Tuba a Jazz (Interpretace, Komparace)

Total Page:16

File Type:pdf, Size:1020Kb

Tuba a Jazz (Interpretace, Komparace) JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra Dechových nástrojů Studijní obor TUBA Tuba a Jazz (interpretace, komparace) Bakalářská práce Autor práce: Alexandr Kunert, DiS. Vedoucí práce: Mgr.art. Pavel Bureš Oponent práce: MgA. Jan Dalecký Brno 2018 5 Bibliografický záznam KUNERT, Alexandr. Tuba a Jazz (interpretace, komparace) [Tuba and Jazz (interpretation, comparation)] Brno: Janáčkova akademie múzických umění v Brně, Hudební Fakulta, Katedra dechových nástrojů, 2018. 30 str. Vedoucí Bakalářské práce Mgr.art. Pavel Bureš Anotace Diplomová práce „Tuba a Jazz“ se zaměřuje na americké tubisty z období neworleanského jazzu a cool jazzu - o jejich působení v kapelách a projektech. Dále zpracovává interpretační analýzu vybraných nahrávek a srovnává interprety samotné. Annotation The diploma thesis "Tuba and Jazz" focuses on American tuba players of the New Orleans jazz and cool jazz period - about their acting in bands and projects. This thesis also processes an interpretative analysis of selected recordings and compares performers themselves. Klíčová slova Jazz, tuba, nahrávka, interpretace, sólo, improvizace, neworleánský jazz, figura Keywords Jazz, Tuba, Recording, Interpretation, Solo, Rendition, New Orleans Jazz, Musical Figure 6 Prohlášení: Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. Současně dávám svolení k tomu, aby tato diplomová práce byla umístěna v Knihovně JAMU a používána ke studijním účelům. V Brně dne: 11.5. 2018 Alexandr Kunert 7 Poděkování: Děkuji Mgr.art. Pavlovi Burešovi za konzultace, trpělivost a rady při zpracovávání této práce. Dále děkuji MgA. Janu Daleckému za poskytnutí informačních zdrojů a nahrávek. V neposlední řadě děkuji také mému kamarádovi Petru Sičovi z Okresní knihovny v Olomouci za poskytnutí řady mnohdy těžko dostupných audio materiálů. 8 Obsah Úvod 10 1. Éra dixielandu – neworleánský jazz 11 1.1. Cyrus St. Clair (1890-1955) 11 1.2. Vincent Joseph Tortoriello (1902-1986) 12 1.3. Andy Kirk (1898-1992) 14 1.4. Ralph Escudero (1898-1970) 15 2. New Orleans Revival 16 2.1. John Kirby (1908-1952) 16 2.2. Dick Lammi (1909-1969) – New Orleans Revival 17 3. Cool jazz (Bebop, Hardbop, Postbop) 18 3.1. George Sylvester Callender (1916-1992) 18 3.2. Tuba Band Milese Davise 19 3.3. John William Barber (1920-2007) 20 3.4. Don Butterfield (1923-2006) 22 3.5. Raymond Allen Draper (1940-1982) 23 3.6. Howard Lewis Johnson (*1941) 25 3.6.1. Gravity 25 3.7. James Self (*1943) 26 3.7.1. „Fluba“ Jima Selfa 27 3.8. Bob Stewart (*1945) 27 4. Jug Bands 29 Závěr 30 Použité informační zdroje: 31 Seznam příloh 32 Příloha č. 1: Jug Bands – přehled dochovaných nahrávek 323 Příloha č. 2: Obrazové přílohy 334 9 Úvod Tuba se začlenila do nonartificiální hudby – v tomto případě jazzové – již na svém počátku. V prvním desetiletí minulého století se v Jižní Americe, zejména v New Orleans, začal formovat hudební styl afroamerické komunity - Jazz, který hojně využíval žesťových nástrojů. V éře raného jazzu, tedy již od zmíněných 10. let sehrála tuba významnou roli. Do původních pouličních a pochodových kapel začaly pozvolna pronikat progresivnější melodické i harmonické prvky a daly tak živnou půdu pro vznik prvních jazzbandů. Tuba, a v té době možná častěji využívaný suzafon (vzhledem k praktickému využití), se tedy staly prvními nástroji vedoucí basovou linku. Dá se tedy říct, že tuba byla v éře dixielandu jediným basovým nástrojem. Kontrabas se „infiltroval“ do raného jazzu o něco později, přesněji řečeno, začal se využívat až ve „statických“ kapelách. Dvacátá a třicátá léta se