God Wants You Well Past, Present, and Future
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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. -
Ernest Elliott
THE RECORDINGS OF ERNEST ELLIOTT An Annotated Tentative Name - Discography ELLIOTT, ‘Sticky’ Ernest: Born Booneville, Missouri, February 1893. Worked with Hank Duncan´s Band in Detroit (1919), moved to New York, worked with Johnny Dunn (1921), etc. Various recordings in the 1920s, including two sessions with Bessie Smith. With Cliff Jackson´s Trio at the Cabin Club, Astoria, New York (1940), with Sammy Stewart´s Band at Joyce´s Manor, New York (1944), in Willie ‘The Lion’ Smith´s Band (1947). Has retired from music, but continues to live in New York.” (J. Chilton, Who´s Who of Jazz) STYLISTICS Ernest Elliott seems to be a relict out of archaic jazz times. But he did not spend these early years in New Orleans or touring the South, but he became known playing in Detroit, changing over to New York in the very early 1920s. Thus, his stylistic background is completely different from all those New Orleans players, and has to be estimated in a different way. Bushell in his book “Jazz from the Beginning” says about him: “Those guys had a style of clarinet playing that´s been forgotten. Ernest Elliott had it, Jimmy O´Bryant had it, and Johnny Dodds had it.” TONE Elliott owns a strong, rather sharp, tone on the clarinet. There are instances where I feel tempted to hear Bechet-like qualities in his playing, probably mainly because of the tone. This quality might have caused Clarence Williams to use Elliott when Bechet was not available? He does not hit his notes head-on, but he approaches them with a fast upward slur or smear, and even finishes them mostly with a little downward slur/smear, making his notes to sound sour. -
William Russell Collection
MSS 506 Interviews with Musicians about Jelly Roll Morton 1938-1991 Bulk dates 1968-1970 Extent: 487 items This collection, a part of the larger William Russell Collection, consists of typed interviews about the jazz composer, pianist, and conductor Ferdinand “Jelly Roll” Morton (1885?-1941) and of other material which Russell collected for an intended book about Morton. The title of the collection derives from Russell‟s own descriptive phrase on folders and other packing material. However, the interviews were conducted not only with musicians, but also with others who could shed some light on Morton‟s story, including Frances M. Oliver (folder #118), Morton‟s sister; Joseph Fogarty (folder #54), grandson of Judge John J. Fogarty, who is mentioned in a Morton song; two retired vaudeville performers known as Mack and Mack (folder #108); Morton‟s one- time manager Harrison Smith (folder #174); and many others. Also in this collection are a few letters (folder #157, for instance), many of Jelly Roll‟s own autobiographical writings (folder #104), and several clippings, including an important obituary of Roy Carew (folder #87). The few photographs (none of Morton) are generally those mentioned in the accompanying interview article, and were probably intended as illustrations. Russell also collected the output of other people‟s research. John Steiner‟s chronology, “Jelly Roll in The Chicago Defender” (folders 183-185) and the beginning of Dave Stuart‟s book about his own friendship with Morton (folders 187-191) are examples of these. This material served as the basis for William Russell‟s book “Oh Mister Jelly!”: A Jelly Roll Morton Scrapbook. -
Albert 'Happy' Caldwell
THE RECORDINGS OF ALBERT ‘HAPPY’ CALDWELL An Annotated Tentative Personnelo-Discography CALDWELL, Albert W. ‘Happy’ born: Chicago, Ill., 25 July, 1903; died: New York, 29 December, 1978 Attended Wendell Phillips High School in Chicago, studied pharmacy. Took up clarinet in 1919. Played clarinet in 8th Illinois Regimental Band, after Army service took lessons from his cousin, Buster Bailey. Returned to studies until 1922, then joined Bernie Young´s Band at Columbia Tavern, Chicago, mage his first records with Young in 1923 (‘Dearborn Street Blues’), began doubling tenor c. 1923. Toured in Mamie Smith´s Jazz Hounds, remained in New York (1924). Did summer season at Asbury Park, then joined Bobby Brown´s Syncopators (1924). Worked with Elmer Snowden (1925), also with Billy Fowler, Thomas Morris, etc. With Willie Gant´s Ramblers (summer 1926), worked with Cliff Jackson, also toured with Keep Shufflin´ revue (early 1927). With Arthur Gibbs´ Orchestra (summer 1927 to summer 1928), recorded with Louis Armstrong (1929), also worked with Elmer Snowden again, Charlie Johnson, Fletcher Henderson, etc. Regularly with Vernon Andrade´s Orchestra from 1929 until 1933. With Tiny Bradshaw (1934), Louis Metcalf (1935), then led own band, mainly in New York. Recorded with Jelly Roll Morton (1939), with Willie Gant (1940). After leading his Happy Pals at Minton´s in early 1941, he moved to Philadelphia for three years, occasionally led own band, also worked with Eugene ‘Lonnie’ Slappy and his Swingsters and Charlie Gaines. Returned to New York in January 1945. Active with own band throughout the 1950s and 1960s, many private engagements and residencies at Small´s (1950-3), Rockland Palace (1957), etc., also gigged with Louis Metcalf and Jimmy Rushing. -
A Case of Serious Misguidance ‘Big Charlie’ Thomas – Or Charlie Gaines?
