The Tri-State Skylark Strutter
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Original Dixieland Jazz Band & "Nick" Larocca of New Orleans, Creator
Jack "Papa" Laine (Sicilian native George Vitale), Leader of his famous Reliance Brass Military Marching Band of New Orleans. Nick LaRocca was a regular member from 1910 to 1916. Original Dixieland Jazz Band & "Nick" LaRocca of New Orleans, Creator of Jazz Original Dixieland Jazz Band Members Victor release of "Livery Stable Blues" 1917. Victor release of "Dixie Jass Band One-Step" 1917. Original Dixieland Jazz Band - A 1918 promotional postcard showing (from left), drummer Tony Sbarbaro (aka Tony Spargo), trombonist Edwin "Daddy" Edwards, cornetist Dominick James "Nick" LaRocca, clarinetist Larry Shields, and pianist Henry Ragas 1917 Nick LaRocca Bust Courtesy Nick LaRocca Cultural Arts Center in Salaparuta, Sicily Dominic James "Nick" LaRocca Jimmy LaRocca 1889-1961 Continuing the Tradition In 1917, under the leadership of Nick LaRocca, the Original Dixieland Jazz Band (ODJB) made the first jazz recording. This first and many to follow were instant sensational “Hits” that were inspirational and influential beyond imagination. The success of the ODJB recordings was immense and musicians worldwide changed instrumentation to emulate the sound and style they made famous. From 1917 to 1938 they recorded fifty-two 78’s that are still sold today on various CD compilations. (Click on the photo below for a printable 8 X 10.) On February 8, 2006 the Original Dixieland Jazz Band was inducted into the Grammy Hall of Fame for their 1917 recording of the “Darktown Strutter’s Ball.” The ODJB is back in full swing under the direction of the original leader’s son, Jimmy LaRocca, on trumpet and vocals, with a fine ensemble of New Orleans musicians. -
Guide to the Martin Williams Collection
Columbia College Chicago Digital Commons @ Columbia College Chicago CBMR Collection Guides / Finding Aids Center for Black Music Research 2020 Guide to the Martin Williams Collection Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cmbr_guides Part of the History Commons, and the Music Commons Columbia COLLEGE CHICAGO CENTER FOR BLACK MUSIC RESEARCH COLLECTION The Martin Williams Collection,1945-1992 EXTENT 7 boxes, 3 linear feet COLLECTION SUMMARY Mark Williams was a critic specializing in jazz and American popular culture and the collection includes published articles, unpublished manuscripts, files and correspondence, and music scores of jazz compositions. PROCESSING INFORMATION The collection was processed, and a finding aid created, in 2010. BIOGRAPHICAL NOTE Martin Williams [1924-1992] was born in Richmond Virginia and educated at the University of Virginia (BA 1948), the University of Pennsylvania (MA 1950) and Columbia University. He was a nationally known critic, specializing in jazz and American popular culture. He wrote for major jazz periodicals, especially Down Beat, co-founded The Jazz Review and was the author of numerous books on jazz. His book The Jazz Tradition won the ASCAP-Deems Taylor Award for excellence in music criticism in 1973. From 1971-1981 he directed the Jazz and American Culture Programs at the Smithsonian Institution, where he compiled two widely respected collections of recordings, The Smithsonian Collection of Classic Jazz, and The Smithsonian Collection of Big Band Jazz. His liner notes for the latter won a Grammy Award. SCOPE & CONTENT/COLLECTION DESCRIPTION Martin Williams preferred to retain his writings in their published form: there are many clipped articles but few manuscript drafts of published materials in his files. -
King Porter Stomp" and the Jazz Tradition* Jazz Historians Have Reinforced and Expanded Morton's Claim and Goodman's Testimony
