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Download the DRUMS of Chick Webb
1 The DRUMS of WILLIAM WEBB “CHICK” Solographer: Jan Evensmo Last update: Feb. 16, 2021 2 Born: Baltimore, Maryland, Feb. 10, year unknown, 1897, 1902, 1905, 1907 and 1909 have been suggested (ref. Mosaic’s Chick Webb box) Died: John Hopkins Hospital, Baltimore, June 16, 1939 Introduction: We loved Chick Webb back then in Oslo Jazz Circle. And we hated Ella Fitzgerald because she sung too much; even took over the whole thing and made so many boring records instead of letting the band swing, among the hottest jazz units on the swing era! History: Overcame physical deformity caused by tuberculosis of the spine. Bought first set of drums from his earnings as a newspaper boy. Joined local boys’ band at the age of 11, later (together with John Trueheart) worked in the Jazzola Orchestra, playing mainly on pleasure steamers. Moved to New York (ca. 1925), subsequently worked briefly in Edgar Dowell’s Orchestra. In 1926 led own five- piece band at The Black Bottom Club, New York, for five-month residency. Later led own eight-piece band at the Paddocks Club, before leading own ‘Harlem Stompers’ at Savoy Ballroom from January 1927. Added three more musicians for stint at Rose Danceland (from December 1927). Worked mainly in New York during the late 1920s – several periods of inactivity – but during 1928 and 1929 played various venues including Strand Roof, Roseland, Cotton Club (July 1929), etc. During the early 1930s played the Roseland, Sa voy Ballroom, and toured with the ‘Hot Chocolates’ revue. From late 1931 the band began playing long regular seasons at the Savoy Ballroom (later fronted by Bardu Ali). -
CATALOGUE WELCOME to NAXOS JAZZ LEGENDS and NAXOS NOSTALGIA, Twin Compendiums Presenting the Best in Vintage Popular Music
NAXOS JAZZ LEGENDS/NOSTALGIA CATALOGUE WELCOME TO NAXOS JAZZ LEGENDS AND NAXOS NOSTALGIA, twin compendiums presenting the best in vintage popular music. Following in the footsteps of Naxos Historical, with its wealth of classical recordings from the golden age of the gramophone, these two upbeat labels put the stars of yesteryear back into the spotlight through glorious new restorations that capture their true essence as never before. NAXOS JAZZ LEGENDS documents the most vibrant period in the history of jazz, from the swinging ’20s to the innovative ’40s. Boasting a formidable roster of artists who forever changed the face of jazz, Naxos Jazz Legends focuses on the true giants of jazz, from the fathers of the early styles, to the queens of jazz vocalists and the great innovators of the 1940s and 1950s. NAXOS NOSTALGIA presents a similarly stunning line-up of all-time greats from the golden age of popular entertainment. Featuring the biggest stars of stage and screen performing some of the best- loved hits from the first half of the 20th century, this is a real treasure trove for fans to explore. RESTORING THE STARS OF THE PAST TO THEIR FORMER GLORY, by transforming old 78 rpm recordings into bright-sounding CDs, is an intricate task performed for Naxos by leading specialist producer-engineers using state-of-the-art-equipment. With vast personal collections at their disposal, as well as access to private and institutional libraries, they ensure that only the best available resources are used. The records are first cleaned using special equipment, carefully centred on a heavy-duty turntable, checked for the correct playing speed (often not 78 rpm), then played with the appropriate size of precision stylus. -
Where Stars Are Born and Legends Are Made™
