Wendell Brunious Playlist

Wendell Brunious Playlist Trumpet Madness Blue Monday Wendell Brunious Fats Domino Live Album: Greatest Hits: Walking to New Orleans My Romance Honky Tonk Trumpet (Dave Bartholomew) Wendell Brunious Wendell Brunious Live Live What’ll I Do Melvin Lastie’s trumpet solo (from I Know…) Wendell Brunious & Sammy Rimington Wendell Brunious Album: New Orleans Reunion Live Georgia on My Mind I Know (You Don’t Love Me No More) Preservation Hall Jazz Band, feat. Wendell Brunious Barbara George Album: Songs of New Orleans Album: The Best of Barbara George Lord, Lord, Lord You Sure Been Good To Me Trumpet Solo (from Just a Closer Walk...) Dejan’s Olympia Brass Band Wendell Brunious Album: Here Come Da Great Olympia Band Live L-O-V-E Just A Closer Walk With Thee Wendell Brunious Dr. Michael White Live Album: A Song For George Lewis Embraceable You Sugar Blues Clifford Brown Wendell Brunious Album: Clifford Brown with Strings Album: In The Tradition But Not For Me Leyenda Wendell Brunious Charo Live Album: Guitar Passion Mambo Moderno But Not For Me Vladimir Vassilieff & His Orchestra Miles Davis Quintet Album: New Sound in Latin Jazz YouTube: Live, Oct. 15, 1960, Concertgebouw, Amsterdam ‘Taint What You Do John Eubanks, feat. Clint Strong, Mark Brooks and Alley Cat Wendell Brunious Wendell Brunious Album: ‘Taint What You Do Live Somebody Else is Taking My Place Preservation Hall Jazz Band Bagatelle Album: Preservation Hall Jazz Band — Live! Chief John Brunious and His Mahogany Hall Stompers Album: Bye and Bye Little Liza Jane Preservation Hall Jazz Band, feat. Wendell Brunious That Old Green River YouTube: A Night in New Orleans Chief John Brunious and His Mahogany Hall Stompers, feat. Wendell Brunious Won’t Somebody Please Tell Me Album: Bye and By Wendell Brunious Live Squeeze Me Wendell Brunious & Sammy Rimington Four Album: New Orleans Reunion Wendell Brunious Courtesy of Kevin Louis Sweet Lorraine Wendell Brunious My Blue Heaven Live Chris Barber & Wendell Brunious Album: Panama! Poinciana Ahmad Jamal Trio All the Way Album: At the Pershing: But Not For Me Wendell Brunious Live Minnie the Moocher Cab Calloway All the Way Album: Hi De Ho Man: Cab Calloway Classics Wendell Brunious & Tom Hook Album: Where Do You Start? St. James Inﬁrmary Cab Calloway Album: Hi De Ho Man: Cab Calloway Classics.

Copy Link

Recommended publications

Wavelength (December 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ---- Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson.
[Show full text]
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.
[Show full text]
Fats Domino Goin' Home
“Goin’ Home” We’ll Miss You, Fats “Everybody started calling my music rock and roll, but it wasn't anything but the same rhythm and blues I'd been playing down in New Orleans.” - FATS DOMINO “As far as I know, the music makes people happy. I know it makes me happy.” - FATS DOMINO “Let's face it, I can't sing like Fats Domino can. I know that.” - ELVIS PRESLEY “Well, I wouldn't want to say that I started it (rock „n‟ roll), but I don't remember anyone else before me playing that kind of stuff.” - FATS DOMINO “Even if Fats didn‟t actually invent rock „n‟ roll, he was certainly responsible for accidentally inventing ska, and thus reggae … Antoine „Fats‟ Domino was definitely a great innovator, and richly deserves a much fatter entry in the history books.” – OWEN ADAMS On Tuesday, 3:30 a.m., October 24, 2017, New Orleans and the world lost a pioneering titan of rock „n‟ roll, “Fats” Domino. The popular pianist and singer-songwriter of the Lower 9th Ward was 89. During his career, this influential, yet humble performer sold more than 65 million records and had over 35 hits in the U.S. Billboard Top 40, including “Ain‟t That a Shame,” “Blueberry Hill” and “Blue Monday”. With producer and arranger Dave Bartholomew, “Fats” helped put his hometown on the rock „n‟ roll map. This shy lifelong New Orleanian influenced numerous artists including Paul McCartney and Randy Newman, who once confessed, “I was so influenced by Fats Domino that it‟s still hard for me to write a song that‟s not a New Orleans shuffle.” Domino‟s distinctive barreling triplet-based piano style, backed by a solid backbeat, was something exceptional, a step above traditional rhythm and blues.
