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Firehouse Five Plus Two Plays for Lovers Mp3, Flac, Wma
Firehouse Five Plus Two Plays For Lovers mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Plays For Lovers Country: Italy Released: 1956 Style: Dixieland MP3 version RAR size: 1396 mb FLAC version RAR size: 1101 mb WMA version RAR size: 1857 mb Rating: 4.6 Votes: 411 Other Formats: TTA FLAC AC3 ADX DMF VOC MP3 Tracklist Hide Credits My Cutie's Due At Two To Two A1 Written-By – Albert Von Tiltzer*, Irving Bibo, Leo Robin I Love My Baby A2 Written-By – Bud Green, Harry Warren Love Songs Of The Nile B1 Written-By – Arthur Freed, Nacio Herb Brown I Love You Truly B2 Written-By – Carrie Jacobs Bond* Credits Banjo – Dick Roberts Drums – Jim MacDonald* Piano – Frank Thomas Soprano Saxophone – George Probert Trombone – Ward Kimball Trumpet – Danny Alguire Tuba – Ed Penner* Notes Recorded September 23, December 19, 1955 January 11, 1956 Barcode and Other Identifiers Matrix / Runout: LKX - 161 Matrix / Runout: LKX - 162 Rights Society: BIEM Other versions Category Artist Title (Format) Label Category Country Year Good Time EP-1042, EP Firehouse Five Plays For EP-1042, EP Jazz, Good Germany Unknown 1042 Plus Two Lovers (7") 1042 Time Jazz Good Time EP-1044, EP Firehouse Five Plays For EP-1044, EP Jazz, Good Germany Unknown 1044 Plus Two Lovers (7") 1044 Time Jazz Firehouse Five Plays For Good Time EPG 1234 EPG 1234 Czechoslovakia 1957 Plus Two Lovers (7", EP) Jazz Related Music albums to Plays For Lovers by Firehouse Five Plus Two Firehouse Five Plus Two - Goes To A Fire Firehouse Five Plus Two - The Firehouse Five Story, Vol. -
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. -
Oral History Interview with Roy Superior, 2010 June 29-30
Oral history interview with Roy Superior, 2010 June 29-30 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Roy Superior on June 29 and 30, 2010. The interview took place in the artist's home and studio in Williamsburg, Massachusetts, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Mara Superior has reviewed the transcript. Her corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel with Roy Superior at the artist's home and studio in Williamsburg, Massachusetts, on June 29, 2010, for the Smithsonian's Archives of American Art, disc number one. Good afternoon. Shall we start at the beginning? Let's cover a little of the biographical background. ROY SUPERIOR: The early years before I was born? MS. RIEDEL: Yes, the early years before—your parents? MR. SUPERIOR: Well, the first thing I think that I ought to mention is where my name came from. MS. RIEDEL: Please do. MR. -
The Rise & Fall of Paramount Records Volume II
ICLA icla.com The Rise & Fall of Paramount Records Volume II The Rise and Fall of Paramount Records Volume II GRAMMY WINNER 2016 - Best Boxed or Special Limited Edition Package The Rise and Fall of Paramount Records Volume II, a joint release by Third Man Records and Revenant Records and co-produced by leading Paramount scholar Alex van der Tuuk, stretches from 1928 until the label’s unceremonious end in the wake of the Great Depression in 1932, when the money ran out for music. Talent did not stop coming during that time of financial woe. Paramount continued to add creative geniuses to their roster, adding Charley Patton, Son House, Lottie Kimbrough, Clarence Williams, Blue Jay Singers, Dock Boggs, Lillie May “Geeshie” Wiley, Elvie Thomas, Skip James, Willie Brown, Thomas Dorsey and Emry Arthur, just to name a few. The Rise and Fall of Paramount Records Volume II document the roots of gospel and swing and the growth of blues and jazz through the efforts of some of American music’s most creative minds. There is