JEFFREY MAGEE 23 "King Porter Stomp" and the Jazz Tradition* Jazz historians have reinforced and expanded Morton's claim and Goodman's testimony. The Palomar explosion and its aftershocks have By Jeffrey Magee led some historians to cite it as the birth of the Swing Era, most notably Marshall W. Stearns, who, after tracing jazz's development in 1930-34, could simply assert, "The Swing Era was born on the night of 21 August 1935" (Stearns 1956:211; see echoes of this statement in Erenberg Fletcher won quite a few battles of music with "King Porter Stomp." 1998:3-4, and Giddins 1998:156). Gunther Schuller has called "King And Jelly Roll Morton knew this, and he used to go and say "I made Porter Stomp" one of the "dozen or so major stations in the development Fletcher Henderson." And Fletcher used to laugh . and say "You of jazz in the twenty years between 1926 and 1946" (Schuller 1989:840). did," you know. He wouldn't argue. (Henderson 1975, 1:69) And Goodman's recording, he wrote elsewhere, "was largely responsible for ushering in the Swing Era" (Schuller 1985). One of Morton's many Toward the end of his life in May 1938, Ferdinand "Jelly Roll" Morton recordings of "King Porter Stomp" appeared on the canon-shaping (1890-1941) walked into the Library of Congress's Coolidge Auditorium Smithsonian Collection of Classic Jazz (now out of print), and Henderson's sporting an expensive suit, a gold watch fob and rings, and a diamond- and Goodman's versions may be found on the Smithsonian's Big-Band Jazz studded incisor (Lomax 1993:xvii). -
NICK LAROCCA, Creator of Jazz
NICK LAROCCA, Creator of Jazz By Linda Serio Published 2007 Written in cooperation with the American Italian Renaissance Foundation Research Library. Nick LaRocca, leader of the Original Dixieland Jazz Band (ODJB), would have been 100 years old April 11, 1989. He died in 1961, but a handful of New Orleanians dedicated to his immortalization as the creator of jazz often speak of him in present tense. This group ignited my interest in the subject, and made possible this birthday tribute to Nick LaRocca. The individual who could best convince you that Nick lives on is his widow, Ruth LaRocca. Her blue eyes sparkle when she tells of being literally swept off her feet by a man known almost as well for his dancing as his trumpet playing. Musician and long-time friend Phil Zito has followed Nick's request to carve his rightful place in history and created the Nick LaRocca Original Dixieland Jazz Band Foundation. Bruce Raeburn, curator of Tulane University's jazz archive, is more objective and scholarly in his approach to Nick, but eagerly shares a wealth of knowledge and documentation on Nick's contributions to American musical and cultural history. Adrian Victor, at the music store “Werlein's For Music” knows the Nick LaRocca story by heart and provided a possible answer as to how Louisiana State University (LSU) acquired Nick's famous "Tiger Rag" as its fight song. Last, but not least, this article is dedicated to writer and historian Mike Palao, who, were it not for severe illness, would be offering his personal 100-year salute to Nick LaRocca on these pages. -
RCA Victor LPV 500 Series
RCA Discography Part 23 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor LPV 500 Series This series contains reissues of material originally released on Bluebird 78 RPM’s LPV 501 – Body and Soul – Coleman Hawkins [1964] St. Louis Shuffle/Wherever There's A Will, Baby/If I Could Be With You/Sugar Foot Stomp/Hocus Pocus/Early Session Hop/Dinah/Sheikh Of Araby/Say It Isn't So/Half Step Down, Please/I Love You/Vie En Rose/Algiers Bounce/April In Paris/Just Friends LPV 502 – Dust Bowl Ballads – Woody Guthrie [1964] Great Dust Storm/I Ain't Got No Home In This World Anymore/Talkin' Dust Bowl Blues/Vigilante Man/Dust Cain't Kill Me/Pretty Boy Floyd/Dust Pneumonia Blues/Blowin' Down This Road/Tom Joad/Dust Bowl Refugee/Do Re Mi/Dust Bowl Blues/Dusty Old Dust LPV 503 – Lady in the Dark/Down in the Valley: An American Folk Opera – RCA Victor Orchestra [1964] Lady In The Dark: Glamour Music Medley: Oh Fabulous One, Huxley, Girl Of The Moment/One Life To Live/This Is New/The Princess Of Pure Delight/The Saga Of Jenny/My Ship/Down In The Valley LPV 504 – Great Isham Jones and His Orchestra – Isham Jones [1964] Blue Prelude/Sentimental Gentleman From Georgia/(When It's) Darkness On The Delta/I'll Never Have To Dream Again/China Boy/All Mine - Almost/It's Funny To Everyone But Me/Dallas Blues/For All We Know/The Blue Room/Ridin' Around In The Rain/Georgia Jubilee/You've Got Me Crying Again/Louisville Lady/A Little Street Where Old Friends Meet/Why Can't This Night Go On Forever LPV 505 – Midnight Special – Leadbelly [1964] Easy Rider/Good Morning Blues/Pick A Bale Of Cotton/Sail On, Little Girl, Sail On/New York City/Rock Island Line/Roberta/Gray Goose/The Midnight Special/Alberta/You Can't Lose-A Me Cholly/T.B. -