[Show full text]
Fats Domino, Early Rock 'N' Roller with a Boogie-Woogie Piano, Is Dead at 89
Fats Domino, Early Rock ’n’ Roller With a Boogie-Woogie Piano, Is Dead at 89 https://www.nytimes.com/2017/10/25/obituaries/fats-domino-89-one-of-rock-n-rolls-first-stars-is-dead.html October 25, 2017 By JON PARELES and WILLIAM GRIMES Fats Domino in 1967. Fats Domino, the New Orleans rhythm-and-blues singer whose two-fisted boogie-woogie piano and nonchalant vocals, heard on dozens of hits, made him one of the biggest stars of the early rock ’n’ roll era, died on Tuesday at his home in Harvey, La., across the Mississippi River from New Orleans. He was 89. His death was confirmed by the Jefferson Parish coroner’s office. Mr. Domino had more than three dozen Top 40 pop hits through the 1950s and early ’60s, among them “Blueberry Hill,” “Ain’t It a Shame” (also known as “Ain’t That a Shame,” which is the actual lyric), “I’m Walkin’,” “Blue !1 Monday” and “Walkin’ to New Orleans.” Throughout he displayed both the buoyant spirit of New Orleans, his hometown, and a droll resilience that reached listeners worldwide. He sold 65 million singles in those years, with 23 gold records, making him second only to Elvis Presley as a commercial force. Presley acknowledged Mr. Domino as a predecessor. “A lot of people seem to think I started this business,” Presley told Jet magazine in 1957. “But rock ’n’ roll was here a long time before I came along. Nobody can sing that music like colored people. Let’s face it: I can’t sing it like Fats Domino can.
[Show full text]
Wavelength (March 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 3-1981 Wavelength (March 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (March 1981) 5 https://scholarworks.uno.edu/wavelength/5 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. NEW ORLEANS POPS PRESENTS *starring * CHARLIE DANIELS KANSAS BAND MOLLY DELBERT HATCHET McCLINTON HANK WILLIAMS, JR. PLUS "THE CELEBRITY PARADE" UNDAY with KING "BUM" PHILLIPS MARCH 1 (Parade rolls at 8 p.m.) 5 P.M. - DOORS OPEN 4 P.M. MIDNIGHT TICKETS ARE $12 (Limited Advance) AND $15 On sale now at all ticketmaster outlets; D.H. Holmes, Louisiana Superdome, Warehouse Records (Gretna, Metairie, Kenner), the Mushroom & Leisure Landing. FOR MORE INFORMATION CALL (504) 821-3795 Features ErnkK-Doe _______________________________,6 The Percolators 10 •JAZZ• The Black Pope 12 New Orleans Songwriters 14 •BLUES• Walter Lastie 19 •CAJUN• Departments A/arch _____________________________________ RECORDSBOOKSTAPES JazZ ------------------------------------~ Rare Records -----------------------------~ Revkws ____________________ ~ Last Page ~~~· , ~) 132 CARONDELET Cover photo by Syndey Byrd '· ~ N.O ., LA. 70130 (504) 522-2363 Publisher, Patrick Borry. Editor, Connie Atkinson. Contract Advertlslna Sales, Steve Gifford, Lyle Matthews. Coatributin& Artists, Skip Bolen, Bunny Mauhews, Julia Nead, Kathleen Perry. Distribution, Laverne Kelly, Star Irvine. Contributors, 1 Carlos Boll, Jerry Brock, Bill Cat, Yorke Corbin, Ron Cuccia, Steve CUnningham, Zeke Fishhead, Steve Graves, Gilbert Catalogue Available Hetherwick, Coril Joseph, Andy Kaslow, Tim Lyman, Bunny Matthews, Hammond Scou, Jim Scheurich, Almost Slim, Rhodes 1 Spedale, Keith Twichell.
