Benny Goodman
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April to June 1928
1 64- April 3, 1928 OKEH Okeh, New York FRANK TRUMBAUER AND HIS ORCHESTRA Bix Beiderbecke (c); Charlie Margulis (tp); Bill Rank (tb); Frank Trumbauer (Cms); Irving Friedman (cl/as); Chet Hazlett (as); Matty Malneck (vln); Lennie Hayton (p); Eddie Lang (g); Min Leibrook (bsx); Hal McDonald (dm); Irving Kaufman, under the name of ‘Noel Taylor’, (voc) : W 400188-A Our Bungalow Of Dreams (Malie-Newman-Verges) solos : Bix (8+20) – Kaufman, voc, with accordion or harmonium acc. (32) – Tram (16) – Bix (8). W 400189-B Lila (Gottler-Tobias-Pinkard) solos : Bix (2) – Kaufman, voc (32) – Bix (4+8) (leads 8) – Tram (1) – Bix (8). 65- April 10, 1928 OKEH Okeh, New York FRANK TRUMBAUER AND HIS ORCHESTRA Same personnel as previous session (64); Harold ‘Scrappy’ Lambert replaces Irving Kaufman (voc) : W 400603-B Borneo (Donaldson-arr : Bill Challis) solos : Lambert, voc (31) – Bix & Tram, chase chorus 2/2 (30). W 400604-B My Pet (Yellen-Ager-arr: Bill Challis) W 400604-C My Pet solos : Leibrook (2) – Rank (16) – Friedman, cl (16) – Bix (6) – Lambert, voc & Lang, g (31) – Leibrook (2) – Bix (2 last notes). 66- April 17, 1928 OKEH Okeh, New York BIX BEIDERBECKE AND HIS GANG Bix Beiderbecke (c); Bill Rank (tb); Irving Friedman (cl); Roy Bargy (p); Min Leibrook (bsx); Hal McDonald (dm, harophone): W 400616-B Somebody Stole My Gal (Wood) 2 solos : Friedman (16) – Bargy (16) – Bix (24) – Rank (16). W 400617-A Thou Swell 9-second test groove: Bargy, p & 3 voices: “Damn” – “I got it” – “Take it the last four”, this last voice being possibly Bix’s. -
Finding Aid for the Sheldon Harris Collection (MUM00682)
University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr. -
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120825bk Teagarden2 REV 29/3/06 8:46 PM Page 8 Track 14: John Fallstitch, Pokey Carriere, Sid Jack Lantz, trombones; Merton Smith, Vic Rosi, Feller, trumpets; Jack Teagarden, Jose Bob Derry, Bert Noah, Dave Jolley, saxes; Guttierez, Seymour Goldfinger, Joe Ferrall, Norma Teagarden, piano; Charles Gilruth, trombones; Danny Polo, clarinet, alto sax; Tony guitar; Lloyd Springer, bass; Frank Horrington, Antonelli, Joe Ferdinando, alto sax; Art Moore, drums Art Beck, tenor sax; Ernie Hughes, piano; Track 19: Charlie Teagarden, trumpet; Jack Arnold Fishkin, bass; Paul Collins, drums Teagarden, Moe Schneider, trombones; Matty Track 15: John Fallstitch, Pokey Carriere, Matlock, clarinet, tenor sax; Ray Sherman, Truman Quigley, trumpets; Jack Teagarden, piano; Bill Newman, guitar, banjo; Morty Corb, Jose Guttierez, Seymour Goldfinger, Joe Ferrall, bass; Ben Pollack, drums trombones; Danny Polo, clarinet, alto sax; Tony Track 20: Charlie Teagarden, trumpet; Jack Antonelli, Joe Ferdinando, alto sax; Art Moore, Teagarden, trombone; Jay St. John, clarinet; Art Beck, tenor sax; Ernie Hughes, piano; Norma Teagarden, piano; Kass Malone, bass; Arnold Fishkin, bass; Paul Collins, drums Ray Bauduc, drums Track 16: John Fallstitch, Pokey Carriere, Truman Quigley, trumpets; Jack Teagarden, Also available ... Jose Guttierez, Seymour Goldfinger, Joe Ferrall, trombones; Danny Polo, clarinet, alto sax; Tony Antonelli, Joe Ferdinando, alto sax; Art Moore, Art Beck, tenor sax; Ernie Hughes, piano; Perry Botkin, guitar; Arnold Fishkin, bass; Paul Collins, drums Track -
Tommy Dorsey 1 9
Glenn Miller Archives TOMMY DORSEY 1 9 3 7 Prepared by: DENNIS M. SPRAGG CHRONOLOGY Part 1 - Chapter 3 Updated February 10, 2021 TABLE OF CONTENTS January 1937 ................................................................................................................. 3 February 1937 .............................................................................................................. 22 March 1937 .................................................................................................................. 34 April 1937 ..................................................................................................................... 53 May 1937 ...................................................................................................................... 68 June 1937 ..................................................................................................................... 85 July 1937 ...................................................................................................................... 95 August 1937 ............................................................................................................... 111 September 1937 ......................................................................................................... 122 October 1937 ............................................................................................................. 138 November 1937 ......................................................................................................... -
