Jazz Studies IV Harry Yerkes
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Black US Army Bands and Their Bandmasters in World War I
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of Fall 8-21-2012 Black US Army Bands and Their Bandmasters in World War I Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Lefferts, Peter M., "Black US Army Bands and Their Bandmasters in World War I" (2012). Faculty Publications: School of Music. 25. https://digitalcommons.unl.edu/musicfacpub/25 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 Version of 08/21/2012 This essay is a work in progress. It was uploaded for the first time in August 2012, and the present document is the first version. The author welcomes comments, additions, and corrections ([email protected]). Black US Army bands and their bandmasters in World War I Peter M. Lefferts This essay sketches the story of the bands and bandmasters of the twenty seven new black army regiments which served in the U.S. Army in World War I. They underwent rapid mobilization and demobilization over 1917-1919, and were for the most part unconnected by personnel or traditions to the long-established bands of the four black regular U.S. Army regiments that preceded them and continued to serve after them. Pressed to find sufficient numbers of willing and able black band leaders, the army turned to schools and the entertainment industry for the necessary talent. -
Original Dixieland Jazz Band & "Nick" Larocca of New Orleans, Creator
Jack "Papa" Laine (Sicilian native George Vitale), Leader of his famous Reliance Brass Military Marching Band of New Orleans. Nick LaRocca was a regular member from 1910 to 1916. Original Dixieland Jazz Band & "Nick" LaRocca of New Orleans, Creator of Jazz Original Dixieland Jazz Band Members Victor release of "Livery Stable Blues" 1917. Victor release of "Dixie Jass Band One-Step" 1917. Original Dixieland Jazz Band - A 1918 promotional postcard showing (from left), drummer Tony Sbarbaro (aka Tony Spargo), trombonist Edwin "Daddy" Edwards, cornetist Dominick James "Nick" LaRocca, clarinetist Larry Shields, and pianist Henry Ragas 1917 Nick LaRocca Bust Courtesy Nick LaRocca Cultural Arts Center in Salaparuta, Sicily Dominic James "Nick" LaRocca Jimmy LaRocca 1889-1961 Continuing the Tradition In 1917, under the leadership of Nick LaRocca, the Original Dixieland Jazz Band (ODJB) made the first jazz recording. This first and many to follow were instant sensational “Hits” that were inspirational and influential beyond imagination. The success of the ODJB recordings was immense and musicians worldwide changed instrumentation to emulate the sound and style they made famous. From 1917 to 1938 they recorded fifty-two 78’s that are still sold today on various CD compilations. (Click on the photo below for a printable 8 X 10.) On February 8, 2006 the Original Dixieland Jazz Band was inducted into the Grammy Hall of Fame for their 1917 recording of the “Darktown Strutter’s Ball.” The ODJB is back in full swing under the direction of the original leader’s son, Jimmy LaRocca, on trumpet and vocals, with a fine ensemble of New Orleans musicians. -
Until the Late Twentieth Century, the Historiography and Analysis of Jazz Were Centered
2 Diasporic Jazz Abstract: Until the late twentieth century, the historiography and analysis of jazz were centered on the US to the almost complete exclusion of any other region. This was largely driven by the assumption that only the “authentic” version of the music, as represented in its country of origin, was of aesthetic and historical interest in the jazz narrative; that the forms that emerged in other countries were simply rather pallid and enervated echoes of the “real thing.” With the growth of the New Jazz Studies, it has been increasingly understood that diasporic jazz has its own integrity, as well as holding valuable lessons in the processes of cultural globalization and diffusion and syncretism between musics of the supposed center and peripheries. This has been accompanied by challenges to the criterion of place- and race-based authenticity as a way of assessing the value of popular music forms in general. As the prototype for the globalization of popular music, diasporic jazz provides a richly instructive template for the study of the history of modernity as played out musically. The vigor and international impact of Australian jazz provide an instructive case study in the articulation and exemplification of these dynamics. Section 1 Page 1 of 19 2 Diasporic Jazz Running Head Right-hand: Diasporic Jazz Running Head Left-hand: Bruce Johnson 2 Diasporic Jazz Bruce Johnson New Jazz Studies and Diaspora The driving premise of this chapter is that “jazz was not ‘invented’ and then exported. It was invented in the process of being disseminated” (Johnson 2002a, 39). With the added impetus of the New Jazz Studies (NJS), it is now unnecessary to argue that point at length. -
