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Gennett Sound Recording Collection, Date (Inclusive): 1917-1930 Collection Number: 253-M Creator: Starr Piano Company
http://oac.cdlib.org/findaid/ark:/13030/kt700026k4 No online items Finding Aid for the Gennett Sound Recording Collection 1917-1930 Processed by Performing Arts Special Collections Staff. Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm ©2009 The Regents of the University of California. All rights reserved. Finding Aid for the Gennett 253-M 1 Sound Recording Collection 1917-1930 Descriptive Summary Title: Gennett Sound Recording Collection, Date (inclusive): 1917-1930 Collection number: 253-M Creator: Starr Piano Company. Gennett Record Division 1917-1932 Extent: 2,142 sound discs Repository: University of California, Los Angeles. Library. Performing Arts Special Collections Los Angeles, California 90095-1490 Abstract: The collection consists of 78 rpm. sound recordings published by the Gennett Record Company. Physical location: SRLF Language of Material: Collection materials in English Access The collection is open for research. Advance notification is required for use. Publication Rights Property rights in the physical objects belong to the UCLA Music Library. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish if the Music Library does not hold the copyright. Preferred Citation [Identification of item], Gennett Sound Recording Collection, 253-M, Performing Arts Special Collections , University of California, Los Angeles. -
T^Xcelsior Point That Is Embarrassing
J»ck Pettis, tenor saxophone; Elmer Schoebel, Armstrong remains a top-flight expres. piano; Lew Black, banjo; Steve Brown, bass; Ben EXCELSIOR PROFILE SERIES Pollack, drums. Track 9: Glen Scoville for Pettis; sionist in jazz singing. He is appealing Charlie Pierce for Schoebel. Tracks 10-12: Mares; when he sings, and occasionally he and Rappolo; Brunis; Mel Stitzel, piano; Frank Snyder, drums. Crosby hit a groove. Then the result is Rating: it it it it most rewarding, as on the reflective Jazz has never known another clarinetist Mountain Moon, which also displays Arm. who played with the pure beauty that strong to good advantage in a calm, mid Rappolo produced. Combined with this dle-register trumpet solo. was an exciting sense of the dramatic. So Brother Bill is delightful and humor little of his work was recorded before he ous, and the two singers handle it with was committed to a sanitarium in 1925 flexibility and ease. Another arresting that a collection such as this is to be take is Sugar, which they project with treasured. These 1922 and 1923 recordings conviction and understanding. have all the limitations of the acoustic So this is not a completely unpleasant, system, but Rappolo's clarinet cuts clean session. But there must be a better way ly through the fuzz and sludge to shine as to showcase these two, sans corn, sans brilliantly as though an electrical process ham, and sans choral groups. (B.G.) had been used. His solos and breaks on these pieces remain, after all these years, Champion Jack Dupree absolute gems. -
MCA 1300 Jazz Heritage Series
MCA 1300 Series Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan MCA 1300 Jazz Heritage Series: Note: This series features reissues of old jazz material, most of which predates stereo. Most of these releases before 1365 (and some after) are mono or rechanneled stereo. MCA 1300 - Louis and the Good Book - Louis Armstrong & His All-Stars with The Sy Oliver Choir [1980] Reissue of Decca DL 8741. Nobody Knows the Trouble I’ve Seen/Shadrack/Go Down Moses/Rock My Soul/Ezekiel Saw De Wheel/On My Way//Down By The Riverside/Swing Low, Sweet Chariot/Sometimes I Feel Like A Motherless Child/Jonah And The Whale/Didn’t It Rain/This Train MCA 1301 - Young Louis “The Side Man” (1924-1927) - Louis Armstrong in Various Bands [1980] Reissue of Decca DL 9233. Words - Fletcher Henderson And His Orchestra/When You Do What You Do - Fletcher Henderson And His