Works Cited Baldwin, Davarian L.. Chicago's New Negroes: Modernity

Total Page：16

File Type：pdf, Size：1020Kb

Works Cited Baldwin, Davarian L.. Chicago's new Negroes: modernity, the great migration, & Black urban life. Chapel Hill: University of North Carolina Press, 2007. Print. The excitement of Lil Armstrong traveling to Chicago and what she expected/other women did when going there is described in this book. It explains how she was attracted and mesmerized by the “magic” that happened there.” The book not only has perspectives of Armstrong, but other black women entertainers that I can use to compare to. Dickerson, James. Just for a thrill: Lil Hardin Armstrong, first lady of jazz. New York: Cooper Square Press ;, 2002. Print. This book contains the history from her childhood in Memphis with a mother who beat her for playing 'the devil's music,' to her death onstage during a memorial jazz concert for Louis in 1971. For my project it gives a good description of Lil Hardin Armstrong and what she did throughout her life. I can also use her experiences to see how it influenced her style of music and some songs that she made/played. Kenney, William Howland. Chicago jazz a cultural history, 1904-1930. New York: Oxford University Press, 1993. Print. The book also talks about migrants like Lil’ Hardin Armstrong, who traveled up North, and her impression and fascination of Chicago. The book also gives information that will aid me in finding out about what happened with Dreamland with her husband at the time, Louis Armstrong. Rustin, Nichole T., and Sherrie Tucker. Big ears: listening for gender in jazz studies. Durham: Duke University Press, 2008. Print. Various scholars and authors came together to approach the question of gender in jazz from multiple perspectives in this book. The importance of Lil Hardin Armstrong as well as other women in Jazz was portrayed as well as comparisons between Armstrong and Austin. This will aid me in knowing what role women, specifically Armstrong, had in the Jazz age as a writer and musician. Shaw, Arnold, and Arnold Shaw. The jazz age: popular music in the 1920's. New York: Oxford University Press, 1987. Print. The male dominated craft of songwriting in the twenties is discussed in this book and also how women started to come into Jazz. They start with Mabel Wayne, the first female songwriter and goes on from there. I could use these examples of female songwriter that came before Armstrong to see if they had any influence or had similar traits to Lil Armstrong’s songs. -Roberto Molina .

Copy Link

Recommended publications

The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 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]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph 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 Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr.
[Show full text]
William Russell Collection
MSS 506 Interviews with Musicians about Jelly Roll Morton 1938-1991 Bulk dates 1968-1970 Extent: 487 items This collection, a part of the larger William Russell Collection, consists of typed interviews about the jazz composer, pianist, and conductor Ferdinand “Jelly Roll” Morton (1885?-1941) and of other material which Russell collected for an intended book about Morton. The title of the collection derives from Russell‟s own descriptive phrase on folders and other packing material. However, the interviews were conducted not only with musicians, but also with others who could shed some light on Morton‟s story, including Frances M. Oliver (folder #118), Morton‟s sister; Joseph Fogarty (folder #54), grandson of Judge John J. Fogarty, who is mentioned in a Morton song; two retired vaudeville performers known as Mack and Mack (folder #108); Morton‟s one- time manager Harrison Smith (folder #174); and many others. Also in this collection are a few letters (folder #157, for instance), many of Jelly Roll‟s own autobiographical writings (folder #104), and several clippings, including an important obituary of Roy Carew (folder #87). The few photographs (none of Morton) are generally those mentioned in the accompanying interview article, and were probably intended as illustrations. Russell also collected the output of other people‟s research. John Steiner‟s chronology, “Jelly Roll in The Chicago Defender” (folders 183-185) and the beginning of Dave Stuart‟s book about his own friendship with Morton (folders 187-191) are examples of these. This material served as the basis for William Russell‟s book “Oh Mister Jelly!”: A Jelly Roll Morton Scrapbook.
