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Powell, His Trombone Student Bradley Cooper, Weeks
Interview with Benny Powell By Todd Bryant Weeks Present: Powell, his trombone student Bradley Cooper, Weeks TBW: Today is August the 6th, 2009, believe it or not, and I’m interviewing Mr. Benny Powell. We’re at his apartment in Manhattan, on 55th Street on the West Side of Manhattan. I feel honored to be here. Thanks very much for inviting me into your home. BP: Thank you. TBW: How long have you been here, in this location? BP: Over forty years. Or more, actually. This is such a nice location. I’ve lived in other places—I was in California for about ten years, but I’ve always kept this place because it’s so centrally located. Of course, when I was doing Broadway, it was great, because I can practically stumble from my house to Broadway, and a lot of times it came in handy when there were snow storms and things, when other musicians had to come in from Long Island or New Jersey, and I could be on call. It really worked very well for me in those days. TBW: You played Broadway for many years, is that right? BP: Yeah. TBW: Starting when? BP: I left Count Basie in 1963, and I started doing Broadway about 1964. TBW: At that time Broadway was not, nor is it now, particularly integrated. I think you and Joe Wilder were among the first to integrate Broadway. BP: It’s funny how it’s turned around. When I began in the early 1960s, there were very few black musicians on Broadway, then in about 1970, when I went to California, it was beginning to get more integrated. -
The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
Charles Mcpherson Leader Entry by Michael Fitzgerald
Charles McPherson Leader Entry by Michael Fitzgerald Generated on Sun, Oct 02, 2011 Date: November 20, 1964 Location: Van Gelder Studio, Englewood Cliffs, NJ Label: Prestige Charles McPherson (ldr), Charles McPherson (as), Carmell Jones (t), Barry Harris (p), Nelson Boyd (b), Albert 'Tootie' Heath (d) a. a-01 Hot House - 7:43 (Tadd Dameron) Prestige LP 12": PR 7359 — Bebop Revisited! b. a-02 Nostalgia - 5:24 (Theodore 'Fats' Navarro) Prestige LP 12": PR 7359 — Bebop Revisited! c. a-03 Passport [tune Y] - 6:55 (Charlie Parker) Prestige LP 12": PR 7359 — Bebop Revisited! d. b-01 Wail - 6:04 (Bud Powell) Prestige LP 12": PR 7359 — Bebop Revisited! e. b-02 Embraceable You - 7:39 (George Gershwin, Ira Gershwin) Prestige LP 12": PR 7359 — Bebop Revisited! f. b-03 Si Si - 5:50 (Charlie Parker) Prestige LP 12": PR 7359 — Bebop Revisited! g. If I Loved You - 6:17 (Richard Rodgers, Oscar Hammerstein II) All titles on: Original Jazz Classics CD: OJCCD 710-2 — Bebop Revisited! (1992) Carmell Jones (t) on a-d, f-g. Passport listed as "Variations On A Blues By Bird". This is the rarer of the two Parker compositions titled "Passport". Date: August 6, 1965 Location: Van Gelder Studio, Englewood Cliffs, NJ Label: Prestige Charles McPherson (ldr), Charles McPherson (as), Clifford Jordan (ts), Barry Harris (p), George Tucker (b), Alan Dawson (d) a. a-01 Eronel - 7:03 (Thelonious Monk, Sadik Hakim, Sahib Shihab) b. a-02 In A Sentimental Mood - 7:57 (Duke Ellington, Manny Kurtz, Irving Mills) c. a-03 Chasin' The Bird - 7:08 (Charlie Parker) d. -
Trumpeter Scotty Barnhart Appointed New Director of the Count Basie Orchestra
September 23, 2013 To: Listings/Critics/Features From: Jazz Promo Services Press Contact: Jim Eigo, [email protected] www.jazzpromoservices.com Trumpeter Scotty Barnhart Appointed New Director of The Count Basie Orchestra For Immediate Release The Count Basie Orchestra and All That Music Productions, LLC, is pleased to announce the appointment of Scotty Barnhart as the new Director of The Legendary Count Basie Orchestra. He follows Thad Jones, Frank Foster, Grover Mitchell, Bill Hughes, and Dennis Mackrel in leading one of the greatest and most important jazz orchestras in history. Founded in 1935 by pianist William James Basie (1904-1984), the orchestra still tours the world today and is presently ending a two-week tour in Japan. The orchestra has released hundreds of recordings, won every respected jazz poll in the world at least once, has appeared in movies, television shows and commercials, Presidential Inaugurals, and has won 18 Grammy Awards, the most for any jazz orchestra. Many of its former members are some of the most important soloists, vocalists, composers, and arrangers in jazz history. That list includes Lester Young, Billie Holiday, Harry “Sweets” Edison, Jo Jones, Frank Foster, Frank Wess, Thad Jones, Joe Williams, Sonny Payne, Snooky Young, Al Grey, John Clayton, Dennis Mackrel and others. Mr. Barnhart, born in 1964, is a native of Atlanta, Georgia. He discovered his passion for music at an early age while being raised in Atlanta's historic Ebenezer Baptist Church where he was christened by Dr. Martin Luther King, Jr.He has been a featured trumpet soloist with the Count Basie Orchestra for the last 20 years, and has also performed and recorded with such artists as Wynton Marsalis, Marcus Roberts, Frank Sinatra, Diana Krall, Clark Terry, Freddie Hubbard, The Duke Ellington Orchestra, Nat Adderley, Quincy Jones, Barbara Streisand, Natalie Cole, Joe Williams, and many others. -
