Musicians Union of Hollywood
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Art Tatum Art Tatum Mp3, Flac, Wma
Art Tatum Art Tatum mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Art Tatum Country: US Released: 1950 MP3 version RAR size: 1282 mb FLAC version RAR size: 1131 mb WMA version RAR size: 1773 mb Rating: 4.2 Votes: 491 Other Formats: DXD TTA MP2 RA ASF WMA MIDI Tracklist A1 I Cover The Waterfront A2 Dancing In The Dark A3 Aunt Hagar's Blues A4 Blue Skies B1 Nice Work If You Can Get It B2 Willow, Weep For Me B3 Dardanella B4 I Gotta Right To Sing The Blues Credits Illustration – WG* Piano – Art Tatum Other versions Category Artist Title (Format) Label Category Country Year H-216 Art Tatum Art Tatum (10") Capitol Records H-216 US 1950 LCA 216 Art Tatum Art Tatum (10") Telefunken Capitol LCA 216 Germany Unknown CCF 216 Art Tatum Art Tatum (3x7", Album) Capitol Records CCF 216 US 1950 T-216 Art Tatum Art Tatum (LP) Capitol Records T-216 Germany Unknown H-216 Art Tatum Art Tatum (10") Capitol Records H-216 Canada 1950 Related Music albums to Art Tatum by Art Tatum Art Tatum - This Is...Art Tatum The Art Tatum • Ben Webster Quartet Featuring Red Callender And Bill Douglass - The Art Tatum • Ben Webster Quartet Art Tatum - Art Tatum Discoveries Art Tatum - Capitol Jazz Classics Volume 3 - Art Tatum Solo Piano Art Tatum - The Complete Capitol Recordings Of Art Tatum Art Tatum - Tatum Is Art - Art Tatum Trio Art Tatum - All Star Tribute to Tatum Art Tatum - Gene Norman Presents Art Tatum at the Piano - Volume 1 Art Tatum - The Genius Of Art Tatum Vol. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation 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 Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
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”. -
CV Tech Copy
JEFF KAISER www.jeffkaiser.com EDUCATION ________________________________________________________________________________________ Ph.D., Music, Integrative Studies University of California San Diego, 2013 Fields of study: Media technology, ethnomusicology, critical studies, improvisation. Committee: David Borgo (Chair), Anthony Davis, Mark Dresser, Kevin Fellezs, Sarah Shun-lien Bynum. Dissertation Title: Improvising Technology: Configuring Identities and Interfaces in Contemporary Electro-Acoustic Music. M.M., Choral and Orchestral Conducting, Azusa Pacific University, Azusa, CA, 1987 B.A., Music Composition, Westmont College, Santa Barbara, CA, 1985 PROFESSIONAL ACTIVITIES, SKILLS AND CREATIVE WORK ____________________________________________________ Audio professional • Producer: As a music label owner and freelance consultant, I have overseen the production of hundreds of full- length music recordings and thousands of smaller projects that range from language education to sound-for- picture. I have been actively involved with all aspects of production, including: recording, mixing, mastering, audio restoration, graphic design, manufacturing, advertising, as well as physical and digital distribution. • Recording and mixing engineer: I have extensive knowledge of—and experience with—audio technology. This includes, but is not limited to: Pro Tools, Ableton Live, Digital Performer, Native Instruments Komplete Ultimate, Logic, DSP Quattro, Finale, Audacity, Reaper and third party plug-ins from companies such as Izotope, Waves and DMG -
Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N. -
PDF (V.57:1 September 30, 1955)
e CaliforniaTech Volume LVII Pasculena, California Friday, September 30, 1955 Number 1 Tech hosts world statesmen New freshmen return from Trustees name Hoffman, Douglas, Bunche three-day mountain retreat new members to visit campus as guests of Y to Tech staff Paul Hoffman, William O. Douglas, and Ralph Bunche are The presence of almost two hundred new faces among the to be guests at Caltech this year in a new "Leaders of Amer student body at the beginning of this week was the sign that New appointments to the fac ica" series announced recently by the Cal tech YMCA. Each ulty and research staff of the New Student Camp was over and the Class of 1959 was present of these very distinguished men will