Black Migrations
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Love, Oh Love, Oh Careless Love
Love, Oh Love, Oh Careless Love Careless Love is perhaps the most enduring of traditional folk songs. Of obscure origins, the song’s message is that “careless love” could care less who it hurts in the process. Although the lyrics have changed from version to version, the words usually speak of the pain and heartbreak brought on by love that can take one totally by surprise. And then things go terribly wrong. In many instances, the song’s narrator threatens to kill his or her errant lover. “Love is messy like a po-boy – leaving you drippin’ in debris.” Now, this concept of love is not the sentiment of this author, but, for some, love does not always go right. Countless artists have recorded Careless Love. Rare photo of “Buddy” Bolden Lonnie Johnson New Orleans cornetist and early jazz icon Charles Joseph “Buddy” Bolden played this song and made it one of the best known pieces in his band’s repertory in the early 1900s, and it has remained both a jazz standard and blues standard. In fact, it’s a folk, blues, country and jazz song all rolled into one. Bessie Smith, the Empress of the Blues, cut an extraordinary recording of the song in 1925. Lonnie Johnson of New Orleans recorded it in 1928. It is Pete Seeger’s favorite folk song. Careless Love has been recorded by Louis Armstrong, Ray Charles, Bob Dylan and Johnny Cash. Fats Domino recorded his version in 1951. Crescent City jazz clarinetist George Lewis (born Joseph Louis Francois Zenon, 1900 – 1968) played it, as did other New Orleans performers, such as Dr. -
THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography………………………………………………………………………………. -
Booker Little
1 The TRUMPET of BOOKER LITTLE Solographer: Jan Evensmo Last update: Feb. 11, 2020 2 Born: Memphis, April 2, 1938 Died: NYC. Oct. 5, 1961 Introduction: You may not believe this, but the vintage Oslo Jazz Circle, firmly founded on the swinging thirties, was very interested in the modern trends represented by Eric Dolphy and through him, was introduced to the magnificent trumpet playing by the young Booker Little. Even those sceptical in the beginning gave in and agreed that here was something very special. History: Born into a musical family and played clarinet for a few months before taking up the trumpet at the age of 12; he took part in jam sessions with Phineas Newborn while still in his teens. Graduated from Manassas High School. While attending the Chicago Conservatory (1956-58) he played with Johnny Griffin and Walter Perkins’s group MJT+3; he then played with Max Roach (June 1958 to February 1959), worked as a freelancer in New York with, among others, Mal Waldron, and from February 1960 worked again with Roach. With Eric Dolphy he took part in the recording of John Coltrane’s album “Africa Brass” (1961) and led a quintet at the Five Spot in New York in July 1961. Booker Little’s playing was characterized by an open, gentle tone, a breathy attack on individual notes, a nd a subtle vibrato. His soli had the brisk tempi, wide range, and clean lines of hard bop, but he also enlarged his musical vocabulary by making sophisticated use of dissonance, which, especially in his collaborations with Dolphy, brought his playing close to free jazz. -
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TRAVERSE CITY RECORD-EAGLE SUMMER GUIDE 2004 15 NITELIFE GUIDE Jazz composer expands creations, talents BY MARTA HEPLER DRAHOS theme to the ‘70s television myself,” he says — it did Record-Eagle staff writer show “Taxi,” two Grammys inspire his latest venture, and a Lifetime Achievement With his international The Bob James Art of Wine Award from the Smooth career firmly entrenched, Collection. Launched in Jazz Association of Bob James could live any- 2002 after a chance meeting America, and several Gold where in the world. with Australian beverage Records. But Traverse City is where entrepreneur Chris Payne, These days he spends the jazz pianist and compos- the signature collection fea- about half his time perform- er feels a creative vibe. tures James’ distinctive art ing in the U.S., Europe and “We like privacy, peace on its labels. Asia, and the other half and quiet,” said James, who So far the collection con- recording in various set- has vacationed in the area sists of three wines from tings. Never one to focus on for more than 20 years. “I Down Under, including a single project when he think there’s a feeling we “Smooth Chardonnay,” win- could be working on three get here, there’s an escape ner of a silver medal at the or four, he laid down tracks aspect to it.” first U.S. Starwine for a new album with his Since purchasing part of International Wine jazz super-group Fourplay the Long Lake retreat estate Competition in in February, the same of meat company magnate J. Philadelphia in March. -