Swingville Label Discography
Swingville Label Discography: 2000 Series: SVLP 2001 - Coleman Hawkins and The Red Garland Trio - Coleman Hawkins and The Red Garland Trio [1960] It’s a Blue World/I Want to Be Loved/Red Beans/Bean’s Blues/Blues For Ron SVLP 2002 - Tiny In Swingville - Tiny Grimes with Richardson [1960] Annie Laurie/Home Sick/Frankie & Johnnie/Down with It/Ain’t Misbehaving/Durn Tootin’ SVLP 2003 - Tate's Date - Buddy Tate [1960] Me ‘n’ You/Idling/Blow Low/Moon Dog/No Kiddin’/Miss Ruby Jones SVLP 2004 - Callin' the Blues - Tiny Grimes [1960] Reissue of Prestige 7144. Callin’ the Blues/Blue Tiny/Grimes’ Times/Air Mail Special SVLP 2005 – Coleman Hawkins’ All Stars - Coleman Hawkins with Joe Thomas and Vic Dickenson [1960] You Blew Out the Flame/More Bounce to the Vonce/I’m Beginning to See the Light/Cool Blue/Some Stretching SVLP 2006 - The Happy Jazz of Rex Stewart - Rex Stewart [1960] Red Ribbon/If I Could Be with You/Four or Five Times/Rasputin/Please Don’t Talk About me When I’m Gon/San/You Can Depend on Me/I Would Do Most Anything For You/Tell Me/Nagasaki SVLP 2007 - Buck Jumpin' - Al Casey [1960] Buck Jumpin’/Casey’s Blues/Don’t Blame Me/Ain’t Misbehavin’/Honeysuckle Rose/Body & Soul/Rosetta SVLP 2008 - Swingin' with Pee Wee - Pee Wee Russell [1960] What Can I Say Dear/Midnight Blue/Very Thought of You/Lulu’s Back in Town/I Would Do Most Anything For You/Wrap Your Troubles in Dreams/Englewood SVLP 2009 - Yes Indeed! - Claude Hopkins [1960] It Don’t Mean a Thing/Willow Weep For Me/Yes Indeed/Is It So/Empty Bed Blues/What Is This Thing Called Love/Morning Glory SVLP 2010 – Rockin’ in Rhythm - Swingville All Stars (Al Sears, T. -
Flight of the Foo Birds Full Score
Jazz Lines Publications Presents flight of the foo birds recorded by count basie Arranged by neal hefti Prepared by Dylan Canterbury, Rob DuBoff, and Jeffrey Sultanof full score JLP-8012 Music by Neal Hefti Copyright © 1959 (Renewed) WB MUSIC CORP. This Arrangement © 2017 WB MUSIC CORP. All Rights Reserved Used by Permission of ALFRED MUSIC Logos, Graphics, and Layout Copyright © 2017 The Jazz Lines Foundation Inc. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA count basie series flight of the foo birds (1957) Background: The 1950s were a particularly productive era for William “Count” Basie. After a period of musical and financial uncertainty in the late 1940s, his reformed big band (known informally as the New Testament band) put out a number of recordings that would achieve tremendous levels of critical and commercial acclaim. This version of the band contained not just a stable of legendary instrumental soloists, but also a book of charts from what may be the best catalog of arrangers in jazz history. Even amidst the band’s high standards, Neal Hefti’s Flight Of The Foo Birds has emerged over time as one of the most popular and well-loved of the Basie band’s prolific output due to its infectious melody, memorable solo performances, and brilliantly exciting shout chorus. The Music: The melody is initially stated in unison by a trademark Hefti sound: two trumpets in cup mutes, two trumpets in harmon mutes with stems in. -
Sloane on Sloane:2019
“SLOANE ON SLOANE” "At the suggestion of a trusted advisor, I have agreed to provide a brief description of some of my recordings. Full details about these recordings can be found at the Carol Sloane discography at JazzDiscography.com”. Thanks for listening. OUT OF THE BLUE This is my first release for Columbia Records in the fall of 1961, a contract that came as a direct result of my appearance at The Newport Jazz Festival that year. The arrangements were written by legendary Bill Finegan of the Sauter- Finegan Orchestra and the band was comprised of equally famous musicians such as Clark Terry and Bob Brookmeyer. To say I was quaking in my 21-year old boots would be a major understatement. In this period, individual tracks from a recording were eligible for a Grammy Award. “My Ship” received a nomination in this category. SUBWAY TOKENS This recording is so very dear to my heart. It features my long-time friend Paul Montgomery who was not only a sympathetic accompanist, but also possessed the extraordinary mental capacity to retain hundreds of Great American Songbook titles tucked away in his little gray cells. Paul’s love of music inspired him to collect recordings at an early age, so The Music Room of his cozy home in Raleigh, NC featured floor to ceiling shelving for reel-to-reel and cassette tapes, hundreds of 78’s, LPs, EPs, and CDs. He knew every song I knew or ever hoped to sing. “Subway Tokens” gets its name from the location of this “live” recording, a jazz club on the underground level of a shopping mall in Raleigh, NC. -
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron. -
Rudy Van Gelder in Hackensack: Defining the Jazz Sound in the 1950S
