DOCSLIB.ORG

The Choo Choo Jazzers and Similar Groups: a Musical And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Choo Choo Jazzers and Similar Groups: a Musical And The Choo Choo Jazzers and Similar Groups: A Musical and Discographical Reappraisal, Part Three By Bob Hitchens, with revised discographical information compiled and edited by Mark Berresford Please see Part One (VJM 175) for index to abbreviations and reference sources. THREE MONKEY CHASERS Bob Fuller (cl) Louis Hooper (p) Elmer Snowden (bj) New York, October 16, 1925 141142-3 Uncle Remus Stomp (Fuller and Hooper) Har 50-H 141143-1 Montmarte Giggles [sic] (Spencer Williams) Har 50-H Rust, Kidd, LW: BF,LH,ES. The personnel is from the Columbia file cards. Rosa Henderson With The Three Jolly Miners Rosa Henderson (vcl) acc by: Bob Fuller (cl) Louis Hooper (p) Elmer Snowden (bj) New York, October 17, 1925 E-1511/2/3 An’ I Don't Mean If ! (De Leath) Voc A-15215 E-1514/5/6 You Can't Be Like My Last Man Was (Davis - Hooper) Voc B-15215 Rust: JF,BF,LH. B&GR, Kidd: BF,LH,ES. MB and I agree with the latter. MONETTE MOORE Monette Moore (vcl) acc by: Rex Stewart (cnt) Louis Hooper (p) New York, October 19, 1925 141153-3 Take It Easy (Overstreet and Davis) Col 14105-D 141154-3 Get It Fixed (Spencer Williams) Col 14105-D Rust, B&GR, Kidd, Bastin: RS,LH. Miley disco: RS. The personnel is taken from the file card. The Charleston Trio Bob Fuller (cl) Louis Hooper (p) Elmer Snowden (bj) New York, October 28, 1925 33824-1,2,3 Carolina Stomp (Rube Bloom) Vic unissued 33825-1,2,3 Ridiculous Blues (Fuller, Hooper) Vic unissued All three takes of each title were marked as ‘Destroy’. Rust: BF,LH,ES. Not mentioned by Kidd or LW. According to Louis Hooper (RR 77, June 1966), “We were only at Victor once. There was a slight feud going on between Joe Davis and Nat Shilkret who was the chief recorder there. Joe had managed to get an audition for us and for some inexplicable reason, Bob Fuller developed a case of the jitters. He muffed two or three important notes and we had had it for that day. Whether or not that played into the hands of Shilkret I don’t know… we were never permitted to do a re-make.” Three Jolly Miners Banjo - Piano - Clarinet Bob Fuller (cl) Louis Hooper (p) Elmer Snowden (bj) New York, October 29, 1925 E-1540/2 House Party Stomp (Waller) Voc A 15164 E-1543/5 Grand Opera Blues (Fuller - Hooper) Voc B 15164 Rust, Kidd, LW: BF,LH,ES. I have not heard these recordings (BH). Billy Higgins and Alberta Perkins Billy Higgins and Alberta Perkins (vcl) acc by: unknown (cl) (p) New York, October 31, 1925 E1574/75/76 How can I miss you when you’re gone Voc unissued E1577/78/79 You can’t proposition me Voc unissued Rust: omitted. B&GR: u/k cl,p. Not available. Rocky Mountain Trio Bob Fuller (cl) Louis Hooper (p) Elmer Snowden (bj) New York, c. November 2, 1925 9805-A GRAND OPERA BLUES (A Highbrow Stomp) (Hooper - Fuller) Gen 3184-A 9806-A OLD MAN'S CHARLESTON (Fuller - Hooper) Gen 3184-B Rust, Kidd, LW: BF,LH,ES. Agreed. Elmer Snowden is now with the Plantation Revue on tour with Ethel Waters. (BAA 5/12/25, p4/6) 3 Viola McCoy Comedienne, with Piano, Violin and ‘Cello [sic] Viola McCoy (vcl) acc by the Dixie Trio: Rex Stewart (cnt) prob Elmer Snowden (vln) prob Louis Hooper (p) New York, January 6, 1926 2043/45W Stomp Your Blues Away (Smolev - Seaman) Voc B 15245 E2046/48W Shake That Thing (Jackson) Voc A 15245 Rust, B&GR: RS,u/k vln,p. Howard Rye confirms RS in notes to Document DOCD5417 and rejects Porter Grainger as pianist. Sounds like LH. A search has found no confirmation that ES played violin, although, as MB emphasises, he might be expected to do so, and was probably available in the studio on