nesla v duchu obrovského rozmachu a popularity jazzové hudby. Kluby, bary, tančírny – zde všude zněl jazz. Vznikaly nové jazzbandy, pochodové kapely byly na ústupu, mnozí tubisté se začali zajímat o hru na kontrabas a využívali jej v praxi. Ve 20. letech se na jazzové scéně objevila první zvučná jména tubistů jako např.: Cyrus St. Clair, Ralph Escudero, nebo Joe Tarto. V tomto údobí však nelze opomenout značně sílící popularitu kontrabasu, který tubu ve vedení basového partu v průběhu 30. let téměř vytěsnil. S příchodem raného swingu a během 40. let, kdy swingová éra eskalovala, došlo k výrazným změnám ve vedení basu, což mělo významný vliv i na jazzové tubisty v nastávající dekádě. Na začátku 50. let se pozvolna tuba vrací na jazzovou scénu. Začíná se objevovat v novátorských projektech a ve zcela nové pozici jako součást nástrojové melodické sekce, ba dokonce i jako nástroj sólový. Později, v 70. letech se objevily první projekty výhradně tub tenorových basových a kontrabasových s doprovodnou rytmickou sekcí. Prvním iniciátorem se stal Howard Lewis Johnson se svými formacemi Tuba Libre nebo Substructure – později pod novým jménem Gravity. Zde se tuba začala plnohodnotně prezentovat jako nástroj sekční i sólový, využívající všech interpretačních i improvizačních schopností jednotlivých hráčů. V této práci bych se zaměřil na tubisty jednotlivých etap jazzu, jejich výrazová specifika a technickou úroveň. Dále dle vybraných, potažmo dostupných nahrávek zpracuji interpretační analýzu, kde se projeví můj osobní názor na zkoumané interprety. 10 1. Éra dixielandu – neworleánský jazz 1.1. Cyrus St. Clair (1890-1955) Zvučné jméno mezi tubisty 20. let. Narodil se v Cabridge a pocházel z muzikantského prostředí. Otec a strýc byli také tubisti. Jeho renomé se zapsalo do dějin jazzu především díky jeho spolupráci s nahrávací společností pianisty Clarence Williamse, kde se realizoval na velkém množství nahrávek v rozmezí let 1927-37. V dětských letech začal hrát na trubku a až později, vzhledem k fyzické náročnosti, vyměnil trubku za tubu. Poté, co odešel do New Yorku kolem roku 1925, pracoval St. Clair s trombonistou a kapelníkem Wilburem DeParis, dále s Cotton Pickers Bobbyho Lee a kapelou Charlieho Johnsona Paradies Ten (v roce 1926). Na několika projektech spolupracoval také se zpěvačkou Bessie Smith, která byla taktéž členkou kapely Clarence Williamse. Na konci 30. let začala být tuba na ústupu a postupně byla nahrazována kontrabasem, na který později Cyrus St. Clair také hrál1. V době největší slávy neworleanského jazzu interpretovali tubisté výhradně na kontrabasovou tubu, nebo suzafon. Na nahrávce stompu Candy Lips2 s kapelou Clarence Williamse je zřejmé, že Cyrus St. Clair byl rytmicky přesným hráčem. Basová linka je vedená jednoduchým způsobem, bez obsáhlejších basových průchodů. Za povšimnutí stojí změna vedení linky v průběhu písně, kde začátek je interpretován typicky staccatově a v repríze tématu vede linku Clair mezi portamentem a tenutem, což v té době nebylo tak zcela běžné. V bluesové písni Close Fit Blues3 je z dostupné nahrávky znát Clairova velmi dobrá tónová kvalita. Tón je znělý, ozev přesvědčivý a nasazování přesné. V krátké sólové figuře ke konci skladby zní tuba velmi výrazně. Ve skladbě Log Cabin Blues4se objeví krátké tubové sólo hrané společně s pianem v oktávách. Zde dotváří Clair atmosféru dobově typickým vibratem, což opět nebylo v rámci dobové interpretace tuby zcela běžné. Na nahrávce stompu Cushion Foot Stomp5 z roku 1927 se Clair ukáže krátkým sólem, které zakončí bravurně rychlou melodickou figurou. Z posuzovaných 1 YANOW, Scott. Cyrus St. Clair Biography [online]. Copyright ©2018 All Music [cit. 10.05.2018]. Dostupné z: https://www.allmusic.com/artist/cyrus-st-clair-mn0000788970/biography 2 Clarence Williams. Great Original Performances 1927 To 1934 [zvukový záznam na CD]. Records, BBC CD 721. 