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. -
African American Performers on Early Sound Recordings, 1892-1916
African American Performers on Early Sound Recordings, 1892-1916 Finding music by African Americans on early phonograph records is more difficult than one might surmise. African American artists rarely performed on early recordings. Racial prejudice may only be a contributing factor. Although African American singers and musicians were well known, in its early years, the recording industry was not looking for known artists. At its inception, beginning in the 1890s, it was the song that sold a record, and not (with some exceptions), the artist. Talent scouts from the record companies were on the lookout to recruit anybody with a good clear voice, and good diction. Recruits were trained to utilize the various techniques of making a successful recording--such as backing away from the recording horn at loud passages to avoid "blasting." There was no need to seek out famous stage artists. The Berliner, Edison, and Columbia companies of the 1890s had established a cadre of professional white "recorders" able to render both up to the minute hits as well as old favorites--and for a lower fee than a famous performer required. These white recorders could also reproduce the works of African-American performers with "authentic" language usage. So why hire Ernest Hogan, Cole and Johnson, Williams and Walker, and others when the in-house talent could do the job? Besides, many artists famous for their strong stage voices did not record as clearly as the professional record makers. Earliest African American Recording Artists http://memory.loc.gov/cgi‐bin/query/r?ammem/dukesm:@field(DOCID+@lit(ncdhasm.b0814))In 1890 George W. -
Frank Driggs Collection of Duke Ellington Photographic Reference Prints [Copy Prints]
Frank Driggs Collection of Duke Ellington Photographic Reference Prints [copy prints] NMAH.AC.0389 NMAH Staff 2018 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 .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents note................................................................................................ 2 Biographical/Historical note.............................................................................................. 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 3 Series 1: Band Members......................................................................................... 3 Series 2: Ellington at Piano...................................................................................... 5 Series 3: Candid Shots............................................................................................ 6 Series : Ellington -
Notes from the Prez All Elements of a Traditional Jazz Band Show Growth and Improvement with HUME STREET PRESERVATION J.B
April 2011 Volume 36, Number 04 All Elements of a Traditional “OKOM all ye faithful” to catch their performance !! Jazz Band Show Growth and WHEN: Sunday, April 17, 12:30 - 4:30 p.m. Improvement with WHERE: Ballard Elks, 6411 Seaview Ave. NW HUME STREET ADMISSION: $10, PSTJS members - $13, Non-member guests (pay only at door) PRESERVATION J.B. Beautiful view, excellent dance floor, lots of free parking. By Rod Belcher Coffee, other beverages and snacks available The octet known as the “Hume Street Preservation Jazz Free Parking. Great view, excellent dance floor. Band” is one of those aggregations which in its infancy, a good Snacks, coffee, other beverages available many years ago, was known, as an up-and-coming bunch of good guys who tried hard but sometimes didn’t squarely hit the mark in the “trad” genre. They were all musicians based in or near Grays Harbor County, and through the years they developed a repertoire