the day. Three Jolly Miners Banjo - Piano - Clarinet Bob Fuller (cl) Louis Hooper (p) Elmer Snowden (bj) New York, January 12, 1926 E-2108/9/10 Chicago Back Step (Fuller - Hooper) Voc B 1004 E-2111/2/3 F Minor Blues (Tate) Voc A 1004 Rust, Kidd, LW: BF,LH,ES. Agreed – a lot of piano on 2108. Typical ES on 2113, not quite so clear on 2108. Date from LW. E-2108 credits from ledger Three Jolly Miners Banjo - Piano - Clarinet Bob Fuller (cl) Louis Hooper (p) Elmer Snowden (bj) New York, February 15, 1926 E-2435/6 Pig Alley Stomp (Williams) Voc A 1003 E-2437/8 Ridiculous Blues (Fuller - Hooper) Voc B 1003 Rust, Kidd, LW: BF,LH,ES. Agreed – more piano on 2438. The Vocalion file cards credit Spencer Williams as the composer of Pig Alley Stomp. Viola McCoy, With the Dixie Trio Piano-Violin-Cornet [sic] Viola McCoy (vcl) acc by: Bob Fuller (cl,perc-1) prob Elmer Snowden (vln) Louis Hooper (p) New York, February 15, 1926 E2439/40W South Street Blues (Roberts) Voc B-1002 E2441/42W Charleston Blues (Smolev - Seaman) -1 Voc A-1002 Rust: BF,u/k,LH? B&GR: BF,u/k,u/k. See 6/1/26 for thoughts about violin. This sounds like the same man. MB points out that ES was present in the studio (see Three Jolly Miners above). Ethel Waters in 1929 and in the 1928 Columbia Race Records catalogue. 4 End of the likely absence of Arthur Ray with Margaret Johnson’s tour. ETHEL WATERS Ethel Waters (vcl) acc by: Louis Hooper (p) New York, February 17, 1926 141688-3 After All These Years (Brooks) Col 14199-D 141689-1 Throw Dirt In Your Face (Brooks) Col 14132-D 141690-3 I'm Saving It All For You (Williams and Davis) Col 14197-D Rust, Kidd: Shelton Brooks-1, LH-2. B&GR: LH (all tracks). Hooper’s presence is confirmed on the Columbia file cards. same personnel New York, February 19, 1926 141704-3 Refrigeratin' Papa (Mama's Gonna Warm You Up) (Wasserman) Col 14132-D Rust, Kidd: as above. B&GR: LH. The personnel is taken from the Columbia file card. Ethel Waters recorded six other titles on the 19th and 20th February with various piano accompanists, but Hooper appears on only these titles. ROSA HENDERSON Rosa Henderson (vcl) acc by : Rex Stewart (cnt) Louis Hooper (p) New York, March 2, 1926 141740-1 Let's Talk About My Sweetie (Donaldson and Kahn) Col 14130-D 141741-2 Mama Is Waitin' For You (Williams) Col 14130-D Rust, B&GR, Kidd: RS,LH. Agreed. The personnel is taken from the Columbia file card. Five Musical Blackbirds Tom Morris (t) Bob Fuller (cl) Ted Brown (as,vln-1) Louis Hooper (p) Herb Brown (bj) New York, early March, 1926 106633 Hot Coffee (Krueger – Costello) -1 Pathé-Actuelle 36404-A 106634 Carolina Stomp Pathé-Actuelle unissued 106635-1 18th Street Strut (Bennie Moten) Pathé-Actuelle 7508-B 106636 Black Horse Stomp (Joe Tarto) Pathé-Actuelle 36404-B Rust, Kidd: TM,BF,TB,LH,HB. Lord’s discography adds that either Fuller or Brown doubles on violin on (1). Brown is known to have doubled violin and sax - why suggest BF? KBR refutes TM and BF here. Rocky Mountain Trio Bob Fuller (cl) Louis Hooper (p) Elmer Snowden (bj) New York, March 23, 1926 X-47-A BLOWIN’ OFF STEAM (Johnson) Gen 3288-A X-48-A GALLOPIN’ DOMINOES (Waller) Gen 3288-B Rust, LW: BF,LH,ES. [Gallopin’ Dominoes is the same tune as Alligator Crawl. I have not heard these titles (BH). Rosa Henderson and The Four Musical Blackbirds Rosa Henderson (vcl) acc by: Tom Morris (t) Bob Fuller (cl) Louis Hooper (p) unknown (tu) New York, March 31, 1926 E2713/15 Do It, Mr. So-and-So Voc unissued E2716/18 Fulton Street Blues Voc unissued Rust: TM,BF,LHu/k tu. B&GR: all u/k. Rains agrees TM. Date from Rust. GEORGE WILLIAMS George Williams (vcl) acc by: Harry Tate (t) Louis Hooper (p) New York, March 31, 1926 141897-3 SOME BABY - MY GAL (Dowell) Col 14148-D 141898-1 LEVEE BLUES (Williams) Col 14148-D Rust, B&GR: Harry Tate, LH. Kidd: u/k,LH. The personnel is taken from the Columbia file card. HT is a very good trumpeter, similar to RS. GEORGE WILLAMS AND BESSIE BROWN George Williams, Bessie Brown (vcl) duets acc: by Louis Hooper (p) New York, April 2, 1926 141902-2 You Can't Proposition Me (Moore, Davis) Col 14135-D 5 (April 2, 1926 session continued) 141903-3 Hit Me But Don't Quit Me (Chris Smith) Col 14135-D Rust, B&GR, Kidd: LH. The personnel is taken from the Columbia file card. Harry Cooper joins Duke Ellington. From this point onwards BF records increasingly with TM and Mike Jackson. In general I omit these sessions. MAGGIE JONES and Her Band (Col 14243-D) MAGGIE JONES (Col 14139-D) Maggie Jones (vcl) acc by: Louis Metcalf (t) Jake Frazier (tb-1) Cliff Jackson (p) New York, May 7, 1926 142165-3 THE MAN I LOVE IS OH SO GOOD (Johnson and Troy) -1 Col 14243-D 142166-2,3 I'm Leaving You (Maisto and Costello) -1 Col 14139-D 142167-1,2 I'm A Real Kind Mama (Maceo Pinkard) Col 14139-D 142168-2,3 YOU AIN'T GONNA FEED IN MY PASTURE NOW (Smolev and Seaman) Col 14243-D Rust, B&GR, Collinson: LM,JF,CJ. The personnel is taken from the Columbia file card. Rosa Henderson With The Three Hot Eskimos (Piano – Clarinet – Cornet) Rosa Henderson (vcl) acc by: prob Louis Metcalf (t) Bob Fuller (cl) Cliff Jackson (p) New York, May 14, 1926 E-3048/49/50 Here Comes My Baby (Dowell – McHugh - Mills) Voc A 1021 E-3051/52/53 Chicago Policemen Blues (Smith) Voc B 1021 Rust: LM,BF,CJ or Edgar Dowell.
Load more

Recommended publications
  • How Democratic Is Jazz?
    Accepted Manuscript Version Version of Record Published in Finding Democracy in Music, ed. Robert Adlington and Esteban Buch (New York: Routledge, 2021), 58–79 How Democratic Is Jazz? BENJAMIN GIVAN uring his 2016 election campaign and early months in office, U.S. President Donald J. Trump was occasionally compared to a jazz musician. 1 His Dnotorious tendency to act without forethought reminded some press commentators of the celebrated African American art form’s characteristic spontaneity.2 This was more than a little odd. Trump? Could this corrupt, capricious, megalomaniacal racist really be the Coltrane of contemporary American politics?3 True, the leader of the free world, if no jazz lover himself, fully appreciated music’s enormous global appeal,4 and had even been known in his youth to express his musical opinions in a manner redolent of great jazz musicians such as Charles Mingus and Miles Davis—with his fists. 5 But didn’t his reckless administration I owe many thanks to Robert Adlington, Ben Bierman, and Dana Gooley for their advice, and to the staffs of the National Museum of American History’s Smithsonian Archives Center and the New York Public Library’s Schomburg Center for Research in Black Culture. Copyright © 2020 by Benjamin Givan. 1 David Hajdu, “Trump the Improviser? This Candidate Operates in a Jazz-Like Fashion, But All He Makes is Unexpected Noise,” The Nation, January 21, 2016 (https://www.thenation.com/article/tr ump-the-improviser/ [accessed May 14, 2019]). 2 Lawrence Rosenthal, “Trump: The Roots of Improvisation,” Huffington Post, September 9, 2016 (https://www.huffpost.com/entry/trump-the-roots-of-improv_b_11739016 [accessed May 14, 2019]); Michael D.
    [Show full text]
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • 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.
    [Show full text]
  • Selected Observations from the Harlem Jazz Scene By
    SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan.
    [Show full text]
  • Johnny O'neal
    OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society.