3 Clarence Williams. Great Original Performances 1927 To 1934. BBC Records, BBC CD 721. 4 Clarence Williams. Great Original Performances 1927 To 1934. BBC Records, BBC CD 721. 5 Clarence Williams & Jug & Washboard Bands: Whoop It Up! Volume I: 1927-1929. Document Records, JPCD-1531-2. 11 nahrávek můžeme ocenit Clairovu improvizační nápaditost a na tehdejší dobu nespornou interpretační úroveň. Cyrus St. Clair a jeho pokřivená tuba… Ani tento tubista nebyl výjimkou v tom, že používal kontrabasovou tubu. Jeho nástroj byl ovšem tak trochu raritou mezi ostatními tubami. Konstrukčně byl totožný s běžnou tubou, jen korpus měl vyústění do vertikální pozice – stejně jako suzafon. Jednalo se tedy o suzafon-tubu. Praktický účel, domnívám se, spočíval v přímém vyzařování zvuku směrem dopředu. Konstruktéři zřejmě logicky uvažovali ve prospěch tubistovy snahy. Všechny ostatní žesťové nástroje hrály v horizontální poloze, což samozřejmě šířilo zvuk přímo do obecenstva nebo směrem k nahrávacímu aparátu. Tubista byl vzhledem k poloze ozvučníku jaksi „znevýhodněn“ vůči ostatním žesťům. To jen okrajově ke specifické konstrukci tuby, kterou později využívali např. Ralph Escudero, Dick Lammi, Red Callender nebo Billy Barber. 1.2. Vincent Joseph Tortoriello (1902-1986) Jako dvanáctiletý začal „Joe Tarto“ hrou na trombon, ale brzy poté vyměnil trombon za tubu. V 80. letech s humorem označili někteří sběratelé alb Joe Tarta jako „Tuba Titan“. Ačkoli byl Tarto zjevně méně známým hudebníkem, v řadě nahrávek na kterých se objevil ve dvacátých letech spoluhráči rozpoznali jeho talent. Joe Tarto hrál v armádním bandu na tubu během 1. světové války. Následně, když byl na frontě zraněn, propustili ho ze služeb armády - v roce 1919. Na podzim roku 1920 se Joe Tarto začal naplno realizovat jako hudebník. Spolupracoval s Cliffem Edwardem, působil v bandu Paula Spechta (1922-24), dále potom v orchestru Sama Lanina a Vincenta Lopeze. Působil v zábavních programech na Brodwayi a aranžoval pro slavný orchestr Fletchera Hendersonai Chicka Webba. Kolem 20. let Tarto nahrával s různými osobnostmi,
Recommended publications
  • ¶7櫥«Q }欻' / * #376;扎 #732;†
    120825bk Teagarden2 REV 29/3/06 8:46 PM Page 8 Track 14: John Fallstitch, Pokey Carriere, Sid Jack Lantz, trombones; Merton Smith, Vic Rosi, Feller, trumpets; Jack Teagarden, Jose Bob Derry, Bert Noah, Dave Jolley, saxes; Guttierez, Seymour Goldfinger, Joe Ferrall, Norma Teagarden, piano; Charles Gilruth, trombones; Danny Polo, clarinet, alto sax; Tony guitar; Lloyd Springer, bass; Frank Horrington, Antonelli, Joe Ferdinando, alto sax; Art Moore, drums Art Beck, tenor sax; Ernie Hughes, piano; Track 19: Charlie Teagarden, trumpet; Jack Arnold Fishkin, bass; Paul Collins, drums Teagarden, Moe Schneider, trombones; Matty Track 15: John Fallstitch, Pokey Carriere, Matlock, clarinet, tenor sax; Ray Sherman, Truman Quigley, trumpets; Jack Teagarden, piano; Bill Newman, guitar, banjo; Morty Corb, Jose Guttierez, Seymour Goldfinger, Joe Ferrall, bass; Ben Pollack, drums trombones; Danny Polo, clarinet, alto sax; Tony Track 20: Charlie Teagarden, trumpet; Jack Antonelli, Joe Ferdinando, alto sax; Art Moore, Teagarden, trombone; Jay St. John, clarinet; Art Beck, tenor sax; Ernie Hughes, piano; Norma Teagarden, piano; Kass Malone, bass; Arnold Fishkin, bass; Paul Collins, drums Ray Bauduc, drums Track 16: John Fallstitch, Pokey Carriere, Truman Quigley, trumpets; Jack Teagarden, Also available ... Jose Guttierez, Seymour Goldfinger, Joe Ferrall, trombones; Danny Polo, clarinet, alto sax; Tony Antonelli, Joe Ferdinando, alto sax; Art Moore, Art Beck, tenor sax; Ernie Hughes, piano; Perry Botkin, guitar; Arnold Fishkin, bass; Paul Collins, drums Track