Victory and Sorrow: the Music & Life of Booker Little
ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA 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 & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P. -
Taylor Harvey(4).Pdf
1) An opera about this character is the subject of a long paper by University of Miami music professor Jeffrey Stern, in which he argues that opera should be considered among the canon of American opera classics along with the works of Menotti and Copeland. That opera about this character features an aria in which another character describes watching this man and seeing “a Glimmer of hope until the very last minute”. That opera about this character is by William Schuman and is called The Mighty this character. A literary work about this character describes a “pall-like silence [falling]” after Cooney died at first, and Barrows did the same. That poem describes this man’s visage shining with a smile of Christian charity, while later the air shattered by the force of his blow. That poem about him describes a situation where the Mudville Nine are losing by two, before this title character disappoints a stadium full of fans by striking out. For 10 points, identify this character in an 1888 poem often used to teach introductory poetry, the most enduring work of Ernest Thayer. In which he is “At the Bat” ANSWER: Casey Answer some other questions about American operas adapted from American literature for ten points each: [10] Marguerite Clarke set forty poems from this poetry collection in a work titled Across this place. This midwestern town is the setting of the poems “The Hill” and many others named for residents like Constance Hatley and Amanda Barker. ANSWER: Spoon River Anthology [10] John Eaton adapted this story by F Scott Fitzgerald into an opera. -
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. -
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. -
BROWNIE the Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet
BROWNIE The Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet Dan Morgenstern Grammy Award for Best Album Notes 1990 Disc 1 1. DELILAH 8:04 Clifford Brown-Max RoaCh Quintet: (V. Young) Clifford Brown (tp), Harold Land (ts), Richie 2. DARN THAT DREAM 4:02 Powell (p), George Morrow (b), Max RoaCh (De Lange - V. Heusen) (ds) 3. PARISIAN THOROUGHFARE 7:16 (B. Powell) 4. JORDU 7:43 (D. Jordan) 5. SWEET CLIFFORD 6:40 (C. Brown) 6. SWEET CLIFFORD (CLIFFORD’S FANTASY)* 1:45 1~3: Los Angeles, August 2, 1954 (C. Brown) 7. I DON’T STAND A GHOST OF A CHANCE* 3:03 4~8: Los Angeles, August 3, 1954 (Crosby - Washington - Young) 8. I DON’ T STAND A GHOST OF A CHANC E 7:19 9~12: Los Angeles, August 5, 1954 (Crosby - Washington - Young) 9. STOMPIN’ AT TH E SAVOY 6:24 (Goodman - Sampson - Razaf - Webb) 10. I GET A KICK OUT OF YOU 7:36 (C. Porter) 11. I GET A KICK OUT OF YOU* 8:29 * Previously released alternate take (C. Porter) 12. I’ LL STRING ALONG WITH YOU 4:10 (Warren - Dubin) Disc 2 1. JOY SPRING* 6:44 (C. Brown) Clifford Brown-Max RoaCh Quintet: 2. JOY SPRING 6:49 (C. Brown) Clifford Brown (tp), Harold Land (ts), Richie 3. MILDAMA* 3:33 (M. Roach) Powell (p), George Morrow (b), Max RoaCh (ds) 4. MILDAMA* 3:22 (M. Roach) Los Angeles, August 6, 1954 5. MILDAMA* 3:55 (M. Roach) 6. -
North Charleston Arts Fest