[Show full text]
Dissertation Introduction
Copyright by Kyle Stewart Barnett 2006 The Dissertation Committee for Kyle Stewart Barnett certifies that this is the approved version of the following dissertation: Cultural Production and Genre Formation in the U.S. Recording Industry, 1920-1935 Committee: Thomas Schatz, Supervisor James Buhler John D.H. Downing James Hay Mary Celeste Kearney S. Craig Watkins ii Cultural Production and Genre Formation in the U.S. Recording Industry, 1920-1935 by Kyle Stewart Barnett, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August, 2006 iii To Lisa Most of the recordings issued throughout the twentieth century were never simply marketed to or purchased by a huge undifferentiated ‘mass’ audience. Instead, the industry has, since its formation, sold music to the fans of particular styles, through a variety of changing labels…. In addition the recording industry has employed various legal and illegal, small-scale and team-based, marketing and promotional activities as a way of approaching consumers – practices which might well be labeled as ‘flexible.’ – Keith Negus, “Music Divisions: The Recording Industry and the Social Mediation of Cultural Production,” When the music business gets involved in promoting a style of music, it typically adopts colloquial terms that are verbs or adjectives and turns them into nouns – that is, into things, marketable objects that can be promoted, sold, and bought by a mass audience. – Larry Starr and Christopher Waterman, American Popular Music from Minstrelsy to MTV iv Acknowledgements I have relied on the help of many friends and colleagues in completing this project.
[Show full text]
A Feminist Perspective on New Orleans Jazzwomen
A FEMINIST PERSPECTIVE ON NEW ORLEANS JAZZWOMEN Sherrie Tucker Principal Investigator Submitted by Center for Research University of Kansas 2385 Irving Hill Road Lawrence, KS 66045-7563 September 30, 2004 In Partial Fulfillment of #P5705010381 Submitted to New Orleans Jazz National Historical Park National Park Service 419 Rue Decatur New Orleans, LA 70130 This is a study of women in New Orleans jazz, contracted by the National Park Service, completed between 2001 and 2004. Women have participated in numerous ways, and in a variety of complex cultural contexts, throughout the history of jazz in New Orleans. While we do see traces of women’s participation in extant New Orleans jazz histories, we seldom see women presented as central to jazz culture. Therefore, they tend to appear to occupy minor or supporting roles, if they appear at all. This Research Study uses a feminist perspective to increase our knowledge of women and gender in New Orleans jazz history, roughly between 1880 and 1980, with an emphasis on the earlier years. A Feminist Perspective on New Orleans Jazzwomen: A NOJNHP Research Study by Sherrie Tucker, University of Kansas New Orleans Jazz National Historical Park Research Study A Feminist Perspective on New Orleans Jazz Women Sherrie Tucker, University of Kansas September 30, 2004 Table of Contents Acknowledgments ................................................................................................ iii Introduction ...........................................................................................................1
[Show full text]
Resources for the “All Are Welcome” Feast of St. Gertrude
Resources for the “All Are Welcome” Feast of St. Gertrude Celebration Featuring the Works of Florence Price, Margaret Bonds, and Lil Hardin Armstrong, African-American Composers from Chicago Additional Reading The Heart of a Woman: The life and Music of Florence B Price by Rae Linda Brown, University of Illinois Press, 2020 From Spirituals to Symphonies, African-American Women Composers and Their Music by Helen Walker-Hill The Music of Black Americans by Eileen Southern The Pandora Guide to Women Composers by Sophie Fuller Just for a Thrill Lil Hardin Armstrong, First Lady of Jazz by James L. Dickerson And They All Sang by Studs Terkel Stormy Weather the Music and Lives of a Century of Jazzwomen by Linda Dahl Jazz Women at the Keyboard by Mary Unterbrink Chicago Jazz: A Cultural History, 1904-1930 by William Howland Kenney Swing Shift “all-Girl Bands of the 1940s by Sherrie Tucker Florence Price: Published Music & Recordings Sonata in E Minor for Piano, G. Schirmer Black Women Composers, A Century of Piano Music (1893-1990), Hildegard Publishing Company Piano Music of Africa and the African Diaspora, vol. 2,3 Art Songs and Spirituals by African-American Women Composers, Hildegard Publishing Co. The Caged Bird: The life and music of Florence B. Price, DVD 1993 Black Diamonds, Althea Waite, pianist; Cambria CD 1097 Kaleidoscope, Helen Walker-Hill, pianist; Leonardo LE 339 2006 Soulscapes, Maria Corley, pianist; Albany Records TROY 857 2011 Concerto in One Movement and Symphony in E Minor, New Black Repertory Ensemble with Leslie Dunner, conductor, and Karen Walwyn, pianist; Albany Records TROY 1295 YouTube Links to Florence Price Recordings • My Soul’s Been Anchored in the Lord https://www.youtube.com/watch?v=5IaboA_vTss • At the Feet o’ Jesus https://www.youtube.com/watch?v=jipRYvU8b0g • Song to the Dark Virgin https://www.youtube.com/watch?v=TFKVumAkdCw • Symphony in E Minor, First Mvt.
