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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. -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Indigo in Motion …A Decidedly Unique Fusion of Jazz and Ballet
A Teacher's Handbook for Pittsburgh Ballet Theatre's Production of Indigo in Motion …a decidedly unique fusion of jazz and ballet Choreography Kevin O'Day Lynne Taylor-Corbett Dwight Rhoden Music Ray Brown Stanley Turrentine Lena Horne Billy Strayhorn Sponsored by Pittsburgh Ballet Theatre's Arts Education programs are supported by major grants from the following: Allegheny Regional Asset District Claude Worthington Benedum Foundation Pennsylvania Council on the Arts The Hearst Foundation Sponsoring the William Randolph Hearst Endowed Fund for Arts Education Additional support is provided by: Alcoa Foundation, Allegheny County, Bayer Foundation, H. M. Bitner Charitable Trust, Columbia Gas of Pennsylvania, Dominion, Duquesne Light Company, Frick Fund of the Buhl Foundation, Grable Foundation, Highmark Blue Cross Blue Shield, The Mary Hillman Jennings Foundation, Milton G. Hulme Charitable Foundation, The Roy A. Hunt Foundation, Earl Knudsen Charitable Foundation, Lazarus Fund of the Federated Foundation, Matthews Educational and Charitable Foundation,, McFeely-Rogers Fund of The Pittsburgh Foundation, William V. and Catherine A. McKinney Charitable Foundation, Howard and Nell E. Miller Foundation, The Charles M. Morris Charitable Trust, Pennsylvania Department of Community and Economic Development, The Rockwell Foundation, James M. and Lucy K. Schoonmaker Foundation, Target Corporation, Robert and Mary Weisbrod Foundation, and the Hilda M. Willis Foundation. INTRODUCTION Dear Educator, In the social atmosphere of our country, in this generation, a professional ballet company with dedicated and highly trained artists cannot afford to be just a vehicle for public entertainment. We have a mission, a commission, and an obligation to be the standard bearer for this beautiful classical art so that generations to come can view, enjoy, and appreciate the significance that culture has in our lives. -
Updates & Amendments to the Great R&B Files
Updates & Amendments to the Great R&B Files The R&B Pioneers Series edited by Claus Röhnisch from August 2019 – on with special thanks to Thomas Jarlvik The Great R&B Files - Updates & Amendments (page 1) John Lee Hooker Part II There are 12 books (plus a Part II-book on Hooker) in the R&B Pioneers Series. They are titled The Great R&B Files at http://www.rhythm-and- blues.info/ covering the history of Rhythm & Blues in its classic era (1940s, especially 1950s, and through to the 1960s). I myself have used the ”new covers” shown here for printouts on all volumes. If you prefer prints of the series, you only have to printout once, since the updates, amendments, corrections, and supplementary information, starting from August 2019, are published in this special extra volume, titled ”Updates & Amendments to the Great R&B Files” (book #13). The Great R&B Files - Updates & Amendments (page 2) The R&B Pioneer Series / CONTENTS / Updates & Amendments page 01 Top Rhythm & Blues Records – Hits from 30 Classic Years of R&B 6 02 The John Lee Hooker Session Discography 10 02B The World’s Greatest Blues Singer – John Lee Hooker 13 03 Those Hoodlum Friends – The Coasters 17 04 The Clown Princes of Rock and Roll: The Coasters 18 05 The Blues Giants of the 1950s – Twelve Great Legends 28 06 THE Top Ten Vocal Groups of the Golden ’50s – Rhythm & Blues Harmony 48 07 Ten Sepia Super Stars of Rock ’n’ Roll – Idols Making Music History 62 08 Transitions from Rhythm to Soul – Twelve Original Soul Icons 66 09 The True R&B Pioneers – Twelve Hit-Makers from the -
SALES LIST #738 – Monday 28Th JANUARY 2019
