jazz Studies..............8 Pianists for Departmental, Recital, and Jury Performances............................8 Music and Recordings.....................................................................................8 Equipment.......................................................................................................8 Wind Symphony Auditions...............................................................................9 Lab Band Auditions.........................................................................................9 Jury Examination Requirements for Classical Saxophonists........................10
    [Show full text]
  • 120651Bk Hampton2 16/3/05 5:25 PM Page 2
    120651bk Hampton2 16/3/05 5:25 PM Page 2 15. Bouncing At The Beacon 3:29 18. Hamp’s Boogie-Woogie 3:26 Track 7: Ziggy Ellman, trumpet; Toots Track 18: Cat Anderson, Lammar Wright Jr, Roy (Lionel Hampton) (Lionel Hampton–Milton Buckner) Mondello, clarinet, alto sax; Ben Webster, Jerry McCoy, Joe Morris, trumpets; Al Hayse, Piano by Lionel Hampton Decca 18613, mx 71828-A Jerome, tenor sax; Clyde Hart, piano; Albert Mitchell ‘Booty’ Wood, Fred Beckett, Victor 27364, mx PBS055237 Recorded 2 March 1944, New York Casey, guitar; Art Bernstein, string bass; Slick trombones; Earl Bostic, Gus Evans, alto sax; Al Recorded 20 December 1940, Hollywood 19. Beulah’s Boogie 3:20 Jones, drums; Lionel Hampton, vibes Sears, Arnett Cobb, tenor sax; Charles Fowlkes, 16. Chasin’ With Chase 3:05 (Lionel Hampton) Tracks 8 & 9: Nat ‘King’ Cole, piano; Oscar baritone sax; Milt Buckner, piano; Eric Miller, (Gladys Neal–Bernard Shivers) Decca 18719, mx 72876-A Moore, guitar; Wesley Prince, string bass; Al guitar; Vernon King, string bass; Fred Radcliffe, drums; Lionel Hampton, vibes, piano Drums by Lionel Hampton Recorded 21 May 1945, New York Spieldock, drums; Lionel Hampton, piano or drums (as noted) Track 19: Wendell Culley, Joe Morris, Al Kilian, Victor 27529, mx BS064057 20. Air Mail Special 6:22 Lammar Wright Jr, Dave Page, trumpets; Abdul Recorded 8 April 1941, Chicago (Benny Goodman–Jimmy Mundy–Charlie Tracks 10 & 11: THE HAMPTON RHYTHM Hamid, John Morris, Al Hayse, Andrew Penn, 17. Three-Quarter Boogie 2:42 Christian) BOYS. Nat ‘King’ Cole, piano; Oscar Moore, trombones; Herbie Fields, Gus Evans, alto sax; (John M.
    [Show full text]