[Show full text]
Teaching Jazz As American Culture Lesson Plans
TEACHING JAZZ AS AMERICAN CULTURE LESSON PLANS NEH SUMMER INSTITUTE The Center for the Humanities Washington University in St. Louis July 2-27, 2007 contents Foreword ……………………………………………………………………………… iv Gerald Early, Merle Kling Professor of Modern Letters, Department of English iv Director, The Center for the Humanities Jazz and Biography ………………………………………………………………… 1 Robert Edwards, Annie Joly, Frank Kovarik, Alice Lee, and Gerry Liebmann Jazz and Fiction ……………………………………………………………………… 21 Ken Froehlich, T. J. Gillespie, Judith Nador, Melissa Papianou, and Elizabeth Patterson Jazz and Gender …………………………………………………………………… 45 Amy Dilts, Aimee Hendrix, Hope Rias, and Franklin Webster Jazz and Race ………………………………………………………………………… 59 Robert Evans, Allen Stith, Herbert West, and Keith Westbrook Jazz and the Urban Landscape …………………………………………………… 72 Monica Freese, John Gornell, Patrick Harris, Mark Halperin, and Jerome Love Jazz and the Visual Imagination …………………………………………………… 85 Judy Gregorc, Rob Matlock, Martha Jewell Meeker, Ellen Rennard, Laura Rochette, and Larissa Young iii foreword Teaching Jazz as American Culture and as an attractive form of identity for young people. But jazz also represents a markedly different story Now, a word or two before you go. I must make from, say, country and western, rock and roll, rhythm clear to you once again why we were all here and what and blues, hip hop and rap. None of these forms of we all tried to accomplish in these last four weeks. It music has so dramatically lost its popularity and none was never my intention to encourage you to make your has become a conservatory music. It is the ways in students fans of jazz. It was never even my intention which jazz serves as a paradigm for the formation of to make any of you jazz fans who were not inclined to mass taste and the ways in which it is not a paradigm, be so.
[Show full text]
Tia Fuller: Women in Jazz Schooltime Performance Series
teacher resource guide schooltime performance series tia fuller: women in jazz about the about tia fuller’s performance tia fuller soul experience “ As a Black woman, I recognize Tia Fuller is an acclaimed and in-demand saxophonist, The filmSoul , which was released in December 2020 by seeing the trailers, I saw the character shift to a darker- recording artist, composer and bandleader who was Pixar Studios, is a heartwarming movie about Joe Gardner, skinned mid-sized Black woman, with mid-length curly hair that I am standing on the shoulders recently featured in the Pixar animated movie Soul. a middle school teacher in New York City who is hoping for (how I had my hair at the time), playing an alto saxophone of those Black women who have Fuller plays jazz, R&B, pop music and other genres—all his big break in the professional jazz music scene. His big with a Vandoren mouthpiece and ligature. They were with creative bravado, precision and technique that have break comes in the form of Dorothea Williams and her jazz impeccable with details of all our body movements and quartet. Williams is an acclaimed jazz saxophonist who gives motions,” she said. come before—in history and in been honed on the world’s biggest stages. She teaches Gardner a chance to play the piano for a gig at a club when Fuller was first approached by Pixar representatives because ‘her-story’ of jazz music. Black full-time at the Berklee College of Music in Boston, but also one of her players couldn’t make it.