A Case of Serious Misguidance ‘Big Charlie’ Thomas – or Charlie Gaines? By Michael Rader and K.-B. Rau For many dedicated collectors of classic jazz, the trumpet/cornet player ‘Big Charlie’ Thomas has become a most interesting figure, not because of the mystery of his name, but because of his outstanding and exquisite kind of playing in the Armstrong mode at this time, and also because of his enigmatic appearance and – a year or so later – his disappearance. For our listener´s group ‘Big Charlie’ Thomas always was a distinct individual, remarkable for his musical style, his elegant phrasing, his effortless embouchure - or ‘chops’ – and his most imaginative inventiveness. He certainly is one of a few extraordinary “marble-stones” among the top musicians of the Harlem era of jazz, documented on records. Only, that this individual lacked a factual name, the name “Big” Charlie Thomas, conferred by John R. T. Davies on a previously unidentified cornetist, was itself the result of the combination of two clues from different sources. The first was an exhortation of encouragement, presumably to the cornet player, on “Come and Get Me, Papa, Before I Faint” by Margaret Carter, singing with Buddy Christian’s Jazz Rippers., “Play it, Big Charlie”. The second was Eva Taylor’s vague memory of a musician called Thomas as a regular participant in Clarence Williams recording sessions (Storyville 15). This mysterious man had never been mentioned or documented before anywhere in the literature of jazz or even in the discographies, up to the very moment that Eva Taylor, Clarence Williams´ widow, mentioned his name when asked by some British collectors in 1967. -
Download the Trombone of George Washington
1 The TROMBONE of GEORGE WASHINGTON Solographer: Jan Evensmo assisted by Ola Rønnow Last update: June 3, 2020 2 Born: Brunswick, Georgia, Oct. 18, 1907 Died: No info Introduction: George Washington was one of the better Afroamerican trombone players of the 1930s, but I cannot recall if Oslo Jazz Circle realized this back then. The main reason must have been that Mills Blue Rhythm Band records were hard to find in post-war Norway. History: Raised in Jacksonville, Florida. Trombone from the age of 10, studied at the Edward Waters College in 1922. Worked locally with Eagle Eye Shields, then sailed up to Philadelphia in 1925. Played briefly with J. W. Pepper’s band, then did day work before moving to New York. Studied with Ernest Clarke and Walter Damrosch at the New York Conservatory. In 1925 worked in New York (and Florida) with Broadway Jones and his band, then worked with Luckey Roberts. With Dave Alford (early 1927), Arthur Gibbs’ orchestra for a year from June 1927, then with Charlie Johnson and Vernon Andrade during the late 1920s. With Don Redman in 1931, Bennie Carter (1933), played with (and arranged for) the Mills Blue Rhythm Band on and off from summer 1932 until 1936, also staff arranger for impresario Irving Mills. With Fletcher Henderson early in 1937, then with Louis Armstrong’s bigband from spring 1937 until 1943. Moved to West Coast, with Horace Henderson (summer 1945) and several stints with Benny Carter. Recorded with Count Basie (December 1947). Led own band in California and Las Vegas before working for many years in band led by drummer Johnny Otis. -
The Twenties and Louis Armstrong a Thesis Submitted to the Faculty of Atlanta University in Partial Fulfillment of The
JAZZ: THE TWENTIES AND LOUIS ARMSTRONG A THESIS SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTERS OF ARTS BY LETA HENDRICKS DEPARTMENT OF AFRO-AMERICAN STUDIES ATLANTA, GEORGIA MAY, 1979 TABLE OF CONTENTS Page INTRODUCTION 1 Chapter I. THE TWENTIES 3 II. JAZZ BACKGROUND 17 III. LOUIS ARMSTRONG 54 SELECTED BIBLIOGRAPHY 83 SELECTED DISCOGRAPHY 93 INTRODUCTION Louis Armstrong has been one of the most important figures in jazz history. Armstrong helped change the sound and form of jazz. Traditionally the rugged and mordant cor¬ net had been the number one horn in jazz. In the late twenties, Louis changed to the fuller and brilliant sounding trumpet. The trumpet soon became the number one horn in jazz. He played his horn like no other musician before him. Armstrong's voicing and rhythm was almost flawless. He used a vocal technique for his horn and an instrumental technique for his singing. Armstrong's lung power and extraordinary lip muscles made him the King of Jazz. Louis Armstrong became the culture hero of Blacks during the twenties and thirties. Musicians and fans alike copied his speech, dress, and mannerisms. Arm¬ strong had as much impact on his culture as did White society on him. To understand the growth of Louis Armstrong there must be an understanding of the forces and events that shaped him and jazz during the twenties. Jazz, more than any other music, has been influenced by non-musical forces and events. Two of the main influences on jazz have been race and business. -