    [Show full text]
  • Trevor Tolley Jazz Recording Collection
    TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre.
    [Show full text]
  • The Recordings
    Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr.
    [Show full text]
  • Catalogue 2011
    LAC K INE B CATALOGUEL 2011 VARIETES FRANCAISES / FRENCH SONGS CDBL-1066-2 BOX 2CD CD1 CD2 CHARLES AZNAVOUR J’Ai Bu (Avec Pierre Roche) • Le Feutre Taupé Moi J’Fais Mon Rond • Parce Que • Les (Avec Pierre Roche) • Départ Express (Avec Chercheurs D’Or • L’Emigrant • Je Veux Te Pierre Roche) • En Revenant De Québec (Avec Dire Adieu • Viens Au Creux De Mon Epaule Pierre Roche) • Je N’Ai Qu’Un Sou (Avec Pierre • Je T’Aime Comme Ca • A T’Regarder • La Roche) • Tant De Monnaie (Avec Pierre Roche) Bagarre ! • Je Voudrais • Sur Ma Vie • Terre • Jezebel • Poker • Plus Bleu Que Tes Yeux • Nouvelle • Après L’Amour • Le Palais De Nos Oublie Loulou • Quand Elle Chante • Si J’Avais Chimères • Rentre Chez Toi Et Pleure • Toi • Un Piano • Mé Qué, Mé Qué • Viens • Et Ca • Prends Garde • Le Chemin De L’Eternité Bailler Et Dormir • Intoxiqué • Couchés Dans • Une Enfant • Je Cherche Mon Amour • Plus Le Foin • Heureux Avec Des Riens • Quelque Bleu Que Tes Yeux (Edith Piaf) Part Dans La Nuit • Monieur Jonas • Ah ! • CDBL-1006-2 BOX 2CD CD1 CD2 JOSÉPHINE BAKER J’ai Deux Amours • La Petite Tonkinoise • La Conga Blicoti • Voulez-vous de la Canne Dis-moi Joséphine • Confessin’ • Ram Pam à Sucre ? • He’s The Last Word • I’m Leaving Pam • Si J’étais Blanche • Sans Amour • Les For Alabamy • Dinah • I Wonder Where My Mots d’Amour • Mon Rêve C’était Vous • Baby is Tonight • I Love my Baby • I Found a Pretty Little Baby • Suppose ! • Pardon Si New Baby • Where’d You Get those Eyes? • Je T’importune • Aux Iles Hawaii • Sleepy Then I’ll Be Happy • Love is a Dreamer •
    [Show full text]
  • Vjazz 28 August 2005
    QUARTERLY NEWSLETTER OF THE VICTORIAN JAZZ ARCHIVE INC. VJAZZ 28 PATRON: WILLIAM H. MILLER M.A., B.C.L. (OXON.) Registered Office: 12 Homewood Court, Rosanna, Victoria 3084 AUGUST 2005 All correspondence to: PO Box 6007 Wantirna Mall, 3152 Registered No: A00339641 ABN 53 531 132 426 9 Ph/Fax (03) 9800 5535 email: vjazarch@vicnet.net.au EDITOR: Gretel James VJA VOLUNTEERS VISIT NATIONAL ARCHIVES OF AUSTRALIA On Thursday 21st July, fourteen volunteers from VJA Collection Management Team, paid a visit to the National Archives of Australia Repository in nearby East Burwood, which is one of the National Archives storage facilities in each State and Territory. We were welcomed by Mr Ross Latham, State Direc- tor, who gave a forty minute summation of what ma- terial the National Archives has preserved, mainly the Commonwealth Government papers, ASIO files, Defense Papers and all forms of Government Agen- cies. He spoke about many of the problems encoun- tered in the preservation of paperwork, although the National Archives also preserve sound recordings, L to R. Ray Sutton, John Kennedy, Bill Ford with Ross Latham and Jenny interviews, posters, film and photographs. Davidson on their return visit to the VJA. At East Burwood, the wonderful storage facilities hold some 63 kilometres of shelving, whilst the main facility in Canberra has some 360 km of shelving. We were staggered to learn that for the budget for all National Archives repositories throughout Australia was in excess of $66 million annually. We were taken on a tour of the storage area, where an immense room housed some sixty-three Compactus shelving modules, be- sides rows and rows of modern plan drawers.
