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The History and Development of Jazz Piano : a New Perspective for Educators
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1975 The history and development of jazz piano : a new perspective for educators. Billy Taylor University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Taylor, Billy, "The history and development of jazz piano : a new perspective for educators." (1975). Doctoral Dissertations 1896 - February 2014. 3017. https://scholarworks.umass.edu/dissertations_1/3017 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]. / DATE DUE .1111 i UNIVERSITY OF MASSACHUSETTS LIBRARY LD 3234 ^/'267 1975 T247 THE HISTORY AND DEVELOPMENT OF JAZZ PIANO A NEW PERSPECTIVE FOR EDUCATORS A Dissertation Presented By William E. Taylor Submitted to the Graduate School of the University of Massachusetts in partial fulfil Iment of the requirements for the degree DOCTOR OF EDUCATION August 1975 Education in the Arts and Humanities (c) wnii aJ' THE HISTORY AND DEVELOPMENT OF JAZZ PIANO: A NEW PERSPECTIVE FOR EDUCATORS A Dissertation By William E. Taylor Approved as to style and content by: Dr. Mary H. Beaven, Chairperson of Committee Dr, Frederick Till is. Member Dr. Roland Wiggins, Member Dr. Louis Fischer, Acting Dean School of Education August 1975 . ABSTRACT OF DISSERTATION THE HISTORY AND DEVELOPMENT OF JAZZ PIANO; A NEW PERSPECTIVE FOR EDUCATORS (AUGUST 1975) William E. Taylor, B.S. Virginia State College Directed by: Dr. -
Aaron SACHS: Frank SACKENHEIM: Erna SACK: Fats SADI
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Aaron SACHS: "Clarinet & Co" Phil Sunkel, Bernie Glow -tp; Frank Rehak -tb; AARON SACHS -cl,ts; Gene Allen -bs; Nat Pierce - p; Aaron Bell -b; Osie Johnson -d; recorded February 18 and 21, 1957 in New York 33134 RONDO BLUES 3.45 Rama RLP 1004 33135 JUST SICK BLUES 2.54 --- 33136 BLUE SOPHISTICATE 4.02 --- 33137 CONVERSATION 2.39 --- 33138 MONA'S KIMONA 4.01 --- 33139 COUNTRYFIELD 3.46 --- 33140 WIGGINS 3.26 --- Aaron Sachs -cl,ts; Hal Overton -p; Jimmy Raney -g; Aaron Bell -b; Osie Johnson -d; recorded March 04, 1957 in New York 33141 GORME HAS HER DAY 3.07 --- 33142 I CAN'T BELIEVE 2.58 --- 33143 HAL'S LOFT 2.43 --- 33144 NANCY 3.22 --- ------------------------------------------ Frank SACKENHEIM: "WDR3:Jazz.Cologne" Frank Sackenheim Trio: Frank Sackenheim -ts; Henning Gailing -b; Jonas Burgwinkel -d; recorded July 10, 2005 in Funkhaus Wallrafplatz, Köln 77097 DEIN IST MEIN GANZES HERZ 7.55 Aircheck 77098 L.O.V.E. 5.22 --- 77099 RED ROSES 8.16 --- 77100 SPEAK LOW 11.40 --- 77101 ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT 7.53 --- 77102 GAMES THAT LOVERS PLAY 8.05 --- ------------------------------------------ Erna SACK: Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded August 30, 1934 in Berlin 107685 WENN SICH EINE SCHÖNE FRAU VERLIEBT 3.30 19991-1 Tel A1676 Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded October 1934 in Berlin 107121 ICH BIN VERLIEBT 3.32 19990 --- aus der Operette "Clivia" Erna Sack war eine der bedeutendsten Sopranistinnen Deutschlands im 20. -
Flogging Molly... Page 3 Illuminations - Maud Gonne
August • 2011 www.ianohio.com Music on My Mind - Flogging Molly... Page 3 Illuminations - Maud Gonne... Page 8 Irish Heroes... Page 10-11 Wizard Falls; Photo by Craig Scotland, Smith Scotland Productions 2 ianOHIO www.ianohio.com irish american news • August 2011 to find my social security card, my Happy Summer! The sea- the hard work of our columnists birth certificate, son so slow to approach roars over the first five years and take my passport and by with such speed that we are the Ohio Irish American News my marriage li- afraid to blink, to miss part of to the natural next step—we cense. I think get- a season short in duration but have weathered the storm, now ting into the CIA jammed with so much music, we seek