Where Stars are Born and Legends are Made™ The Apollo Theater Study Guide is published by the Education Program of the Apollo Theater in New York, NY | Volume 2, Issue 1, November 2010 If the Apollo Theater could talk, imagine the stories it could tell. It The has witnessed a lot of history, and seen a century’s worth of excitement. The theater itself has stood proudly on 125th Street since 1914, when it started life as a burlesque house for whites only, Hurtig & Seamon’s New Burlesque Theater. Dancers in skimpy costumes stripped down to flesh-colored leotards, and comics told bawdy jokes – that is, until then New York City Mayor Fiorello H. LaGuardia made the decision to close down burlesque houses all over the city. When the doors of the burlesque theaters were padlocked, the building was sold. By S ul the time it reopened in 1934, a new name proclaimed itself from the marquee: the 125th Street Apollo Theatre. From the start, the Apollo was beloved by Harlemites, and immediately of became an integral part of Harlem life. When the Apollo first opened, Harlem boasted a lot of theaters and clubs. But many didn’t admit black audiences. Though the musicians who played in the clubs were black, the audiences were often white; the country still had a lot to American learn about integration. But the Apollo didn’t play primarily to whites. As soon as it opened its doors, black residents of Harlem streamed in themselves to enjoy the show. In the early years, the Apollo presented acts in a revue format, with a variety of acts on each bill. -
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. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 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]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation 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 Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Women, Gender, and Music During Wwii a Thesis
EDINBORO UNIVERSITY OF PENNSYLVANIA PITCHING PATRIARCHY: WOMEN, GENDER, AND MUSIC DURING WWII A THESIS SUBMITTED TO THE FACULTY OF THE DEPARTMENT OF HISTORY, POLITICS, LANGUAGES, AND CULTURES FOR THE DEGREE OF MASTER OF ARTS SOCIAL SCIENCES-HISTORY BY SARAH N. GAUDIOSO EDINBORO, PENNSYLVANIA APRIL 2018 1 Pitching Patriarchy: Women, Music, and Gender During WWII by Sarah N. Gaudioso Submitted in Partial Fulfillment of the Requirements For the Master of Social Sciences in History ApprovedJjy: Chairperson, Thesis Committed Edinbqro University of Pennsylvania Committee Member Date / H Ij4 I tg Committee Member Date Formatted with the 8th Edition of Kate Turabian, A Manual for Writers of Term Papers, Theses and Dissertations. i S C ! *2— 1 Copyright © 2018 by Sarah N. Gaudioso All rights reserved ! 1 !l Contents INTRODUCTION 1 CHAPTER 1: HISTORIOGRAPHY 5 CHAPTER 2: WOMEN IN MUSIC DURING WORLD WAR II 35 CHAPTER 3: AFRICAN AMERICAN WOMEN AND MUSIC DURING THE WAR.....84 CHAPTER 4: COMPOSERS 115 CHAPTER 5: CONCLUSIONS 123 BIBLIOGRAPHY 128 Gaudioso 1 INTRODUCTION A culture’s music reveals much about its values, and music in the World War II era was no different. It served to unite both military and civilian sectors in a time of total war. Annegret Fauser explains that music, “A medium both permeable and malleable was appropriated for numerous war related tasks.”1 When one realizes this principle, it becomes important to understand how music affected individual segments of American society. By examining women’s roles in the performance, dissemination, and consumption of music, this thesis attempts to position music as a tool in perpetuating the patriarchal gender relations in America during World War II. -
Drowning in a Dry Town
