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The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 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]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph 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 Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr. -
Until the Late Twentieth Century, the Historiography and Analysis of Jazz Were Centered
2 Diasporic Jazz Abstract: Until the late twentieth century, the historiography and analysis of jazz were centered on the US to the almost complete exclusion of any other region. This was largely driven by the assumption that only the “authentic” version of the music, as represented in its country of origin, was of aesthetic and historical interest in the jazz narrative; that the forms that emerged in other countries were simply rather pallid and enervated echoes of the “real thing.” With the growth of the New Jazz Studies, it has been increasingly understood that diasporic jazz has its own integrity, as well as holding valuable lessons in the processes of cultural globalization and diffusion and syncretism between musics of the supposed center and peripheries. This has been accompanied by challenges to the criterion of place- and race-based authenticity as a way of assessing the value of popular music forms in general. As the prototype for the globalization of popular music, diasporic jazz provides a richly instructive template for the study of the history of modernity as played out musically. The vigor and international impact of Australian jazz provide an instructive case study in the articulation and exemplification of these dynamics. Section 1 Page 1 of 19 2 Diasporic Jazz Running Head Right-hand: Diasporic Jazz Running Head Left-hand: Bruce Johnson 2 Diasporic Jazz Bruce Johnson New Jazz Studies and Diaspora The driving premise of this chapter is that “jazz was not ‘invented’ and then exported. It was invented in the process of being disseminated” (Johnson 2002a, 39). With the added impetus of the New Jazz Studies (NJS), it is now unnecessary to argue that point at length. -
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. -
French Stewardship of Jazz: the Case of France Musique and France Culture
ABSTRACT Title: FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE Roscoe Seldon Suddarth, Master of Arts, 2008 Directed By: Richard G. King, Associate Professor, Musicology, School of Music The French treat jazz as “high art,” as their state radio stations France Musique and France Culture demonstrate. Jazz came to France in World War I with the US army, and became fashionable in the 1920s—treated as exotic African- American folklore. However, when France developed its own jazz players, notably Django Reinhardt and Stéphane Grappelli, jazz became accepted as a universal art. Two well-born Frenchmen, Hugues Panassié and Charles Delaunay, embraced jazz and propagated it through the Hot Club de France. After World War II, several highly educated commentators insured that jazz was taken seriously. French radio jazz gradually acquired the support of the French government. This thesis describes the major jazz programs of France Musique and France Culture, particularly the daily programs of Alain Gerber and Arnaud Merlin, and demonstrates how these programs display connoisseurship, erudition, thoroughness, critical insight, and dedication. France takes its “stewardship” of jazz seriously. FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE By Roscoe Seldon Suddarth Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Associate Professor Richard King, Musicology Division, Chair Professor Robert Gibson, Director of the School of Music Professor Christopher Vadala, Director, Jazz Studies Program © Copyright by Roscoe Seldon Suddarth 2008 Foreword This thesis is the result of many years of listening to the jazz broadcasts of France Musique, the French national classical music station, and, to a lesser extent, France Culture, the national station for literary, historical, and artistic programs. -
Mezz Mezzrow Mezz Mezzrow Avec Tommy Ladnier Mp3, Flac, Wma
