DOCSLIB.ORG

Jazzwax: March 2009

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jazzwax: March 2009 JazzWax: March 2009 JazzWax Marc Myers blogs daily on jazz legends and legendary jazz recordings « February 2009 | Main | April 2009 » Email me March 2009 Just click here March 31, 2009 Search JazzWax Mindblowers (Vol. 5) JazzWax If you're new to this blog, you should know that at the tail end of Web each quarter I provide a roundup of my favorite quotes from JazzWax interviews About posted over the past three Marc Myers is a New York months. Between January journalist and historian. His thoughts on jazz and jazz and March 2009, I interviewed recordings appear here daily. Jimmy Cobb, Sandie Shaw, more... Buddy De Franco, David Soyer, Helen Merrill, Phil JazzWax Interviewed Woods, Hal McKusick, Billy Joel, Chico Hamilton, Carol Sloane and Simone, Nina Simone's daughter. If you're looking for Volumes 1-4 in this series, you'll find them by typing "Top Mindblowers" into the search engine in the upper right-hand corner of this page. So, without further delay, here are the past quarter's gems: Subscribe for British pop singer Sandie Shaw on why there were so many free "girl" singers in the U.K. in the early 1960s: In the 1960s, the American scene was still stuck in the 1950s. Enter your email address: The U.K. had an amazing free creative environment and a huge establishment to kick Delivered by FeedBurner against. We had a class war to fight and sexual equality to define within the new liberalism over here. Our male and female audiences directly related to all SponsLink the musical output and were really ready for change. http://www.jazzwax.com/2009/03/index.html[13/01/2010 13.21.37] JazzWax: March 2009 Drummer Jimmy Cobb on Dinah Washington: "Dinah had a cruel streak. Probably because she was brought up around Gladys Hampton, Lionel’s wife and the person who ran Hamp's business side. Gladys used to buy Dinah nice things to wear on stage but at the end of the week she’d take it out of her pay. Most of the time it was stuff Dinah couldn’t afford. So Dinah would do the same thing to the girls who worked for her." Jimmy Cobb on what he learned from Washington: "Feelings. Dinah was a Baptist. When I heard that Baptist sound, it took me over. I wasn’t used to hearing that. It would make the hairs stand up on my arms and neck, where people are singing and shouting in church. That struck me right away. She taught me to put the passion into what I was doing." Jimmy Cobb on being hired in 1958 by Miles Davis for his sextet: "Philly Joe Jones was starting to come late to Miles' jobs. Cannonball Adderley was especially worried because he needed JazzWax Interviews the job. He was living in [his Adam Rudolph brother] Nat’s apartment in Al Stewart New York and couldn’t stand Andreas Meyer Art D'Lugoff not to have a gig, you know? Benny Golson Benny Powell When Cannon saw that Philly Big Jay McNeely1 Big Jay McNeely2 wasn’t showing up, he wasn't Bill Holman 1 Bill Holman 2 sure if Miles was going to Bill Holman 3 Billy Joel keep the thing going. So he Billy Taylor told Miles about me. When Bob Brookmeyer Bobby Sanabria Joe didn’t show one night, I Bret Primack Brooks Tegler sat in... Then I played on the Bud Shank Buddy DeFranco 1 On Green Dolphin Street session, and Miles dug what I did on Buddy DeFranco 2 Buddy DeFranco 3 there." Buddy DeFranco 4 Buddy DeFranco 5 Buddy DeFranco 6 Carol Sloane Jimmy Cobb on Miles Davis' quirky personality: "One time Chantale Gagne Chembo Corniel http://www.jazzwax.com/2009/03/index.html[13/01/2010 13.21.37] JazzWax: March 2009 Miles said he wished I could swing like Wynton [Kelly]. I looked at Chico Hamilton him and said, 'I sure wish you Chris Connor Creed Taylor 1 could, too, Miles.' Miles gave Creed Taylor 2 Creed Taylor 3 me a look, but we were pretty Creed Taylor 4 Creed Taylor 5 good friends. He knew I was Dan Morgenstern1 Dan Morgenstern2 always there when we played. Danny Bank 1 Danny Bank 2 That was Miles' thing. He was Danny Bank 3 always watching to see what Danny Bank 4 Dave Pell you were going to bring. Miles David Allyn 1 David Allyn 2 was a funny little guy. He was always busting in your face to see David Amram 1 David Amram 2 what your reaction would be." [Photo: Herb Snitzer] David Amram 3 Denny Zeitlin Dick Katz Dick Hyman Jimmy Cobb on how Davis' wound up credited with songs he Don Friedman Doug Ramsey didn't write: "Funny things used to Eddie Bert happen in the studio. We’d be in a George Wein Grant Stewart recording session, and the engineer Hal McKusick 1 Hal McKusick 2 would say, 'What song was that, Hal McKusick 3 Hal McKusick 4 Miles?' Miles would tell him, and the Hal McKusick 5 Hal McKusick 6 guy would write it down and credit Hal McKusick 7 Hal McKusick 8 Miles. A bunch of songs were Hank O'Neal attributed to Miles that way." Helen Merrill Herman Leonard Howard Rumsey Ithamara Koorax Jimmy Cobb on Bill Evans and Kind of Blue: "Bill Evans had a Jackie Cain Jimmy Cobb bigger hand in writing many of those Jimmy Heath Jimmy Heath2 songs than most people realize. The Joe Wilder Johnny Mandel feeling was very close to the way Bill Johnny Mandel2 Jon Hendricks played piano. Bill kind of got Miles Laurie Pepper 1 into that groove." Laurie Pepper 2 Laurie Verchomin Lennie Niehaus Leon Ware Jimmy Cobb on Miles Davis and Loren Schoenberg Louie Bellson 1 Sonny Stitt during their 1960 Louie Bellson 2 Marian McPartland European tour: "Miles didn’t want Sonny to Marty Sheller Med Flory play tenor on the tour. Miles said, 'Man, I’m Merdith d'Ambrosio Mundell Lowe 1 going to step on that tenor.' Sonny would Mundell Lowe 2 get all upset and say, 'Oh, man, Miles.' That Nat Hentoff Orrin Keepnews was Miles’ way of letting Sonny know how Pete Turner Phil Urso he felt. Sonny took the tenor anyway." Phil Woods Rachel Rodgers Ray De Felitta Ray Santos Jimmy Cobb on his famed metronome- Roberto Magris Ron Carter like cymbal playing that opens Someday Ronnell Bright Roy Haynes My Prince Will Russ Garcia "That was my idea. I thought Sammy Nestico Come: Sandie Shaw I had made a mistake by hitting the Simone Sonny Rollins http://www.jazzwax.com/2009/03/index.html[13/01/2010 13.21.37] JazzWax: March 2009 cymbal too high up and too hard. I Sonny Rollins2 Stan Freberg 1 thought the engineer might not have Stan Freberg 2 Stanley Cooper been able to control it [with the Ted Gioia Teddy Charles 1 levels]. But during the playback, Teddy Charles 2 Teddy Charles 3 everyone liked it just as it was." Terry Teachout Yolande Bavan Yusef Lateef Buddy De Franco on Miles Davis and the Metronome All- Stars of 1948-49: "Miles was an up-and-coming guy at that EyeWitness point, a smart alec. He had a way of playing and got very popular, Bill Evans becoming one of the biggest Bill Perkins Charlie Parker names in jazz and pop music. Dizzy Gillespie Don Fagerquist But next to Dizzy and Fats Don Sleet Frank Sinatra that day, he was a weak third. Jimmy Forrest Lester Young He was not that super a trumpet player yet." Obits Art D'Lugoff Buddy De Franco on Artie Bob Willoughby Bud Shank Shaw: "Artie's bop band in 1949 was a mistake. Artie Chris Connor Dick Katz