DOCSLIB.ORG

Jazz, Pop, Concert Styles, by Arranger Manny

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jazz, Pop, Concert Styles, by Arranger Manny ly in rein. The one dull track is Morello's romp through This Can't Be Love, in ans. Only Evans is heard on piano on long drum solo of tiresome music. which his flowing lines mingle elements this dise, however; Costa concentrates on of Django Reinhardt and Charlie Chris- vibes, which he plays so well that one tian. hesitates to designate it as his second in- CHARLIE BYRD: Blues for Night People strument. There is an interesting contrast SAVOY 12116. LP. $4.98. EDDIE CHAMBLEE AND HIS OR- between Costa at the piano, where he is CHESTRA: Doodlin' fond of making stirring forays into the The unamplified Spanish guitar, plucked EmAnca 36131. LI'. $3.98. lower register, and on the vibes, on in classical style, jazz or entered a year which he' is more apt to be light and so ago on an impressive EmArcy record- The appearance of Eddie Chamblee's Glancing. Ile dances sure-footedly through ing by Bill Harris. Byrd plays the saune unpretentious little jump band serves as this disc while Evans, who shares some instrument in the sanie way, but his per- a reminder that this once prolific species Piano ch irawteristics with Costa, provides formances on this record are a decided has, for the must part, been absorbed and a spare prodding contrast. Unfortunately, advance over those bv Harris. The depths twisted by rock 'n' roll. Chamblee's group the selections-siw tunes from Guys and of Byrd's wreathe resources and his well is more polished and versatile than the Dolls -arc generally kept going too long of melodic invention an strikingly illus- jump band of old, and this disc, the to be sustained by only two soloists. trated in the title select ii of the disc, a band's second, demonstrates its wide three -part suite which takes up one sicle range -covering, aside from its jumping THE EDDIE "LOCKJAW" DAVIS of the LP. For a guitarist to extempo- efforts, a gently conceived Solitde, a COOKBOOK rize at this length accompanied only by strongly woven blues and, in one extreme PltEsrloE 7141. LP. $4.98. bass (Keeter Betts) and drums ( Gus instance, a brief display of what Elvis Johnson) without the slightest letdown Presley might sound like on a saxophone. Well-played examples of some basic jazz in interest is an car- opening display of forms -slow blues, ballad, medium riff, virtuosity. Byrd carries this off with no EDDIE COSTA QUARTET: Guys and Nord faut riff -in swhieh Davis, a sturdy, sense of strain, as he limes out a -prob- Dolls Like Vibes strung -toned tenor saxophonist with an ing series of blues variations compound- Count. 57230. LP. $3.98. urgent attack, tempers leis ferocity to the ed of root ideas and highly sophisticated needs of the moment. Organist Shirley technique. On the other side he plays The Eddie Costa Quartet includes two Scott backs him up with jabbing accent sonie short pieces in a variety of 11101Gls of the most dependably rewarding of the and is particularly impressive in a spirited younger jazz pianists -Costa and Bill Ev- Continued on page 104 Jazz, Pop, Concert Styles, by Arranger Manny Albani the relatively small coterie of mu- turn of mind also provides a lovely and forntaitces fall within the realm of either Or sicians who %erite arrangements for unusual big -band arrangement of Bix mood music e>r light concert music-but jazz recording sessions on a free lance ba- Beiderbecke's piano solo, In a Mist, a very superior brand of both. sis, \I: y Alban) has gradually emerged which Albruee turns into a gentle jazz Finally, :Mani turns to an essentially as an extraordinarily effective writer and tone poem. I lis band swings with ready pop sein on .Sophisticated Lady, in which conductor. About ten years ago he began warmth to iee again on Dorm Beat Jazz eleven of Duke Ellingtmi's songs are per- writing for Charlie Barnet, Count Basic, Concert, a 'miscellaneously organized disc forated by chorus and orchestra. Al- \Voocly Merman, and other bands -after