Orchestra/Lucy Long - Perry Bradford’s Jazz Phools/I Ain't Gonna Play No Second Fiddle - Perry Bradford’s Jazz Phools/Static Strut - Erskine Tate's Vendome Orchestra/Stomp Off And Let's Go - Erskine Tate's Vendome Orchestra/Georgia Bo Bo - Lil’s Hot Shots/Drop That Sack - Lil’s Hot Shots//Easy Come, Easy Go Blues - Jimmy Bertrand's Washboard Wizards/Blues Stampede - Jimmy Bertrand's Washboard Wizards/I'm Goin' Huntin' - Jimmy Bertrand's Washboard Wizards/If You Wanna Be My Sugar Poppa - Jimmy Bertrand's Washboard Wizards/Weary Blues - Johnny Dodds Black Bottom Stompers/New Orleans Stomp - Johnny Dodds Black Bottom Stompers/Wild Man Blues - Johnny Dodds Black Bottom Stompers/Melancholy - Johnny Dodds Black Bottom Stompers MCA 1302 - Rhythm is our Business 1934-1935 - Jimmie Lunceford and His Orchestra [1980] Reissue of Decca DL 9237. -
Jelly Roll Morton and the Melrose Brothers
Further notes on Jelly Roll Morton: Jelly Roll and the Melrose Brothers by Björn Englund with additional material by Mark Berresford about bandleader Charlie Davis states that Morton made the arrangement of Copenhagen for Melrose based on the Wolverines’ Gennett recording; however bandleader and avid stock arrangement collector Vince Giordano points out that this is incorrect - the two 1920s orchestral arrangements are by Joe Jordan (but based on the Wolverines’ recording), and there is a vocal arrangement by Elmer Schoebel. Vince also suggests that although Morton is not credited on any Melrose arrangements, he may have had some form of editorial control over the work of others. Without the support of Walter Melrose we surely would never have had Morton's 1923 Gennett piano solo sessions nor the 1926-1927 Victor orchestral masterpieces. Melrose even paid for rehearsals to make sure the records turned out as perfect as possible. (Omer Simeon once remarked that this was the only time he was paid for rehearsing.) In the 1920s, the Melrose brothers set up many recording sessions not only for Victor but also for Brunswick/Vocalion and Gennett/Champion. In April 1925 Walter Melrose bought out Lester’s share of the business; Lester Melrose went on to dominate Chicago blues record sessions in the 1930s, both for Victor's Bluebird and ARC's Vocalion and OKeh labels. In August 1939 Walter Melrose sold his publishing company to Edwin H. Morris and Co. of New York, and moved to Tucson, Arizona where he formed the Walter Melrose Music Company. In the 1940s this company organised recording sessions with, among others, Earl Hines Much credit must be given to the Melrose Music Company and Blind John Davis, but Walter didn't run a record label and who have done more than any other agency in the country to the masters were sold to MGM, who were the first to issue put our musicians and writers to the front. -
Bechet, Noone, Goodman and the Efflorescence of Jazz Clarinet and the Improvised Solo
On the shoulders of giants: Bechet, Noone, Goodman and the efflorescence of jazz clarinet and the improvised solo A dissertation comprising four CD recordings and exegesis Jonathan Robert Hunt Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide December 2014 TABLE OF CONTENTS CD RECORDINGS .................................................................................................................. iii! LIST OF FIGURES ................................................................................................................. vii! ABSTRACT .............................................................................................................................. ix! DECLARATION ........................................................................................................................ x! ACKNOWLEDGEMENTS ...................................................................................................... xi! INTRODUCTION .................................................................................................................... 1! 1 SIDNEY BECHET ................................................................................................................ 7! 1.1 Background ....................................................................................................................... 7! 1.2 Techniques for Improvisation: Vibrato, Glissando and Growl Tone .............................. -