!"#$%&!'()*+!"&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&!!!!!!!!!!!!!!!!!!!!!!!!!!!,($-&./0.1&2/21.3! 4%&5%6&3&7&,%8'%)8("!!!!!!!!!!!!!!!!!!!!!!!!!!!!!"#$%&!'!($()*+,&-%./&0123+..)3243+#! $!"+97&%$/3&:9;4!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!5$/5$&'!(%360($()*+,&-%./&43+4,6! <"*,(8&=*"#8%'!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!7)1*%2)'8884($()*+,&-%./&43+4,6!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! & 9!$(9&$*9,&>0?2&@&'ABCDE&F2GH&I!"<!)J&F./K& & I!"<!)J&F./K&)!)(&9%<$&!<+,*%"& !LMGNAB&ONBNPHQP&1R..ST&U/2R..HVPW&,HLVPCDE&?/PG&IDBLDVER& !P&QXQV7&NGYP&D&MDPQ&AO&GHQ&HNZHQPG&[NC&DG&GHQ&ONBNPHNBZ&GNTQ&\HA& \NBPR&"A&Q]GQBPNAB7&SVA]E&[NCP&AV&CVAS^CA\BP&@&EAL&SDE&GHQ&SVNMQ& EAL&AOOQVQCR&_ASQ&GHDGYP&M`QDVR&'DBE&GHDBaP&OAV&EALV&DGGQBGNABR& !& MIN. BID JANUARY RARE SOUL AUCTION & A EARL JACKSON SOUL SELF SATISFACTION ABC 11142 WD VG++ 559 After all these years, Jackson is still a mystery man, a singer called Larry Marks recorded the flipside ‘Looking Thru The Eyes Of Love’, but it’s a different version and we are fairly sure its not him. Whatever the truth, this is mighty, mighty Northern Soul from the pen, producing and arranging skills of the legendary Johnny Pate. Just one small mark on this one, other than that, a minter! B LIFE TELL ME WHY REPRISE 1185 WD M- 150 It’s a while since we had an original copy of this, one of the first modern spins on the scene and virtually unobtainable even as a new 1974, release. Quite easy to tell the original from the bootie – the original is truly stereo/mono on each side whereas the boot says such but is actually, mono both sides. You’ll get this in an original sleeve; don’t you just hate the pretentious term “birth-sleeve” as used by a certain crazed East Midlands record dealer? C MARY LOU WILLIAMS YOU KNOW BABY MARY 1976 M- 450 AND GROUP Featuring the vocals of Leon Thomas who had a few good 45s to his name on Flying Dutchman, Don King and Now Sound, this must be his first recording and its solid sixties all the way. -
FOR IMMEDIATE RELEASE Media Contact: Carlos Zialcita Carlos
FOR IMMEDIATE RELEASE Media Contact: Carlos Zialcita [email protected] 415.574.0651 Presented by the San Francisco Filipino American Jazz Festival www.sfpinoyjazzfest.com Event Name: 6th Annual San Francisco Filipino American Jazz Festival Date of Event: Sunday, October 20, 2013 Time of Event: 6PM Location: Yoshi’s San Francisco 1330 Fillmore St. San Francisco, CA 94115 www.yoshis.com Box Office / Dinner Reservations: 415.655.5600 Tickets: $35 advance $40 at the door http://www.yoshis.com/sanfrancisco/livemusic/artist/show/3784 Celebrate Filipino American History Month with the 6th Annual San Francisco Filipino American Jazz Festival on Sunday October 20, 2013. Featured artists include jazz vocalists Melissa Morgan and Yolanda Quandt, pianist/composer and jazz/fusion maestro Winston Raval, and drummer/jazz historian Richie Quirino. Melissa Morgan was born in New York City to a Filipina mother and an Irish father. Morgan combines the poise and maturity of a seasoned veteran with the infectious verve of a fresh new talent. You’ll hear elements of Nancy Wilson, Dinah Washington and Dakota Staton in her sound, but Morgan clearly has her own voice. Morgan’s debut CD Until I Met You(Telarc Records) was called “one of the most assured and enjoyable debut albums by any jazz singer in recent memory” (San Diego Union Tribune), while Dr. Herb Wong simply declared “she is the one we’ve been waiting for.” In 2004, Melissa was named a semi-finalist in the prestigious Thelonious Monk International Jazz Competition in Washington D.C. relocated to Los Angeles, California in 2006 to extend her jazz audience throughout the West Coast. -
KING BEE” Subsid of ABC-Paramount, Has Just JIMMY ANDERSON Issued Its First Four-Color Consumer Catalog
J UA Jazz Line Adds Wein, Epic Markets 7 LP’s For Mar. NEW YORK—Epic Records is offer- “Great Golden Grooves,” various art- ing seven new albums this month. ists including Screamin’ Jay Hawk- As Producer, Staton, McGhee Two sets were announced earlier this ins, Roy Hamilton, Lillian Briggs, month: “Showpieces for the Virtuoso The De John Sisters and Tony Or- NEW YORK—United Artists Rec- In addition to cutting jazz artists Orchestra,” a sampler LP with the lando, “The Piano Brilliance of Joe ords has given its new UA Jazz under contract to UA, Wein will cut Cleveland Ox’chestra, and “The Harnell,” featuring the pianist who Series an additional push with the a special album for the label at the Twelve Greatest Hits: San Remo clicked on the Kapp label with “Fly inkings of George Wein as an exclu- Newport Jazz Festival this summer. Festival 1963.” Me to the Moon.” sive production with producer for the line and Dakota The arrangement The other sets include: “King of Two international sets are: “Songs Staton and Hou-ard McGhee lo its Wein, it was noted, is in line with a the Blues Trombone: Jack Teagar- from the Garden of Allah,” with talent in area utilize roster. new move the jazz to den” a 3-LP set with 48 selections Yaffa Yarkoni singing songs of Tur- Both artists will -ecorded by musicians as producers. with the artist including such musi- key, Greece, Armenia, Morocco and the latter’s Wein immediately upon cians as Benny Goodman, Jimmy Mc- her native Israel (backing is by the return from a cum.il European trip. -