which continued to grow in quantity but, more importantly, in quality. Notes from the Prez They’ve had some personnel changes but have maintained the free-wheeling drive and enthusiasm of those charter members. They scored well with our jazz society’s audience a year A big Thank You to all of you who have pledged your support ago, and here they are, back once more with the same lineup of to the Bob Schulz September gig. We are very close to meeting our players to favor us in our April 17th concert. goal of $2000. We’ve notified Bob that the September gig is a go and “Hume Street” is under the management of the savvy we, and his band members too, are looking forward to that weekend. -
JOAN SAWYER: JAZZ VAMPIRE by Russ Shor
JOAN SAWYER: JAZZ VAMPIRE By Russ Shor hen the first jazz recordings of the Original Dixieland Jazz Band, Wilbur Sweatman, the Frisco WJass Band and Earl Fuller hit the market in 1917, the USA had been in the midst of a popular dance craze for some five years, which is one major reason why they achieved such sudden popularity with record buyers. The origins of the popular dance in the US are varied but there’s no doubt that the dance team of Vernon and Irene Castle made ballroom dance popular and respectable just before the First World War. Irene (1893-1969) was a stunning beauty and British-born Vernon (1887-1918) was urbane and sophisticated, and when they opened their New York dance studio in 1912, the Castle House, the cream of International society queued up to dance the Fox Trot, Tango, Maxixe (pro- nounced machichi), Turkey Trot, Bunny Hug and Grizzly Bear. The Castles were revolutionary in another way; while noted for introducing the tango and the Maxixe, the emphasis was on ragtime, and hot dances, so they hired James Reese Europe’s Orchestra, drawn from Harlem’s Clef Club, to provide the music. Within a year, the couple was a sensation, fashion-makers of their day. And, of course, James Reese Europe had a Victor recording contract and so it was inevitable that imitators would follow. Joan Sawyer was a dancer who sought to rival Irene Castle. A bit fuller of figure (and reportedly looser of morals) than Irene Castle, she engaged Dan Kildare (1879-1920), the Kingston, Jamaica - born pianist and vice-president of the Clef Club, to front her orchestra when she opened her dance club, the Persian Garden early in 1914. -
Liner Notes, Visit Our Web Site
BLACK MANHATTAN, VOLUME 2 THE PARAGON RAGTIME ORCHESTRA RICK BENJAMIN, DIRECTOR 80731-2 1. Shuffle Along Overture (1921) (Eubie Blake–Will H. Vodery) 6:30 Introducing “Opening Chorus,” “Love Will Find a Way,” “Honeysuckle Time,” “If You’ve Never Been Vamped by a Brown-Skin,” “Gypsy Blues,” “I’m Just Wild About Harry,” “I’m Craving for That Kind of Love,” and “Bandanna Days” 2. Nobody (1905) (Bert A. Williams) 4:54 Edward Pleasant, baritone 3. That’s Got ’Em—Rag (1919) (Wilbur C. Sweatman) 2:26 4. Honey Lamb (ballad, 1914) (Al. Johns) 3:26 Anita Johnson, soprano 5. Brazilian Dreams (tango-intermezzo, 1914) (Will H. Dixon) 3:59 6. Down in Honky Tonky Town (one-step, 1916) (Chris Smith) 2:04 7. Returned: A Negro Ballad (1902) (Will Marion Cook) 6:23 Anita Johnson, soprano; Rick Benjamin, piano 8. The Bell Hop Rag (1914) (Frederick M. Bryan) 3:28 9. Black Patti Waltzes (1896) (Will Accooe) 6:16 10. Goodnight Angeline (1919) (James Reese Europe) 3:08 Robert Mack, tenor 11. The Castle Walk (one-step, 1914) (James Reese Europe–Ford T. Dabney) 2:46 12. Aunt Hagar’s Children Blues (1921) (W.C. Handy) 2:39 Linda Thompson Williams, blues singer 13. Valse Angelique (1913) (J. Tim Brymn) 3:56 14. At the Ball, That’s All (1913) (J. Leubrie Hill) 2:37 Edward Pleasant, baritone 15. When the Moon Shines (from the 1904 revival of In Dahomey) (James J. Vaughan) 3:53 Anita Johnson, soprano 16. Oh! You Devil (rag, 1909) (Ford T. Dabney) 3:35 17. -
The Strutter