underestimated the idea of playing Ed Beach bop. He tried, but it didn’t come off. Eddie Higgins Eddie Locke He didn’t spend enough time George Russell Louie Bellson learning bop. Artie didn’t really care Morris Nanton Roy DeCarava that much. He was interested in too Stacy Rowles Torrie Zito many other things—you know, writing, politics and other things that PhotoStory took his interest away. The idea of a Big Jay McNeely band was a good idea to Artie until it Bill Evans Dizzy Gillespie got boring." Dizzy Gillespie2 Duke Ellington Harry Edison Lester Young Buddy De Franco on what Charlie Parker said to him when Louis Armstrong Buddy asked Bird why he didn't play the clarinet: "He was Miles Davis Miles Davis2 very kind. He said, 'Because you play it' [laughs]." Med Flory Sammy Davis Jr. Zoot Sims Cellist David Soyer, who played in the string section on Billie Holiday's Lady in Satin with his wife harpist Janet Putnam, JazzWax Quotes on the 1958 session: "I remember Mindblowers8 Mindblowers7 Billie didn't want the guys in the band Mindblowers6 Mindblowers5 to hear the playbacks because she Mindblowers4 Mindblowers3 didn't think she sounded good. But Mindblowers2 we all went into the booth after to Mindblowers1 http://www.jazzwax.com/2009/03/index.html[13/01/2010 13.21.37] JazzWax: March 2009 hear them anyway. She sounded JazzWax pretty damn good to me." Mentions BBC Singer Helen Merrill on her very Jazz Session L.A. Times first club performance, with Bud Powell on piano: "After I USA Today Wall St. Journal started singing, Bud stopped playing, turned around, looked at me with the biggest grin on his face and then continued to play. It was a huge compliment and a complete surprise.
Load more

Recommended publications
  • The Historic Recordings of the Song Desafinado: Bossa Nova Development and Change in the International Scene1
    The historic recordings of the song Desafinado: Bossa Nova development and change in the international scene1 Liliana Harb Bollos Universidade Federal de Goiás, Brasil [email protected] Fernando A. de A. Corrêa Faculdade Santa Marcelina, Brasil [email protected] Carlos Henrique Costa Universidade Federal de Goiás, Brasil [email protected] 1. Introduction Considered the “turning point” (Medaglia, 1960, p. 79) in modern popular Brazi- lian music due to the representativeness and importance it reached in the Brazi- lian music scene in the subsequent years, João Gilberto’s LP, Chega de saudade (1959, Odeon, 3073), was released in 1959 and after only a short time received critical and public acclaim. The musicologist Brasil Rocha Brito published an im- portant study on Bossa Nova in 1960 affirming that “never before had a happe- ning in the scope of our popular music scene brought about such an incitement of controversy and polemic” (Brito, 1993, p. 17). Before the Chega de Saudade recording, however, in February of 1958, João Gilberto participated on the LP Can- ção do Amor Demais (Festa, FT 1801), featuring the singer Elizete Cardoso. The recording was considered a sort of presentation recording for Bossa Nova (Bollos, 2010), featuring pieces by Vinicius de Moraes and Antônio Carlos Jobim, including arrangements by Jobim. On the recording, João Gilberto interpreted two tracks on guitar: “Chega de Saudade” (Jobim/Moraes) and “Outra vez” (Jobim). The groove that would symbolize Bossa Nova was recorded for the first time on this LP with ¹ The first version of this article was published in the Anais do V Simpósio Internacional de Musicologia (Bollos, 2015), in which two versions of “Desafinado” were discussed.