[Show full text]
Journey Through Jazz
gram JAZZ PROMOTING AND NURTURING JAZZ IN CHICAGO FEBRUARY 2019 WWW.JAZZINCHICAGO.ORG JAZZCITY TRAVELS ON A “JOURNEY THROUGH JAZZ” TO CELEBRATE THE JAZZ INSTITUTE’S 50th ANNIVERSARY On March 16, 1969 the newly formed Jazz Institute Leftridge, trumpeter Constantine Alexander (heard last of Chicago (JIC) presented its first concert at the Field year with Chucho Valdes at JazzCity’s Latin Jazz Festival), Museum’s Simpson Auditorium. Remarkably, not only guitarist Jackson Shepard, bassist Kurt Shelby (an alumni was the 1,150 capacity theater sold out, but newspaper of the JIC’s Jazz Links education program), drummer accounts report that at least 2000 people were turned away Samuel Jewell and pianist Julius Tucker (featured at the from what was billed as a “Journey through Jazz”. The 2018 Chicago Jazz Festival’s Rooftop Jazz stage) will let concert featured JIC co-founders Franz Jackson, Art Hodes us know what the present generation has up their sleeves. and Richard Abrams along with Lil Hardin Armstrong, Bunky Green, Art Hoyle and bluesman J.B. Hutto. The 2019 JAZZ CITY FULL SEASON SCHEDULE program traced the origins of the music from field hollers Please Note: Artists and venues may be subject to change. All concerts begin to the fresh new experiments of the Association for the at 7pm and are family friendly and free unless otherwise noted! Advancement of Creative Musicians (AACM). As writer FEBRUARY 8: NEXTGENJAZZ SUMMIT @Theater on the Lake Larry Kart described it “Here were musicians of many 2401 N. Lake Shore Drive eras finding a common ground. And that is what The Jazz Under the direction of saxophonist and educator Jarrard Harris the season Institute is all about”.
[Show full text]
The Twenties and Louis Armstrong a Thesis Submitted to the Faculty of Atlanta University in Partial Fulfillment of The
JAZZ: THE TWENTIES AND LOUIS ARMSTRONG A THESIS SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTERS OF ARTS BY LETA HENDRICKS DEPARTMENT OF AFRO-AMERICAN STUDIES ATLANTA, GEORGIA MAY, 1979 TABLE OF CONTENTS Page INTRODUCTION 1 Chapter I. THE TWENTIES 3 II. JAZZ BACKGROUND 17 III. LOUIS ARMSTRONG 54 SELECTED BIBLIOGRAPHY 83 SELECTED DISCOGRAPHY 93 INTRODUCTION Louis Armstrong has been one of the most important figures in jazz history. Armstrong helped change the sound and form of jazz. Traditionally the rugged and mordant cor¬ net had been the number one horn in jazz. In the late twenties, Louis changed to the fuller and brilliant sounding trumpet. The trumpet soon became the number one horn in jazz. He played his horn like no other musician before him. Armstrong's voicing and rhythm was almost flawless. He used a vocal technique for his horn and an instrumental technique for his singing. Armstrong's lung power and extraordinary lip muscles made him the King of Jazz. Louis Armstrong became the culture hero of Blacks during the twenties and thirties. Musicians and fans alike copied his speech, dress, and mannerisms. Arm¬ strong had as much impact on his culture as did White society on him. To understand the growth of Louis Armstrong there must be an understanding of the forces and events that shaped him and jazz during the twenties. Jazz, more than any other music, has been influenced by non-musical forces and events. Two of the main influences on jazz have been race and business.
[Show full text]
A Joyful Celebration of Three Chicago Legends!
gram JAZZ PROMOTING AND NURTURING JAZZ IN CHICAGO MARCH 2019 WWW.JAZZINCHICAGO.ORG A JOYFUL CELEBRATION OF THREE CHICAGO LEGENDS! JAZZCITY 2019: A JOURNEY THROUGH JAZZ – WOMEN OF CHICAGO JAZZ MARCH 8 AT 7 PM Garfield Park Conservatory | 300 N. Central Park Ave. Earma Thompson, Lil Hardin Armstrong, Dorothy Donegan WHAT A TIME THIS IS FOR WOMEN IN JAZZ! kept secret until late in life. Having retired from an The battle for equality continues, but having had to fight active career to raise her son, she didn't release her so long for every opportunity and scrap of recognition, first album as a leader until she was 81. women are finally being acknowledged for their The concert is also dedicated to two women who contributions and heard on their own terms – and not as have made mighty contributions to Chicago jazz through "female jazz artists," but artists who transcend gender. thick and thin: former Chicago Tribune jazz critic Harriet And yet, even as jazz memorializes and elevates male Choice and former Symphony Center and Ravinia Festival legends such as Bird, Duke and Monk, pioneering women jazz programmer Penny Tyler, co-founders of the Jazz such as Lil Hardin Armstrong, Mary Lou Williams and Institute of Chicago. Melba Liston remain unsung and under-appreciated. That, Pickens has had a distinguished career as both a too, is changing. musician and educator. Her dual piano performances On March 8 at Garfield Park Conservatory, two with her late, great father Willie Pickens were much gifted pianists – the veteran Bethany Pickens and the up prized.