Jazz Discography Sixth Edition Upgraded 08/2010
C.W.U. MUSIC LIBRARY JAZZ DISCOGRAPHY SIXTH EDITION UPGRADED 08/2010 FIRST EDITION: JENNIFER GOOKIN SECOND EDITION: STACIE KUDAMATSU THIRD EDITION: CYNTHIA MORS, ANGELA SCHUTT, KRISTINE BRYAN FOURTH EDITION: MELANIE TEBAY, CHRISTINE JOLLEY FIFTH EDITION: CARYN WRZESINSKI SIXTH EDITION: JONI HERBERT ADDENDUM TO SIXTH EDITION: CHRIS THOMAS SEVENTH EDITION: ANDREA PAINE EIGHTH EDITION: SEAN LA SHIER ALL RECORDINGS LISTED IN THE FOUR PARTS OF THE JAZZ DISCOGRAPHY ARE LOCATED IN THE LISTENING AREA OF THE C.W.U. MUSIC LIBRARY, ROOM 401, OF THE MAIN LIBRARY. JAZZ: GENERAL COLLECTIONS A) GENERAL COLLECTIONS, ETC: CD-2146 ANTHOLOGY OF AMERICAN FOLK MUSIC (Jazz, Blues, and Folk) Volume 1 (2 cd‟s) Ballads Volume 2 (2 cd‟s) Social Music Volume 3 (2 cd‟s) Songs CD-2333 BEST OF DIXIELAND Loveless Love – Kid Ory‟s Creole Jazz Band, Beale Street Blues – George Lewis and his Band, Someday You‟ll Be Sorry – Louis Armstrong and His All Stars, Canal Street Blues – Henry Red Allen Orchestra, Eccentric Rag – Maz Kamindk and his All Star Dixieland Band, St. Louis Blues – Eddie Condon and his Boys, Basin Street Blues – Jack Teagarden and his Sextett, Eh-La-Bas – The Original Tuxedo “Jass” Band, Over in the Glory Land – Dejan‟s Original Olympia Brass Band, Ken Coyler – Ballin‟ the Jack, Hindustan – Alex Welsh and his Jazz Band, Saturday Night Function – Monty Sunshine‟s Jazz Band, Perdido Street Blues – Mr. Acker Bilk and his Paramount Jazz Band, Savoy Blues – Terry Lightfoot, Stevedore Stomp – Chris Barber‟s Jazz Band, Christopher Columbus – Humphrey Lyttelton and his Band. RD-4856 THE DIZZY GILLESPIE BIG BAND; CARNEGIE HALL CONCERT Manteca, This is the way, Ool ya koo, Kush, Tunisian Fantasy. -
Guide to the Jazz Institute of Chicago Frank Gillis Collection 1920-1941
University of Chicago Library Guide to the Jazz Institute of Chicago Frank Gillis Collection 1920-1941 © 2008 University of Chicago Library Table of Contents Acknowledgments 3 Descriptive Summary 3 Information on Use 3 Access 3 Citation 3 Biographical Note 3 Scope Note 4 Related Resources 4 Subject Headings 4 INVENTORY 5 Descriptive Summary Identifier ICU.SPCL.GILLISF Title Jazz Institute of Chicago. Gillis, Frank. Collection Date 1920-1941 Size .75 linear feet (2 boxes) Repository Special Collections Research Center University of Chicago Library 1100 East 57th Street Chicago, Illinois 60637 U.S.A. Abstract Frank Gillis, pianist, jazz historian, and archivist. As a pianist, Gillis played with Bobby Hackett, Red Nichols, Jack Teagarden, Doc Cenardo, and Doc Evans. Gillis served as the Director of the Archives of Traditional Music at Indiana University. The Jazz Institute of Chicago Frank Gillis Collection contains stock arrangements, which are published orchestrations for instrumental ensembles--bands or small orchestras--that enable them to perform popular songs or piano works that were previously unpublished or published only as piano or piano-vocal works. Acknowledgments The Jazz Institute of Chicago Frank Gillis Collection was processed and preserved as part of the "Uncovering New Chicago Archives Project," funded with support from the Andrew W. Mellon Foundation. Information on Use Access Open for research. Citation When quoting material from this collection, the preferred citation is: Jazz Institute of Chicago. Gillis, Frank. Collection, [Box#, Folder#], Special Collections Research Center, University of Chicago Library Biographical Note Frank Gillis was a pianist, jazz historian, and archivist. As a musician he played traditional-style jazz in the 1930s and 1940s with such greats as Bobby Hackett, Red Nichols, Jack Teagarden and drummer Doc Cenardo. -