    [Show full text]
  • Download the Vocal of Frank Foster
    1 The TENORSAX of FRANK BENJAMIN FOSTER Solographer: Jan Evensmo Last update: Oct. 7, 2020 2 Born: Cincinnati, Ohio, Sept. 23, 1928 Died: Chesapeake, Virginia, July 26, 2011 Introduction: Oslo Jazz Circle always loved the Count Basie orchestra, no matter what time, and of course we became familiar with Frank Foster’s fine tenorsax playing! Early history: Learned to play saxes and clarinet while in high school. Went to Wilberforce University and left for Detroit in 1949. Played with Wardell Gray until he joined the army in 1951. After his discharge he got a job in Count Basie's orchestra July 1953 after recommendation by Ernie Wilkins. Stayed until 1964. 3 FRANK FOSTER SOLOGRAPHY COUNT BASIE AND HIS ORCHESTRA LA. Aug. 13, 1953 Paul Campbell, Wendell Cully, Reunald Jones, Joe Newman (tp), Johnny Mandel (btp), Henry Coker, Benny Powell (tb), Marshal Royal (cl, as), Ernie Wilkins (as, ts), Frank Wess (fl, ts), Frank Foster (ts), Charlie Fowlkes (bar), Count Basie (p), Freddie Green (g), Eddie Jones (b), Gus Johnson (dm). Three titles were recorded for Clef, two issued, one has FF: 1257-5 Blues Go Away Solo with orch 24 bars. (SM) Frank Foster’s first recorded solo appears when he just has joined the Count Basie organization, of which he should be such an important member for years to come. It is relaxed and highly competent. Hollywood, Aug. 15, 1953 Same personnel. NBC-TV "Hoagy Carmichael Show", three titles, no solo info. Hoagy Carmichael (vo). Pasadena, Sept. 16, 1953 Same personnel. Concert at the Civic Auditorium. Billy Eckstine (vo).
    [Show full text]
  • Duke Ellington Kyle Etges Signature Recordings Cottontail
    Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the ​ band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke ​ Ellington, states that Cottontail “opened a window on the future, predicting elements to come in ​ jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & ​ ​ Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more ​ grandiose pieces with more extended forms.
    [Show full text]
  • Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
    MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler.
    [Show full text]
  • 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.
    [Show full text]
  • Vut 20140303 – Big Bands
    JAMU 20140305 – BIG BANDS (2) 10. Chicago Serenade (Eddie Harris) 3:55 Lalo Schifrin Orchestra: Ernie Royal, Bernie Glow, Jimmy Maxwell, Marky Markowitz, Snooky Young, Thad Jones-tp; Billy Byers, Jimmy Cleveland, Urbie Green-tb; Tony Studd-btb; Ray Alonge, Jim Buffington, Earl Chapin, Bill Correa-h; Don Butterfield-tu; Jimmy Smith-org; Kenny Burrell-g; George Duvivier-b; Grady Tate-dr; Phil Kraus-perc; Lalo Schifrin-arr,cond. Englewood Cliffs, NJ, April 27/29, 1964. Verve V6-8587. 11. A Genuine Tong Funeral – The Opening (Carla Bley) 2:14 Gary Burton Quartet with Orchestra: Gary Burton-vib; Larry Coryell-g; Steve Swallow-b; Bobby Moses-dr; Mike Mantler-tp; Jimmy Knepper-tb,btb; Howard Johnson-tu,bs; Leandro “Gato” Barbieri-ts; Steve Lacy-ss; Carla Bley-p,org,cond. New York, July 1967. RCA Victor LSP 3901. 12. Escalator Over the Hill (Carla Bley) 4:57 Michael Mantler-tp; Sam Burtis, Jimmy Knepper, Roswell Rudd-tb; Jack Jeffers-btb; Bob Carlisle, Sharon Freeman-h; John Buckingham-tu; Jimmy Lyons-as; Gato Barbieri-ts; Chris Woods-bs; Perry Robinson-cl; Nancy Newton-vla; Charlie Haden-b; Paul Motian-dr; Tod Papageorge, Bob Stewart, Rosalind Hupp, Karen Mantler, Jack Jeffers, Howard Johnson, Timothy Marquand, Jane Blackstone, Sheila Jordan, Phyllis Schneider, Pat Stewart-voc; Bill Leonard, Don Preston, Viva, Carla Bley- narrators. November 1968-June 1971, various places. JCOA 839310-2. 13. Adventures in Time – 3x3x2x2x2=72 (Johnny Richards) 4:29 Stan Kenton Orchestra: Dalton Smith, Bob Behrendt, Marvin Stamm, Keith Lamotte, Gary Slavo- tp; Bob Fitzpatrick, Bud Parker, Tom Ringo-tb; Jim Amlotte-btb; Ray Starlihg, Dwight Carver, Lou Gasca, Joe Burnett-mell; Dave Wheeler-tu,btb; Gabe Baltazar-as, Don Menza, Ray Florian-ts; Allan Beutler-bs; Joel Kaye-bass,bs; Stan Kenton-p; Bucky Calabrese-b; Dee Barton-dr; Steve Dweck- tympani,perc.