Louis Armstrong -Portrait of the Artist As a Young Man 1923-1934
Louis Armstrong—Portrait of the Artist as a Young Man 1923-1934 Dan Morgenstern Grammy Award for Best Album Notes 1994 Columbia/Legacy Smithsonian Institution Press C4K 57176 Transcript provided by Hank Hehmsoth – National Endowment for the Arts 2019 INDEX OF RECORDINGS: for discographical reference and music commentary, see designated page next to each selection. Title Page A Monday Date ............................................................................................................................. 19 Ain’t Misbehavin’ .......................................................................................................................... 16 Alone at Last .................................................................................................................................. 10 Anybody Here Want to Try My Cabbage? .................................................................................... 07 Basin Street Blues (rec. 1928) ...................................................................................................... 20 Basin Street Blues (rec. 1933) ...................................................................................................... 33 Beau Koo Jack ............................................................................................................................... 21 Between the Devil and the Deep Blue Sea .................................................................................... 33 Big Butter and Egg Man ................................................................................................................ -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1917 – 1934 SIMPLIFIED EDITION 2 INTRODUCTION UPDATE ORIGINAL EDITION Fifteen years have passed since the paper version of this book was published. It is time to be “modern” and let the world have easy access on the internet! This version is a reprint of the original version with a few changes: The Solography has been updated with new discoveries (still some missing items!). Note however that the Statistics part is kept unchanged (lack of time, possibly to be updated later). References to 78 rpm. issues have been omitted. This will make reading of the solography information easier, and discograhies are anyway assumed available to readers. Any feedback will be highly appreciated! Jan Evensmo July 25, 2011 INTRODUCTION UPDATE SIMPLIFIED EDITION In this edition I have removed all introductory information about the jazz solography concept, since this will be found on the Jazz Archeology website anyway. I have also removed all auxiliary chapters like status reports, chronology, summing ups, statistics, etc., these will reappear later in another context. I have also removed the information related to the artists already with their own solography available on Jazz Archeology. This will hopefully give a better focus on the many good artists who nevertheless not belong to the most important ones. To those of you who owns the ‘blue’ Volume 1 in my Jazz Solography Series on “The History of Jazz Tenor Saxophone – Black Artists 1917 - 1934”, you will observe some minor updates. Please give feedback so this part of jazz tenor saxophone history will be as correct and complete as possible! Jan Evensmo June 8, 2014 – Update July 6, 2015 (p. -
Artie Shaw Orchestra