Riverside Label Discography
Discography of the Riverside Label The Riverside label was established in 1953 by traditional jazz enthusiasts Bill Grauer and Orrin Keepnews in New York City. Originally Grauer and Keepnews intended to reissue classic jazz that they purchased from long defunct labels. Later the label recorded jazz, folk, comedy, spoken word, sound effects, children’s and gospel. Shortly after starting the Riverside label, Grauer went to Richmond Indiana, to see Harry Gennett Jr. to try to purchase the recordings of the Gennett label. The Gennett Record label was formed in 1918 as a division of the Starr Piano Company in Richmond Indiana. In the early 20’s, the label started recording the early jazz bands that were performing in Chicago. Gennett made the first recordings of Ferd “Jellyroll” Morton, King Oliver’s Creole Jazz Band with Louis Armstrong and the Wolverines with Bix Beiderecke. The first recording of “Stardust” was made by its author Hoagy Carmichael in the Gennett Richmond studio The Gennett label had ceased operation in 1932, but many of the historic metal recording plates were still stored in Richmond. Grauer was able to purchase all of the remaining plates for $2000. Grauer began a massive reissue campaign, releasing much of the Gennett material on long playing albums for the first time. Later, Grauer obtained masters from other early jazz and blues labels, including Paramount, Circle, and QRS, and reissued that material. Although the early catalog of Riverside releases contained mostly purchased material, Riverside started recording jazz sessions on its own, including Thelonious Monk, Randy Weston, Wes Montgomery and Cannonball Adderley. -
I I I I I I I R I I ! -·
I /)·2 F/le: !lew Orleans a~ ' Jazz_ NlfP I A BIOGRAPHICAL LISTING OF SELECTED MAJOR JAZZ/BLUES ARTISTS I IN NEW ORLEANS, PAST AND PRESENT 1: Curtis Dale Jerde I Principal Investigator I ·' Submit ted by Earth Search, Inc • P.O. Box 850319 I: New Orleans, LA 70185-0319 • April 16, 1990 I! In Partial Fulfillment of PX 75 30-9-0275 1: Submit ted to Jean Lafitte National Historical Park and Preserve I' 423 Canal Streett Room 210 New Orleans, LA 70130-2341 I, I I I r B&WScans I IZ -/0 .zoo0 I .,-· I I A BIOGRAPHICAL LISTING OF SELECTED MAJOR JAZZ/BLUES ARTISTS I IN NEW ORLEANS, PAST AND PRESENT I Curtis Dale Jerde Principal Investigator I I I Submitted by Earth Search, Inc . P.O. Box 850319 I New Orleans, LA 70185-0319 • April 16, 1990 In Partial Fulfillment of I PX7530-9-0275 I Submitted to Jean Lafitte National Historical Park and Preserve I 423 Canal Street, Room 210 New Orleans, LA 70130-2341 I I I rI I BIOGRAPHICAL LISTING OF SELECTED MAJOR JAZZ/BLUES ARTISTS IN NEW ORLEANS, PAST AND PRESENT Curtis Dale Jerde Principal Investigator Submitted by Earth Search, Inc. P. 0. Box 850319 New Orleans, LA 70185-0319 April 16, 1990 In Partial Fulfillment of PX7530-9-0275 Submit ted to Jean Lafitte National Historical Park and Preserve 423 Canal Street, Room 210 New Orleans, LA 70130-2341 I ACKNOWLEDGEMENTS Much of the material contained in this volume is derived directly I from original sources, particularly those held by the William ' Ransom Hogan Jazz Archive of the Howard-Tilton Memorial Library, Tulane University. -
Oct. Newsletter.Indd
NEWSLETTER NEWSLETTER APRIL 2014 GEORGE H. BUCK JR. George Buck at the Microphone In my favorite photograph of George Buck he is sitting in front of a microphone emblazoned with the letters WWOD. Perfectly dressed in jacket and tie, he smiles broadly, his hair shiny with brilliantine. George looks so young in this photo that you might think it was some sort of gag, taken during a high school fi eld trip. But it wasn’t a gag. While George is best known for his devotion to and promotion of Jazz, he had an equal ardor for the medium which fi rst introduced him to it: radio. WWOD was the Mutual Broadcasting affi liate in Lynchburg, Virginia, where George attended