[Show full text]
Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection.
[Show full text]
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach.
[Show full text]
“Do You Know What It Means to Miss New Orleans?” the Use of Popular Music After Hurricane Katrina
Syracuse University SURFACE Dissertations - ALL SURFACE August 2016 “Do You Know What It Means To Miss New Orleans?” The use of popular music after Hurricane Katrina Jennifer Billinson Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Billinson, Jennifer, "“Do You Know What It Means To Miss New Orleans?” The use of popular music after Hurricane Katrina" (2016). Dissertations - ALL. 650. https://surface.syr.edu/etd/650 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract This single-case study explores the use of popular music in response to the destruction of New Orleans by Hurricane Katrina in August, 2005. Using research in sociology of disaster and uses and gratifications theory in mass communication, data collected included original music written in response to the hurricane, major benefit concerts that aired in the wake, and re-appropriated music that developed new meaning when used in conjunction to the case. Analysis yielded that popular music was used to raise awareness, raise funds, and express emotion following the disaster. Common themes throughout include the impact of genre on how this was accomplished and the messages it yielded, the power of collective effervescence, and the importance of space and place when dealing with tragedy through music. ‘DO YOU KNOW WHAT IT MEANS TO MISS NEW ORLEANS?’ THE USE OF POPULAR MUSIC AFTER HURRICANE KATRINA by Jennifer Billinson B.A., Indiana University, 2006 M.A., Syracuse University, 2009 Dissertation Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Mass Communications Syracuse University August 2016 Copyright © Jennifer Billinson 2016 All Rights Reserved Table of Contents Chapter 1: Introduction p.
[Show full text]
Wavelength (October 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 10-1981 Wavelength (October 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (October 1981) 12 https://scholarworks.uno.edu/wavelength/12 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Pipes of Pan Presents ... A best seller. versus the best. icro-Acoustics Bose 301 FRM-3dx *33QOOper patr. *34900per pair Compare these two speakers, and you'd probably expect the one on the left - with the lower price - to be the better seller. You'd be right ... but is it the better value? Before you aecide, it pays to consider how much more a little more money will bu~: Comfare bass. The new FRM-3dx uses a twin-ducted enclosure with thicker cabine panels and larger cubic volume for rich, full bass. Compare highs. The new FRM-3dx1s unique Vari-AxiSTM control system, damped isolated tweeter suspension and rim-damped cone give lifelike h1ghs. Compare warranties. The new FRM-3dx is warrantied twice as long. The Micro-Acoustics new FRM-3dx. When you compare, there's really no com parison. Quality worth a 10-year warranty Micro-Acoustics Reg. $349.00 Bose 301" FRM·3dx Tweeter One, fixed. One, rotatable, rim·damped. Tweeter Attached Isolated from SALE NOW directly to baffle.