be on campus several days and ready to go to work. The annual outing at Camp Radford California Institute of Technol was held Thursday, Friday and Saturday. ogy, for this academic year have for addresses, talks to classes, and informal meetings Y(ith The freshman class contains ----------- been announced by the board of students and faculty. almost exactly 180 men, contrary trustees. Funds for these visits are fur· to rumors that had been heard Named as Senior Research nished by the Robert A. Milli earlier to the effect that too Juniors to hold Fellows are Toyoki Koga, engi Dr. Golston kan bequest to the YMCA. The many applicants had been ac neering; Herbert Rhinesmith, program was established to cepted. The ranks were swelled picnic at beach chemistry; John Seddon, aero bring outstanding men of the at camp by 17 transfer students nautics; and Lloyd S. -
UNIVERSITY of CALIFORNIA, SAN DIEGO Grassroots
UNIVERSITY OF CALIFORNIA, SAN DIEGO Grassroots Surrealism: The Culture of Opposition and the Crisis of Development in 1930s California A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Elizabeth E. Sine Committee in charge: Professor Luis Alvarez, Co-Chair Professor Daniel Widener, Co-Chair Professor Dayo F. Gore Professor David G. Gutiérrez Professor Sara Clarke Kaplan Professor Nancy H. Kwak Copyright Elizabeth E. Sine, 2014 All rights reserved. The Dissertation of Elizabeth E. Sine is approved, and it is accepted in quality and form for publication on microfilm and electronically: ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Co-Chair ________________________________________________________________________ Co-Chair University of California, San Diego 2014 iii DEDICATION For my grandma Eileen, mother Shelley, and Nicholas. iv “In some periods and circumstances, the given relationships, socially and politically, seem inert and fixed. Culture signifies the predictable and overpowering reproduction of what ‘is.’ It claims the verities of tradition and authorizes familiar futures from the repetitions of a naturalized past (‘what has always been the case’). -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
Newsletternewsletter March 2015
NEWSLETTERNEWSLETTER MARCH 2015 HOWARD ALDEN DIGITAL RELEASES NOT CURRENTLY AVAILABLE ON CD PCD-7053-DR PCD-7155-DR PCD-7025-DR BILL WATROUS BILL WATROUS DON FRIEDMAN CORONARY TROMBOSSA! ROARING BACK INTO JAZZ DANCING NEW YORK ACD-345-DR BCD-121-DR BCD-102-DR CASSANDRA WILSON ARMAND HUG & HIS JOHNNY WIGGS MOONGLOW NEW ORLEANS DIXIELANDERS PCD-7159-DR ACD-346-DR DANNY STILES & BILL WATROUS CLIFFF “UKELELE IKE” EDWARDS IN TANDEM INTO THE ’80s HOME ON THE RANGE AVAilable ON AMAZON, iTUNES, SPOTIFY... GHB JAZZ FOUNDATION 1206 Decatur Street New Orleans, LA 70116 phone: (504) 525-5000 fax: (504) 525-1776 email: [email protected] website: jazzology.com office manager: Lars Edegran assistant: Jamie Wight office hours: Mon-Fri 11am – 5pm entrance: 61 French Market Place newsletter editor: Paige VanVorst contributors: Jon Pult and Trevor Richards HOW TO ORDER Costs – U.S. and Foreign MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB JAZZ FOUNDATION. You will then receive your membership card by return mail or with your order. As a member of the Collector’s Club you will regularly receive our Jazzology Newsletter. Also you will be able to buy our products at a discounted price – CDs for $13.00, DVDs $24.95 and books $34.95. Membership continues as long as you order one selection per year. NON-MEMBERS For non-members our prices are – CDs $15.98, DVDs $29.95 and books $39.95. MAILING AND POSTAGE CHARGES DOMESTIC There is a flat rate of $3.00 regardless of the number of items ordered. -
STANLEY FRANK DANCE (K25-28) He Was Born on 15 September