on which 'Puny Scott spins out a blues though this has becoune one of the cli- serving an apprenticeship as a baritone which, after some preliminary low com- cleo s of recording, and usually a gluti- saxophonist in various big hands in the edy, sears to a fervent level, and Paul nous one at that, Alban' has made it a Forties. During Jack Lewis' two -year ten- Horn's flute chirrups through Willow lively and often exciting set by using his ure as jazz a Zs r man at BCA Victor, Weep for Joe. voices, solo and ensemble, ill at variety Albans produced the bulk of the arrange- In The Blues Is Everybody's. Business, of settings, wweilVing them in and out ments for Lewis' recording sessions. Alban has attempted to write an extend- of instruenental passages, snatching a few When Lewis left Victor, Alban) moved ed piece based on the root influence of lines of lyrics here or cavalierly tossing his locus to Coral, wwherr he did similar jazz. It is swell constructed in jazz tennis, them away there ;and, to give the mix- behind -tie- scenes chores 111101 he was but Alban] has run into two of the prin- ture a rich seasoning, adding an occa- given his own recording sessions with a cipal stumbling blocks for jazz writers: a sional strong instrumental solo. This sort topnotch studio band billed as his "Jazz string section and the need to stretch a of inventiveness is not often lavished on Greats." After producing two notable small piece of material too far. The what is usually dismissed as background If Ps with this group and creating one of strings appear in two of thee work's four music; but baying emerged from be- the most valid jazz versions of a Broad- sections and, with their inappropriately hind the scenes, Alban] apparently has way show score, his West Side Story, Al- soft and dainty quality, succeed in damp- no intention of being relegated to the ban] had obviously established a firm ening the properly rugged quality of Al- background again, no ]tatter what he foundation for a recording career. bam's horns. The remaining two sections may be called on to write. Five discs released within the past suffer from stretch -out in the ensemble JonN S. WILSON month display his stature, stressing his writing, which good but brief solos by virtuosity and creative range. They re- Phil \\'oods and Al Cohn cannot entirely MANNY ALBAM AND HIS JAZZ veal his willingness to travel unexplored save. GREATS: Jazz Nein York roads as well as his ability to iieipnn a on Venturing into even deeper water on Dorr 9004. LI'. $4.98. those already well worn. The latter cate- A Gallery of Gershwin, Alban lias writ- gory would fit Jazz New Turk and Al- ten orchestral accompaniments for the DOWN BEAT JAZZ CONCERT bam s contributions to Down Beat Jazz First Modern Piano Quartet ( Dick Marx, DOT 9003. LP. $4.98. Concert. On both dises he is writing Eddie Costa, Hank Jones, Johnny Costa). jazz arrangements for a big -jazz band, Along with Irving Joseph, who scored the MANNY ALBAM: The Blues Is Every- a field in which he excels because he has piano parts, Albain has used a melange body's Business the ability to write in terms that can be of jazz, pop, and concert styles that pro- CORAL 59101. LP. $4.98. translated into a loose., swinging perform- vides a fitting setting for the Gershwin ance as well as the patience to create tutus which the Quartet plays. This is THE FIRST MODERN PIANO QUAR- strong-lined ensembles and sturdy sup- several steps removed front the strongly TET: A Gallery of Gershwin porting frameworks for his soloists. jazz-based writing he employs on the CORAL 59102. LP. $4.98. His Jazz New York consists, in the three disc's mentioned above, for in this main, of refreshingly relaxed, well- filled- case the jazz element enters only when MANNY ALBAM, HIS CHORUS AND out big -band performances which ride on one of the pianists moves out from the ORCHESTRA: Sophisticated Lady a deeply flowing pulse. His exploratory quartet as a soloist. Most of these per- CoiuAL 57231. LP. $3.98. 102 HIGII FIDELITY MAGAZINE www.americanradiohistory.com.