    [Show full text]
  • John Cornelius Hodges “Johnny” “Rabbit”
    1 The ALTOSAX and SOPRANOSAX of JOHN CORNELIUS HODGES “JOHNNY” “RABBIT” Solographers: Jan Evensmo & Ulf Renberg Last update: Aug. 1, 2014, June 5, 2021 2 Born: Cambridge, Massachusetts, July 25, 1906 Died: NYC. May 11, 1970 Introduction: When I joined the Oslo Jazz Circle back in 1950s, there were in fact only three altosaxophonists who really mattered: Benny Carter, Johnny Hodges and Charlie Parker (in alphabetical order). JH’s playing with Duke Ellington, as well as numerous swing recording sessions made an unforgettable impression on me and my friends. It is time to go through his works and organize a solography! Early history: Played drums and piano, then sax at the age of 14; through his sister, he got to know Sidney Bechet, who gave him lessons. He followed Bechet in Willie ‘The Lion’ Smith’s quartet at the Rhythm Club (ca. 1924), then played with Bechet at the Club Basha (1925). Continued to live in Boston during the mid -1920s, travelling to New York for week-end ‘gigs’. Played with Bobby Sawyer (ca. 1925) and Lloyd Scott (ca. 1926), then from late 1926 worked regularly with Chick webb at Paddock Club, Savoy Ballroom, etc. Briefly with Luckey Roberts’ orchestra, then joined Duke Ellington in May 1928. With Duke until March 1951 when formed own small band (ref. John Chilton). Message: No jazz topic has been studied by more people and more systematically than Duke Ellington. So much has been written, culminating with Luciano Massagli & Giovanni M. Volonte: “The New Desor – An updated edition of Duke Ellington’s Story on Records 1924 – 1974”.
    [Show full text]
  • The Development of Duke Ellington's Compositional Style: a Comparative Analysis of Three Selected Works
    University of Kentucky UKnowledge University of Kentucky Master's Theses Graduate School 2001 THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Eric S. Strother University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Strother, Eric S., "THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS" (2001). University of Kentucky Master's Theses. 381. https://uknowledge.uky.edu/gradschool_theses/381 This Thesis is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Master's Theses by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF THESIS THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Edward Kennedy “Duke” Ellington’s compositions are significant to the study of jazz and American music in general. This study examines his compositional style through a comparative analysis of three works from each of his main stylistic periods. The analyses focus on form, instrumentation, texture and harmony, melody, tonality, and rhythm. Each piece is examined on its own and their significant features are compared. Eric S. Strother May 1, 2001 THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS By Eric Scott Strother Richard Domek Director of Thesis Kate Covington Director of Graduate Studies May 1, 2001 RULES FOR THE USE OF THESES Unpublished theses submitted for the Master’s degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors.
    [Show full text]
  • Ernest Elliott
    THE RECORDINGS OF ERNEST ELLIOTT An Annotated Tentative Name - Discography ELLIOTT, ‘Sticky’ Ernest: Born Booneville, Missouri, February 1893. Worked with Hank Duncan´s Band in Detroit (1919), moved to New York, worked with Johnny Dunn (1921), etc. Various recordings in the 1920s, including two sessions with Bessie Smith. With Cliff Jackson´s Trio at the Cabin Club, Astoria, New York (1940), with Sammy Stewart´s Band at Joyce´s Manor, New York (1944), in Willie ‘The Lion’ Smith´s Band (1947). Has retired from music, but continues to live in New York.” (J. Chilton, Who´s Who of Jazz) STYLISTICS Ernest Elliott seems to be a relict out of archaic jazz times. But he did not spend these early years in New Orleans or touring the South, but he became known playing in Detroit, changing over to New York in the very early 1920s. Thus, his stylistic background is completely different from all those New Orleans players, and has to be estimated in a different way. Bushell in his book “Jazz from the Beginning” says about him: “Those guys had a style of clarinet playing that´s been forgotten. Ernest Elliott had it, Jimmy O´Bryant had it, and Johnny Dodds had it.” TONE Elliott owns a strong, rather sharp, tone on the clarinet. There are instances where I feel tempted to hear Bechet-like qualities in his playing, probably mainly because of the tone. This quality might have caused Clarence Williams to use Elliott when Bechet was not available? He does not hit his notes head-on, but he approaches them with a fast upward slur or smear, and even finishes them mostly with a little downward slur/smear, making his notes to sound sour.