23. Other Major Players
23. Other Major Players s the 21st century began, a small army of jazz "Woody never told us in advance what tunes we would artists from Cleveland were making their marks play," said Fedchock, "but the band would know what A on world jazz stages. Perhaps never before had the upcoming number was after a couple ofwords ofthe so many excellent musicians from Cleveland received little rap he gave the audience." such widespread recognition simultaneously. After touring with the Herman Herd for a couple of In addition to Joe Lovano, Jim Hall and Ken years, Fedchock wrote his first arrangement for the Peplowski, there were many world class musicians from band, a tune called "Fried Buzzard." Cleveland playing and recording. Some traveled In 1985, when Woody was doing a small group tour, extensively; others remained in their hometown and Fedchock returned to Eastman and fmished up his made Cleveland their base of operations. masters. Here is a closer look at some of them: Five months later, he returned to the Herman Orchestra and became Herman's music director and an John Fedchock arranger. He did 16 or 17 charts for the band. Looking In 1974, when Woody back, Fedchock said, "Woody didn't like to do the old Herman and his Orchestra stuff." were in Cleveland for a series In a radio interview, Herman said, "We try to find of performances, they went new material and try to find things that are reasonably to Mayfield High School on new and different. I think that I would have lost interest Wilson Mills Road to playa a long, long time ago if I had been very stylized and concert and conduct a clinic. -
Freddie Bryant and Kaleidoscope *Live Grooves…Epic Tales* Release Date – Oct
Freddie Bryant and Kaleidoscope *Live Grooves…Epic Tales* Release date – Oct. 23, 2012 Release gig/party – at the Jazz Standard, NYC 10/23 Featuring: Freddie Bryant—electric, nylon, 12-string guitars and vocals Donny McCaslin—tenor tax Yosvany Terry—alto sax, shekeré Patrice Blanchard—electric bass Willard Dyson—drums With guest appearances by: Steve Wilson—flute Juan Galiardo—piano Freddie Bryant’s new edition of his KALEIDOSCOPE QUINTET continues his habit of finding inspiration in rhythms from around the world. His past CDs have often featured Brazilian, Latin and African rhythms. This new set of music also draws from these traditions but adds a healthy taste of American roots with a soulful Gospel groove, a slow Blues and a funky New Orleans jam on a tune dedicated to Bo Diddley featuring his Telecaster as well as driving Indian/Middle-Eastern tour-de-force played on his 12-string guitar. The CD clearly defines Freddie’s interpretation of a musical kaleidoscope – each new track is another colorful collage of rhythmic grooves and guitar timbres. Live Grooves…Epic Tales is also a document of the dynamic live sound of the group and truly captures the energy and infectious spontaneity listeners hear at their New York club performances. Songs develop and grow with the building blocks of inspirational solos, group improvisations, shifting dynamics and contrasting sections and are transformed from short stories into epic tales. The current group features two of the finest saxophonists in New York City. Donny McCaslin and Yosvany Terry bring the power and history of jazz saxophone to the group as well as their own influences from traditional Cuban music to modern jazz styles. -
Suggested Listening - Jazz Artists 1