to expand. We need is easier. family and fun events that we you! New columnists and new Look at Your Driver’s License - Now The writ- can’t taste them all; yet try we features are readily available, ten test is not so must! just waiting for the opportunity, I have been practicing law for almost twen- simple, though I did pass on the first try. There Maybe we appreciate these and the space generated by ad- ty-five years and have extensive experience in are many complicated rules of the road that we days of summer warmth be- vertiser support. We ask you to criminal defense and traffic law. I have helped simply do not encounter every day, or, for some cause they are so rare up in take an active, rather than pas- many folks with DUI and traffic issues get their of the rules, any day ever, but they are on the these northern states, where sive ownership. -
A Report from Depaul University School of Music, 2011–12
Sound Investment A Report from DePaul University School of Music,12 2011–12 letter from the dean Contents september, 2012 Dear Friends, It was one hundred years ago this month and on a site just three blocks away from the School’s current home that the DePaul University School of Music opened its doors for the first time and began the noble mission of educating promising young musicians—the mission that continues to fully engage our 135 faculty and staff every single day. Of course, the School of Music is profoundly elevated now from those very humble beginnings. Still, we expect to spend a part of this year looking Donald E. Casey back and reflecting upon the path that has Dean of the School of Music Of Note: 2011-2012 Highlights 4-5 brought us to where we find ourselves today. An extensive set of events and celebrations to mark this centennial milestone begins this Faculty News 6-9 fall, and these events and celebrations will individually and collectively mark this year in New Faculty Members ways that will no doubt prove especially memorable. We hope you make plans to celebrate Faculty and Staff Activities along with us. Community Music Division Many of the events will be concerts, and some will feature the music that was being newly Master Classes formed in 1912-1913—the year of our genesis; others will feature music that is freshly composed expressly to note the centennial of the School. Among these is a set of piano preludes Student News 10-11 by 15 current and past DePaul composers, each of less than three minutes duration and each Student Scholar Spotlight beginning and concluding with a concert “D” sounding; the School will publish these preludes on our website and any and all will be able to be downloaded without charge. -
Making America's Music: Jazz History and the Jazz Preservation
Making America’s Music: Jazz History and the Jazz Preservation Act Jeff Farley Department of American Studies University of Glasgow A thesis submitted for the degree of Doctor of Philosophy July 2, 2008 c Jeff Farley 2008 Abstract The aim of this thesis is to investigate some significant examples of the process by which jazz has been shaped by the music industry and government and their ideas of the place of jazz within American culture and society. The examples demonstrate that the history and traditions of jazz are not fixed entities, but rather constructions used to understand and utilise issues of race, national identity, cultural value, and musical authenticity and innovation. Engagement with such issues has been central to identifying jazz as America’s music, as it earned this status from its worldwide popularity and its identity as an inno- vative black American art form. Recognition for jazz as American music, in conjunction with its improvisational nature, consequently led to the identification of jazz as ‘demo- cratic’ music through its role in racial integration in America and in its representation of American democracy in government