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CONGRESSIONAL RECORD— Extensions of Remarks E1492 HON. DENNIS J. KUCINICH HON. DALE E. KILDEE HON. ROBERT HURT HON. DENNIS J
E1492 CONGRESSIONAL RECORD — Extensions of Remarks September 12, 2012 sharing the stage with Coleman Hawkins, 2010 resignation. In 2009, he retired as Dep- RECOGNIZING VIRGINIA Slam Stewart, and Erroll Garner. One of the uty Court Administrator of Ohio’s Eighth Dis- INDUSTRIES FOR THE BLIND earliest of Mr. Heath’s own big bands (1947– trict Court of Appeals in order to fulfill a cam- 48) in Philadelphia included John Coltrane, paign promise for his election to the Cuyahoga HON. ROBERT HURT Benny Golson, Specs Wright, Cal Massey, County Council. OF VIRGINIA Johnny Coles, Ray Bryant, and Nelson Boyd. Councilman Gallagher was elected to the IN THE HOUSE OF REPRESENTATIVES He also played with and composed for Dizzy Wednesday, September 12, 2012 Gillespie, Miles Davis, Kenny Dorham, Milt Cuyahoga County Council in 2010 and is now Jackson, and Art Blakey. During his career, the Chair of the Public Safety Committee. Mr. HURT. Mr. Speaker, I rise today to rec- Mr. Heath has performed on more than 100 Some of his achievements outside of public ognize Virginia Industries for the Blind, an record albums, including 7 with The Heath office include his membership in the Ability One organization that began in Char- Brothers and 12 as a leader. He has also writ- Strongsville Rotary Club and Strongsville lottesville that empowers blind and visually im- ten more than 125 compositions, many of Chamber of Commerce. He has served as a paired Virginians in achieving their maximum which have become jazz standards, including Trustee on the Hospital Board of Southwest level of employment and career development. -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
Lee Morgan and the Philadelphia Jazz Scene of the 1950S
A Musical Education: Lee Morgan and the Philadelphia Jazz Scene of the 1950s Byjeffery S. McMillan The guys were just looking at him. They couldn't believe what was coming out of that horn! You know, ideas like . where would you get them? Michael LaVoe (1999) When Michael LaVoe observed Lee Morgan, a fellow freshman at Philadelphia's Mastbaum Vocational Technical High School, playing trumpet with members of the school's dance band in the first days of school in September 1953, he could not believe his ears. Morgan, who had just turned fifteen years old the previous July, had remarkable facility on his instrument and displayed a sophisticated understanding of music for someone so young. Other members of the ensemble, some of whom al- ready had three years of musical training and performing experience in the school's vocational music program, experienced similar feelings of dis- belief when they heard the newcomer's precocious ability. Lee Morgan had successfully auditioned into Mastbaum's music program, the strongest of its kind in Philadelphia from the 1930s through the 1960s, and demon- strated a rare ability that begged the title "prodigy." Almost exactly three years later, in November of 1956, Lee Morgan, now a member of die Dizzy Gillespie orchestra, elicited a similar response at the professional level after the band's New York opening at Birdland. Word spread, and as the Gillespie band embarked on its national tour, au- diences and critics nationwide took notice of the young soloist featured on what was often the leader's showcase number: "A Night in Tunisia." Nat Hentoff caught the band on their return to New York from the Midwest in 1957. -
Weeksville Lost Jazz Shrines
1 Weeksville Lost Jazz Shrines Annotated Bibliography and Discography Primary Sources Interviews Note: Most of the artists listed below were interviewed over a period of two years (April, 2010 –October, 2011 through Weeksville’s Lost Jazz Shrine Project). Artists interviewed include: Brooklyn natives; longtime Brooklyn residents; or artists who performed frequently at some of Brooklyn's Lost Jazz Shrines and in some cases, continue to perform in Brooklyn. Abdullah, Ahmed. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 46 mins 36 sec. Barnes, Wade E. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 7 December 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 51 min. 26 sec. Barron, Kenny. Oral History Interview. Interviewed by Willard Jenkins. 9 October 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Braithwaite, “Fab 5” Freddie. Oral History Interview. Interviewed by Willard Jenkins and Jennifer Scott. 7 Oct 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 25 mins. 32 secs. Carroll, Alma. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 24 August 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 10 mins. 34 secs. Cheatham, Jo Ann. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. -
Lee Morgan Chronology 1956–1972 by Jeffery S
Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC). -
45046NCJRS.Pdf