Load more

Recommended publications
  • Part 2 of Selected Discography
    Part 2 of Selected Discography Milt Hinton Solos Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. This is a chronological list of representative solos by Hinton as a sideman in a variety of settings throughout his career. Although not definitive, Milt was such a consistent soloist that one could cite many other equally accomplished performances. In some cases, particularly from the 1930s when bass solos were relatively rare, the recordings listed contain prominent bass accompaniment. November 4, 1930, Chicago Tiny Parham “Squeeze Me” (first Hinton recording, on tuba) 78: Recorded for Victor, unissued CD: Timeless CBC1022 (Tiny Parham, 1928–1930) January–March 1933, Hollywood Eddie South “Throw a Little Salt on the Bluebird’s Tail” (vocal) “Goofus” CD: Jazz Oracle BDW8054 (Eddie South and His International Orchestra: The Cheloni Broadcast Transcriptions) May 3, 1933, Chicago Eddie South “Old Man Harlem” (vocal) 78: Victor 24324 CD: Classics 707 (Eddie South, 1923–1937) June 12, 1933, Chicago Eddie South “My, Oh My” (slap bass) 78: Victor 24343 CD: Classics 707 (Eddie South, 1923-1937) March 3, 1937 Cab Calloway “Congo” 78: Variety 593 CD: Classics 554 (Cab Calloway, 1934–1937) January 26, 1938 Cab Calloway “I Like Music” (brief solo, slap bass) 78: Vocalion 3995 CD: Classics 568 (Cab Calloway, 1937–1938) August 30, 1939 Cab Calloway “Pluckin’ the Bass” (solo feature —slap bass) 78: Vocalion 5406 CD: Classics
    [Show full text]
  • Aspects of Jazz and Classical Music in David N. Baker's Ethnic Variations
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2002 Aspects of jazz and classical music in David N. Baker's Ethnic Variations on a Theme of Paganini Heather Koren Pinson Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Music Commons Recommended Citation Pinson, Heather Koren, "Aspects of jazz and classical music in David N. Baker's Ethnic Variations on a Theme of Paganini" (2002). LSU Master's Theses. 2589. https://digitalcommons.lsu.edu/gradschool_theses/2589 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. ASPECTS OF JAZZ AND CLASSICAL MUSIC IN DAVID N. BAKER’S ETHNIC VARIATIONS ON A THEME OF PAGANINI A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The School of Music by Heather Koren Pinson B.A., Samford University, 1998 August 2002 Table of Contents ABSTRACT . .. iii INTRODUCTION . 1 CHAPTER 1. THE CONFLUENCE OF JAZZ AND CLASSICAL MUSIC 2 CHAPTER 2. ASPECTS OF MODELING . 15 CHAPTER 3. JAZZ INFLUENCES . 25 BIBLIOGRAPHY . 48 APPENDIX 1. CHORD SYMBOLS USED IN JAZZ ANALYSIS . 53 APPENDIX 2 . PERMISSION TO USE COPYRIGHTED MATERIAL . 54 VITA . 55 ii Abstract David Baker’s Ethnic Variations on a Theme of Paganini (1976) for violin and piano bring together stylistic elements of jazz and classical music, a synthesis for which Gunther Schuller in 1957 coined the term “third stream.” In regard to classical aspects, Baker’s work is modeled on Nicolò Paganini’s Twenty-fourth Caprice for Solo Violin, itself a theme and variations.