even a hint of bluegrass and traces of rock n roll yet to come. Yet, despite all of Paramount’s great talents, record sales finally plummeted and the company died. Hailed by Wired as “the ultimate box set of iconic American music”, the Rise and Fall of Paramount Records Volume II is housed in a polished aluminum case, evoking the era’s high art deco styling and America’s own Machine Age take on modernist design. The Rise and Fall of Paramount Records Volume II is comprised of a multi-colored foil stamped 250-page large format case bound book with gilded edges that provides the continued history of Paramount Records and anecdotal stories about some of their many music artists. -
Incongruous Surrealism Within Narrative Animated Film
University of Central Florida STARS Electronic Theses and Dissertations, 2020- 2021 Incongruous Surrealism within Narrative Animated Film Daniel McCabe University of Central Florida Part of the Film and Media Studies Commons Find similar works at: https://stars.library.ucf.edu/etd2020 University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2020- by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation McCabe, Daniel, "Incongruous Surrealism within Narrative Animated Film" (2021). Electronic Theses and Dissertations, 2020-. 529. https://stars.library.ucf.edu/etd2020/529 INCONGRUOUS SURREALISM WITHIN NARRATIVE ANIMATED FILM by DANIEL MCCABE B.A. University of Central Florida, 2018 B.S.B.A. University of Central Florida, 2018 A thesis submitted in partial fulfillment of the requirements for the degree of Masters of Fine Arts in the School of Visual Arts and Design in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2021 © Daniel Francis McCabe 2021 ii ABSTRACT A pop music video is a form of media containing incongruous surrealistic imagery with a narrative structure supplied by song lyrics. The lyrics’ presence allows filmmakers to digress from sequential imagery through introduction of nonlinear visual elements. I will analyze these surrealist film elements through several post-modern philosophies to better understand how this animated audio-visual synthesis resides in the larger world of art theory and its relationship to the popular music video. -
Jelly Roll Morton Interviews Conducted by Alan Lomax (1938) Added to the National Registry: 2003 Essay by Ronald D
Jelly Roll Morton interviews conducted by Alan Lomax (1938) Added to the National Registry: 2003 Essay by Ronald D. Cohen (guest post)* Jelly Roll Morton Jelly Roll Morton (1885-1941), born Ferdinand Joseph Lamothe in New Orleans, had Creole parents. He began playing the piano at an early age in the New Orleans Storyville neighborhood during the birth pangs of jazz. For a decade, starting in 1907, he traveled the country as a vaudeville musician and singer; in 1915 his composition “The Jelly Roll Blues” became the first published jazz tune. From 1917 to 1923, he continued performing from his base in Los Angeles, then moved to Chicago where he met Walter and Lester Melrose, who had a music publishing company. Along with his sheet music, Morton began recording for Paramount Records in 1923 as well as for Gennett Records in Richmond, Indiana, and for the Autograph label. Backed by various session musicians, particularly the Red Hot Peppers, his most influential recordings came in 1926-30, first for Vocalion, then for RCA-Victor. With the onslaught of the Depression, Morton’s career languished, so he moved to New York, then Washington, D.C., in 1936. He now hosted show “The History of Jazz” on WOL and performed in a local club. Known in 1937 as the Music Box/Jungle Inn, there he met the young, creative, and energetic Alan Lomax. Born in Austin, Texas, the son of the folklorist John Lomax, Alan Lomax (1915-2002) had become assistant-in-charge of the Archive of American Folk Song at the Library of Congress (LC) in 1937. -