The Jelly Roll Jazz Band
NVDJS NEWS on December 8, 1:00 - 5:00 pm December-January 2013-14 Heads Up - One Time Venue Change FIRST CLASS MAIL NVDJS NEWS Napa Valley Marriott Hotel 3425 Solano Ave - Napa Napa Valley Dixieland Jazz Society P.O. Box 5494, Napa, CA 94581 Gold Coast Jazz Band NAPA VALLEY DIXIELAND JAZZ SOCIETY The late Phil Stiers started the Gold Sunday, December 8 Coast Jazz Band in 1993, and for the Sunday, January 12 past 20 years this seven-piece (now six) 2014 show and dance band has performed its 1:00-5:00 pm trademark style that Phil came to call at the "danceable Dixieland", music guaran- teed to put a smile on your face, set your RENEWALS that are DUE (December only) toes to tapping and your feet to dancing. Napa Valley December Glenn & Peggy Calkins Marriott The Gold Coast book of more than 300 tunes is an eclectic collection of Ashley Radcliffe Doc & Bernice Eggen 3425 Solano Ave early New Orleans-style jazz, hot and tight traditional or "classic" jazz, Dixie- Robin Roberts Jack & Mary Harford Napa, CA land, ragtime, boogie-woogie, period pop and novelty tunes from the 1920's Don & Audrey Robertson Helen Fay & Frank Matulovich Gil & Joyce Robinson Donald Meehan January through 40's, and even small ensemble swing. Bob Sutherland Pat Patterson Embassy Suites Edwina Walsh Larry Risner 1075 California Blvd Tom & Rose Wolford Alyce Shutzbaugh Napa, CA on January 12, 2014, 1:00 - 5:00 pm January Wayne Taylor Diane Walker & John Bailey Gerald Turner The Jelly Roll Jazz Band Betty Jo Worswick Bruce & Sue Balala Since 1959, Ted Shafer has led both two NAPA VALLEY DIXIELAND JAZZ SOCIETY cornet bands and smaller New Orleans-style MEMBERSHIP combos under the "Jelly Roll Jazz Band" name. -
Commodore Label Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Commodore Label Discography
Commodore label discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Commodore Label Discography The Commodore label was established in 1944 by Milton Gabler in New York City. Milt Gabler was head of A&R for Decca Records and the Commodore label was distributed by Decca. Commodore recorded jazz and popular music. The label was taken over by Milt Gabler’s brother Danny Gabler in May 1954. Head of A&R after this date were Jack Crystal and Leonard Feather. Commodore released albums into 1962 and seemed to have ceased operations prior to the end of that year. The Commodore label was revived in the late 1970’s and 80’s with the 7000 series of reissues of the classic recordings of the 1950’s. FL-20000 Series (10-inch Albums) FL 20000 - Jamboree - Wild Bill Davison [1950] That's A Plenty/Clarinet Marmalade/At The Jazz Band Ball/Muskrat Ramble//Panama/Original Dixieland One Step/Baby Won't You Please Come Home/Riverboat Shuffle FL 20001 - Party Piano Of Roaring 20's - George Zack [1950] Ace in the Hole/Blue/I Never Dreamt/Everybody Loves My Baby//My Melancholy Baby/If I Could Be With You/Anger/A Monday Date FL 20002 - Boogie Woogie And The Blues - Various Artists [1950] Downtown Café Boogie – Edmond Hall Sextet/Uptown Café Blues – Edmond Hall Sextet with Eddie Heywood/Jammin’ the Boogie – Albert Ammons Rhythm Kings//Change O’Key Boogie – DeParis Brothers Orchestra with Clyde Hart/Albert’s Special Boogie – Albert Ammons/Bottom Blues – Albert Ammons Rhythm Kings/The Boogie Rocks – Albert Ammons FL 20003 - Dixieland -
Interview with Frankie Roberts