    [Show full text]
  • Coleman Hawkins Desafinado: Bossa Nova & Jazz
    Coleman Hawkins Desafinado: Bossa Nova & Jazz Samba mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Desafinado: Bossa Nova & Jazz Samba Country: US Style: Bossa Nova MP3 version RAR size: 1109 mb FLAC version RAR size: 1292 mb WMA version RAR size: 1650 mb Rating: 4.2 Votes: 274 Other Formats: DMF AUD DXD WAV VOX ASF AA Tracklist A1 Desafinado 5:46 A2 I'm Looking Over A Four Leaf Clover (Jazz Samba) 2:50 A3 Samba Para Bean 5:25 A4 I Remember You 4:05 B1 One Note Samba (Samba De Uma Nota So) 6:02 B2 O Pato (The Duck) 4:08 B3 Um Abraco No Bonfa (An Embrace To Bonfa) 4:49 B4 Stumpy Bossa Nova 2:32 Credits Bass – Major Holley Coordinator [Music Coordinator] – Manny Albam Cover, Photography [Liner Photos] – Jack Bradley Design [Cover Design] – Robert Flynn Design [Liner Design] – Joe Lebow Engineer – Rudy Van Gelder Guitar – Barry Galbraith, Howard Collins Liner Notes – Dan Morgenstern Percussion – Eddie Locke, Tommy Flanagan, Willie Rodriguez Producer – Bob Thiele, Bob Thiele Tenor Saxophone – Coleman Hawkins Notes Reissue with green bullseye labels, released between 1974-79. Gatefold jacket. Recorded September 12 and 17, 1962. Other versions Category Artist Title (Format) Label Category Country Year Desafinado: Bossa Nova & A-28 Coleman Hawkins Jazz Samba (LP, Album, Impulse! A-28 US 1963 Mono) Desafinado (Bossa Nova & A-28 Coleman Hawkins Jazz Samba) (LP, Album, Impulse! A-28 US 1963 Mono, Promo) Desafinado (LP, Album, RE, DOL856H Coleman Hawkins DOL DOL856H Europe 2015 180) The Coleman ABC 17.1045/9 Desafinado (LP, Album, RE)
    [Show full text]
  • PHIL WOODS NEA Jazz Master (2007)
    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. PHIL WOODS NEA Jazz Master (2007) Interviewee: Phil Woods (November 2, 1931 - ) Interviewer: Marty Nau and engineered by Ken Kimery Date: June 22-23, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 66 pp. Marty Nau [MN]: Okay, this is Marty Nau here with the Smithsonian interviewing Phil Woods, a certain dream of mine come true. And Phil for the national record … Phil Woods [PW]: Yes, sir. [MN]: … for the Smithsonian they’d like to have you state your full name. [PW]: Gene Quill [laughs]. No, I’m, I’m Phil Woods. I was born in uh 1931. Uh, November second, which means today I’m 78 but I’m very happy to say I have the body of a 77-year-old man. [MN]: I noticed that immediately. [PW]: I was born in Springfield, Massachusetts. I have one brother, seven years older. And uh, any other facts you’d like to have? [MN]: Well, uh could you talk about your parents? [PW]: My parents. Well, my dad was reported to be a violin player when he was a kid. Um, music was very important in our family. My mom loved music. Uh [mumbles] there were four or five sisters and on my father’s side there was an uncle who played saxophone and one of my mother’s sister’s husbands played saxophone and that’s how I, I was given the sax in the will when he died.
    [Show full text]
  • SAMMY NESTICO Music Distributed by K ENDOR M Usic
    enDor usic K Doug Beach MuMsic V o l u M e 3 azz 3 eJnseMBle visit us at kendormusic.com : • free recordings • SoloMate accompaniment tracks • complete viewable scores • detailed descriptions • brass ranges • dealer directory Jazz Series Kendor Jazz Doug Beach Jazz Gateway Series Foundations Series Easy charts for developing groups, Very easy charts for 4 horns with many featuring Kendor Konvertible rhythm section that are expandable to scoring for 9-17 pieces. A guitar chord full-size big band. chart is included. Download Jazz Gateway MP3 Album Doug Beach First Edition Series Easy charts for developing groups, playable by 12-17 players. Kendor Jazz Journey Series Medium charts for advancing groups. A guitar chord chart is included. Doug Beach Threshold Series Download Jazz Medium easy to medium charts for Journey MP3 Album advancing groups. Kendor Jazz Doug Beach Summit Series Jazz Ensemble Series Advanced charts for proficient big Medium to medium advanced charts bands. for proficient big bands. Download Jazz Download Doug Summit MP3 Album Beach MP3 Album Encore Editions are repromoted titles Kendor Music, Inc. with full recorded versions and online MUSIC PUBLISHER 21 Grove Street • PO Box 278 enhancements. Delevan, New York 14042-0278 • U.S.A. phone 716-492-1254 fax 716-492-5124 www.kendormusic.com e-mail: [email protected] ENCORE E DItION Kendor Jazz Jamie Gateway Series by Sammy Nestico Recorded by Count Basie on the album “Have A Nice ENCORE E DItION Day” (Daybreak Records), this highly expressive ballad is a study in subtle textures and colors featuring short Bossa Bonito written or improvised piano solos and fills, muted by Jon Phelps brasses, and a directed ending that closes in a whisper.