    [Show full text]
  • Jazz Messenger
    Jazz Messenger -------------------------------------------------------------------------------------------------------------------------------------- August, 2016 -------------------------------------------------------------------------------------------------------------------------------------- The ATJS Jazz Messenger is circulated mostly by e-mail, and is published as we have an important message or gather enough material to assemble a new issue. The 2016-17 season is upon us, as good an occasion as any to crank out a new issue. -------------------------------------------------------- President’s Message The 2016-17 ATJS season is about to begin. It looks like a good one, with a strong run of good area traditional jazz bands leading up to an exciting concert by a Dallas jazz band in May and our usual rousing ATJS All-Star concert in June. As always, we want everyone with an interest in traditional jazz to come to Cap City Comedy Club, have a good time, and help keep the wonderful music that is traditional jazz alive and well in the Greater Austin Area. The 2015-16 season had some highs and lows. The highs included the music. We had a very good selection of bands, highlighted by fine shows by the Thrift Set Orchestra, the Mission City Hot Rhythm Cats and the 2016 ATJS All-Stars. Our new band for the season was the fine young jazz ensemble, the Dirty River Dixie Band from the San Antonio area. The ATJS Jam Session drew over 200 onlookers and players. Attendance at ATJS events has been erratic in recent years, a continuing concern for an organization holding concerts in a venue which will comfortably hold 300 patrons. Cap City Comedy Club has been a good home for ATJS for ten seasons, and we want to stay put.
    [Show full text]
  • It's the Girl
    “It’s the Girl”—The Boswell Sisters with the Dorsey Brothers Orchestra (1931) Added to the National Registry: 2010 Essay by David W. McCain (guest post)* The Boswell Sisters Original label Sheet music The date was July 8, 1931. The place was New York City. A trio of sisters from New Orleans named Martha, Connie and Vet--the Boswell Sisters--arrived at the studios of Brunswick Records to record a song titled “It’s the Girl,” written by Abel Baer and Dave Oppenheim. During the Great Depression records were not selling well. Vet Boswell described the Boswells’ recording sessions as “icing on the cake,” explaining that radio and stage appearances were far more financially lucrative. Recording artists at this time were paid a flat rate with no royalties. Radio quickly established the Boswell Sisters as household names in America during the Depression, but records spread their fame abroad. When the Boswell Sisters toured England and Holland in 1933 and 1935, it was their recordings which made them a top box office draw. By the date of their recording “It’s the Girl,” the Boswells knew who to request as their accompanists. Only four months earlier at their very first session for Brunswick (March 19, 1931), a house orchestra comprised of Bob Effros (trumpet); Tommy Dorsey (trombone); Jimmy Dorsey (clarinet); Arthur Schutt (piano); Dick McDonough (guitar); Joe Tarto (string bass) and Stan King (drums) had accompanied the Boswell Sisters on “Whad’ja Do To Me?” and “When I Take My Sugar to Tea.” This recording was released as Brunswick 6083. Vet Boswell recalled that after the first run-through of this session, the Boswells received a standing ovation as well as cheers and whistles from “the boys” who accompanied them.