Drowning in a At the teeming The speakeasy The Marlborough Fred and Adele By January 16, 1920, Club Durant was outdoor market Dickerman’s County House, a swanky Astaire could be found 80 percent of the booze one of the rowdiest Paddy’s, home Fair Club had a rustic speakeasy with silver dancing some nights at stored in the cellars of clubs around, with Dry Town winemakers would theme—haystacks, leather banquettes, was a The Trocadero. 35 E. the Union Club had entertainment purchase lugs from picket fences, and favorite of Noël Coward, 53rd St., nr. Park Ave. been transferred to including “a tap dancer California. You could square dances. 54 E. who was known to members’ homes. and monologist,” a make 200 gallons a 9th St., nr. Broadway. enjoy the Muscovite Fifth Ave. at 51st St. “cakewalking singer,” year for your own use, duckling. 15 E. 61st St., and a “musical clown.” Where Prohibition-era although “your own” nr. Madison Ave. 58th St., nr. Broadway. New Yorkers got drunk. was rarely accurate. Ninth Ave., from 35th St. to 42nd St. The Central Park Casino was Mayor There were Jimmy Walker’s 38 speakeasies on favorite playpen. 52nd Street alone. In Central Park, nr. 72nd St. entrance. Making wine at Behind the plaster- Racketeer (and Opened in 1925 home was permitted, board in the upstairs Cotton Club owner) and financed with so every fall, California party room of the Owney Madden’s federal funds, the vineyards loaded now-closed Beatrice $1.5 million “cereal Bridge Whist Club Jack Bleeck’s Artists thousands of tons Inn, a low door leads beverage” brewery was a setup to gather and Writers Club was of lugs, or crates of to an alley off Eighth was repeatedly raided incriminating evidence a popular place for the The Cotton grapes, into boxcars Avenue—likely a by Feds who smelled about bootleggers. -
History of the Drum Set
History of the Drum Set The drum set is as American as baseball, hotdogs, and apple pie. The instrument as it currently exists has seen a great deal of evolution and development. From its infancy at the start of the 20 th century to the innovations that are currently taking place, it has developed into the most visible and widely used instruments in the percussion family. Late 1800’s Brass bands were the most common type of instrumental ensemble in the United States in the later half of the 19 th century. Every town in America had bandstands were concerts were held and perhaps the reason for their existence can be attributed in part to the Civil War. Every military unit had its own squad of musicians, usually formed according to locality. Occasionally some bands stayed together after the war, while others disbanded. Each brass band consisted of two or more drummers that played snare, bass, and cymbals. In addition to marching parade commitments, these bands sometimes moved “indoors” entertaining patrons in concert providing music for occasions such as picnics and town socials. When these groups moved inside, the standard instrumentation was cut down somewhat for practical reasons. Because of this, the need for two or more drummers decreased and resourceful inventions began to flourish. The concept of one drummer playing two or more rhythms was made possible through the creation of the snare drum stand and bass drum pedal. Before the snare stand, drummers would hang the drum from their shoulder with a strap or sling, or position the drum on a chair. -
Jazzletter P-Q Ocrober 1986 P 5Jno;..1O
Jazzletter P-Q ocrober 1986 P 5jNo;..1o . u-1'!-an J.R. Davis,.Bill Davis, Rusty Dedrick, Buddy DeFranco, Blair The Readers . Deiermann, Rene de Knight,‘ Ron Della Chiesa (WGBH), As of August 25, I986, the JazzIetrer’s readers were: Louise Dennys, Joe Derise, Vince Dellosa, Roger DeShon, Michael Abene, John Abbott, Mariano F. Accardi, Harlan John Dever, Harvey Diamond, Samuel H. Dibert’, Richard Adamcik, Keith Albano, Howard Alden, Eleanore Aldrich, DiCarlo, Gene DiNovi, Victor DiNovi, Chuck Domanico, Jeff Alexander, Steve Allen, Vernon Alley, Alternate and Arthur Domaschenz, Mr. and Mrs. Steve Donahue, William E. Independent Study Program, Bill Angel, Alfred Appel J r, Ted Donoghue, Bob Dorough, Ed Dougherty, Hermie Dressel, Len Arenson, Bruce R. Armstrong, Jim Armstrong, Tex Arnold, Dresslar, Kenny Drew, Ray