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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. -
1 the Words December 2007 Over the Last 15 Years Or So I Have Been
Songbook version January 2008 The Words December 2007 Over the last 15 years or so I have been collecting lyrics to songs - mostly old-time country, bluegrass, cowboy, and old blues songs. I wanted to consolidate these lyrics into one big searchable file that I could use as a reference. I started with the Carter Family, Stanley Brothers, Flatt & Scruggs, Bill Monroe, and Uncle Dave Macon sections, which I had in separate documents, previously downloaded from the web over the last few years. I can’t remember where I got the Carter Family or Uncle Dave songs, but the rest were mostly from Bluegrasslyrics.com. I had the rest of the songs in a huge binder. Excluding those that were already in the existing sections, I searched the web for lyrics that were close to the version I had. Other useful websites: www.mudcat.org www.traditionalmusic.co.uk http://mywebpages.comcast.net/barb923/lyrics/i_C.htm www.cowboylyrics.com http://prewarblues.org/ (not so many lyrics, but a cool site) There is a rough Table of Contents at the start of the document, and a detailed Index at the end. I’d recommend using the Index if you are looking for something in particular, or use your search tool. (There is no reason why some of the song titles are in CAPS but they are mostly Carter Family songs). I haven’t been able to read every song, so there may be lyrics that are insensitive, especially in the Uncle Dave Macon section. I’m sorry if I missed them. -
Cashbox Pands in Publishing • • Atlantic Sees Confab Sales Peak** 1St Buddah Meet
' Commonwealth United’s 2-Part Blueprint: Buy Labels & Publishers ••• Massler Sets Unit For June 22 1968 Kiddie Film ™ ' Features * * * Artists Hit • * * Sound-A-Like Jingl Mercury Ex- iff CashBox pands In Publishing • • Atlantic Sees Confab Sales Peak** 1st Buddah Meet Equals ‘ Begins Pg. 51 RICHARD HARRIS: HE FOUND THE RECIPE Int’l. Section Take a great lyric with a strong beat. Add a voice and style with magic in it. Play it to the saturation level on good music stations Then if it’s really got it, the Top-40 play starts and it starts climbingthe singles charts and selling like a hit. And that’s exactly what Andy’s got with his new single.. «, HONEY Sweet Memories4-44527 ANDY WILLIAMS INCLUDING: THEME FROM "VALLEY OF ^ THE DOLLS" ^ BYTHETIME [A I GETTO PHOENIX ! SCARBOROUGH FAIR LOVE IS BLUE UP UPAND AWAY t THE IMPOSSIBLE * DREAM if His new album has all that Williams magic too. Andy Williams on COLUMBIA RECORDS® *Also available fn A-LikKafia 8-track stereo tape cartridges : VOL. XXIX—Number 47/June 22, 1968 Publication Office / 1780 Broadway, New York, New York 10019 / Telephone: JUdson 6-2640 / Cable Address: Cash Box. N. Y. GEORGE ALBERT President and Publisher MARTY OSTROW Vice President LEON SCHUSTER Treasurer IRV LICHTMAN Editor in Chief EDITORIAL TOM McENTEE Assoc. Editor DANIEL BOTTSTEIN JOHN KLEIN MARV GOODMAN EDITORIAL ASSISTANTS MIKE MARTUCCI When Tragedy Cries (hit ANTHONY LANZETTA ADVERTISING BERNIE BLAKE Director of Advertising ACCOUNT EXECUTIVES STAN SOIFER New York For 'Affirmative'Musif BILL STUPER New York HARVEY GELLER Hollywood WOODY HARDING Art Director COIN MACHINES & VENDING ED ADLUM General Manager BEN JONES Asst. -
Roots and Branches: a Resource of Native American Literature--Themes, Lessons, and Bibliographies
DOCUMENT RESUME ED 423 543 CS 216 508 AUTHOR Susag, Dorothea M. TITLE Roots and Branches: A Resource of Native American Literature--Themes, Lessons, and Bibliographies. INSTITUTION National Council of Teachers of English, Urbana, IL. ISBN ISBN-0-8141-4195-1 PUB DATE 1998-00-00 NOTE 327p.; Foreword by Joseph Bruchac. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 41951: $18.95 members, $25.95 nonmembers). PUB TYPE Books (010)-- Guides Classroom Teacher (052) Reference Materials Bibliographies (131) EDRS PRICE MF01/PC14 Plus Postage. DESCRIPTORS *American Indian Culture; *American Indian Literature; Annotated Bibliographies; Class Activities; Lesson Plans; Literary Genres; Secondary Education; *Stereotypes; Units of Study IDENTIFIERS *Native Americans ABSTRACT This resource book offers teachers an opportunity to learn and to teach about Native American literature in context. Starting with a discussion of themes, rationales, and subthemes, it moves to an examination of the historical and literary contexts that frame the literary work of Native peoples. Lessons, units, and activities in the book keyed to grade level offer practical support. Detailed annotated bibliographies direct the teacher to other resources--historical, cultural, and educational. Appendixes address geographical contexts, historical context, stereotypes, cultural and spiritual contexts; and list North Central regional publications and commercial resources. (RS) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. ******************************************************************************** fit.' 2 - 4v2.-"tr's U.S. DEPARTMENT Or EDUCATION Office ol Educahonai Researchand Improyemen I EDUCATIONAL RESOURCES INFORMATIOI ! CENTER (ERIC) .'.8117..trsdocument has been reproduced V.;I 'mewed from the person or organizahot onginating it. -