    [Show full text]
  • Thad Jones Chronology Copy
    Thad Jones Chronology Compiled by David Demsey • 1923/March 28 - Born, Pontiac Michigan; father a lumber inspector for General Motors, had moved to MI from Vicksburg, MS. One of ten children – Thad: “We lost one sister in a drowning accident, and Elvin had a twin brother that died at an early age, but the remaining eight survive.” (Source: liner of H. Jones Have You Met This Jones?) • Professional career began during high school (later 1930s) • C. 1936-7, started to play trumpet at age 14 • C. 1936 in Arcadia Club Band in Pontiac, MI, led by trumpet-playing uncle Bill; band also contained Hank Jones • C. 1939, Formed The Hungry Five, played school dances; contained pianist Vivian Scott, tenorist Dan Turner • Last year in high school (1939?) played in 13-piece band in Saginaw, MI; had first contact with Big Nick Nicolas and Sonny Stitt, formed group with others from Flint, MI, went on road for 2.5 years, broke up in Indianapolis • 1941 traveling with Connie Cornell band through South • 1943 in Dallas for about six months, with band led by altoist Red Calhoun • 1943/December-April 1946 – U.S. Army; first big band experience in G.I. band led by Jack Teagarden, Jr.; arranged for G.I. band that toured with the show “Bedtime Stories” • 1946, formed own band in Oklahoma City • 1946, played in Des Moines with Harold and Seymour Gray for 7 months • 1948, recorded Swing, Not Spring, w/Billy Mitchell, Terry Pollard, piano/vibes; James Richardson? Alvin Jackson?, b; Elvin Jones, d. • 1950-53 formed group with tenor saxophonist Billy Mitchell, also
    [Show full text]
  • '!2G00BJ-Hbfdjf!
    The Jazz Workshop: Four Brass, One Tenor RCA LPM-1161 Al Cohn personnel Al Cohn (ts, arr); Manny Albam (arr); Joe Newman, Bart Valve, Bernie Glow, Joe Wilder, Phil Sunkel (tp); Nick Travis (tp, tb); Dick Katz (p); Freddie Green (g); Buddy Jones (b); Osie Johnson (dr) tracks Rosetta; The Song Is Ended; Linger Awhile; Every Time; Haroosh; Just Plain Sam; I'm Coming Virginia; Cohn, Not Cohen; A Little Song; Foggy Water; Sugar Cohn; Alone Together As a soloist, Al Cohn was not such an inspired tenor sax player as his colleague Zoot Sims. But he was a superb arranger, an unprofitable yet highly important function when it comes to such workshops. And though Manny Albam also played the baritone sax, his real instrument was the pen. He arranged not only jazz, but also film music and musi- catalogue # 1161 cals. His arrangements were multi-facetted and tailormade to suit the accomplishments of the individual instrumentalists. set contents For this particular Jazz Workshop, the record company RCA-Victor could afford the ser- 1 LP / standard sleeve vices of excellent session musicians: Joe Newman and Freddie Green came from the pricecode Basie Band, Al Cohn, Bernie Glow, and Nick Travis from the Woody Herman Band, and SC01 the studio musicians Dick Katz, Buddy Jones and Osie Johnson were present at all times release date of day and night anyway. July 2017 As long as you don't expect fierce battles between five tenors, or six tweeters on the barcode trumpet, then you will enjoy this LP with its swinging, relaxed improvisations on such works as Rosetta, Linger Awhile, and I'm Coming Virginia - and you will realise that Lester Young’s sound has been heard, cultivated and further developed by these musicians.