propaganda programmes. The different histories of jazz and its status as democratic, American music have all been especially important to the development of House Concurrent Resolution 57 in 1987, referred to as the Jazz Preservation Act (JPA). Authored by Congressman John Conyers, Jr. of Michigan, the JPA defined jazz as a ‘national treasure’ that deserved public support and inclusion in the education system. Few in the industry have criticised the recognition and public subsidy of jazz, but many have found fault with the JPA’s definitions of jazz and its history that have dictated this support. -
100 Jazz Vocals Volume 1 Sheehan, Beverley and Leake, Allan. 100 Jazz Vocals Volume 2 Sheehan, Beverley and Leake, Allan
100 Jazz vocals Volume 1 Sheehan, Beverley and Leake, Allan. 100 Jazz vocals Volume 2 Sheehan, Beverley and Leake, Allan. 14 miles on a clear night : an irreverent, sceptical, and affectionate book about jazz records Gammond, Peter And Clayton, Peter 15 years of the Yarra Yarra Jazz Band Brown, Eric James. 15 years of the Yarra Yarra Jazz Band Brown, Eric James. 1935 Edition Of Parlophone Rhythm Style Jackson, Edgar Comp. 1942 Edition Of Swing Music And Hot Rhythm Records... Jackson, Edgar Comp. 1944 Edition Of Parlophone Rhythm Style Jackson, Edgar Comp. 30th anniversary of the Geelong jazz club 1980-2010 Parsons, David 52nd Street, the street of jazz Shaw, Arnold. A call to assembly : an American success story Ruff, Willie A catalague of 'Clarion' & 'Ebonoid' records. A history of their manufacture / by Frank Andrews Carter, Sydney H A century of jazz Carr, Roy A critic looks at jazz Borneman, Ernest. A discographical listing of jazz recordings of New Zealand. Volume 2, 1981- 2000. Huggard, Dennis O. A discography of Ade Monsbourgh Ricketts, Jack. A discography of the ' Little ' recording companies Miller, William H. A Few Personal Notes About La Vere's Chicago Loopers Acker, Clive A golden age of Jazz revisited 1939-1942 : three pivotal years of musical excitement when Jazz was world's popularSchumacher, music Hazen. A Guide To American Dance Music Issued On The Clifford Industries 'Custom Labels' Of 1928- 29 Laird, Ross. A guide to popular music Gammond, Peter A guide to the big band era : a comprehensive review of all the recorded hits and all the hitmakers Belaire, David C. -
Listen for the If the Beat Catches You, If the Beat Snatches You
Listen for the If the beat catches you, If the beat snatches you ... ; . Turns your insides round about, •~. Turns your one heart inside out ... That's jazz, Ladies and gentlemen ... That's jazz!!!!! Anna Bishop from her book Dedicated Poetry © 1987 / TO THE FUTURE... In thinking about the dedication for this project we pondered about Thelbert and Judy, whose fate we pray will not befall any others in our midst, or ''Rusty" Bryant whose unflagging spirit gave hope to all who knew him, or Earl Hood, who gave the project depth with his willingness to share his wealth of information, or Eddie Beard, who battled sickness to be with us at the premiere of the first edition, or Ronnie Kirk, who became "Rah saan" in a dream. Oh yes, and what about Archie Gordon, who "Stomped" his way to fame, or Christine Kittrell, who was wounded in Viet Nam, or Jean nette, who sang her first solo at the age of five ... Somehow, no matter how rich or emotional the past is, it is the future for which this book is intended. The book is a gift to the people who, through genera tions to come, will learn about and appreciate the contributions of Columbus based artists through this effort. So, to the future .. may one child be touched, may his or her life be changed by the contributions included in this book. May just one child learn to play or stand up and sing and the effort will have been worth all of the years of work. C.LWatkins In 1942, the Mt. -
Early Jazz History and Criticism Bibliography John Szwed