SUGGESTED LISTENING - JAZZ ARTISTS 1. TRUMPET - Nat Adderley, Louis Armstrong, Chet Baker, Terrance Blanchard, Lester, Bowie, Randy Brecker, Clifford Brown, Don Cherry, Buck Clayton, Johnny Coles, Miles Davis, Kevin Dean, Kenny Dorham, Dave Douglas, Harry Edison, Roy Eldridge, Art Farmer, Dizzy Gillespie, Bobby Hackett, Tim Hagans, Roy Hargrove, Phillip Harper,Tom Harrell, Eddie Henderson, Terumaso Hino, Freddie Hubbard, Ingrid Jensen, Thad Jones, Booker Little, Joe Magnarelli, John McNeil, Wynton Marsalis, John Marshall, Blue Mitchell, Lee Morgan, Fats Navarro, Nicholas Payton, Barry Ries, Wallace Roney, Jim Rotondi, Carl Saunders, Woody Shaw, Bobby Shew, John Swana, Clark Terry, Scott Wendholt, Kenny Wheeler 2. SOPRANO SAX - Sidney Bechet, Jane Ira Bloom, John Coltrane, Joe Farrell, Steve Grossman, Christine Jensen, David Liebman, Steve Lacy, Chris Potter, Wayne Shorter 3. ALTO SAX - Cannonball Adderley, Craig Bailey, Gary Bartz, Arthur Blythe, Richie Cole, Ornette Coleman, Steve Coleman, Paul Desmond, Eric Dolphy, Lou Donaldson, Paquito D’Rivera, Kenny Garrett, Herb Geller, Bunky Green, Jimmy Greene, Antonio Hart, John Jenkins, Christine Jensen, Eric Kloss, Lee Konitz, Charlie Mariano, Jackie McLean, Roscoe Mitchell, Frank Morgan, Lanny Morgan, Lennie Niehaus, Greg Osby, Charlie Parker, Art Pepper, Bud Shank, Steve Slagel, Jim Snidero, James Spaulding, Sonny Stitt, Bobby Watson, Steve Wilson, Phil Woods, John Zorn 4. TENOR SAX - George Adams, Eric Alexander, Gene Ammons, Bob Berg, Jerry Bergonzi, Don Braden, Michael Brecker, Gary Campbell, -
Prophetics and Aesthetics of Muslim Jazz Musicians in 20Th Century America Parker Mcqueeney Committee: Marty Ehrlich and Carl Clements
1 S ultans of Swing: Prophetics and Aesthetics of Muslim Jazz Musicians in 20th Century America Parker McQueeney Committee: Marty Ehrlich and Carl Clements 2 3 Table of Contents Introduction….4 West African Sufism in the Antebellum South….12 Developing Islamic Infrastructure….20 Bebop’s “Mohammedan Leanings”....23 Hard Bop Jihad….26 A Different Kind of Cat….37 Islam for the Soul of Jazz….41 Bibliography….51 4 Introduction The arrival of Christopher Columbus to the beaches of San Salvador did not only symbolize the New World’s first contact with white Christian Europeans- but black Muslims as well. Since 1492, Islam has been an essential, yet concealed presence in African diasporic identities. In the the continental US, Muslim slaves often held positions of power on plantations- and in several instances became leaders of revolts. Islam became a tool of resistance and resilience, and a way for a kidnapped people to preserve tradition, knowledge, and spirit. It should come as no surprise to learn that when Islam re-emerged in the African-American consciousness in the postbellum period 1, eventually in harmony with the Black Arts Movement, it not only retained these characteristics, but took on new meanings of prophetics, aesthetics, and resistance in cultural, spiritual, and political contexts. Even in the pre-9/11 dominant American narrative, images of Black Islam conjured up fearful and vague memories of the political and militant Nation of Islam of the 1960s. The popularity of Malcolm X’s autobiography brought this to the forefront of perceptions of Black Islam, and its place in the Black psyche was further cemented by Spike Lee’s 1992 film Malcolm X. -
Ajc V9n3.Pm65
ArkArkansasansas JazzJazz CalendarCalendar Vol. 11 No. 5 Arkansas Jazz Heritage Foundation Newsletter June / July 2003 Bob Dorough returns June 16 ARKANSAS JAZZ Miles Griffith appears July 14 NEWS ... • AJHF Annual Board and Membership Monday Jazz Highlights Meeting is July 12. The Arkansas Jazz Heritage Foundation will combine its On June 9, 2003, we welcome Arkansas native John Wier, trumpet, with Buck Board of Directors and annual Powell on piano, Joe Vick on bass, and Dave Rogers membership meetings on Saturday, July at the drums, 8 pm, $5 cover. 12, 2003, 4 PM at Capitol Keyboard John Wier is from North Little Rock. He received Recital Hall, 13401 Chenal Parkway, a bachelors degree in Music Education from Henderson Little Rock. RSVP to Cecil Rich- State University and his Masters in trumpet from the AJHF President at (501) 228-9999. University of Missourri-Kansas City, where he studied • The Bob Boyd Sounds will play at trumpet under Dr. Keith Benjamin. While at Henderson the Afterthought on June 13-14, 8-12 State University Wier studied jazz with Dr. Rick pm. The group features Pat Henry, Dimond and Dr. Jim Buckner. He played in the Jazz Trumpet, Valve Trombone, Flute and Ensemble Nu Fusion and a small fusion ensemble vocals; David Higginbotham, Bass and called simply 5A:. lead vocal; Randy McDonald, Drums During his studies in Kansas City he played under and vocal; Bob Boyd, Piano and vocals. the instruction of Bobby Watson and Hal Melia. Wier They play a mix of jazz-oriented pop has also studied with Larry McWilliams, professor of standards and swing and do 4-part trumpet and jazz studies at Ball State University.