If you have issues viewing or accessing this file contact us at NCJRS.gov. --- -, fa,..... -- -, i .. -. • " """17", ~-:- - -. / - ' ~ l-... I. !. - ~ I I I •• I ~ I ;~~~\ , , If.:' '\ • 1 • -. J': , . t.: .. ',,'~ -', ' • .. II . • I \. -'-" - - COMMONWEALTH OF PENNSYLVANIA MILTON J. SHAPP. GOVERNOR GOVERNOR'S JUSTICE COMMISSION Honorable Israel Packel , Attorney General Chairman Colonel James D. Barger Commissioner Pennsylvania State Police MajorJohn D. Case, Director Bucks County Department of Corrections ThomasM. Hart. Esquire Scranton, Pa. Honorable K. Leroy lrvis Minority Whip Pennsylvania House of Representatives Honorable. R. Gordon Kennedy, District Attorney Erie, Pa. James McCaughey Superintendent of Police Lower Marion Township W. Ralston McGee, M.D. Uniontown, Pa. William G. Nagel Executive Director The American Foundation, Inc. Phila., Pa. Honorable Richard A. Snyder Pennsylvania Senate Honorable Juanita Kidd Stout CourtofCommon Pleas, Phila., Pa. Honorable Leo P. Weir Commissioner, Erie County Honorable Helene Wohlgemuth Secretary of Public Welfare PHILADELPHIA REGIONAL PLANNIN(:~ COUNCIL GOVERNOR's JUSTJICE COMMISSION THE IMPROVEMEN1- OF I I I CRIMINAL JUSTICE IN PHILADELPHIA - A REPORT TO THE PEOPLE .,' .,r // ," 1'/ Han. Paul M. Chalfin Chairman John T. Snavely, Esquire William M. Braybrook Regional Director Planning Director _JII_.< .....~::-, ",~ MEMBERS OF THE PHILADELPHIA REGIONAL PLANNING COUNCIL Chairman: Honorable Paul M. Chalfin Courtof Common Pleas Vice Chairman: Louis J. Gottman, Esquire Secretary: Mr. Jesse B. Clark Executive Director, Catholic Charities Archdiocese of Philadelphia Treasurer: Honorable RobertWiliiams, Jr. Court of Common Pleas Honorable Ethel Allen John A. Craig, Director City Councilwoman Mayor's Criminal Justice Honorable Herbert Arlene ImprovementTeam Pennsylvania Senate Frederick H. Downs Nolan Atkinson, Jr., Esquire Chief Probation Officer Citizen Member Philadelphia Louis S. Aytch Thomas Dugan Superintendent of Prisons Steamftters Union, Philadelphia Philadelphia Citizen Member Honorable James D. -
An Interview with Philly Joe Jones [Transcript]
Howard University Digital Howard @ Howard University Transcripts Howard University Jazz Oral History Project 1986 An Interview with Philly Joe Jones [Transcript] Arthur Dawkins Follow this and additional works at: https://dh.howard.edu/hujohp_transcripts Recommended Citation Dawkins, Arthur, "An Interview with Philly Joe Jones [Transcript]" (1986). Transcripts. 5. https://dh.howard.edu/hujohp_transcripts/5 This Article is brought to you for free and open access by the Howard University Jazz Oral History Project at Digital Howard @ Howard University. It has been accepted for inclusion in Transcripts by an authorized administrator of Digital Howard @ Howard University. For more information, please contact [email protected]. HOWARD UNIVERSITY JAZZ ORAL HISTORY PROJECT PHILLY JOE JONES, Drummer W. A. BROWER , Interviewer June 10, 1985 Transcription of·audio track of video tape recorded in the studio of WHMM-TV of the campus of Howard University W. A. BROWER: Philly Joe Jones for the Howard University Jazz Oral History Project. I want to start off, ah, maybe discussing how you arrived at becoming a drummer...just to set that up. I understand that music was a big part of your home life...that the piano was there. Would you talk a little bit about that musical environment? ...and how you developed early as a musician. PHILLY JOE JONES: My family is...my grandmother was a pianist. And, ah, she had seven daughters. My mother was one of her daughters. And she made all of her daughters play the piano because she was a pianist. So, in turn, all of my aunts made their children ...I have cousins that...I have one in New York that teaches...made his debut at Carnegie...teaching piano in New York now...often. -
Senate and House of Rep- RECESS Retiring on December 15
E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 115 CONGRESS, FIRST SESSION Vol. 163 WASHINGTON, MONDAY, DECEMBER 18, 2017 No. 206 House of Representatives The House met at noon and was Number one, almost everyone will to keep more of the money they have called to order by the Speaker pro tem- say within 5 or 10 minutes that they earned through their labors. pore (Mr. DUNCAN of Tennessee). think national security is very, very Number two, we wanted a simpler f important. process. Next, people typically talk to me Number three, we wanted to grow a DESIGNATION OF SPEAKER PRO about how important they feel edu- healthier economy that would create TEMPORE cation is. more jobs and pay higher wages. The SPEAKER pro tempore laid be- Thirdly, people will talk about how Mr. Speaker, I am so proud to be here fore the House the following commu- important they feel infrastructure is: this week and say that we have deliv- nication from the Speaker: roads, bridges, railroads, high speed ered for the American people. WASHINGTON, DC, internet, and those types of things. Let’s take a look at this bill. December 18, 2017. Mr. Speaker, no matter what your Number one, it gives relief to hard- I hereby appoint the Honorable JOHN J. priorities are as an American, none of working Americans. In Kansas, with DUNCAN, JR. to act as Speaker pro tempore those will happen unless we have a the House bill, the average hard- on this day. -
Spring '03 Newsletter.Psp
