DOCSLIB.ORG

The Evolution of Ella Fitzgerald's Syllabic

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE EVOLUTION OF ELLA FITZGERALD’S SYLLABIC CHOICES IN SCAT SINGING: A CRITICAL ANALYSIS OF HER DECCA RECORDINGS, 1943-52 Justin G. Binek, B.A., B.S., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2017 APPROVED: Jennifer Barnes, Major Professor Richard Sparks, Committee Member John Murphy, Committee Member and Chair of the Division of Jazz Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Binek, Justin G. The Evolution of Ella Fitzgerald’s Syllabic Choices in Scat Singing: A Critical Analysis of Her Decca Recordings, 1943-1952. Doctor of Musical Arts (Performance), May 2017, 136 pp., 17 tables, 9 figures, 25 musical examples, discography, bibliography, 23 titles. This study examines the evolution of Ella Fitzgerald’s scat syllable vocabulary during a key developmental period in her career when she was recording for Decca Records. Between 1943 and 1952, Fitzgerald established the syllabic vocabulary that would serve as a defining characteristic of her improvisational style for the rest of her career. Fitzgerald is commonly praised as the greatest vocal improviser in jazz history, but while much has been written about Fitzgerald’s melodic and harmonic approach to jazz improvisation, little has been written about her syllabic approach. Timbre and articulation are considered to be vital elements of any jazz musician’s style; the study examines the changes in Ella Fitzgerald’s syllabic approach through transcription and analyses of thirteen scat solos recorded during this time period, using scat syllable choices to discuss timbre and articulation. This analysis provides a model for further research of its kind, as well as informing historically accurate performance practice by both teachers and students of jazz singing. Copyright 2017 by Justin G. Binek ii ACKNOWLEDGEMENTS Diana Spradling provided me with a remarkable opportunity in 2006 when she asked if I would write the section on improvisation for her groundbreaking 2008 book Jazz Singing: Developing Artistry and Authenticity. That project served as my first opportunity to pursue this kind of analytical research in jazz singing, an opportunity for which I remain immeasurably grateful. This dissertation is dedicated to her in appreciation for seventeen years of instruction, constructive criticism, mentorship, and friendship. Additionally, I need to acknowledge Fran Morris Rosman at the Ella Fitzgerald Charitable Foundation for her enthusiastic support of this research. I would like to thank the members of my DMA committee: Jennifer Barnes, Dr. Richard Sparks, and Dr. John Murphy. The three of you are remarkable people and educators, and I am grateful for your generosity, your wisdom, and your friendship. Special acknowledgement also needs to be given to Rosana Eckert for her service as a committee member on my three previous recitals, her infectious enthusiasm for teaching, and her extensive knowledge of vocal pedagogy for non-classical singers. I am grateful for the other faculty with whom I have had the pleasure of studying during my time at the University of North Texas, as well as my fellow doctoral students in jazz studies and the vocal jazz and choral conducting teaching fellows whom I am privileged to call my colleagues and friends. My parents, William and Georgia Binek, instilled a love of learning in me at an early age, and have continued to exuberantly support my musical passions throughout every stage of my career. Last, but certainly not least, I need to thank Claire Binek for agreeing to uproot our lives and move halfway across the country so I could pursue this degree. Her patience, love, support, and commitment to “us” know no boundaries. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS .................................................................................................................................... iii LIST OF TABLES..................................................................................................................................................... v LIST OF FIGURES .................................................................................................................................................. vi LIST OF TRANSCRIPTION EXAMPLES ........................................................................................................ vii CHAPTER 1. INTRODUCTION ........................................................................................................................... 1 Lack of Research into Scat Syllable Vocabulary .......................................................................... 3 Methodology and Importance of this Topic in Vocal Jazz Education ................................. 