DJ – Titres Incontournables
DJ – Titres incontournables Ce listing de titres constamment réactualisé , il vous ait destiné afin de surligner avec un code couleur ce que vous préférez afin de vous garantir une personnalisation totale de votre soirée . Si vous le souhaitez , il vaut mieux nous appeler pour vous envoyer sur votre mail la version la plus récente . Vous pouvez aussi rajouter des choses qui n’apparaissent pas et nous nous chargeons de trouver cela pour vous . Des que cette inventaire est achevé par vos soins , nous renvoyer par mail ce fichier adapté à vos souhaits 2018 bruno mars – finesse dj-snake-magenta-riddim-audio ed-sheeran-perfect-official-music-video liam-payne-rita-ora-for-you-fifty-shades-freed luis-fonsi-demi-lovato-echame-la-culpa ofenbach-vs-nick-waterhouse-katchi-official-video vitaa-un-peu-de-reve-en-duo-avec-claudio-capeo-clip-officiel 2017 amir-on-dirait april-ivy-be-ok arigato-massai-dont-let-go-feat-tessa-b- basic-tape-so-good-feat-danny-shah bastille-good-grief bastille-things-we-lost-in-the-fire bigflo-oli-demain-nouveau-son-alors-alors bormin-feat-chelsea-perkins-night-and-day burak-yeter-tuesday-ft-danelle-sandoval calum-scott-dancing-on-my-own-1-mic-1-take celine-dion-encore-un-soir charlie-puth-attention charlie-puth-we-dont-talk-anymore-feat-selena-gomez clean-bandit-rockabye-ft-sean-paul-anne-marie dj-khaled-im-the-one-ft-justin-bieber-quavo-chance-the-rapper-lil-wayne dj-snake-let-me-love-you-ft-justin-bieber enrique-iglesias-subeme-la-radio-remix-remixlyric-video-ft-cnco feder-feat-alex-aiono-lordly give-you-up-feat-klp-crayon -
The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930
ABSTRACT HUMANITIES DECUIR, MICHAEL B.A. SOUTHERN UNIVERSITY AT NEW ORLEANS, 1987 M.A. THE UNIVERSITY OF CALIFORNIA, BERKELEY, 1989 THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 Committee Chair: Timothy Askew, Ph.D. Dissertation dated August 2018 This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du i Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of blacks in America as the sole theme. ii THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY MICHAEL DECUIR DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA AUGUST 2018 © 2018 MICHAEL DECUIR All Rights Reserved ACKNOWLEDGEMENTS My greatest debt of gratitude goes to my first music teacher, my mother Laura. -
Sammy Price Fire Mp3, Flac, Wma
Sammy Price Fire mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Fire Country: US MP3 version RAR size: 1491 mb FLAC version RAR size: 1625 mb WMA version RAR size: 1570 mb Rating: 4.7 Votes: 468 Other Formats: MMF MIDI ASF XM AU WMA ADX Tracklist Hide Credits Back Home Again To France 1 Alto Saxophone – Teddy Buckner Bass – Carl PruittDrums – J.C. HeardPiano – Sammy 2:57 PriceTrombone – Gene "Mighty Flea" ConnersTrumpet – Doc Cheatham Black And Blue Blues 2 Alto Saxophone – Teddy Buckner Bass – Carl PruittDrums – J.C. HeardPiano – Sammy 3:29 PriceTrombone – Gene "Mighty Flea" ConnersTrumpet – Doc Cheatham Walkin' Down Pigalle 3 Alto Saxophone – Teddy Buckner Bass – Carl PruittDrums – J.C. HeardPiano – Sammy 3:00 PriceTrombone – Gene "Mighty Flea" ConnersTrumpet – Doc Cheatham Memories Boogie 4 Alto Saxophone – Teddy Buckner Bass – Carl PruittDrums – J.C. HeardPiano – Sammy 4:10 PriceTrombone – Gene "Mighty Flea" ConnersTrumpet – Doc Cheatham Funky 5 4:28 Bass – Carl PruittDrums – J.C. HeardPiano – Sammy Price Boogie Woogie For Hugues 6 2:54 Bass – Carl PruittDrums – J.C. HeardPiano – Sammy Price West End Blues 7 4:33 Bass – Carl PruittDrums – J.C. HeardPiano – Sammy Price Whodat Blues 8 3:50 Bass – Carl PruittDrums – J.C. HeardPiano – Sammy Price Riffin' Boogie 9 3:55 Bass – Carl PruittDrums – J.C. HeardPiano – Sammy Price Tain't Nobody Business If I Do 10 4:57 Bass – Carl PruittDrums – J.C. HeardPiano – Sammy Price Salute To Basie 11 2:24 Bass – Carl PruittDrums – J.C. HeardPiano – Sammy Price Ain't She Sweet 12 Alto Saxophone – Teddy Buckner Bass – Carl PruittDrums – J.C. -
“Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr
GREENE, KEVIN D., Ph.D. “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr. Benjamin Filene. 332 pgs This dissertation investigates the development of African American identity and blues culture in the United States and Europe from the 1920s to the 1950s through an examination of the life of one of the blues’ greatest artists. Across his career, Big Bill Broonzy negotiated identities and formed communities through exchanges with and among his African American, white American, and European audiences. Each respective group held its own ideas about what the blues, its performers, and the communities they built meant to American and European culture. This study argues that Broonzy negotiated a successful and lengthy career by navigating each groups’ cultural expectations through a process that continually transformed his musical and professional identity. Chapter 1 traces Broonzy’s negotiation of black Chicago. It explores how he created his new identity and contributed to the flowering of Chicago’s blues community by navigating the emerging racial, social, and economic terrain of the city. Chapter 2 considers Broonzy’s music career from the early twentieth century to the early 1950s and argues that his evolution as a musician—his lifelong transition from country fiddler to solo male blues artist to black pop artist to American folk revivalist and European jazz hero—provides a fascinating lens through which to view how twentieth century African American artists faced opportunities—and pressures—to reshape their identities. Chapter 3 extends this examination of Broonzy’s career from 1951 until his death in 1957, a period in which he achieved newfound fame among folklorists in the United States and jazz and blues aficionados in Europe. -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz. -
Paramount Vol 1 800 Songs, 1.5 Days, 5.35 GB
Page 1 of 23 Paramount Vol 1 800 songs, 1.5 days, 5.35 GB Name Time Album Artist 1 Abounding Sin And Abounding Gr… 2:42 The Rise & Fall of Paramount Re… Rev. J. O. Hanes and Male Choir 2 Ada Jane's Blues (Pm 12232, 188… 3:06 The Rise & Fall of Paramount Re… Trixie Smith 3 Adams Apple (Pm 12376, 2603-1) 2:52 The Rise & Fall of Paramount Re… Jimmy Blythe and His Ragamuffins 4 African Blues (Pm 12229, 1864-) 2:53 The Rise & Fall of Paramount Re… Sam Manning 5 Aggravatin' Papa (Pm 12013, 132… 3:12 The Rise & Fall of Paramount Re… Alberta Hunter 6 Ain't Goin' Marry (Ain't Goin' Settl… 2:59 The Rise & Fall of Paramount Re… Ethel Waters 7 Ain't It A Shame (Pm 12104, P-14… 3:00 The Rise & Fall of Paramount Re… Four Harmony Kings 8 Aint It A Shame (Pm 12032, 1374-1) 3:00 The Rise & Fall of Paramount Re… Norfolk Jazz Quartette 9 Airy Man Blues (Pm 12219, 1851-2) 2:40 The Rise & Fall of Paramount Re… Papa Charlie Jackson 10 Alabamy Bound (Pm 20400, 2147… 2:43 The Rise & Fall of Paramount Re… Jimmy O'Bryant's Washboard Band 11 Alexander, Where's That Band? (… 2:57 The Rise & Fall of Paramount Re… Pickett-Parham Apollo Syncopators 12 All Birds Look Like Chicken To Me… 3:13 The Rise & Fall of Paramount Re… Sweet Papa Stovepipe 13 All I Want Is A Spoonful (Pm 1232… 2:39 The Rise & Fall of Paramount Re… Papa Charlie Jackson 14 All I Want Is That Pure Religion (… 3:12 The Rise & Fall of Paramount Re… Deacon L.