Mezz Mezzrow Mezz Mezzrow Avec Tommy Ladnier mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Blues Album: Mezz Mezzrow Avec Tommy Ladnier Country: France Released: 1955 Style: Ragtime MP3 version RAR size: 1581 mb FLAC version RAR size: 1979 mb WMA version RAR size: 1392 mb Rating: 4.7 Votes: 902 Other Formats: AC3 FLAC MP2 AAC AIFF ASF TTA Tracklist A1 Comin' On With The Come On A2 Revolutionary Blues A3 Jada A4 Really The Blues A5 When You And I Were Young Maggy B1 Royal Garden Blues B2 If You See Me Comin' B3 Everybody Loves My Baby B4 Ain't Gonna Give Nobody None Of My Jelly Roll B5 Gettin' Together B6 Weary Blues Companies, etc. Printed By – Carron & Cie Credits Illustration – Alain Carrier Liner Notes – Guy Vincent - Heugas Supervised By, Liner Notes – Hugues Panassié Barcode and Other Identifiers Rights Society: M.C.P.S. BIEM Matrix / Runout (A Side Runout): M6 -143940 2XLV 37- 21 Matrix / Runout (B Side Runout): M6 -144024 2XLV 38 - 21 Related Music albums to Mezz Mezzrow Avec Tommy Ladnier by Mezz Mezzrow 1. Mezz Mezzrow, Sidney Bechet - None 2. Mezz Mezzrow - Memorial 3. Tommy Ladnier And His Orchestra / Milton "Mezz" Mezzrow And His Orchestra - Really The Blues / Revolutionary Blues 4. Mezz Mezzrow And His Orchestra - "Pleyel Concert" 5. Sidney Bechet, Mezz Mezzrow - Blues With Bechet 6. Mezz Mezzrow - In Chronology - 1936-1939 7. The Mezzrow-Bechet Quintet / Septet & Sammy Price - Really The Blues 8. Tommy Ladnier And Orchestra - Weary Blues / When You And I Were Young, Maggie 9. Mezz Mezzrow / Buck Clayton / Pee Wee Russell / Bud Freeman - I Giganti Del Jazz Vol. -
Demise from Success? the Emergence of Hybrids Between Nascent and Established Products and the Subsequent Revival of the Once-Nascent Products
DEMISE FROM SUCCESS? THE EMERGENCE OF HYBRIDS BETWEEN NASCENT AND ESTABLISHED PRODUCTS AND THE SUBSEQUENT REVIVAL OF THE ONCE-NASCENT PRODUCTS Jaemin Lee Entrepreneurship and Family Enterprise INSEAD [email protected] October 2015 * Job market paper 1 Jaemin Lee – Sample Work Demise from Success Demise from Success? The Emergence of Hybrids between Nascent and Established Products and the Subsequent Revival of the Once-Nascent Products ABSTRACT This paper argues that the success of a hybrid between an established and a nascent product can ultimately cause the nascent product to become popular at the expense of the hybrid. By invoking familiarity with the established product, the hybrid is more easily understood and accepted. It also contributes to the legitimization of the nascent product over time, given the nascent product’s elements included in the hybrid. However, once the nascent product is better understood, the hybrid’s limitations may become apparent if it fails to incorporate the key elements of the once-nascent product that are crucial to positive evaluation and integral to the appeal of the once-nascent. Thus, unless the hybrid offers the unique value, it may gradually become less appreciated than the once-nascent product. I test this theory in the context of the emergence of hybrid jazz—a combination of original jazz and classical music that was popular during the 1920s and 1930s—and the subsequent popularity of traditional jazz during the 1940s and 1950s in the United States. This paper extends research on entrepreneurship, innovation, and market categories by emphasizing that the appeal of a hybrid is dynamic. -
Really the Blues, Mezzrow Says: “I Was the Only White Man in the Crowd
rom the time that Mezz Mezzrow first heard Sidney Bechet playing with the Original New Orleans Creole Jazz Band in Chicago in 1918, he nursed a burning ambition to record with him, inspired by the duets Bechet played with the band’s clarinettist Fleader, Lawrence Dewey. It took Mezzrow 20 years to realise that ambition, finally achieving his goal when French critic Hugues Panassié made his recording safari to New York in November 1938. The 12 tracks on this album are of later vintage, a selection from the sides that Mezzrow made in the mid-forties when he was president of the King Jazz record company. Recalling the Bechet dates in his celebrated autobiography, Really The Blues, Mezzrow says: “I was the only white man in the crowd. I walked on clouds all through those recording sessions… How easy it was, falling in with Bechet – what an instinctive mastery of harmony he has, and how marvellously delicate his ear is!” The Mezzrow-Bechet partnership was a conspicuously one-sided match because Mezzrow had nothing like Bechet’s stature as a musician. But he was undoubtedly a good catalyst for Bechet, for whom he had a boundless admiration, and he made no secret of his inability to measure up to Bechet’s almost overpowering virtuosity. Mezzrow once said of one of his sessions with Bechet: “I was ashamed of not being better than I was, to give him the support he deserved and the inspiration, too”. Mezzrow came in for more than his share of adverse criticism during his playing career, and certainly he was never more than a mediocre musician whose intonation was frequently wretched. -