The Strutter VOLUME 28 NUMBER 5 Traditional Jazz in the Philadelphia Tri-State Area NOVEMBER 2017 OUR NEXT CONCERT Courtet! It’s a New Orleans reference – the King and his Court.) John is on piano, Kristy on reeds, Cocuzzi Courtet with Jack Hegyi on bass and Harry Himles on drums. For info about the band, visit https://sites.google.com/view/cocuzzimusic/home See Louisiana Fairytale here – https://www.youtube.com/watch?v=wMdsia8C28U John Cocuzzi performs with passion and intensity on piano and vocals. For more than 35 years, John has been entertaining crowds internationally performing alongside jazz and blues greats. With dynamic style and diverse rhythms, John's innovation breathes new life into familiar tunes, Photo by Kristy Cocuzzi from “swingin’ and burnin’” jazz and blues to lush Sunday, November 19, 2017 and sultry ballads. 2:00 – 4:30 p.m. Kristy Reed-Cocuzzi has a sultry voice that has Haddonfield United Methodist Church thrilled audiences for 30 years, and has toured with 29 Warwick Road the Live Lawrence Welk Show throughout the Haddonfield, NJ 08033 United States and Canada. She is also a member of Directions at the “Champagne Music Makers” at the Welk Resort http://www.tristatejazz.org/directions- in Branson, Missouri, as well as part of the haddonfield.html “Wunnerful Women of Welk” vocal quartet. Kristy takes clarinet to a whole new emotional level, John Cocuzzi – Leader, piano especially in the chalumeau (low) register, with a Kristy Cocuzzi – reeds, vocals passion and feel that is both soothing and Jack Hegyi – bass energizing. Harry Himles – drums Concert Admissions $10 First-time attendees and Members $20 General Admission The Cocuzzis have taken the classic jazz world by High school/college students with ID and storm. -
NICK LAROCCA, Creator of Jazz
NICK LAROCCA, Creator of Jazz By Linda Serio Published 2007 Written in cooperation with the American Italian Renaissance Foundation Research Library. Nick LaRocca, leader of the Original Dixieland Jazz Band (ODJB), would have been 100 years old April 11, 1989. He died in 1961, but a handful of New Orleanians dedicated to his immortalization as the creator of jazz often speak of him in present tense. This group ignited my interest in the subject, and made possible this birthday tribute to Nick LaRocca. The individual who could best convince you that Nick lives on is his widow, Ruth LaRocca. Her blue eyes sparkle when she tells of being literally swept off her feet by a man known almost as well for his dancing as his trumpet playing. Musician and long-time friend Phil Zito has followed Nick's request to carve his rightful place in history and created the Nick LaRocca Original Dixieland Jazz Band Foundation. Bruce Raeburn, curator of Tulane University's jazz archive, is more objective and scholarly in his approach to Nick, but eagerly shares a wealth of knowledge and documentation on Nick's contributions to American musical and cultural history. Adrian Victor, at the music store “Werlein's For Music” knows the Nick LaRocca story by heart and provided a possible answer as to how Louisiana State University (LSU) acquired Nick's famous "Tiger Rag" as its fight song. Last, but not least, this article is dedicated to writer and historian Mike Palao, who, were it not for severe illness, would be offering his personal 100-year salute to Nick LaRocca on these pages. -
TONY PARENTI & TONY SB.AR.BARO Reel I
TONY PARENTI & TONY SB.AR.BARO 1 Reel I--Summary--Retyped Also Present~ June 29, 1959 Richard B. Allen Parenti's daughter Inter~iew is taking place at the home of Tony Parenti, 8306 Vietor Avenue, Elmhurst, Long Island. Tony Parenti opens with a joke, based on home-permanent commercials, ~ t "Which J.I\.Tinhas the Toni?" Parenti mentions his appreciation of his basic New Orleans background [and ?] jazz, says he studied music as a child, and has at times had to be a 11legitimate• musician, and at other times has been a "commercial" musician, but at the moment has t resigned / [i ronic connotation?] himself to "working and playing only jazz--no conductors to follOW", no music to read, no mental strains--so now all I do is call out the tune, what key, knock off two beats, and live forever." It is a very warm day--in the nineties. Parenti says it is as hot as it was in the early days in his New Orleans career. Sbarbaro replies that then you could cool off at Milneburg. Parenti says you could not only cool off at Milneburg, you could get to feeling pretty good while you were cooling off there. Parenti recalls when he first started to play jazz, Eddie Edwards was passing by Dauphine and St. Ann Streets, where Parenti 1 s father had a shoemaker 1 s sh~p. Edwards heard Parenti practicing, asked Parenti 1 s father who was playing clarinet. Edwards invited him to come up to a dance mall on Elysian Fields Avenue, upstairs.