ON THE COVER: SHADOW BOXER by Joseph Kameen Welcome to the 37th Annual North 2019 North Charleston Arts Fest Poster Design Competition Winner Charleston Arts Fest! This five-day event uses performing, visual, and literary arts to expose, engage, and inspire patrons from all walks of life. As Mayor of the City of North Charleston, I am proud that TABLE OF CONTENTS it offers our residents and visitors a number of unique opportunities to Events by Day 2-12 experience a vast array of arts and cultural offerings that are both affordable World Arts Expo Overview 16 and accessible. World Arts Expo Site Map 17 The Cultural Arts staff has introduced some big changes to this year’s festival World Arts Expo Stage Schedules 18 programming. They, along with other City departments and community World Arts Expo Art Demo & Display Details 19 partners, have worked hard to produce what I believe is one of the best North Exhibition Encore Overview 22 Charleston Arts Fests yet. Exhibition Encore Stage & Demo Schedules 23 The diversity and the inclusiveness of the Arts Fest is a point of pride for the City of Visual Art Exhibitions 24-25 North Charleston. I encourage you, your friends, and family to take advantage of Public Art Installations 26 the many fantastic performances, exhibits, and activities happening May Event Venue Map & Addresses 30-31 1-5. There’s truly something for everyone. Interact! (Social Media Info & Contest Rules) 32 Sincerely, R. Keith Summey Mayor Facebook.com/NorthCharlestonArtsFestival The North Charleston Arts Fest is presented by the City of North Charleston Cultural Arts Department and was selected as a 2018 Top 20 Event by the Southeast Tourism Society. -
You're Invited to Play Your Part!
ONLINE JAZZ PARTY & FUNDRAISER SPONSOR PACKAGES You’re Invited to Play your Part! The Nashville Jazz Workshop (NJW) is a nonprofit organization dedicated to enriching people’s lives through jazz education and performance. For 20 years the NJW has delivered world class performances and music education to Nashville audiences and jazz fans around the country and the world. 2020 has been a challenging year for cultural institutions everywhere as they seek to fulfill their missions and remain financially viable. Fortunately, the internet has enabled the NJW to continue serving audiences and students – over 20,000 people have subscribed to the NJW’s YouTube channel to view live and archived performances and hundreds have enrolled in virtual classes since social distancing restrictions began in March. Jazzmania is the NJW’s annual jazz party and fundraiser. As a live event it has been “the jazz party of the year” and one of the city’s most engaging and fun charity events. As with other charity events, the event is moving online this year as a virtual event. On October 24, 2020 the Workshop will host Jazzmania as an online jazz party and evening of world class jazz performances. We will share our love of jazz, celebrate the Workshop’s 20th anniversary and ask our devoted fans to open their hearts and wallets to support the Workshop. The streaming event will also be targeted to a global audience, to build awareness of the NJW and engagement with jazz fans around the world. Proceeds from the event will support the NJW’s Music Education, Performance Series and Community Outreach. -
Daniel Lanois
ESPERANZA SPALDING If “esperanza” is the Spanish word for hope, then bassist, vocalist and composer Esperanza Spalding could not have been given a more fitting name at birth. Blessed with uncanny instrumental chops, a multi-lingual voice that is part angel and part siren, and a natural beauty that borders on the hypnotic, the 25-year-old prodigy-turned-pro might well be the hope for the future of jazz and instrumental music. Spalding was born in 1984 and raised on what she calls “the other side of the tracks” in a multi- lingual household and neighborhood in Portland, Oregon. Growing up in a single-parent home amid economically adverse circumstances, she learned early lessons in the meaning of perseverance and moral character from the role model whom she holds in the highest regard to this day – her mother. But even with a rock-solid role model, school did not come easy to Spalding, although not for any lack of intellectual acumen. She was both blessed and cursed with a highly intuitive learning style that often put her at odds with the traditional education system. On top of that, she was shut in by a lengthy illness as a child, and as a result, was home-schooled for a significant portion of her elementary school years. In the end, she never quite adjusted to learning by rote in the conventional school setting. “It was just hard for me to fit into a setting where I was expected to sit in a room and swallow everything that was being fed to me,” she recalls.