UC Santa Barbara Journal of Transnational American Studies
UC Santa Barbara Journal of Transnational American Studies Title Excerpt from Jazz Diasporas: Race, Music, and Migration in Post–World War II Paris Permalink https://escholarship.org/uc/item/03d48720 Journal Journal of Transnational American Studies, 7(1) Author Braggs, Rashida K. Publication Date 2016 DOI 10.5070/T871031832 License https://creativecommons.org/licenses/by/4.0/ 4.0 eScholarship.org Powered by the California Digital Library University of California Introduction Migrating Jazz People and Identities At ninety-five years old Hal Singer could still seduce with his saxophone. The measured steps to the raised stage . the near misses when sitting on his stool . the misheard shout out of the next tune . nothing could alter his firm hold on the saxophone. On that fifth day of October in 2014 Singer’s saxophone blurted just a bit off sync, though still lilting. But it did not take long for him to mesmerize the audience. As this master of rock ’n’ roll, R&B, and jazz performed, visions of poo- dle skirt–laden girls flipping and spinning with intricate steps took over my imagination. His music transported me back in time. In 1948 Singer recorded “Cornbread” on the Savoy label. The song quickly hit number one on the R&B charts. Riding the waves of his success, he turned down the opportunity to retain his spot in Duke Ellington’s reed section; even though he’d only just secured this esteemed role, Singer had enough recognition then to lead his own band (B. Dahl; Felin). On that still summery day in October 2014 Hal Singer created a mood of nostalgia and blood memories in the cozy community center of Belleville, Les ateliers du Chaudron (The studios of Chaudron).1 The lucky ones were sitting upright in chairs against the wall and beside the stage. -
Paris Noir: Race and Jazz in Post-War Paris
Paris Noir: Race and Jazz in Post-War Paris Essential Questions: Why was Paris a jazz capital after World War II? Why did black Americans (particularly writers and jazz musicians) live in Paris after World War II during decolonization? What were the push and pull factors of African American migration to post-World War II Paris? How did Sidney Bechet link New Orleans jazz to Paris? What influence did Paris have on bop? How are jazz and jazz people naturally transnational? How do you listen to jazz? The importance of listening Obtaining a jazz vocabulary Understanding and appreciating major movements in jazz Understanding and appreciating the life and sounds of jazz innovators Historical context of jazz Objectives: Explain how Paris became the center of African American culture after World War II despite France’s decolonization policy. Determine the factors that transformed Jazz into a transnational and interracial music. Assess the relevancy of the post-World War II African American writers . Historical Context Based On: *Paris Noir: African Americans in the City of Light by Tyler Stovall *Jazz Diasporas: Race, Music and Migration in Post-World War II Paris by Rashida K. Bragg *France and Its Empire Since 1870 by Alice L. Conklin, Sarah Fishman, Robert Zaretsky Year Zero: A History of 1945 by Ian Burma Historical context presented by Marcie Hutchinson Paris: A New Black Community • Who- African American Writers, Artists Musicians • What- African American expatriate community • Where- Left Bank (Latin Quarter and Saint-Germain-des-Prés • -
Jazz Music (Chicago)]