7 CHAPTER 2. OBSERVING THE EVOLUTION OF ELLA FITZGERALD’S SCAT SYLLABLE VOCABULARY THROUGH ANALYSIS OF RECORDED BACKGROUND FILLS ............................... 11 CHAPTER 3. “HOW HIGH THE MOON,” “OH, LADY BE GOOD,” AND THE SHIFT IN FITZGERALD’S SOLO APPROACH ................................................................................................................ 25 CHAPTER 4. “SMOOTH SAILING,” “AIRMAIL SPECIAL,” ROUGH RIDIN’,” AND “PREVIEW”: THE “VOCALIZED INSTRUMENTALS” AND THE REFINEMENT OF ELLA FITZGERALD’S IMPROVSATIONAL STYLE .............................................................................................................................. 36 CHAPTER 5. CONCLUSIONS DRAWN FROM TRANSCRIPTION AND ANALYSIS OF ELLA FITZGERALD’S RECORDED SCAT SOLOS BETWEEN 1943 AND 1952 .......................................... 52 CHAPTER 6. CONCLUSION: OPPORTUNITIES FOR FUTURE RESEARCH ..................................... 63 APPENDIX A. TRANSCRIPTIONS .................................................................................................................. 66 APPENDIX B. SYLLABIC ANALYSIS ........................................................................................................... 100 BIBLIOGRAPHY ................................................................................................................................................. 134 DISCOGRAPHY ................................................................................................................................................... 136 iv LIST OF TABLES Page Table 1. Syllabic Tallies and Syllable Groups in “Cow Cow Boogie” ............................................... 13 Table 2. Ella Fitzgerald Scat Syllable Choices in Background Fills, 1943-1945 ......................... 14 Table 3. Pre-1946 Syllable Groups .............................................................................................................. 15 Table 4. Syllabic Tallies and Syllable Groups in “Dream A Little Dream of Me” ........................ 17 Table 5. Syllabic Tallies and Syllable Groups in “Mr. Paganini” ....................................................... 20 Table 6. Ella Fitzgerald Scat Syllable Choices in Background Fills, 1949-1952 ......................... 22 Table 7. Comparison of Pre-War and Post-War Onset Syllables. .................................................... 24 Table 8. Syllable Groups and Onset Consonants in “Flying Home” ................................................. 27 Table 9. Syllabic Tallies and Syllable Groups in “How High the Moon” ........................................ 31 Table 10. Ella Fitzgerald Scat Syllable Choices in 1947 Recordings .............................................. 33 Table 11. Double-Time Syllabic Tallies and Syllable Groups in “Smooth Sailing” .................... 39 Table 12. Comparative Analysis of Syllabic Material in “Smooth Sailing” ................................... 41 Table 13. Syllabic Tallies and Syllable Groups in “Airmail Special” ............................................... 45 Table 14. Syllable Groups in “Rough Ridin’.” ........................................................................................... 48 Table 15. Syllable Groups in “Preview.” .................................................................................................... 51 Table 16. Double-Time/Bebop Syllabic Vocabulary Post-1947. ..................................................... 55 Table 17. Ella Fitzgerald Scat Syllable Choices in “Common Practice” Syllabic Set ................. 58 v LIST OF FIGURES Page Figure 1. Background scat fills, 1943-1955. ............................................................................................ 23 Figure 2. Background scat fills, 1949-1952. ............................................................................................ 23 Figure 3. Comparison of syllable groups in scat fills. ........................................................................... 24 Figure 4. Scat syllable choices following Gillespie tour. ..................................................................... 33 Figure 5. The shift in Ella Fitzgerald’s syllabic vocabulary between 1945 and 1947. ............ 54 Figure 6. Ella Fitzgerald’s bebop vocabulary, 1947-1952 .................................................................. 57 Figure 7. “Common practice” Ella Fitzgerald syllabic vocabulary. ................................................. 59 Figure 8. Syllabic groups by name and frequency. ................................................................................ 60 Figure 9. Syllabic onsets by name and frequency. ................................................................................
Recommended publications
  • Don Giovanni Sweeney Todd