[Show full text]
By David Kunian, 2013 All Rights Reserved Table of Contents
Copyright by David Kunian, 2013 All Rights Reserved Table of Contents Chapter INTRODUCTION ....................................................................................... 1 1. JAZZ AND JAZZ IN NEW ORLEANS: A BACKGROUND ................ 3 2. ECONOMICS AND POPULARITY OF MODERN JAZZ IN NEW ORLEANS 8 3. MODERN JAZZ RECORDINGS IN NEW ORLEANS …..................... 22 4. ALL FOR ONE RECORDS AND HAROLD BATTISTE: A CASE STUDY …................................................................................................................. 38 CONCLUSION …........................................................................................ 48 BIBLIOGRAPHY ….................................................................................... 50 i 1 Introduction Modern jazz has always been artistically alive and creative in New Orleans, even if it is not as well known or commercially successful as traditional jazz. Both outsiders coming to New Orleans such as Ornette Coleman and Cannonball Adderley and locally born musicians such as Alvin Battiste, Ellis Marsalis, and James Black have contributed to this music. These musicians have influenced later players like Steve Masakowski, Shannon Powell, and Johnny Vidacovich up to more current musicians like Terence Blanchard, Donald Harrison, and Christian Scott. There are multiple reasons why New Orleans modern jazz has not had a greater profile. Some of these reasons relate to the economic considerations of modern jazz. It is difficult for anyone involved in modern jazz, whether musicians, record
[Show full text]
Self-Esteem and Breaking the Cycle of Prison Recidivism Ed Poindexter
On Heroes and She-roes: Self-Esteem and Breaking the Cycle of Prison Recidivism Ed Poindexter enjoy looking up words in the dictionary to learn their root meaning. In I the old days people knew exactly what they were doing when they assigned names and labels to things, places, events, and states of mind. "Esteem," for example, stems from the Latin word aestimare, and means to appraise, estimate, or give an opinion of. Therefore, self-esteem is the appraisal, estimation, or opinion we have of ourselves. It is a common belief that people with high self-esteem produce good results, and that those with low self-esteem produce poor results. The term is sometimes used interchangeably with self-image, which is the mental picture we have of ourselves. Our thoughts and behaviors are reflections of our self-image. Self-confidence is assurance we have in our abilities. Often confused with conceit, self-love is a prerequisite to truly loving others. Conceit is actually a mask or facade worn to hide such insecurities as an inferiority complex. To fall in love with someone with little or no self-love is asking for trouble. Technically, self-esteem is our opinion of our self-love, self-image and self-confidence. They are so closely related that if one is low the others will sag. Also used interchangeably with self-esteem, self-concept is the sum total of all the above. I have become so preoccupied with these terms over the past ten years that I am convinced people with high self-esteem either do not come to prison, or do but learn from their mistakes, leave, and never return.
[Show full text]
Dave Bartholemew 1991.Pdf
NON-PERFORMERS Dave Bartholomew BY JEFF TAMARKIN E NEVER MADE THE POP charts under his own name. Most rock encyclopedias afford him, at most, a paragraph or two. But as an artist, producer, songwriter, arranger, and bandleader, Dave Bartholomew of New Orleans was a key figure in the transition from the jivin’ jump and big-band sounds of the ’40s to the rhythm & blues and rock & roll of the ’50s. “If Dave Bartholomew were never to play another note,” Walkin’.” Nor was Bartholomew’s hot streak confined to his wrote New Orleans music historian Jeff Hannusch in I H ear work with a single artist or record label. Freelancing for such You K nockin’, “he could sit back and bask in the knowledge labels as Aladdin and Specialty, he produced Lloyd Price’s that he was very much responsible for shaping today’s mu “Lawdy Miss Clawdy” and Shirley & Lee’s “I’m Gone” in sic.” 1952. For Smiley Lewis, he co-wrote and produced “I Hear Dave Bartholomew’s name is permanently linked with You Knocking” and “One Night.” New Orleans artists Earl that of Hall of Fame charter inductee Fats Domino— he pro King, Roy Brown, Huey “Piano” Smith, Bobby Mitchell, Chris duced all of the Fat Man’s Imperial hits Kenner, Robert Parker, Frankie Ford, and co-wrote most of them. But Dave’s JU ST SOME Snooks Eaglin, and the Spiders all ben career was already in full swing when OF THE SONGS OF efited from Bartholomew’s hummable, he first spotted Domino at New Or DAVE BARTHOLOMEW good-time melodies and simple, sturdy leans’ Hideaway Club in December, rhythms 1949.
[Show full text]