Early Jazz History and Criticism Bibliography John Szwed Pre-1940 Writings *“About Books, More or Less: In the Matter of Jazz,” The New York Times , February 18, 1922 *“About Ragtime,” Ragtime Review . August 1916 Adorno, Theodore. “On Jazz” and “Farewell to Jazz” in Essays in Music . Berkeley: University of California Press, 2002, pp. 470-495, 496-500 *Aldrich, Robert. “Drawing a Line for Jazz,” New York Times , December 10, 1922 (Reprinted in Koenig 2002) *Alford, Harry L. “The Make-Up of a Modern Orchestra,” Metronome , July, 1923 (Reprinted in Koenig 2002) *[American jazz in France] The Nation , June 11, 1924 *“American Jazz Is Not African.” Metronome . October 1, 1926 *“America’s Folk Music.” The Outlook . February 2, 1927 *“An Afternoon of Jazz,” The Musical Courier , February 14, 1924 (see Vincent Lopez) *(Editorial Notes) “Another Word about Jazz,” The Musical Observer . November. 1926 (Reprinted in Koenig 2002) Ansermet, Ernest. “Sur un Orchestré Nègre,” Revue Romande , October, 1919 (reprinted as “A ‘Serious” Musician Takes Jazz Seriously,” translated by Walter Schaap, in Robert Walser, ed. Keeping Time: Readings in Jazz History . NY: Oxford, 1999) and in Reading Jazz , Robert Gottlieb, ed., NY: Pantheon, 1996, pp. 741-746 *Antheil, George. “A Discussion of the Debate—‘Is Jazz Music?’—In the July and August Issues of The Forum ,” Forum . December 1928 *_____________. “Jazz,” Life and Letters . July, 1928 _____________. "The Negro on the Spiral, or A Method of Negro Music" in Negro: An Anthology Negro: An Antholog y, Nancy Cunard and Hugh Ford, eds. NY: Frederick Ungar, 1970 [1934], p. 185 *“Anti-Ragtime,” The New Republic , November 6, 1915 Apold, Felix. -
At the Jazz Band Ball
ROTH FAMILY FOUNDATION Music in America Imprint Michael P. Roth and Sukey Garcetti have endowed this imprint to honor the memory of their parents, Julia and Harry Roth, whose deep love of music they wish to share with others. The publisher gratefully acknowledges the generous support of the Music in America Endowment Fund of the University of California Press Foundation, which was established by a major gift from Sukey and Gil Garcetti, Michael P. Roth, and the Roth Family Foundation. At the Jazz Band Ball NEA Jazz Masters, 2004, left to right from back row: George Russell, Dave Brubeck; second row: David Baker, Percy Heath, Billy Taylor; third row: Nat Hentoff, Jim Hall, James Moody; fourth row: Jackie McLean, Chico Hamilton, Gerald Wilson, Jimmy Heath; fifth row: Ron Carter, Anita O’Day; sixth row: Randy Weston, Horace Silver; standing next to or in front of balustrade: Benny Golson, Hank Jones, Frank Foster (seated), Cecil Taylor, Roy Haynes, Clark Terry (seated), Louie Bellson, NEA Chairman Dana Gioia. Photograph by Tom Pich. At the Jazz Band Ball Sixty Years on the Jazz Scene Nat Hentoff Foreword by Lewis Porter UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. -
The New Negro of Jazz: New Orleans, Chicago, New York, the First Great Migration, & the Harlem Renaissance, 1890-1930
The New Negro of Jazz: New Orleans, Chicago, New York, the First Great Migration, & the Harlem Renaissance, 1890-1930 A Dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History of the College of Arts and Sciences 2012 By Charlie Lester M.A., University of Cincinnati, 2008 B.A., Northern Kentucky University, 2004 Committee Chair: Professor David Stradling Abstract The New Negro of Jazz: New Orleans, Chicago, New York, the First Great Migration, & the Harlem Renaissance, 1890-1930 By Charlie Lester The Harlem Renaissance is often remembered for its cultural achievements, but scholars often place too much attention on literary and visual artists with little regard for the musicians of the period. When scholars do make the connection between jazz and the Harlem Renaissance, the work of jazz artists in cities outside of Harlem play second fiddle. In fact, New Orleans