Library of Congress [Jazz Music (Chicago)] [W366?] Forms to be Filled out for Each Interview CHICAGO FOLKSTUFF FORM A Circumstances of interview FOLKLORE CHICAGO No. Words STATE Illinois NAME OF WORKER Sam Ross ADDRESS 713 Rush Street DATE May 18, 1939 SUBJECT Jazz music (Chicago) 1. Date and time of interview - April 28th - May 4-9 2. Place of interview - [Jazz Music (Chicago)] http://www.loc.gov/resource/wpalh0.08030313 Library of Congress Town Room - Hotel Sherman Panther Room - Hotel Sherman 3. Name and address of informant - Muggsy Spanier - hotel Sherman 4. Name and address of person, if any, who put you in touch with informant. - None 5. Name and address of person, if any, accompanying you - None 6. Description of room, house, surroundings, etc. - Night club surroundings (Use as many additional sheets as necessary, for any of the forms, each bearing the proper heading and the number to which the material refers.) FORM B Personal History of Informant CHICAGO FOLKSTUFF FOLKLORE CHICAGO STATE Illinois NAME OF WORKER Sam Ross [Jazz Music (Chicago)] http://www.loc.gov/resource/wpalh0.08030313 Library of Congress ADDRESS 723 Bush Street DATE May 18, 1939 SUBJECT Jazz music (Chicago) NAME OF INFORMANT Muggsy Spanier 1. Ancestry Irish 2. Place and date of birth, - November 9, 1906 - Chicago 3. Family - Irish 4. Places lived in, with dates - Practically all over the country (stated in part in Form D) 5. Education, with dates - Parochial grade school 6. Occupations and accomplishments, with dates - Musician 7. Special skills and interests - [Jazz Music (Chicago)] http://www.loc.gov/resource/wpalh0.08030313 Library of Congress Musician, baseball 8. -
BESSIE SMITH 'Downhearted Blues'
120660bk Bessie 6/1/03 10:38 pm Page 8 Also available in the Naxos Jazz Legends series 8.120572 8.120583 8.120609* 8.120611* 8.120616 8.120622* * Not available in the USA 120660bk Bessie 6/1/03 10:38 pm Page 2 BESSIE SMITH The Naxos Historical labels aim to make available the greatest recordings of the history of ‘Downhearted Blues’ recorded music, in the best and truest sound that contemporary technology can provide. To Original Recordings 1923-1924 achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the “She made life amusing, serious, witty and devastatingly depressing and she field of historical recordings. sang, without compromise, for people who were honest enough to realise David Lennick that life is like that.” (Spike Hughes – Melody Maker obituary, 1937) As a producer of CD reissues, David Lennick’s work in this field grew directly from his own “Bessie’s control of her voice was without parallel; a subtle accent on one needs as a broadcaster specializing in vintage material and the need to make it listenable while syllable could change the entire meaning of a line. Her sense of pitch was as being transmitted through equalizers, compressors and the inherent limitations of A.M. radio. dramatic as it was accurate.” (George Avakian) Equally at home in classical, pop, jazz and nostalgia, Lennick describes himself as exercising as much control as possible on the final product, in conjunction with CEDAR noise reduction To her friends and fans Bessie became known as ‘The Queen of the Blues’ and the record applied by Graham Newton in Toronto. -
Jazz Diasporas.Indddiasporas.Indd 1 008/12/158/12/15 2:502:50 PMPM 2 / Introduction
Introduction Migrating Jazz People and Identities At ninety-five years old Hal Singer could still seduce with his saxophone. The measured steps to the raised stage . the near misses when sitting on his stool . the misheard shout out of the next tune . nothing could alter his firm hold on the saxophone. On that fifth day of October in 2014 Singer’s saxophone blurted just a bit off sync, though still lilting. But it did not take long for him to mesmerize the audience. As this master of rock ’n’ roll, R&B, and jazz performed, visions of poo- dle skirt–laden girls flipping and spinning with intricate steps took over my imagination. His music transported me back in time. In 1948 Singer recorded “Cornbread” on the Savoy label. The song quickly hit number one on the R&B charts. Riding the waves of his success, he turned down the opportunity to retain his spot in Duke Ellington’s reed section; even though he’d only just secured this esteemed role, Singer had enough recognition then to lead his own band (B. Dahl; Felin). On that still summery day in October 2014 Hal Singer created a mood of nostalgia and blood memories in the cozy community center of Belleville, Les ateliers du Chaudron (The studios of Chaudron).1 The lucky ones were sitting upright in chairs against the wall and beside the stage. Most of us were crouched on wooden bleacher-like levels, holding our knees in, sitting on our jackets, and trying not to take up too much space so that everyone could fit in.