News & Views from JUST LOOKIN' GALLERY Published for Ethnic Art Lovers Everywhere Spring/Summer 2003 It's been quite a while since I've had time Notes to write this newsletter. We have been so from busy helping you appreciate and collect Here & There art that spending a few days at the Artists We Have Lost The last newsletter had just gone to press when we computer was near impossible. We want got the news of Carl Owens passing. A few weeks to thank all of you for calling to make sure you were still before that we lost Stephanie Pogue. And we recently on the mailing list to receive "Off the Wall." It was so lost a huge force behind the proliferation of African gratifying to hear how much you look forward to reading American art in America, master printmaker Robert it. And major thanks for all your kind words about the Blackburn. content of the newsletter - we will continue to make it the Robert Blackburn 1920 - 2003 best we can. v This Summer is finding many artists busy What can you say about someone who remained at with commissions, book covers and museum shows as the center of the black art world for much of his Black art gains ever greater respect and reception. v career; taught at every major art school in New York James Denmark is busier than ever. A retrospective of City and influenced countless artists? He will be his work was exhibited at the York W. Bailey Museum at missed! Through the Federal Works Progress Penn Center, SC. -
Brooklyn Rediscovers Cal Massey by Jeffrey Taylor
American Music Review Formerly the Institute for Studies in American Music Newsletter Th e H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XXXIX, Number 2 Spring 2010 Brooklyn Rediscovers Cal Massey By Jeffrey Taylor With the gleaming towers of the Time Warner Center—Jazz at Lincoln Center’s home since 2004—gazing over midtown Manhattan, and thriving jazz programs at colleges and universities throughout the world fi rmly in place, it is sometimes diffi cult to remember when jazz did not play an unquestioned role in the musical academy. Yet it wasn’t until the early 1990s that jazz was well enough entrenched in higher education that scholars could begin looking back over the way the music was integrated into music curricula: Scott DeVeaux’s frequently quoted “Construct- ing the Jazz Tradition” from 1991 is a prime example.1 The past thirty years have seen an explosion of published jazz scholarship, with dozens of new books crowd- ing shelves (or websites) every year. The vast majority of these texts are devoted to the work of a single fi gure, with Duke Ellington and Louis Armstrong leading as popular subjects. But a few scholars, DeVeaux and Ingrid Monson among them, have noted the essential roles of musicians who worked primarily in the shadows, as composers, arrangers, accompanists, and sidepeople. Without these artists, whose contribution often goes completely unacknowledged in history books, jazz would have taken a very different path than the one we trace in our survey courses. -
Brother Ah Interview by Rusty Hassan
Brother Ah Interview by Rusty Hassan and Willard Jenkins Part 1 BA: What was the question again? Rusty Hassan: About the interaction between Miles and the musicians at the sessions with Gil Evans. BA: Miles didn’t have much interaction with anybody in the orchestra. Except when Trane was in the session. He would talk to Trane and the guys in this small group, but in a large ensemble he didn’t have much interaction with us. He didn’t speak much. You know I sat next to him, right there, so we had some interaction because I’m sitting right next to him, you know he sat there, he didn’t move around much, he didn’t talk much. Willard Jenkins: Yes, yes. A little bit later, the Africa/Brass session with John Coltrane, tell us how that worked out. BA: Well, Train called me himself. I truly didn’t believe it was Trane. I said, “What you talkin’ about man?” So I knew him you know, because of working with Miles and he was always around and we did Birdland, I saw him every night and I’d have a conversation with him between shows. But I didn’t know, you know, he was going to call me. So he called me, and not only asked me to play but after can I help him organize this brass section for the gig and gave me that responsibility. I said, “Dang, he don’t know me that well,” but he did. So I told him, “Yeah man I’d love to do that. -
Boards Closed for Good Some Say Bay Ridge Parents Will Get the Shaft
Your Brooklyn Papers are now published every Saturday INSIDE Including The Bensonhurst Paper Where to find flamenco Published weekly by Brooklyn Paper Publications Inc, 55 Washington St, Suite 624, Brooklyn NY 11201. Phone 718-834-9350 AD fax 718-834-1713 • NEWS fax 718-834-9278 © 2004 Brooklyn Paper Publications • 12 pages including GO BROOKLYN •Vol.27, No.1 BRZ • January 10, 2004 • FREE Boards closed for good Some say Bay Ridge parents will get the shaft By Jotham Sederstrom while the community members will Carmine Santa Maria, president The Brooklyn Papers be chosen by the borough presi- of Community School Board 21, dents. Each school district, like Dis- said that will force many of the cur- Parents and teachers in trict 20, which has 31 schools, will rent members out. Indeed, he’s hop- southern and western Brooklyn have one parent council. ing to be considered for a commu- could get the short end of the The reorganization is the last step nity member slot to the new stick when the city begins dis- in the complete overhaul of the council. In District 20, meanwhile, mantling its community school city’s school system, begun last only two school board members boards later this year, say mem- year when the school districts were would qualify for parent slots in the bers within districts 20 and 21, effectively replaced by 10 instruc- new council. two governing boards long tional divisions, or regions. Region “If [parents] aren’t interested praised for their effectiveness. 7 replaced districts 20 and 21, while enough to be in the PTA, what The U.S.