Drummond, R.H. Duffield, Lloyd Kenny Ascher, George Avakian, Heman B. Averill, L. Dulbecco, Larry Dunlap, Marilyn Dunlap, Brian Duran, Jean Bach, Bob Bain, Charles Baker (Kent State University Eddie Duran, Mike Dutton (KCBX), ' School of Music), Bill Ballentine, Whitney Balliett, Julius Wendell Echols, Harry (Sweets) Edison,Jim_Eigo, Rachel Banas, Jim Barker, Robert H. Barnes, Charlie Barnet, Shira Elkind-Tourre, Jack Elliott, Herb Ellis, Jim Ellison, Jack r Barnett, Jeff Barr, E.M. Barto Jr, Randolph Bean, Jack Ellsworth (WLIM), Matt Elmore (KCBX FM), Gene Elzy Beckerman, Bruce B. Bee, Lori Bell, Malcolm Bell Jr, Carroll J . (WJR), Ralph Enriquez, Dewey Emey, Ricardo Estaban, Ray Bellis MD, Mr and Mrs Mike Benedict, Myron Bennett, Dick Eubanks (Capital University Conservatory of Music), Gil Bentley, Stephen C. Berens MD, Alan Bergman, James L. Evans, Prof Tom Everett (Harvard University), Berkowitz, Sheldon L. -
Hits from the 1940S
Hits from the 1940s ¯ Boogie Woogie Bugle Boy – Andrews Sisters ¯ Chattanooga Choo Choo – Glenn Miller ¯ Cool Water – Sons of the Pioneers ¯ Don’t Fence Me In – Bing Crosby/Andrews Sisters ¯ Don’t Get Around Much Anymore – Ink Spots/Duke Ellington ¯ Don’t Sit Under the Apple Tree – Glenn Miller/Andrews Sisters ¯ I Love You (For Sentimental Reasons) – Nat King Cole/Dinah Shore ¯ I’ll Be Seeing You – Bing Crosby/Liberace ¯ I’m Looking Over a Four Leaf Clover – Art Mooney ¯ Jingle Jangle Jingle – Kay Kysor/Gene Autry ¯ Peg O’ My Heart – Harmonicats ¯ Sentimental Journey – Doris Day/Les Brown ¯ Star Dust – Artie Shaw ¯ Stormy Weather – Lena Horne ¯ Swinging on a Star – Bing Crosby ¯ Take the “A” Train – Duke Ellington ¯ The White Cliffs of Dover – Vera Lynn/Kay Kysor/Glenn Miller ¯ This Land is Your Land – Woody Guthrie ¯ When You Wish Upon a Star – Cliff Edwards/Glenn Miller/Guy Lombardo ¯ You Are My Sunshine – Gene Autry/Bing Crosby/Lawrence Welk You may find the original versions of many of these songs on You Tube. Many are also available to purchase through ITunes. Most artists referenced here had multiple hits. So once you start searching for the songs listed here you will no doubt find many others to enjoy. For lyrics try AZLyrics.com or songlyrics.com where you can copy and paste lyrics for your personal use only. www.SingingHeartToHeart.com Mary Sue Wilkinson . -
Lucky Drummer from NYC Jazz to Johnny Carson
Lucky Drummer From NYC Jazz to Johnny Carson by Ed Shaughnessy with Robyn Flans © 2012 Ed Shaughnessy ISBN 978-1-888408-16-4 REBEATS PUBLICATIONS 219 Prospect, Alma, Michigan 48801 www.Rebeats.com Cover design, index, gear diagrams by Rob Cook Discography typing by Nancy Stringer Printed in the United States of America All rights for publication and distribution are reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retreival systems without publisher’s written consent. Where it’s at.... MY CHILDHOOD 1 Growing up in Jersey THE GOOD OL’ DAYS—THE STAGE-SHOW ERA 5 The Paramount, Strand, Capital, and Loew’s State theaters SUNDAY JAMS 7 Big name theater musicians jamming in small ballrooms THE TEEN YEARS 9 Timpani in the school orchestra, getting hooked up with frst teachers BILL WEST 11 More than a great teacher, a way to make the New York scene ANOTHER MENTOR 13 Mo Goldenberg and the mallets POST-HIGH SCHOOL 14 Getting a NYC room to establish residency DIDN’T MAKE THE CUT 14 Fired from my frst professional job– not for musical reasons BOBBY BYRNE AND THE BIG EASY 14 Working with the trombonist in New Orleans BACK HOME 15 Back to NYC with Jack Teagarden and George Shearing THE ’50s 16 Experimental music with Teddy Charles, Miles Davis WATCHING FROM THE BALCONY—WATCHA GONNA BRING? 16 Coming of age in New York City CHARLIE VENTURA 17 Introduction to touring by the bop saxmaster, zoot suit pants A STAR IS BORN 19 My frst endorsement deal THE TIME I DIDN’T 20