    [Show full text]
  • Jazzletter Jujy 1936, VOI
    Jazzletter Jujy 1936, VOI. 5 NO. 7 \ how much jazz had infused his playing. The miscegenation of Are You Reading jazz and hillbilly has longgone on in-Nashville. and some ofthe best of its players are at ease in both idioms. Someone Else’s Copy? Lenny Breau came up through country-and-western music. Each issue of The Underground Grammarian contains the his parents beingprofessionals in the field. and it was'Nashville above question. lt’s discouraging. in the struggle to keep a small that made him welcome. He is. like Garland,‘Carllile and Reed, publication alive. to hear someone say something like, “-1 just the result ofthejazz-country fusion, exceptythat Breau took it a love it. A friend sends me his copies when he’s through with step further and brought into his work the full range ofclassical them.” . A guitar technique. Chet Atkins was the first a&r man to givehim ' In publications supported by advertising. salesmen boast to his head, letting him record for RCAia milestone album in potential advertisers about how many people read each copy. which he showed 0-ff his startling. .for the time, jazz-classical and to the advertiser seeking exposure of his message. those ‘technique, Gene Bertoncini, who is ‘probably the best living figures have weight. He is less interested in how manyypeople exponent of jazz on the five-finger classical guitar. admires buy a periodical than in how many see it. An important Breau; but then you’ll search far to find a guitarist who doesn’t. phenomenon in periodical publishing is what is known as Lenny was a heroin addict.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • The Journal of the Duke Ellington Society Uk Volume 23 Number 3 Autumn 2016
    THE JOURNAL OF THE DUKE ELLINGTON SOCIETY UK VOLUME 23 NUMBER 3 AUTUMN 2016 nil significat nisi pulsatur DUKE ELLINGTON SOCIETY UK http://dukeellington.org.uk DESUK COMMITTEE HONORARY MEMBERS OF DESUK Art Baron CHAIRMAN: Geoff Smith John Lamb Vincent Prudente VICE CHAIRMAN: Mike Coates Monsignor John Sanders SECRETARY: Quentin Bryar Tel: 0208 998 2761 Email: [email protected] HONORARY MEMBERS SADLY NO LONGER WITH US TREASURER: Grant Elliot Tel: 01284 753825 Bill Berry (13 October 2002) Email: [email protected] Harold Ashby (13 June 2003) Jimmy Woode (23 April 2005) MEMBERSHIP SECRETARY: Mike Coates Tel: 0114 234 8927 Humphrey Lyttelton (25 April 2008) Email: [email protected] Louie Bellson (14 February 2009) Joya Sherrill (28 June 2010) PUBLICITY: Chris Addison Tel:01642-274740 Alice Babs (11 February, 2014) Email: [email protected] Herb Jeffries (25 May 2014) MEETINGS: Antony Pepper Tel: 01342-314053 Derek Else (16 July 2014) Email: [email protected] Clark Terry (21 February 2015) Joe Temperley (11 May, 2016) COMMITTEE MEMBERS: Roger Boyes, Ian Buster Cooper (13 May 2016) Bradley, George Duncan, Frank Griffith, Frank Harvey Membership of Duke Ellington Society UK costs £25 SOCIETY NOTICES per year. Members receive quarterly a copy of the Society’s journal Blue Light. DESUK London Social Meetings: Civil Service Club, 13-15 Great Scotland Yard, London nd Payment may be made by: SW1A 2HJ; off Whitehall, Trafalgar Square end. 2 Saturday of the month, 2pm. Cheque, payable to DESUK drawn on a Sterling bank Antony Pepper, contact details as above. account and sent to The Treasurer, 55 Home Farm Lane, Bury St.