STANLEY FRANK DANCE (K25-28) He was born on 15 September 1910 in Braintree, Essex. Records were apparently plentiful at Framlingham, so during his time there he was fortunate that the children of local record executives were also in attendance. This gave him the opportunity to hear almost anything that was at hand. By the time he left Framlingham, he and some friends were avid record collectors, going so far as to import titles from the United States that were unavailable in England. By the time of his death, he had been writing about jazz longer than anyone had. He had served as book editor of JazzTimes from 1980 until December 1998, and was still contributing book and record reviews to that publication. At the time of his death he was also still listed as a contributor to Jazz Journal International , where his column "Lightly And Politely" was a feature for many years. He also wrote for The New York Herald- Tribune, The Saturday Review Of Literature and Music Journal, among many other publications. He wrote a number of books : The Jazz Era (1961); The World of Duke Ellington (1970); The Night People with Dicky Wells (1971); The World of Swing (1974); The World of Earl Hines (1977); Duke Ellington in Person: An Intimate Memoir with Mercer Ellington (1978); The World of Count Basie (1980); and Those Swinging Years with Charlie Barnet (1984). When John Hammond began writing for The Gramophone in 1931 he turned everything upside down and Stanley began corresponding with Hammond and they met for the first time during Hammond's trip to England in 1935. -
JELLY ROLL MORTON's
1 The TENORSAX of WARDELL GRAY Solographers: Jan Evensmo & James Accardi Last update: June 8, 2014 2 Born: Oklahoma City, Oklahoma, Feb. 13, 1921 Died: Las Vegas, Nevada, May 25, 1955 Introduction: Wardell Gray was the natural candidate to transfer Lester Young’s tenorsax playing to the bebop era. His elegant artistry lasted only a few years, but he was one of the greatest! History: First musical studies on clarinet in Detroit where he attended Cass Tech. First engagements with Jimmy Raschel and Benny Carew. Joined Earl Hines in 1943 and stayed over two years with the band before settling on the West Coast. Came into prominence through his performances and recordings with the concert promoter Gene Norman and his playing in jam sessions with Dexter Gordon.; his famous recording with Gordon, “The Chase” (1947), resulted from these sessions as did an opportunity to record with Charlie Parker (1947). As a member of Benny Goodman’s small group WG was an important figure in Goodman’s first experiments with bop (1948). He moved to New York with Goodman and in 1948 worked at the Royal Roost, first with Count Basie, then with the resident band led by Tadd Dameron; he made recordings with both leaders. After playing with Goodman’s bigband (1948-49) and recording in Basie’s small group (1950-51), WG returned to freelance work on the West Coast and Las Vegas. He took part in many recorded jam sessions and also recorded with Louie Bellson in 1952-53). The circumstances around his untimely death (1955) is unclear (ref. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. MARIAN McPARTLAND NEA Jazz Master (2000) Interviewee: Marian McPartland (March 20, 1918 – August 20, 2013) Interviewer: James Williams (March 8, 1951- July 20, 2004) Date: January 3–4, 1997, and May 26, 1998 Repository: Archives Center, National Museum of American History Description: Transcript, 178 pp. WILLIAMS: Today is January 3rd, nineteen hundred and ninety-seven, and we’re in the home of Marian McPartland in Port Washington, New York. This is an interview for the Smithsonian Institute Jazz Oral History Program. My name is James Williams, and Matt Watson is our sound engineer. All right, Marian, thank you very much for participating in this project, and for the record . McPARTLAND: Delighted. WILLIAMS: Great. And, for the record, would you please state your given name, date of birth, and your place of birth. McPARTLAND: Oh, God!, you have to have that. That’s terrible. WILLIAMS: [laughs] McPARTLAND: Margaret Marian McPartland. March 20th, 1918. There. Just don’t spread it around. Oh, and place of birth. Slough, Buckinghamshire, England. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 WILLIAMS: OK, so I’d like to, as we get some of your information for early childhood and family history, I’d like to have for the record as well the name of your parents and siblings and name, the number of siblings for that matter, and your location within the family chronologically. Let’s start with the names of your parents.