    [Show full text]
  • The Boswell Sisters 1932-34 Mp3, Flac, Wma
    The Boswell Sisters The Boswell Sisters 1932-34 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Pop Album: The Boswell Sisters 1932-34 Released: 1972 Style: Vocal MP3 version RAR size: 1194 mb FLAC version RAR size: 1197 mb WMA version RAR size: 1650 mb Rating: 4.7 Votes: 505 Other Formats: VQF RA AHX MMF MP4 FLAC VOC Tracklist Hide Credits A1 Was That The Human Thing To Do 3:04 A2 We've Got To Put That Sun Back In The Sky 2:57 A3 There'll Be Some Changes Made 3:05 A4 If It Ain't Love 2:56 A5 Hand Me Down My Walkin' Cane 2:50 A6 Old Yazoo 3:10 A7 We Just Couldn't Say Good-Bye 2:38 B1 Down Amont The Sheltering Palms 2:48 B2 Sentimental Gentleman From Georgia 3:07 B3 Minnie The Moocher's Wedding Day 3:08 B4 Crazy People 2:42 B5 Mood Indigo 3:17 Sophisticated Lady Alto Saxophone – Chester HazlettBanjo – Perry BotkinClarinet, Alto Saxophone – Benny B6 3:08 GoodmanDouble Bass – Dick CherwinTrombone – Charlie Butterfield*Trumpet – Manny WeinstockViolin – Harry Hoffman The Object Of My Affection Clarinet, Alto Saxophone – Frank Schumacher, James BriggsClarinet, Tenor Saxophone – Art Grier, Gordon GreenDouble Bass – Jake Garcia Drums – Billy MarcusGuitar – Wally B7 3:18 HeglinOrchestra – Jimmy Grier's Orchestra*Piano – Ted RepayTrombone – Homer MengeTrumpet – Cliff Barber , Stan Green Violin – Bob Morrow, Dick Weber, Dwight Muma, Henry Jaworski* Credits Alto Saxophone – Jimmy Dorsey (tracks: A1 to A5, B5) Arranged By – Connee Boswell* Clarinet – Jimmy Dorsey (tracks: A1 to A5, A7, B1 to B3, B5) Double Bass – Arthur Bernstein* (tracks:
    [Show full text]
  • December 2008
    THE TRI-STATE SKYLARK STRUTTER Member of South Jersey Cultural Alliance and Greater Philadelphia Cultural Alliance Member of American Federation of Jazz Societies and Jersey Arts VOLUME 19 NUMBER 4 BEST OF SOUTH JERSEY 2008 DECEMBER 2008 *************************************************************************************************************************************** THE STRUTTER HAS GONE EMAIL We have reduced our costs of printing and mailing. If you wish to help by receiving an email edition in place of this edition, please The Tri-State Jazz Society proudly presents: send in your email address, If you did not receive it in pdf, please let us know! Please help us save money for good bands! We would be glad to put your friends on the email list. ED WISE NEW ORLEANS Dd JAZZ BAND Concert Admission Board member Ed Wise brings his New Orleans Jazz Band back to $20 ADMISSION Tri-State. It has proven quite popular in our area since Ed came from the Big Easy. It plays a mixture of the old standards and fine $15 MEMBERS obscure tunes from several areas. You may hear a Dixie version of a Beatles tune or “hard rock.” The lineup is: $10 STUDENTS Rick Gazda, trumpet, $10 FIRST TIME MEMBER GUESTS Al Harrison, trumpet & cornet, Joe Midiri, clarinet & sax, Pay At the Door Fred Scott, trombone, No Advanced Sales Dave Posmontier, piano, S Pat Mercuri, guitar & banjo, Grant MacAvoy, drums, and Ed on bass & vocals. AMERICAN LEGION HALL BROWNING ROAD AND RAILROAD AVENUE BROOKLAWN, NJ 08030 OUR NEXT BAND CONCERT SUNDAY, DECEMBER 14 2 PM PLENTY OF FREE PARKING ROOM TO DANCE REASONABLY PRICED FOOD AND DRINK FRIENDLY LEGION MEMBERS ED WISE Joe Midiri has played Dixieland for TSJS for 20 years, starting with the Midiri Dixieland JB and Tony DeNicola’s Dixie Band.