    [Show full text]
  • Frank Wellington Wess
    1 The TENORSAX of FRANK WELLINGTON WESS Solographer: Jan Evensmo Last update: Sept. 9, 2020 2 Born: Kansas City, Missouri, Jan. 4, 1922 Died: Oct. 30, 2013 Introduction: Oslo Jazz Circle always loved the Basie orchestra, no matter what time, and of course we became familiar with Frank Wess’ fine tenorsax playing. My own real ear opener however was the Joe Turner session on Atlantic from 1956. Early history: First instrument altosax which he played in local band in Oklahoma. On tenor in Washington with Bill Baldwin and in the house band at Howard Theatre. On tour with Blanche Calloway and army service 1941-44. After discharge, with Billy Eckstine. Then with Eddie Heywood and Lucky Millinder. One year with Bull Moose Jackson. Back to Washington and studies on flute 1949. From June 1953 to August 1964 he was a member of Count Basie’s orchestra. Message: I have had to simplify the presentation of Count Basie sessions, it seemed to serve no purpose of going through all Chris Sheridan. However this means that many sessions with FW must have been omitted, and it is not unlikely that some of these will or have already appeared on CD. Also,I admit that it is not always easy to hear the difference between Frank Wess and Frank Foster, at least for my modest ears. Thus please report any discrepancies between your and my opinions without delay! 3 FRANK WESS TENORSAX SOLOGRAPHY BILLY ECKSTINE ORCHESTRA NYC. June/July, 1946 Hobart Dotson, King Kolax, Leonard Hawkins, possibly Rostelle Reese (tp), Billy Eckstine (vtb, vo), Alfred "Chippy" Outcalt, Gerald Valentine, Howard Scott, unknown (tb), Porter Kilbert, possibly Robert "Junion" Williams (as), Gene Ammons, Frank Wess (ts), unknown (bar), possibly Linton Garner or Jimmy Golden (p), Connie Wainwright (g), Bill McMahon (b), Art Blakey (dm), Ann Baker (vo).
    [Show full text]
  • Mike Holober Pianist/Composer/Arranger/Conductor/Educator
    Mike Holober Pianist/Composer/Arranger/Conductor/Educator Trained as a classical pianist and conductor, Mike Holober began his apprenticeship as a jazz pianist and composer after moving to New York City in 1986. He has released 5 recordings as a leader and can be heard on over 70 recordings as a sideman. He has also served as a producer and conductor for several recordings. Mike’s projects include “Mike Holober & Balancing Act,” an octet with voice, “The Gotham Jazz Orchestra,” and “The Mike Holober Quintet.” He also regularly performs in duo settings with artists such as trumpeter Marvin Stamm and tenor saxophonist Jason Rigby. Mike was a 2017-18 recipient of a Chamber Music America New Jazz Works Grant for “Mike Holober & Balancing Act,” whose eponymous premiere recording was released on Palmetto Records in 2015. The recording received a 4-star review from Downbeat Magazine and appeared on many best-of lists for 2015. Balancing Act features Kate McGarry, Dick Oatts, Jason Rigby, Marvin Stamm, Mark Patterson, John Hebert, and Brian Blade. Mike’s Chamber Music America commission, titled Don’t Let Go, was premiered at Symphony Space (the Leonard Nimoy Thalia) in June 2018, and is structured as a song- cycle in the tradition of Robert Schumann, Samuel Barber, and Ralph Vaughn-Williams. Don’t Let Go explores the nuances and complexities of the concept of hope in the context of current social, political, and environmental realities. After a busy period of writing and arranging for some of the world’s most renowned large ensembles, Mike has returned to the helm of his own stellar big band with the release of Mike Holober & The Gotham Jazz Orchestra: Hiding Out.