    Don Giovanni Sweeney Todd

    FALL 2019 OPERA SEASON B R AVO Don Giovanni OCTOBER 19-27, 2019 Sweeney Todd NOVEMBER 16-24, 2019 2019 Fall Opera Season Sponsor e Katherine McGregor Dessert Parlor …at e Whitney. Named a er David Whitney’s daughter, Katherine Whitney McGregor, our intimate dessert parlor on the Mansion’s third oor features a variety of decadent cakes, tortes, and miniature desserts. e menu also includes chef-prepared specialties, pies, and “Drinkable Desserts.” Don’t miss the amazing aming dessert station featuring Bananas Foster and Cherries Jubilee. Reserve tonight’s table online at www.thewhitney.com or call 313-832-5700 4421 Woodward Ave., Detroit Pre- eater Menu Available on performance date with today’s ticket. Choose one from each course: FIRST COURSE Caesar Side Salad Chef’s Soup of the Day e Whitney Duet MAIN COURSE Grilled Lamb Chops Lake Superior White sh Pan Roasted “Brick” Chicken Sautéed Gnocchi View current menus DESSERT and reserve online at Chocolate Mousse or www.thewhitney.com Mixed Berry Sorbet with Fresh Berries or call 313-832-5700 $39.95 4421 Woodward Ave., Detroit e Katherine McGregor Dessert Parlor …at e Whitney. Named a er David Whitney’s daughter, Katherine Whitney McGregor, our intimate dessert parlor on the Mansion’s third oor features a variety of decadent cakes, tortes, and miniature desserts. e menu also includes chef-prepared specialties, pies, and “Drinkable Desserts.” Don’t miss the amazing aming dessert station featuring Bananas Foster and Cherries Jubilee. Reserve tonight’s table online at www.thewhitney.com or call 313-832-5700 4421 Woodward Ave., Detroit Pre- eater Menu Available on performance date with today’s ticket.
  • Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (Guest Post)*

    Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (Guest Post)*

    “Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (guest post)* Chano Pozo and Dizzy Gillespie The jazz standard “Manteca” was the product of a collaboration between Charles Birks “Dizzy” Gillespie and Cuban musician, composer and dancer Luciano (Chano) Pozo González. “Manteca” signified one of the beginning steps on the road from Afro-Cuban rhythms to Latin jazz. In the years leading up to 1940, Cuban rhythms and melodies migrated to the United States, while, simultaneously, the sounds of American jazz traveled across the Caribbean. Musicians and audiences acquainted themselves with each other’s musical idioms as they played and danced to rhumba, conga and big-band swing. Anthropologist, dancer and choreographer Katherine Dunham was instrumental in bringing several Cuban drummers who performed in authentic style with her dance troupe in New York in the mid-1940s. All this laid the groundwork for the fusion of jazz and Afro-Cuban music that was to occur in New York City in the 1940s, which brought in a completely new musical form to enthusiastic audiences of all kinds. This coming fusion was “in the air.” A brash young group of artists looking to push jazz in fresh directions began to experiment with a radical new approach. Often playing at speeds beyond the skills of most performers, the new sound, “bebop,” became the proving ground for young New York jazz musicians. One of them, “Dizzy” Gillespie, was destined to become a major force in the development of Afro-Cuban or Latin jazz. Gillespie was interested in the complex rhythms played by Cuban orchestras in New York, in particular the hot dance mixture of jazz with Afro-Cuban sounds presented in the early 1940s by Mario Bauzá and Machito’s Afrocubans Orchestra which included singer Graciela’s balmy ballads.
  • Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel

    Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel

    Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel Suhadolnik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Musicology) in the University of Michigan 2016 Doctoral Committee: Associate Professor Charles Hiroshi Garrett, Chair Professor David Ake, University of Miami Associate Professor Stephen Berrey Associate Professor Christi-Anne Castro Associate Professor Mark Clague © Sarah Ezekiel Suhadolnik 2016 DEDICATION To Jarvis P. Chuckles, an amalgamation of all those who made this project possible. ii ACKNOWLEDGEMENTS My dissertation was made possible by fellowship support conferred by the University of Michigan Rackham Graduate School and the University of Michigan Institute for the Humanities, as well as ample teaching opportunities provided by the Musicology Department and the Residential College. I am also grateful to my department, Rackham, the Institute, and the UM Sweetland Writing Center for supporting my work through various travel, research, and writing grants. This additional support financed much of the archival research for this project, provided for several national and international conference presentations, and allowed me to participate in the 2015 Rackham/Sweetland Writing Center Summer Dissertation Writing Institute. I also remain indebted to all those who helped me reach this point, including my supervisors at the Hatcher Graduate Library, the Music Library, the Children’s Center, and the Music of the United States of America Critical Edition Series. I thank them for their patience, assistance, and support at a critical moment in my graduate career. This project could not have been completed without the assistance of Bruce Boyd Raeburn and his staff at Tulane University’s William Ransom Hogan Jazz Archive of New Orleans Jazz, and the staff of the Historic New Orleans Collection.
  • Ho Li Day Se Asons and Va Ca Tions Fei Er Tag Und Be Triebs Fe Rien BEAR FAMILY Will Be on Christmas Ho Li Days from Vom 23