An Annotated Guide to Published Horn Warm-Up Routines, 1940-2015
An Annotated Guide to Published Horn Warm-Up Routines, 1940-2015 by William Alexander Manners A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2016 by the Graduate Supervisory Committee: John Ericson, Chair Deanna Swoboda James DeMars ARIZONA STATE UNIVERSITY May 2016 ABSTRACT This project examines over 40 publications consisting of published warm-ups, routines, and materials suitable for daily routines. The books were all written specifically for the horn and published between 1940 and 2015. They are split into periods of twenty years each during this timeframe: 1940-1959, 1960-1979, 1980-1999, and 2000-2015. Included are brief annotations for each of the books which consist of general biographical information on the author, a summary of the material presented in each routine including a breakdown of how much each author covers a set of defined components, and suggestions for which type of student would be best to utilize each routine through an assessment of its strengths. Trends are also examined within each time period that attempt to demonstrate the larger evolution within the project over the course of the entire 75-year period. i ACKNOWLEDGMENTS I would like to express my appreciation to several people who have had especially big impacts on my pursuit of this degree: my three primary horn teachers—Dr. John Ericson, for his help with compiling resources for this project and in advice and guidance throughout it; Professor Bernhard Scully, for taking my performance abilities to a totally new level; and Professor Patricia Mickey, for all she has taught me and her counsel over the last fifteen years. -
The Musical Life of Bob Cranshaw
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2020 We, Not Me: The Musical Life of Bob Cranshaw Seth Britton Lewis Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Lewis, Seth Britton, "We, Not Me: The Musical Life of Bob Cranshaw" (2020). Dissertations. 664. https://digscholarship.unco.edu/dissertations/664 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2020 SETH BRITTON LEWIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate SChool WE, NOT ME: THE MUSICAL LIFE OF BOB CRANSHAW A Dissertation Submitted in Partial Fulfillment Of the Requirements for the Degree of Doctor of Arts Seth Britton Lewis College of Performing and Visual Arts SChool of MusiC Jazz Studies May 2020 This Dissertation by: Seth Britton Lewis Entitled: We, Not Me: The Musical Life of Bob Cranshaw has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the SChool of MusiC, Program of Jazz Studies ACCepted by the Doctoral Committee _______________________________________________________ Erik Applegate M.M, Research Advisor _______________________________________________________ Jim White M.M., -
Violence in Jazz Novels
Drawn to the Slaughter: Violence in Jazz Novels H.L. Ianniello Doctorate of Philosophy Thesis University of Western Sydney Writing and Society Research Centre June, 2013 Volume 1 of 2 Acknowledgements I would firstly like to acknowledge the incredible support and teaching of my principal supervisor, Professor Hazel Smith at the Writing and Society Research Centre. I owe my greatest debt to Hazel who has provided me with continued and thorough feedback throughout the writing of both the critical and creative components. Her feedback has not only helped bring the work together as a whole, but has taught me much about writing, research and creative practice. I would also like to thank the cohort of co-supervisors who, individually and collectively, helped me define and develop many of the ideas throughout the thesis and novel: Associate Professor Anna Gibbs, Professor Nicholas Jose, Professor Michael Atherton, Dr Sabrina Achilles and Professor Roger Dean. In particular, I would like to give thanks to my husband, Marco Ianniello, whose emotional and intellectual support made this work possible, and his feedback on the novel was invaluable. In addition, I would like to thank other supportive and critical readers of my work: Deborah Beck, Jim Croke, James Croke and Tessa Lunney. iii Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. …………………………………………… Hannah Lucille Ianniello i CONTENTS Volume 1 Abstract ................................................................................................................