    [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]
  • Selected Discography
    Part 1 of Selected Discography Milt Hinton as Leader or Co-leader Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. It is estimated that between 1930 and 1995, Milt Hinton performed on more than nine hundred jazz record sessions. He made at least as many records, especially during the ’50s and ’60s, that featured hundreds of non-jazz performers, as well as countless jingles and film and television soundtracks. Specific and comprehensive information about Hinton’s recordings outside of jazz is nearly impossible to obtain. A partial list of non-jazz performers with whom he recorded includes: Paul Anka, Pearl Bailey, Harry Belafonte, Tony Bennett, Brook Benton, Archie Blyer, Teresa Brewer, Diahann Carroll, the Clancy Brothers, Nat King Cole, Perry Como, Sam Cooke, Bing Crosby, Vic Damone, Bobby Darin, Sammy Davis Jr., the Drifters, Percy Faith, Eddie Fisher, Connie Francis, Judy Garland, Jackie Gleason, Arthur Godfrey, Eydie Gormé, Skitch Henderson, John Lee Hooker, Lena Horne, Langston Hughes, Mahalia Jackson, Jack Jones, Frankie Laine, Steve Lawrence, Guy Lombardo, Johnny Mathis, Paul McCartney, Bette Midler, the Mills Brothers, Mantovani, Willie Nelson, Patti Page, Leontyne Price, Leon Redbone, Della Reese, Debbie Reynolds, Frank Sinatra, Kate Smith, Barbra Streisand, Sonny Terry and Brownie McGhee, Bobby Vinton, Dionne Warwick, Roger Williams, Jackie Wilson, and Hugo Winterhalter. The recording location is the New York City area unless otherwise noted. CDs have the same title as the LPs unless otherwise noted. [MH comp] indicates that Hinton was the composer or co-composer of a piece.
    [Show full text]
  • Notre Dame Collegiate Jazz Festival Program, 2008
    Archives of the University of Notre Dame "Each February . man has . 20-23, IS own mUSIC ubbling tip inside him." " -Louis Armstrong 2008 The "What "Music washes away the dust • saxophone . of every day Ffe." IS a~tuaJly a we play IS" •-AJ;t Blakey translatl0I?-of life." MUSIC IS ~our the human VOIce, -LouiSAnnstrongown experIence, in my conception. All you can do is your thoughts, your .playmel?~y.N?matterhowc?,mplicatedwisdom. Ifyou don't It gets, It s stIll a melody. -Stan Getz live it it won't come "If you believe, you will ou~ ofyour horn." Ifyou don't, you won't." -Eddie Harris -Charlie Parker 'JaZZ today, as always in the past, is a matter ofthoughtful creation, not mere unaided instinct." -Duke Ellington Archives of the University of Notre Dame Festival Schedule Dear Wednesday, February 20 8-10:00 CJ F Coffeehouse Visitors, LaFortune Ballroom Featuring ND Jazz Band II Welcome to the 50th Annual University of Notre Dame Collegiate Jazz Festival, the oldest college jazz festival in the country! We are thrilled that you have joined us for this weekend celebration of jazz music and we hope that you enjoy your visit to Notre Dame. Thursday, February 21 8-11:00 CJF Swing Night For half a century, the Collegiate Jazz Festival has been bringing superior college jazz ensembles, LaFortune Ballroom world-renowned jazz artists, and a national audience to Washington Hall for a tribute to this great 8-9:00 Free swing lessons with ND Swing Club American-born style of music. This year, CJF is proud to continue this tradition and celebrate fifty 9-11:00 Open swing dancing with live music years running as we present festival judges Jamey Aebersold, Gene Bertoncini,Jim McNeely, Larry Featuring Notre Dame New Orleans Brass Band Ridley, Marvin Stamm, and Clif Wallace, all of whom were participants at CJF during their college years.
    [Show full text]