    Ho Li Day Se Asons and Va Ca Tions Fei Er Tag Und Be Triebs Fe Rien BEAR FAMILY Will Be on Christmas Ho Li Days from Vom 23

    Ho li day se asons and va ca tions Fei er tag und Be triebs fe rien BEAR FAMILY will be on Christmas ho li days from Vom 23. De zem ber bis zum 12. Ja nuar macht De cem ber 23rd to Ja nuary 12th. During that peri od BEAR FAMILY Weihnach tsfe rien. Bestel len Sie in die ser plea se send written orders only. The staff will be back Zeit bitte nur schriftlich. Ab dem 12. Janu ar 2004 sind ser ving you du ring our re gu lar bu si ness hours on Mon- wir wie der für Sie da. Bei die ser Ge le gen heit be dan ken day 12th, 2004. We would like to thank all our custo - wir uns für die gute Zusam menar beit im ver gange nen mers for their co-opera ti on in 2003. It has been a Jahr. plea su re wor king with you. BEAR FAMILY is wis hing you a Wir wünschen Ihnen ein fro hes Weih nachts- Merry Christmas and a Happy New Year. fest und ein glüc kliches neu es Jahr. COUNTRY...............................2 BEAT, 60s/70s.........................66 AMERICANA/ROOTS/ALT. ........................19 SURF ........................................73 OUTLAWS/SINGER-SONGWRITER ..................22 REVIVAL/NEO ROCKABILLY .......................75 WESTERN .....................................27 BRITISH R&R ...................................80 C&W SOUNDTRACKS............................28 INSTRUMENTAL R&R/BEAT ........................80 C&W SPECIAL COLLECTIONS ......................28 COUNTRY AUSTRALIA/NEW ZEALAND ...............29 POP ......................................82 COUNTRY DEUTSCHLAND/EUROPE .................30 POP INSTRUMENTAL ............................90
  • Guide to Ella Fitzgerald Papers

    Guide to Ella Fitzgerald Papers

    Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996.................................................................
  • Number 101 • Winter 2003

    Number 101 • Winter 2003

    Newsletter Association For Recorded Sound Collections Number 101 • Winter 2003 th Philadelphia Hosts 37 ARSC Conference Events th The 37 annual ARSC conference will be held in Philadelphia, on the May 28-31, 2003. 37th Annual ARSC campus of the University of Pennsylvania, May 28-31, 2003. Founded by Conference, Philadelphia, PA. Benjamin Franklin in 1749, the University offered the nation’s first modern http://www.library.upenn.edu/ARSC/ liberal arts curriculum and now supports 4 undergraduate and 12 graduate and professional schools with a total enrollment of over 22,000 students. March 22-25, 2003. 114th 2003 AES Conven- Conference sessions will be held in Houston Hall, located in the center of tion, Amsterdam, The Netherlands. campus. The country’s first student union, Houston Hall was built in 1894 http://www.aes.org/events/114/ and was recently re- April 27, 2003. Mechanical Music stored, opening in Extravaganza, Wayne, New Jersey. 2000 with new stu- http://www.antique-sound.com/MME/show.html dent lounges, reno- vated meeting space, May 23-25, 2003. 23rd International AES and a food court. Conference—Signal processing in audio re- The opening recep- cording and reproduction, Helsinger, Denmark. http://www.aes.org/events/23/ tion will be hosted by the University of June 19-25, 2003. ALA Annual Conference, Pennsylvania Librar- Toronto, Ontario. ies and will be held in http://www.ala.org/events/annual2003/ the Van Pelt-Dietrich Library Center’s June 14-15 28th, 2003. Annual Phonograph Kamin Gallery, where & Music Box Show and Sale, Union, Illinois. University of Pennsylvania Campus.
  • Sing It and Swing It ! Incorporating Vocal Jazz Into Your Choral Program Presented by April Tini MSVMA Summer Workshop 2018