Frankie Roberts Narrator Carl Warmington Interviewer September 28, 1987 Leonard's Piano Store, Minneapolis, Minnesota Frankie Roberts -FR Carl Warmington -CW CW: Frankie, tell me about your early music days back in Nebraska. FR: My first introduction to jazz music was, I believe, back in 1917, listening to the Original Dixieland Jazz Band on phonograph records. It wasn't a very good recording, but the clarinet stood out. The tune was "The Original Dixieland One-Step" with "The Livery Stable Blues" on the other side. I bought that record and listenedSociety to it and listened to it. I remember the musicians: Larry Shields on clarinet; LaRocco on cornet; Edwards on trombone; Ragas on piano; and Sbardaro on drums. Then they started putting out other records such as "Clarinet Marmalade," "Temptation," and "Lazy Daddy." About that time we organized a little band--a sort of Dixieland group--in Albion, Nebraska, my home town. We had bookings five or six nights a week in all the little towns around Albion. I played clarinet. SometimeHistorical after World War I, a minstrel show came through town--Uncle Sammy's Minstrels. In the band was a very fine saxophonist. So with the money I had saved, I bought myself a saxophone. Then I began to practice on my new horn. I used to practice out on the porch in the summertime, and drive all the neighbors crazy. I eventuallythe Twin got good Cities enough toOral start playing History professionally Project with other bands. I quit school in 1922--after starting the twelfth grade--to go with a road band. -
How to Use This Songfinder
as of 3.14.2014 How To Use This Songfinder: We’ve indexed all the songs from 23 volumes of Real Books. Simply find the song title you’d like to play, then cross-reference the numbers in parentheses with the Key. For instance, the song “Ac-cent-tchu-ate the Positive” can be found in both The Real Book Volume III and The Real Vocal Book Volume II. KEY Unless otherwise marked, books are for C instruments. For more product details, please visit www.halleonard.com/realbook. 01. The Real Book – Volume I 08. The Real Blues Book/00240264 C Instruments/00240221 09. Miles Davis Real Book/00240137 B Instruments/00240224 Eb Instruments/00240225 10. The Charlie Parker Real Book/00240358 BCb Instruments/00240226 11. The Duke Ellington Real Book/00240235 Mini C Instruments/00240292 12. The Bud Powell Real Book/00240331 Mini B Instruments/00240339 CD-ROMb C Instruments/00451087 13. The Real Christmas Book C Instruments with Play-Along Tracks C Instruments/00240306 Flash Drive/00110604 B Instruments/00240345 Eb Instruments/00240346 02. The Real Book – Volume II BCb Instruments/00240347 C Instruments/00240222 B Instruments/00240227 14. The Real Rock Book/00240313 Eb Instruments/00240228 15. The Real Rock Book – Volume II/00240323 BCb Instruments/00240229 16. The Real Tab Book – Volume I/00240359 Mini C Instruments/00240293 CD-ROM C Instruments/00451088 17. The Real Bluegrass Book/00310910 03. The Real Book – Volume III 18. The Real Dixieland Book/00240355 C Instruments/00240233 19. The Real Latin Book/00240348 B Instruments/00240284 20. The Real Worship Book/00240317 Eb Instruments/00240285 BCb Instruments/00240286 21. -
JA 2017 Draft Copy 2.Indd
photo by John McCusker Bruce Boyd Raeburn Curator of the Hogan Jazz Archive, ReƟ ring aŌ er 38 Years of Service Born in a Livery Stable - “First Jazz Record” Turns 100 THE JAZZ ARCHIVIST A newsletter of the William Ransom Hogan Jazz Archive Volume XXX, 2017 Contributors: Colin Hancock and Hannah Krall, Vic Hobson, David Sager, Wayne D. Shirley THE JAZZ ARCHIVIST HOGAN JAZZ ARCHIVE 6801 FRERET STREET ROOM 304 TULANE UNIVERSITY NEW ORLEANS, LA 70118-5682 Volume XXX, 2017 In This Issue: © Tulane University Libraries, 2017. Permission to reproduce in whole and in part must be obtained in wri ng from Tulane 3-14 “Unraveling the Dawn of Recorded University Libraries. Jazz” by David Sager ISSN 1085-8415 15-24 “How Did the ODJB Learn to Play ‘Livery Stable Blues?’” by Vic Hobson Regarding the Cover 25-37 “Centenary Lessons: Exploring The fi rst jazz record turned 100 this the Roots of Jazz and the Music of the year, and the Hogan Jazz Archive turned 59. Meanwhile, Bruce Boyd Raeburn, Curator Original Dixieland ‘Jass’ Band” by Colin of the Jazz Archive, will turn 69, and he Hancock and Hannah Krall has decided to retire at the end of this year. Nobody knows the Jazz Archive better than 38-43 “In the Archive” Bruce. He came aboard as a student assistant in 1980 and worked his way up the ladder, 44-53 “‘Bessie Smith and Her Band’: The becoming a staff member in 1984, and then March 2, 1927, Session” by Wayne D. taking the helm in 1989, as the fourth in Shirley a noteworthy succession of curators: Bill Russell, 1958-1962; Dick Allen, 1962-1980; 54-56 “A Sneak Preview of the Eddie Curt Jerde, 1980-1989. -