[Show full text]
The Gender of Jazz. Contextualizing All-Girl Jazz Bands of World War Ii
THE GENDER OF JAZZ. CONTEXTUALIZING ALL-GIRL JAZZ BANDS OF WORLD WAR II. by JORDAN KEEGAN (Under the Direction of Stephen Valdez) ABSTRACT This thesis combines the research of Jill Sullivan and Sherrie Tucker to explore the full impact of all-girl civilian and military bands of World War II. History books promote Benny Goodman, Glenn Miller, Duke Ellington, and Fletcher Henderson as the leaders of swing music. In reality, all-female groups such as Ina Ray Hutton and Her Melodears, the International Sweethearts of Rhythm, and Ada Leonard’s All-American Girls, among the other multitudes of all-girl bands, regularly performed swing music. The women of swing are frequently ignored by scholars, creating an absence of women’s history within not only this musical style but also the genre of jazz. Recently, however, scholars such as Sherrie Tucker and Jill Sullivan have contributed to a new field of study: gender studies in jazz music. This thesis continues the conversation in an emerging field of study and contextualizes the impact of all-girl jazz bands during World War II. INDEX WORDS: All-Girl jazz bands; All-Girl military bands; World War II; Great Depression; swing music; Anna Mae Winburn; International Sweethearts of Rhythm; Ada Leonard’s All-American Girls; and Thelma White’s All- Girl Orchestra. THE GENDER OF JAZZ. CONTEXTUALIZING ALL-GIRL JAZZ BANDS OF WORLD WAR II. by JORDAN KEEGAN BA, Emory University, 2011 BA, Emory University, 2011 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2016 © 2016 Jordan Keegan All Rights Reserved THE GENDER OF JAZZ.
[Show full text]
"Lil" Hardin Armstrong (1898-1971)
Tennessee State University Digital Scholarship @ Tennessee State University Nashville Conference on African American History and Culture University Archives 2017 Lillian "Lil" Hardin Armstrong (1898-1971) K. T. Ewing Follow this and additional works at: https://digitalscholarship.tnstate.edu/conference-on-african- american-history-and-culture Recommended Citation Ewing, K. T., "Lillian "Lil" Hardin Armstrong (1898-1971)" (2017). Nashville Conference on African American History and Culture. 16. https://digitalscholarship.tnstate.edu/conference-on-african-american-history-and-culture/16 This Article is brought to you for free and open access by the University Archives at Digital Scholarship @ Tennessee State University. It has been accepted for inclusion in Nashville Conference on African American History and Culture by an authorized administrator of Digital Scholarship @ Tennessee State University. For more information, please contact [email protected]. Profiles of A!iJCan AmenCans· in Tennessee Lillian "Lil" Hardin Armstrong (1898-1971) Acclaimed musician Li l Hardin Armstrong The Hooks School of Music was not Hardin's was born . in 1898 .to William and Dempsey only influence. Swirling,. strong, and pulsing Hardin in Memphis, Tennesse.e. ln the late. with rhythm, Beale Street . was a nexus of 1900s, Memphis was a city that flowed with black Memphis .. It' was home to everything the pace of the Mississippi River. Sometimes from legitimate commerce to illicit crime. It peaceful, at times turbulent, always in motion, served saints and sinners alike. Beale Street the Bluff City was home to a significant black was also the perfect place for mid population that grew larger after the Civil Southerners to listen to the growing blues War.
[Show full text]