Rudy Van Gelder in Hackensack: Defining the Jazz Sound in the 1950s By Dan Skea Introduction To many jazz aficionados, the name Rudy Van Gelder is virtually syn onymous with jazz recording. Still active today, this reclusive self-taught craftsman is by far the most prolific and accomplished sound engineer in the history of jazz, recording many of the music's most acclaimed albums. In a career that has now spanned half a century and has paralleled devel opments in both modern jazz and recording technology, Van Gelder has contributed to advances in both areas, simultaneously shaping and being shaped by these new developments. Although not a creator of new equipment or technology, Van Gelder has consistently positioned himself at the forefront of technological ad vances and been among the first to embrace and fully exploit innovations as they appeared. His ability to adapt each new technology effectively to the recording of jazz has been an important factor in capturing stylistic changes in the art form over the last fifty years. It can also be argued that his skill in making the music more sonically attractive helped record com panies sell more product, thus providing them with a financial incentive to carry on their activities. Greater record sales also increased audiences for modern jazz, while more widely disseminating important new musical developments. Van Gelder is perhaps most famous for his role in establishing what is commonly referred to as the "Blue Note Sound." Not long after they first began appearing in the early 1950s, his recordings for that label, distin guished by their warmth, clarity, and sonic precision, set a new standard for the sound of small group jazz on record, a standard against which al most all subsequent efforts were measured. -
Rare Butterfly Full Score
Jazz Lines Publications Presents rare butterfly recorded by count basie Arranged by frank foster full score JLP-7446 Music by Frank Foster Copyright © 1960 Swing That Music, Inc. International Copyright Secured All Rights Reserved Logos, Graphics, and Layout Copyright © 2016 The Jazz Lines Foundation Inc. This Arrangement Has Been Published with the Authorization of the Estate of Frank Foster. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA frank foster series rare butterfly (1960) One of the nice things about obtaining the Walrus Music Publishing catalog is the opportunity to re-examine and correct the music of major writers (ejazzlines/Jazz Lines Publications acquired Walrus in 2014). Frank Foster is certainly one of them, and I am particularly proud to have the opportunity, along with my esteemed colleague Rob DuBoff, to help get this music ‘right’ once and for all. Frank was a personal friend. I first met him when he was teaching at Queens College, where I was a music student in the early-mid 1970s. The college had no jazz department to speak of, although they had one or two people who taught jazz courses. Frank came in to lead the big band and to teach arranging, and I quickly became his assistant. He brought his wonderful music, his incredible talent, and his inspiring teaching ideas to us, and we couldn’t get enough. To hear him solo while we accompanied him was simply mind boggling. -
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 -
Chords & Notes
http://www.hinduonnet.com/thehindu/thscrip/print.pl?file=2003120600170300.htm&date=2003/12/06/&prd=mp& 11/05/2005 12:33 PM Date:06/12/2003 URL: http://www.thehindu.com/thehindu/mp/2003/12/06/stories/2003120600170300.htm Chennai Chords & Notes Count Basie: Atomic Swing - EMI/Virgin, CD, Rs. 400 LIKE HIS Jazz Profile, Atomic Swing draws upon Count Basie's archives from the time when this king of swing and his big band had weathered the storm of small group modern jazz in the 1940s and 1950s to come through alive and kicking. Recorded between 1957 and 1962, the 13 tracks here are short (about four minutes on an average) and most probably, catch the band in ballrooms rather than in studios or on concert platforms. As evidence, the inlay card bears a marvellous picture of a rapturous dancing couple with the man having thrown his partner over his head, holding her, horizontal in mid-flight, by her wrists! Basie and his band too are (figuratively) in full flight. The deceptive format of short pieces and light-hearted ambience does nothing to hide their consummate skill and creativity as one of the http://www.hinduonnet.com/thehindu/thscrip/print.pl?file=2003120600170300.htm&date=2003/12/06/&prd=mp& Page 1 of 3 http://www.hinduonnet.com/thehindu/thscrip/print.pl?file=2003120600170300.htm&date=2003/12/06/&prd=mp& 11/05/2005 12:33 PM greatest jazz bands of all time. For instance, on "9:20 Special", a hoary Basie favourite, there are terrific improvised solos on piano (Basie), alto saxophone (Frank Wess), tenor saxophone (Frank Foster), muted and open trumpet (Joe Newman), and piano again, interspersing the theme shared between trumpets, trombones, saxes, and piano, and all packed into under four minutes of relentless rhythm.