    Sing It and Swing It ! Incorporating Vocal Jazz Into Your Choral Program Presented by April Tini MSVMA Summer Workshop 2018

    Sing It and Swing It ! Incorporating vocal jazz into your choral program Presented by April Tini MSVMA Summer Workshop 2018 ELEMENTS OF A SUCCESSFUL VOCAL JAZZ PROGRAM: The vocal ensemble - auditions, size of group, parts/voicing, sound, style Repertoire The rehearsal and preparation process The sound system The rhythm section The jazz soloist Improvisation Targeted Listening TODAY’S WORKSHOP DEMO VOCAL EXAMPLES: VJ Warmups, swing feel, straight tone, soloist, improv basics VOCAL JAZZ EVENTS AND EXPERTS THROUGHOUT THE STATE: • MDJW - Metro Detroit Jazz Workshop/Vocal Workshop - Detroit, July 2019; www.helpwithjazz.com or facebook page. Scott Gwinell, Director • Michigan Jazz Festival - July 2019, Schoolcraft College; 7 stages, live jazz, free • Detroit Jazz Festival - Labor Day Weekend, Downtown Detroit Rivefront • DJF Youth Vocal Competition - Detroit Jazz Festival Affiliation; for your soloists! • Detroit Music Hall - Regular Sunday night jam sessions, 6 PM, led by Scott Gwinell • Detroit Music Hall Educational Outreach Program - clinicians available to come to your school and offer workshops, masterclasses www.musichall.org • GCIVJF - Gold Company Invitational Vocal Jazz Festival, Greg Jasperse, director, March 2019, annually; exceptional vje experience for students and teachers • CLINICIANS to help your students (within our state): Duane Davis - Grand Rapids area Jed Scott - Grand Rapids, Grand Rapids Community College Greg Jasperes - Kalamazoo, WMU Gold Company Sunny Wilkinson - East Lansing area Scott Gwinell - Detroit area and
  • A Night in Tunisia (From Album “Legends Masterpieces)

    A Night in Tunisia (From Album “Legends Masterpieces)

    ANALISI DELLE FORME COMPOSITIVE di alcuni notissimi brani jazz di Avv. Valentina Grande 1) Sonny Rollins - St.Thomas (Original) (from album “The Prestige Years”) 2) Dizzy Gillespie feat. Charlie Parker - A Night In Tunisia (from album “Legends Masterpieces) 3) Miles Davis – Godchild (from album “Birth of the cool”) 1) Sonny Rollins - St.Thomas (Original) 1956 (from album “Saxophone Colossus”/“The Prestige Years”) St. Thomas è un brano strumentale scritto dal tenorsassofonista jazz Sonny Rollins, nel periodo dell’hard bop, nell’anno 1956, anno in cui ai musicisti del periodo fu data la possibilità di estendere la durata delle registrazioni oltre i fatidici tre minuti concessi dai supporti 78 giri, grazie all’innovazione giunta con l’introduzione del long playing in vinile a 33 giri. Nel leggendario studio di Rudy Van Gelder, niente altro che il salotto della sua abitazione ad Hackensack, New Jersey, il 22 giugno di quell’anno il produttore Bob Weinstock, creatore dell’etichetta discografica Prestige, organizzò una seduta di registrazione per il sassofonista Sonny Rollins e il suo quartetto. Il frutto del lavoro di quella giornata confluì nell’album “Saxophone Colossus”, opera che nei decenni a venire avrebbe cambiato la vita di molti sassofonisti più o meno in erba. L’eccezionale quartetto convocato per l’occasione era completato da Tommy Flanagan al pianoforte, Doug Watkins al contrabbasso e Max Roach alla batteria. Tra i brani registrati in quell’occasione, il più noto è sicuramente St. Thomas, passato alla storia come uno dei primi “calypso” registrati nell’ambito del jazz. La forma del brano, di sedici misure, è una sorta di AABC in miniatura, con sezioni di quattro misure.
  • Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy

    Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy

    Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A.
  • Gerry Mulligan Discography

    Gerry Mulligan Discography

    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
  • Lucky Drummer from NYC Jazz to Johnny Carson

    Lucky Drummer from NYC Jazz to Johnny Carson

    Lucky Drummer From NYC Jazz to Johnny Carson by Ed Shaughnessy with Robyn Flans © 2012 Ed Shaughnessy ISBN 978-1-888408-16-4 REBEATS PUBLICATIONS 219 Prospect, Alma, Michigan 48801 www.Rebeats.com Cover design, index, gear diagrams by Rob Cook Discography typing by Nancy Stringer Printed in the United States of America All rights for publication and distribution are reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retreival systems without publisher’s written consent. Where it’s at.... MY CHILDHOOD 1 Growing up in Jersey THE GOOD OL’ DAYS—THE STAGE-SHOW ERA 5 The Paramount, Strand, Capital, and Loew’s State theaters SUNDAY JAMS 7 Big name theater musicians jamming in small ballrooms THE TEEN YEARS 9 Timpani in the school orchestra, getting hooked up with frst teachers BILL WEST 11 More than a great teacher, a way to make the New York scene ANOTHER MENTOR 13 Mo Goldenberg and the mallets POST-HIGH SCHOOL 14 Getting a NYC room to establish residency DIDN’T MAKE THE CUT 14 Fired from my frst professional job– not for musical reasons BOBBY BYRNE AND THE BIG EASY 14 Working with the trombonist in New Orleans BACK HOME 15 Back to NYC with Jack Teagarden and George Shearing THE ’50s 16 Experimental music with Teddy Charles, Miles Davis WATCHING FROM THE BALCONY—WATCHA GONNA BRING? 16 Coming of age in New York City CHARLIE VENTURA 17 Introduction to touring by the bop saxmaster, zoot suit pants A STAR IS BORN 19 My frst endorsement deal THE TIME I DIDN’T 20
  • Jazz Quartess Songlist Pop, Motown & Blues

    Jazz Quartess Songlist Pop, Motown & Blues

    JAZZ QUARTESS SONGLIST POP, MOTOWN & BLUES One Hundred Years A Thousand Years Overjoyed Ain't No Mountain High Enough Runaround Ain’t That Peculiar Same Old Song Ain’t Too Proud To Beg Sexual Healing B.B. King Medley Signed, Sealed, Delivered Boogie On Reggae Woman Soul Man Build Me Up Buttercup Stop In The Name Of Love Chasing Cars Stormy Monday Clocks Summer In The City Could It Be I’m Fallin’ In Love? Superstition Cruisin’ Sweet Home Chicago Dancing In The Streets Tears Of A Clown Everlasting Love (This Will Be) Time After Time Get Ready Saturday in the Park Gimme One Reason Signed, Sealed, Delivered Green Onions The Scientist Groovin' Up On The Roof Heard It Through The Grapevine Under The Boardwalk Hey, Bartender The Way You Do The Things You Do Hold On, I'm Coming Viva La Vida How Sweet It Is Waste Hungry Like the Wolf What's Going On? Count on Me When Love Comes To Town Dancing in the Moonlight Workin’ My Way Back To You Every Breath You Take You’re All I Need . Every Little Thing She Does Is Magic You’ve Got a Friend Everything Fire and Rain CONTEMPORARY BALLADS Get Lucky A Simple Song Hey, Soul Sister After All How Sweet It Is All I Do Human Nature All My Life I Believe All In Love Is Fair I Can’t Help It All The Man I Need I Can't Help Myself Always & Forever I Feel Good Amazed I Was Made To Love Her And I Love Her I Saw Her Standing There Baby, Come To Me I Wish Back To One If I Ain’t Got You Beautiful In My Eyes If You Really Love Me Beauty And The Beast I’ll Be Around Because You Love Me I’ll Take You There Betcha By Golly