    [Show full text]
  • Guide to the Duncan P. Schiedt Photograph Collection
    Guide to the Duncan P. Schiedt Photograph Collection NMAH.AC.1323 Vanessa Broussard Simmons, Franklin A. Robinson Jr., and Craig A. Orr. Processing and encoding funded by a grant from the Council on Library and Information Resources. 2016 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 archivescenter@si.edu http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Background Information and Research Materials, 1915-2012, undated..................................................................................................................... 4 Series 2: Photographic Materials, 1900-2012,
    [Show full text]
  • Who Was Einar Swan? a Study in Jazz Age Fame and Oblivion
    WHO WAS EINAR SWAN? A STUDY IN JAZZ AGE FAME AND OBLIVION By Sven Bjerstedt Einar Swan. Portrait from the Worcester Telegram, April 24, 1927. 1 PREFACE ”Our bloom is hasty and we fade for ages,” sighs the poet.1 This melancholy reflection on human life conditions is well exemplified by the case of Einar Swan. Ask a person in the street to tell you what he knows about Duke Ellington. There will probably be an answer, more or less informative. Enquire about the 1920s ‘King of Jazz,’ Paul Whiteman, and the quality of the answers will vary significantly (perhaps depending on which street you choose to employ for your query). Now ask about Whiteman’s competitor Vincent Lopez. The outcome of your enquiry will be even fewer and less significant answers. We are now rapidly approaching the level of obscurity. Ask for information concerning Lopez’s head arranger and lead saxophonist, the multi-instrumentalist and hit composer Einar Swan. The results will be meagre in the extreme. In fact, not even a handful of the world’s most knowledgeable jazz historians will have anything at all to tell you. I have always loved the song “When Your Lover Has Gone” by E. A. Swan and was very surprised to suddenly one day find out that Swan’s first name was Einar. It most definitely seemed to have a Scandinavian ring to it. I asked everyone I could think of for information on Einar Swan. Nobody seemed to know anything at all about him. That made me really curious. This was the beginning of a search that turned out to be quite difficult.
    [Show full text]
  • ARMSTRONG, Louis, & His Orchestra
    DEBUT PEAK WKS ARTIST (no B-side) = single-faced disc DATE POS CHR Song Title or cylinder record B-side Label & Number ARMSTRONG, Louis, & His Orchestra All-Time: 38 Born Daniel Louis Armstrong on 8/4/1901 in New Orleans, Louisiana. Died of heart failure on 7/6/1971 (age 69). Legendary jazz singer/trumpet player. Nicknamed “Satchmo.” Moved to Chicago in 1922 to join King Oliver‘s band. Formed own band in 1926. Known for his uniquely raspy, scat-tinged vocals. Numerous appearances on radio, TV and in movies. Also see Fletcher Henderson, King Oliver, Bessie Smith, Clara Smith and Clarence Williams. AWARDS: Grammy: Lifetime Achievement 1972 R&R Hall of Fame: 1990 (Early Influence) 1)All Of Me 2)I’m In The Mood For Love 3)You Can Depend On Me 4)Love, You Funny Thing! 5)Chinatown, My Chinatown 7/17/26 8 2 1 Muskrat Ramble....................................................................................................................Heebie Jeebies [I] Okeh 8300 4/9/27 13 3 2 Big Butter And Egg Man From The West...........................................................................Sunset Cafe Stomp Okeh 8423 10/29/27 16 2 3 Keyhole Blues .........................................................................................................................Melancholy Blues Okeh 8496 also see #42 below 12/10/27 12 3 4 Potato Head Blues.........................................................................................................Put ‘Em Down Blues [I] Okeh 8503 LOUIS ARMSTRONG & HIS HOT SEVEN (above 2) 5/12/28 10 3 5 Hotter Than
    [Show full text]