Malcolm Lowry and Jazz
SWINGING THE MAELSTROM Malcolm Lowry and Jazz Perle Epstein WHEN DURING THE COURSE of treatment a psychiatrist asked Malcolm LowryΤ to freTHeE associate "anything that comes into your head that begin with Б", Lowry instantly replied, "Bix Beiderbecke." For some reason the psychiatrist would not accept this answer; if he had, he would have learned a great deal about his patient in a short time. Had the therapist been a jazz fan himself, he would have known that Beiderbecke, one of Lowry's lifetime idols, played a brilliant trumpet and died an alcoholic at age twenty-eight. One short step, and he would have understood that in many ways Bix was to jazz what Lowry was to Mterature: an American counterpart, in fact, only a year older (Bix was born in 1903, Lowry in 1904), a restless student with a middle- class upbringing, an alcoholic, a rebellious adolescent who left home to pursue an unconventional career, a musician/nomad who was forever dissatisfied with his work. Both young men had a propensity for seeking out father figures in their respective fields : Bix found his mentor in Frank Trumbauer, a saxophone player who took the young trumpeter under his wing, developed the young man's talent, and improved his technique; Lowry's "literary father" was Conrad Aiken, who — as it is by now well known — sheltered, fed, and unstintingly assisted the budding novelist. Beiderbecke, the archetype for Young Man With a Horn, was an extremely intelligent musician, a man familiar with literature who, after dipping into a musical career at about the same age Lowry set out to sea, attempted to return to college, but whose restless inability to cope with regulations and routine, drove 57 SWINGING THE MAELSTROM him away eighteen days after enrolling; here the young English amateur jazz musician fared better (even during the darkest hours of his life, Lowry somehow managed to draw Herculean draughts of discipline from some underground source) for he emerged from an unhappy stay at Cambridge with his classical tripos, armed and ready to write. -
Download Booklet
120712bk Bix 2 16/4/03 3:20 pm Page 8 Also available in the Naxos Jazz Legends series 8.120584 8.120585 8.120614* 8.120625* 8.120632* 8.120657* * Not available in the USA 120712bk Bix 2 16/4/03 3:20 pm Page 2 12. I’m Gonna Meet My Sweetie Now 2:52 17. Take Your Tomorrow (And Give Me BIX BEIDERBECKE Vol.2 (Benny Davis–Jesse Greer) Today) 3:01 Jean Goldkette & His Orchestra (Andy Razaf–J. C. Johnson) ‘Bix Lives!’ Original Recordings 1926-1930 Victor 20675, mx BVE 37583-2 Frankie Trumbauer & His Orchestra; Recorded 31 January 1927, New York Frankie Trumbauer & Marlin Hurt, vocal One of the great jazz musicians of all time and Bix was the star cornetist of the Wolverines 13. Blue River 3:18 OKeh 41145, mx W 401133-B one of jazz’s first martyrs, cornetist Bix during 1923-24, making his début recordings. (Alfred Bryan–Joseph Meyer) Recorded 20 September 1928, New York Beiderbecke perfectly symbolized the 1920s. He His beautiful tone and lyrical style were different Frankie Trumbauer & His Orchestra; 18. Baby Won’t You Please Come Home was initially attracted to the spontaneity and than any heard previously and he soon had a Seger Ellis, vocal 2:57 carefree attitude of jazz, thrived during the peak strong underground reputation among fellow OKeh 40879, mx W 81274-B (Charles Warfield–Clarence Williams) years of the so-called Jazz Age and declined musicians and the most devoted jazz fans. Recorded 25 August 1927, New York Frankie Trumbauer & His Orchestra; quickly in 1929 and after the Depression hit, a Frankie Trumbauer, vocal After the Wolverines made a strong impression in 14.