college. He delighted in telling the story of his parents driving him the 400-or-so miles from their home in Elizabeth, New Jersey to Lynchburg. The trio arrived in town that day just before Rudi Blesh’s weekly broadcast “This is Jazz” was scheduled to begin. “This Is Jazz” was a Mutual pro- gram fi rst aired in January of 1947 and, as George would remember, “broadcast coast to coast for thirty-fi ve grand and glorious weeks.” The Blesh show featured a house band comprised of the jazz stars of the day (including, of course, Wild Bill Davison) who, often abetted by guests like Sidney Bechet and Louis Armstrong, would essay in the hot jazz manner for half-an-hour. The Buck family car was not equipped with a radio, so a teen-aged George convinced his folks to drop him off at a radio repair shop in Lynchburg’s black section so that he could listen in. -
Jazz Syllabus Brochure
Intro to Jazz Syllabus for Teachers 2 Intro to Jazz Syllabus for Teachers Intro to Jazz Syllabus for Teachers In this course, students will explore the cultural, historical, and musical background of American Blues and Jazz, as well as various cultural connections, how music refects social and cultural awareness, and technological developments that impacted the evolution of jazz music from its roots in the late 19th century. With great intention toward fostering a foundation of creativity, there is a focus on listening in each of the units. Earliest jazz traditions focused on playing by ear, which requires a need for listening. This course is intended for use in-class with students, for fipped-classroom activities, or as substitute plans. Each lesson can be used as pre-instructional information or as reinforcement. Most of the assessments are self-grading. Before assigning lessons, tasks, and assessments: • Preview all content. If you fnd glitches or errors, please report them to [email protected]. • Many lessons contain links outside of MusicFirst. All links have been tested but cannot be guaranteed for functionality. • PLEASE customize the content for your students! Add, delete or simplify as appropriate for your learners. You can change the content and activities easily by editing the text and uploading images of diferent examples tailored to student needs. For best results, use png or jpeg formats. Add links to other resources and embed quality tutorial videos. If you need help learning to modify lessons, tasks, or assessments, -
Ted Lewis & His Band
120770bk TedLewis 8/7/05 4:20 PM Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To 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 field of historical recordings. Also available in the Naxos Jazz Legends series … 8.120712 8.120762 8.120768 Available in our companion series Naxos Nostalgia … 8.120535 8.120628 8.120645 These titles are not for retail sale in the USA 120770bk TedLewis 8/7/05 4:20 PM Page 2 TED LEWIS & HIS BAND Personnel Tracks 1, 3–6 & 20: Walter Kahn, Dave Klein, Track 17: Muggsy Spanier, Dave Klein, cornets; ‘Is Everybody Happy?’ Original Recordings 1923-1931 cornets; George Brunies, Harry Raderman, George Brunies, Harry Raderman, trombones; trombones; Ted Lewis, clarinet, alto sax; Sol Ted Lewis, Benny Goodman, clarinet, alto sax; Klein, violin; Dick Reynolds, piano; Tony Louis Martin, alto & baritone sax; Hymie As the jazz and dance band world of the 1920s he had formed his first band and the next year Gerhardi, banjo, guitar; Harry Barth, tuba; Wolfson, tenor sax; Sam Shapiro, Sol Klein, and ’30s continues to fade into oblivion, only moved to New York. By mid-decade, he was John Lucas, drums violin; Jack Aaronson, piano; Tony Gerhardi, the most powerful images retain their vividness. performing with a comedian named Eddie Lewis, Track 2: Walter Kahn, Dave Klein, cornets; banjo, guitar; Harry Barth, bass, tuba; John One of the most indelible of these is an resulting in an erroneous billing listing the team Lucas, drums impeccably dressed man with a clarinet and a as Lewis and Lewis.