    [Show full text]
  • Changemakers: Biographies of African Americans in San Francisco Who Made a Difference
    The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Leo T. McCarthy Center for Public Service and McCarthy Center Student Scholarship the Common Good 2020 Changemakers: Biographies of African Americans in San Francisco Who Made a Difference David Donahue Follow this and additional works at: https://repository.usfca.edu/mccarthy_stu Part of the History Commons CHANGEMAKERS AFRICAN AMERICANS IN SAN FRANCISCO WHO MADE A DIFFERENCE Biographies inspired by San Francisco’s Ella Hill Hutch Community Center murals researched, written, and edited by the University of San Francisco’s Martín-Baró Scholars and Esther Madríz Diversity Scholars CHANGEMAKERS: AFRICAN AMERICANS IN SAN FRANCISCO WHO MADE A DIFFERENCE © 2020 First edition, second printing University of San Francisco 2130 Fulton Street San Francisco, CA 94117 Published with the generous support of the Walter and Elise Haas Fund, Engage San Francisco, The Leo T. McCarthy Center for Public Service and the Common Good, The University of San Francisco College of Arts and Sciences, University of San Francisco Student Housing and Residential Education The front cover features a 1992 portrait of Ella Hill Hutch, painted by Eugene E. White The Inspiration Murals were painted in 1999 by Josef Norris, curated by Leonard ‘Lefty’ Gordon and Wendy Nelder, and supported by the San Francisco Arts Commission and the Mayor’s Offi ce Neighborhood Beautifi cation Project Grateful acknowledgment is made to the many contributors who made this book possible. Please see the back pages for more acknowledgments. The opinions expressed herein represent the voices of students at the University of San Francisco and do not necessarily refl ect the opinions of the University or our sponsors.
    [Show full text]
  • Academiccatalog 2017.Pdf
    New England Conservatory Founded 1867 290 Huntington Avenue Boston, Massachusetts 02115 necmusic.edu (617) 585-1100 Office of Admissions (617) 585-1101 Office of the President (617) 585-1200 Office of the Provost (617) 585-1305 Office of Student Services (617) 585-1310 Office of Financial Aid (617) 585-1110 Business Office (617) 585-1220 Fax (617) 262-0500 New England Conservatory is accredited by the New England Association of Schools and Colleges. New England Conservatory does not discriminate on the basis of race, color, religion, sex, age, national or ethnic origin, sexual orientation, physical or mental disability, genetic make-up, or veteran status in the administration of its educational policies, admission policies, employment policies, scholarship and loan programs or other Conservatory-sponsored activities. For more information, see the Policy Sections found in the NEC Student Handbook and Employee Handbook. Edited by Suzanne Hegland, June 2016. #e information herein is subject to change and amendment without notice. Table of Contents 2-3 College Administrative Personnel 4-9 College Faculty 10-11 Academic Calendar 13-57 Academic Regulations and Information 59-61 Health Services and Residence Hall Information 63-69 Financial Information 71-85 Undergraduate Programs of Study Bachelor of Music Undergraduate Diploma Undergraduate Minors (Bachelor of Music) 87 Music-in-Education Concentration 89-105 Graduate Programs of Study Master of Music Vocal Pedagogy Concentration Graduate Diploma Professional String Quartet Training Program Professional
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]