    [Show full text]
  • Immigrant Musicians on the New York Jazz Scene by Ofer Gazit A
    Sounds Like Home: Immigrant Musicians on the New York Jazz Scene By Ofer Gazit A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Chair Professor Jocelyne Guilbault Professor George Lewis Professor Scott Saul Summer 2016 Abstract Sounds Like Home: Immigrant Musicians On the New York Jazz Scene By Ofer Gazit Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Chair At a time of mass migration and growing xenophobia, what can we learn about the reception, incorporation, and alienation of immigrants in American society from listening to the ways they perform jazz, the ‘national music’ of their new host country? Ethnographies of contemporary migrations emphasize the palpable presence of national borders and social boundaries in the everyday life of immigrants. Ethnomusicological literature on migrant and border musics has focused primarily on the role of music in evoking a sense of home and expressing group identity and solidarity in the face of assimilation. In jazz scholarship, the articulation and crossing of genre boundaries has been tied to jazz as a symbol of national cultural identity, both in the U.S and in jazz scenes around the world. While these works cover important aspects of the relationship between nationalism, immigration and music, the role of jazz in facilitating the crossing of national borders and blurring social boundaries between immigrant and native-born musicians in the U.S. has received relatively little attention to date.
    [Show full text]
  • Britt Woodman, En Av Duke Ellingtons Legendariska Trombonister På 5 O-Talet
    BULIETIN NUnIMER t, MARs 2000. Åna. z Britt Woodman, en av Duke Ellingtons legendariska trombonister på 5 O-talet qp,- Photo Ray Avery, Los Angeles, California Duke Ellington Society of Sweden, DESS ISSN 1400-8831 DESS c/o Göran Wall€n Redaktionsgrupp: Postgiro 11 63 75 - 7 Skogstorpsvägen 39, l9l 39 Sollentuna. Bo Holmqvist, Alf Lav€r, Göran Wallön Telefon/fax bostad: 08-96 52 34 DESS medlemsavgift Pay to: Accountno: 284O83 992 Vid köp av Azure-kassetter och CD fu per kalenderår: Svenska Handelsbanken Clearing no:6917 anviind vårt Postgiro eller Bankgiro Inom Norden 150 kr SWIFT: hand se ss Postgiroru. för prenumeration Membership outside Scan- for onward transmission av DEMS från Belgien är Pg 433 27 36-0 dinavia $ 25 pro annum. to DESS Ordföranden tar till orda: Första numretpå nyaårtusendet, kul !! Så vandrar vi vidare mot nya upplevelser. Nästa stora Ellingtonhän- Postgiro vid sina inbetalningar. Vi har därför beslutat att sluta använ- delse blir konferensen i maj månad i Holl;'wood, närmare bestämt da Bankgiro, vilket innebär att vi sparar 2000 kr i fast avgift per år, 24 - 2A maj på Holly'wood Roosevelt Hotel, fax:001-213-462-8156. det belopp som Handelsbanken kräver för att vi skall få använda För anmälan till konferensen vänd er till The Duke Ellington Society Bankgirotjänsten. Det får räcka med Postgiro. of So. Calif., fax: 001-323-933-2676 och cmail: [email protected] |lera kända ansikten kommer att finnas på plats. Bill Berry med stor- I övrigt så finns det Ellington musik lite här och där. I kyrkor, på band, Kenny Burrell m.fl.
    [Show full text]
  • BLUES UNLIMITED Number Four (August 1963)
    BLUES UN LI Ml TED THE JOURNAL OF “THE BLUES APPRECIATION SOCIETY” EDITED BY SIMON A. NAPIER - Jiiiiffiber Four August 196^ ; purposes of ^'HLues Unlimited* &re several-fold* To find out more about tlse singers is : §1? iiaportant one* T® document th e ir records . equally so,, This applies part!cularly with .postwar "blues ' slmgers and labels. Joho Godrieh m d Boh Dixon ? with the Concert­ ed help> o f many collectors? record companies imd researchers* .^aTe/v.niide^fHitpastri'Q. p|»©gr;e8Sv, In to l i ‘s.ting. the blues records made ■ parlor to World War IXa fn a comparatively short while 3 - ’with & great deal of effort,.they have brought the esad of hlues discog­ raphy prewar- in sights Their book?. soon t® be published, w ill be the E?5?st valuable aid. 't o blues lovers yet compiled,, Discography of-;p©:stw£sr ...artists....Is,.In.-■■. a fa r less advanced state* The m&gasine MBlues Research1^ is doing. amagni fieezst- ^ob with : postwar blues;l^bei:s:^j Severd dis^grg^hers are active lis tin g the artists' work* We are publishing Bear-complete discographies xb the hope that you3 the readers^ w ill f i l l In the gaps* A very small proportion o f you &re: helping us in this way0 The Junior Farmer dis&Oc.: in 1 is mow virtu ally complete« Eat sursiy . :s®eb®ciy,:h&s; Bake^;31^;^: 33p? 3^o :dr3SX* Is i t you? We h&veii#t tie&rd from y<&ia£ Simil^Xy: ^heM.
    [Show full text]
  • 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
    [Show full text]