and Chicago could just as easily stake the claim as the nation’s jazz capital in this period, and so many early jazz innovators emigrated to Chicago’s South Side from New Orleans that the Windy City could arguably boast a more vibrant music scene than Harlem. Thanks in no small part to the First Great Migration, when over one million African Americans left the South to stake their claim on the American Dream in the urban North, jazz transitioned from a regional to the national music in the 1910s and 1920s. A number of scholars of the Great Migration have shed light on the grass roots leadership that facilitated northern emigration. -
Musician/Group Title Label # AAVV Americans in Europe Impulse 3857 7 12 18 AAVV Aldo Sandoval 4248 6 4 21 (Duplo) 4249 AAVV
Musician/Group Title Label # AAVV Americans in Europe Impulse 3857 7 12 18 AAVV Antologia de jazz de la Universidad de Chile 2002{03 Aldo Sandoval 4248 6 4 21 (duplo) 4249 AAVV Art Ensemble of Chicago and Associated Ensembles ECM 3861 18 12 18 (21-plo) 3862 3863 3864 3865 3866 3867 3868 3869 3870 3871 3872 3873 3874 3875 3876 3877 3878 3879 3880 3881 AAVV The Atlantic New Orleans jazz sessions Mosaic 709 3 12 99 (quadruplo) 710 711 712 AAVV Birks works EMI/Blue Note 7 3 93 AAVV The Blue Note jazz profile series Blue Note 619 5 7 99 AAVV Classic Capitol jazz sessions Mosaic 734 7 1 00 (duod´ecuplo) 735 736 737 738 739 740 741 742 743 744 745 AAVV Classic Columbia Condon Mob sessions Mosaic 2338 1 3 07 (´octuplo) 2339 2340 2341 2342 2343 2344 2345 AAVV Classic Savoy be-bop sessions 1945-49 Mosaic 4075 2 6 20 (d´ecuplo) 4076 4077 4078 4079 4080 4081 4082 4083 1 Musician/Group Title Label # 4084 AAVV Commodore piano anthology Commodore 830 6 4 00 AAVV The complete Felsted mainstream collection Solar 4146 24 10 20 (qu´ıntuplo) 4147 4148 4149 4150 AAVV The complete H.R.S. sessions Mosaic 722 16 12 99 (sextuplo) 723 724 725 726 727 AAVV The complete Nocturne recordings, volume 1 Fresh Sound 519 27 2 99 (triplo) 520 521 AAVV The complete Norman Granz jam sessions Verve 1851 4 1 05 (qu´ıntuplo) 1852 1853 1854 1855 AAVV Early jazz 1917-1923 Fr´emaeux& Ass 836 26 4 00 (duplo) 837 AAVV Essential South African Jazz: the Jo'burg sessions African Cream 3661 16 4 16 AAVV Fet´en:rare jazz recordings from Spain 1961{74 Vampisoul 3452 28 4 13 AAVV Focus jazz: more modern jazz Wewerka Arch. -
MARIAN Mcpartland NEA Jazz Master (2000)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. MARIAN McPARTLAND NEA Jazz Master (2000) Interviewee: Marian McPartland (March 20, 1918 – August 20, 2013) Interviewer: James Williams (March 8, 1951- July 20, 2004) Date: January 3–4, 1997, and May 26, 1998 Repository: Archives Center, National Museum of American History Description: Transcript, 178 pp. WILLIAMS: Today is January 3rd, nineteen hundred and ninety-seven, and we’re in the home of Marian McPartland in Port Washington, New York. This is an interview for the Smithsonian Institute Jazz Oral History Program. My name is James Williams, and Matt Watson is our sound engineer. All right, Marian, thank you very much for participating in this project, and for the record . McPARTLAND: Delighted. WILLIAMS: Great. And, for the record, would you please state your given name, date of birth, and your place of birth. McPARTLAND: Oh, God!, you have to have that. That’s terrible. WILLIAMS: [laughs] McPARTLAND: Margaret Marian McPartland. March 20th, 1918. There. Just don’t spread it around. Oh, and place of birth. Slough, Buckinghamshire, England. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 WILLIAMS: OK, so I’d like to, as we get some of your information for early childhood and family history, I’d like to have for the record as well the name of your parents and siblings and name, the number of siblings for that matter, and your location within the family chronologically. Let’s start with the names of your parents.