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. -
Guide to the Milt Gabler Papers
Guide to the Milt Gabler Papers NMAH.AC.0849 Paula Larich and Matthew Friedman 2004 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 .............................................................................................. 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Personal Correspondence, 1945-1993..................................................... 5 Series 2: Writings, 1938 - 1991............................................................................... 7 Series 3: Music Manuscripts and Sheet Music,, 1927-1981.................................. 10 Series 4: Personal Financial and Legal Records, 1947-2000............................... -
Totalitarian Dynamics, Colonial History, and Modernity: the US South After the Civil War
ADVERTIMENT. Lʼaccés als continguts dʼaquesta tesi doctoral i la seva utilització ha de respectar els drets de la persona autora. Pot ser utilitzada per a consulta o estudi personal, així com en activitats o materials dʼinvestigació i docència en els termes establerts a lʼart. 32 del Text Refós de la Llei de Propietat Intel·lectual (RDL 1/1996). Per altres utilitzacions es requereix lʼautorització prèvia i expressa de la persona autora. En qualsevol cas, en la utilització dels seus continguts caldrà indicar de forma clara el nom i cognoms de la persona autora i el títol de la tesi doctoral. No sʼautoritza la seva reproducció o altres formes dʼexplotació efectuades amb finalitats de lucre ni la seva comunicació pública des dʼun lloc aliè al servei TDX. Tampoc sʼautoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant als continguts de la tesi com als seus resums i índexs. ADVERTENCIA. El acceso a los contenidos de esta tesis doctoral y su utilización debe respetar los derechos de la persona autora. Puede ser utilizada para consulta o estudio personal, así como en actividades o materiales de investigación y docencia en los términos establecidos en el art. 32 del Texto Refundido de la Ley de Propiedad Intelectual (RDL 1/1996). Para otros usos se requiere la autorización previa y expresa de la persona autora. En cualquier caso, en la utilización de sus contenidos se deberá indicar de forma clara el nombre y apellidos de la persona autora y el título de la tesis doctoral. -
Weinstein, Madala Zoom Into Blue Ribbon Victory
Friday, December 6, 2013 Volume 86, Number 8 Daily Bulletin 86th Fall North American Bridge Championships [email protected] Editors: Brent Manley and Sue Munday Weinstein, Madala zoom into Blue Ribbon victory Steve Weinstein and Agustin Madala felt they had too many bidding misunderstandings in the third and fourth sessions of the Kaplan Blue Ribbon Pairs, so they knuckled down and talked things over for about half an hour before the two final sessions on Thursday. Whatever they said worked wonders, especially in the second final session, when the two posted a 68.47% game to win the event by more than a board Senior Mixed Pairs winners: Ginny and Jeff and a half on a top of 38. Schuett. Second place went to Bar Tarnovski and Dror Schuetts lose, then win Padon of Israel, with Mike Kamil and Martin Fleisher about 2.5 points behind them. Senior Mixed Pairs It’s been a good second half of the year for When they left the playing area on Thursday continued on page 13 Steve Weinstein and Agustin Madala. night, Jeff and Ginny Schuett were runners-up by the slimmest possible margin – 0.01 matchpoints. A couple of hours later, back in their hotel room, they Consistent play wins Mini-Blues continued on page 19 Busy man has his eye Harjinder Ajmani and Suman Agarwal attribute “good steady play.” their win in the 0-5000 Mini-Blue Ribbon Pairs to “All of our sessions were in the 60% range on Super Seniors V except one,” said Ajmani. “We were trailing every Ed Lazarus day, but we stayed near the top and got enough likes to stay busy. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
THE CONTRACT BRIDGE JOURNAL Edited by M