horril Leoni teriesl the w •mi r. I N. J. I FBI I men' I mous I Kirk iiurcoll freed of tin for th MA Wain York’i Hell to Pop Next Week at AFM Meet ‘British Bookers’ Jazz in The Musicians' Bible Knees Are 15 CENTS VOL. 6, NO. 6 CHICAGO. JUNE, 1939 Knocking Sod State’ Cuh'nel Dorsey Fair Makes Jobs for Over 500 To You. Suh! BY DICK C. LAND New York—British jazz is in “a BY BOB LANCE Chicago—Hot horns will horrible state of affairs,” says Musicians, But No Nome Bunds Atlanta—See that gentleman, give way to heated words and Leonard Feather, the isle’s fore suh, third from the left in that the groove will take on a ver most champion of the cause. group of lieutenant-colonels on World’s Fair, New York—‘ Beauties; Teddy Hill. Stanley William, both Here making the round» of ni- bal gender when Joseph Web at Savoy Ballroom, the staff of Governor E. D Riv teries and bistros, and at the same With 25 bands contracted for ers of Georgia? Yes. that one er calls for order next week at Sex Overshadows Swing time supervising n batch of special the duration of the fair and wearing glasses and with the the annual convention of tha jam records for Decca, Feather with scores of combinations Sex, not swing, is the best box slip-horn dangling in his hand. admits there isn’t much doing in American Federation of Musi working special dates, the fair office bet, according to most ex That, suh, ia Tommy Dorsey, hibitors. -
Charles William Holmes “Charlie”
1 The ALTOSAX of CHARLES WILLIAM HOLMES “CHARLIE” Solographers: Jan Evensmo assisted by Nils Gunnar Anderby and Arne Bryn Last update: June 4, 2020 2 Born: Boston, Massachusetts, Jan. 27, 1910 Died: Stoughton, Ma., Sept. 19, 1985 Introduction: After listening to Charles Holmes’ altosax playing with Henry Allen in 1929, we realized we had heard one of the finest altosax performers of the swing era. It also seemed that he was the first one to really have the instrument really swing. Or what? Early history: Boyhood friend of Harry Carney and Johnny Hodges. Studied music with Joseph Wagner in Boston, played oboe with the Boston Civic Symphony Orchestra in 1926. Moved to New York (with Harry Carney) in 1927, briefly with Chick Webb. With drummer George Howe’s band at The Nest, remained when Luis Russell was appointed leader. Left Russell (ca. mid-1928), joined Henri Saparo’s band at Bamboo Inn, New York, then worked with pianist Joe Steele at the same venue. Rejoined Luis Russell in 1929, with Mills Blue Rhythm Band (1932), then again worked with Luis Russell and later with Louis Armstrong until September 1940. With Bobby Burnet in New York (Feb. – March 1941), left music briefly in summer 1941 to return to Boston. With Cootie Williams’ bigband from early 1942 until 1945, then toured the Orient with Jesse Stone’s U.S.O. Show. Briefly with John Kirby early in 1947, later that year worked in Billy Kyle’s sextet. Left full-time music in 1951 to work in the offices of a Wall Street insurance broker. -
Download the TRUMPET of LESTER COLLINS
1 The TRUMPET of LESTER COLLINS “SHAD” Solographer: Jan Evensmo Last updated: Oct. 25, 2018 2 Born: Elizabeth, NJ., June 27, 1910 Died: NYC. June 1978 Introduction: We learned to know Shad Collins through his recordings in France 1937 as a fine swing trumpeter, worthy of further studies! Early history: Raised in Lockpoit, New York. First professional work in band led by Charlie Dixon (fronted by vocaliste Cora LaRedd), then from late 1929 until 1930 in band led by pianist Eddie White. With Chick Webb (1931), Benny Carter (1933), Tiny Bradshaw (1934), Teddy Hill (1936-37), short stay with Don Redman, then with Count Basie from December 1938 until January 1940. In February 1940 joined Benny Carter’s band, then from October 1940 worked in Freddy Moore’s band. With Lester Young sextet in New York (February 1941), then worked with Buddy Johnson until replacing Dizzy Gillespie in Cab Calloway’s orchestra in September 1941. With Cab until June 1943 and again 1944 to 1946. With Buster Harding’s band (1948), Al Sears (1950), toured with Jimmy Rushing in the early 1950s, then worked in New York for various leaders including long spell with tenorist Sam ‘The Man’ Taylor. Left full-time music, but continued to ‘gig’ in the 1960s. (Ref. John Chilton). 3 “SHAD” COLLINS SOLOGRAPHY BENNY CARTER & HIS ORCHESTRA NYC. March 14, 1933 Personnel including Benny Carter (tp, cl, as, vo-265090), Shad Collins, Leonard Davis, Bill Dillard (tp). Four titles were recorded for Columbia, one has LSC: 265090-2 Swing It Solo 16+8 bars (mute), orch on bridge.