MODERN · CONTRACT BRIDGE ,._ .. ONE PAGE GUIDE TO BIDDING " ..• -.;.• (with explanations and examples) by the well known expert, Jordanis Pavlides This condensed booklet enables partners to intervalue their hands, carry on biddin& and stop at the right contract. In the words ol Mr. Harrison-Gray in this Journal :--- "It introduces within 20 pages THE SYSTEM THE EXPERTS PLAY and what· may be described as . p • 2 '6 STANDARD BRITISH BRIDGE" riCe J Dispatch and Postote 3d. From Bookstalls and Booksellers, i( not in stock (rom GAMES PUBLICATIONS Ltd., Creechurch House ReteX giv~ a Creechurch Lone, London, E.C.J, Tel.: Avenue 5~74 ·new and lasting lustre· to silks . and satins. and "A PERFECT MANICURE gives ,.,,,. ~,. ... ...-~.,.iiE~Si~firmness and bridge confidence. MARGARET r'esilience· to RAE, 117 Earls Court Road, S.W.5. Tel. Frobisher 4207. woollens. Specialists in permanent waving. Open Saturday afternoons." • ~HES AND AGENTS ~~At~RINCIPAL CENTRES p;, 17 CHAS. BRADBURY CONDITIONS OF SALE AND SUPPLY. This periodical Is sold subject the followln~: LIMITED to conditions: namely, that It shnll not, without 26 SACKVILLE ST., PICCADILLY the written consent of U1e publlshers llrst given, be lent, resold, hired out or otherwise LONDON, WI. dlspos~d of by way of Trnde except nt the . ··Phone- Reg, .fl/23-3995 full rctaU price of 2/6 ; nnd tbtlot It shall not be lent, resold, hired. out or otherwise disposed LOANS ARRANGED of In '. n mutllnted condition or In nny un With or without Security. authorised cover by wny of Trade ; or nlllxcd to or u pint of nny pubUentlon or ndvertlalne literary or plctorlnl muller whnt.loever • • ()JI,\.Nf,m OF ADUIII ~!!;S The copyright of this mugazine is vested in Priestley Studios Ltd. -
Download the TROMBONE of Benny Morton
1 The TROMBONE of HENRY STERLING MORTON “BENNY” Solographers: Jan Evensmo & Ola Rønnow Last update: March 11, 2020 2 Born: NYC. Jan. 31, 1907 Died: NYC. Dec. 28, 1985 Introduction: Benny Morton was the most elegant of the black trombone players of the swing era, his music always had great qualities, and he had only a very few competitors on his instrument. He certainly deserves to be remembered! Early history: Step-father was a violinist. Studied at Textile High School in New York and began ‘gigging’ with school friends. Spent several years on and off with Billy Fowler’s orchestra from 1924. With Fletcher Henderson (1926-28). With Chick Webb (1930-31), then rejoined Fletcher Henderson (March 1931). With Don Redman from 1932 until 1937, joined Count Basie in October 1937. Left Basie in January 1940 to join Joe Sullivan’s band at Café Society. With Teddy Wilson sextet from July 1940 until 1943, then worked in Edmond Hall’s sextet (ref. John Chilton: Who’s Who of Jazz). Message: My co-solographer Ola Rønnow is a professional bass trombone player in the orchestra of the Norwegian National Opera , as well as playing trombone in Christiania 12, a local swing orchestra with a repertoire from the twenties and thirties. He has contributed many of the comments, particularly those which show a profound knowledge of the instrument, and an insight which I can only admire. 3 BENNY MORTON SOLOGRAPHY FLETCHER HENDERSON & HIS ORCHESTRA NYC. May 14, 1926 Russell Smith, Joe Smith, Rex Stewart (tp), Benny Morton (tb), Buster Bailey, Don Redman (cl, as), Coleman Hawkins (cl, ts), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Ma rshall (dm). -
Primary Sources: an Examination of Ira Gitler's
PRIMARY SOURCES: AN EXAMINATION OF IRA GITLER’S SWING TO BOP AND ORAL HISTORY’S ROLE IN THE STORY OF BEBOP By CHRISTOPHER DENNISON A thesis submitted to the Graduate School-Newark Rutgers University, The State University of New Jersey In partial fulfillment of the requirements of Master of Arts M.A. Program in Jazz History and Research Written under the direction of Dr. Lewis Porter And approved by ___________________________ _____________________________ Newark, New Jersey May, 2015 ABSTRACT OF THE THESIS Primary Sources: An Examination of Ira Gitler’s Swing to Bop and Oral History’s Role in the Story of Bebop By CHRISTOPHER DENNISON Thesis director: Dr. Lewis Porter This study is a close reading of the influential Swing to Bop: An Oral History of the Transition of Jazz in the 1940s by Ira Gitler. The first section addresses the large role oral history plays in the dominant bebop narrative, the reasons the history of bebop has been constructed this way, and the issues that arise from allowing oral history to play such a large role in writing bebop’s history. The following chapters address specific instances from Gitler’s oral history and from the relevant recordings from this transitionary period of jazz, with musical transcription and analysis that elucidate the often vague words of the significant musicians. The aim of this study is to illustratethe smoothness of the transition from swing to bebop and to encourage a sense of skepticism in jazz historians’ consumption of oral history. ii Acknowledgments The biggest thanks go to Dr. Lewis Porter and Dr.