Notre Dame Collegiate Jazz Festival Program, 1989
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Economics for Real People
Economics for Real People An Introduction to the Austrian School 2nd Edition Economics for Real People An Introduction to the Austrian School 2nd Edition Gene Callahan Copyright 2002, 2004 by Gene Callahan All rights reserved. Written permission must be secured from the publisher to use or reproduce any part of this book, except for brief quotations in critical reviews or articles. Published by the Ludwig von Mises Institute, 518 West Magnolia Avenue, Auburn, Alabama 36832-4528. ISBN: 0-945466-41-2 ACKNOWLEDGMENTS Dedicated to Professor Israel Kirzner, on the occasion of his retirement from economics. My deepest gratitude to my wife, Elen, for her support and forbearance during the many hours it took to complete this book. Special thanks to Lew Rockwell, president of the Ludwig von Mises Institute, for conceiving of this project, and having enough faith in me to put it in my hands. Thanks to Jonathan Erickson of Dr. Dobb’s Journal for per- mission to use my Dr. Dobb’s online op-eds, “Just What Is Superior Technology?” as the basis for Chapter 16, and “Those Damned Bugs!” as the basis for part of Chapter 14. Thanks to Michael Novak of the American Enterprise Insti- tute for permission to use his phrase, “social justice, rightly understood,” as the title for Part 4 of the book. Thanks to Professor Mario Rizzo for kindly inviting me to attend the NYU Colloquium on Market Institutions and Eco- nomic Processes. Thanks to Robert Murphy of Hillsdale College for his fre- quent collaboration, including on two parts of this book, and for many fruitful discussions. -
Discography of the Mainstream Label
Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet -
Lucky Drummer from NYC Jazz to Johnny Carson
Lucky Drummer From NYC Jazz to Johnny Carson by Ed Shaughnessy with Robyn Flans © 2012 Ed Shaughnessy ISBN 978-1-888408-16-4 REBEATS PUBLICATIONS 219 Prospect, Alma, Michigan 48801 www.Rebeats.com Cover design, index, gear diagrams by Rob Cook Discography typing by Nancy Stringer Printed in the United States of America All rights for publication and distribution are reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retreival systems without publisher’s written consent. Where it’s at.... MY CHILDHOOD 1 Growing up in Jersey THE GOOD OL’ DAYS—THE STAGE-SHOW ERA 5 The Paramount, Strand, Capital, and Loew’s State theaters SUNDAY JAMS 7 Big name theater musicians jamming in small ballrooms THE TEEN YEARS 9 Timpani in the school orchestra, getting hooked up with frst teachers BILL WEST 11 More than a great teacher, a way to make the New York scene ANOTHER MENTOR 13 Mo Goldenberg and the mallets POST-HIGH SCHOOL 14 Getting a NYC room to establish residency DIDN’T MAKE THE CUT 14 Fired from my frst professional job– not for musical reasons BOBBY BYRNE AND THE BIG EASY 14 Working with the trombonist in New Orleans BACK HOME 15 Back to NYC with Jack Teagarden and George Shearing THE ’50s 16 Experimental music with Teddy Charles, Miles Davis WATCHING FROM THE BALCONY—WATCHA GONNA BRING? 16 Coming of age in New York City CHARLIE VENTURA 17 Introduction to touring by the bop saxmaster, zoot suit pants A STAR IS BORN 19 My frst endorsement deal THE TIME I DIDN’T 20 -
Last Apollo Flight Heads for Moon and Seven Seconds of the Countdown
On The Inside Trend to off-campus living ...7 Clarke gets ax from H-man ...page 3 THE OBSERVER serving the notre dame - st. mary's community VOL. V II No. 59 Thursday, December 7, 1972 Third stage prob Last Apollo flight heads for moon and seven seconds of the countdown. The would be the nation’s sixth landing of men by John Noble Wilford term inal countdown sequencer, as the on the Moon and the 11th manned mission (C) 1972 New York Times News Service computer is called, is programmed to stop of the Apollo project. Cernan and Schmitt the launch if it senses any malfunction. A plan to land their lunar module, named r ape Kennedy, Dec. 7- Apollo 17 few minutes after the scheduled lift-off, Challenger, in a narrow valley just beyond ‘'Listed.off toward the moon this morning, which was to have been at 9:53 p.m. a the southeastern rim of the Sea of its fiery exhaust turning night into day, in spokesman for the national aeronautics Serenity. The site is called Taurus-Littrov, a delayed though spectacular beginning of and space administration announced that after the Taurus mountains and the Lit- the nation's last planned lunar mission. the oxygen tank had failed to be trow crater in the area of Apollo 17’s The lift-off came at 12:33 a.m. after a pressurized at the proper time. target. The landing is scheduled for 2:54 delay of more than two hous because of Launch controllers quickly pressurized p.m. -
Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne -
Second Wind: a Tribute to E Music of Bill Evans
Chuck Israels Jazz Orchestra contribution to Evans’ body of work. Second Wind: A Tribute To e Music Israels, of course, was the replacement for the Of Bill Evans legendary Scott LaFaro, who died in a car accident SOULPATCH in 1961, the loss of a friend and creative partner ++++ ½ that had devastated Evans. Eventually he found his footing with Israels, who had worked with As the famous album title has it, everybody digs Bill Evans. a who’s who of greats including Billie Holiday, But not everybody has su#ciently dug Chuck Israels, Evans’ Benny Goodman, Coleman Hawkins and John great, underappreciated bassist from his second trio (1962– Coltrane. Besides being a brilliant technician with 1966). is album, Israels’ return to full-time performing a wonderful round tone, Israels was an exquisitely aer a 30-year teaching career, should win him new fans for sensitive musical partner who helped bring out the his prodigious skills as both arranger and bassist, even as it best in the introspective Evans. Aer his stint with serves to remind longtime Evans devotees of his signi!cant Evans, Israels studied composition and arrang- ing with Hall Overton, who arranged elonious Monk compositions for a tentet at Monk’s tri- umphant 1959 Town Hall concert. Later, Israels became a pioneer of the jazz repertory movement, founding and leading the National Jazz Ensemble from 1973 to 1981. Although Israels has played Evans tunes with others (notably Danish pianist omas Clausen on the excellent 2003 trio album For Bill ), this is the !rst time he has orchestrated a whole album of songs associated with or inspired by Evans for a larger ensemble. -
The Scene Issue 1
i ARI remixthe scene issue 1 NOTHING HAPPENED Artist: Unknown Medium: Mixed Media Location: Brisbane Date: Circa 1980s If you had one word for the Brisbane 80ss art scene what would it be? and if one word isn’t enough then help yourself to some more nothing happened... nothing could be further from the truth time to change the story Brian Doherty If you had one word for the Brisbane 80s art scene what would it be? Please tell me - and if one word isn’t enough then help yourself to some more. I really need your contribution for three ARI Remix publications to help correct the proposition that NOTHING happened. The first publication, to be available online at issuu.com, has a focus on the overall art scene in Brisbane in the 1980s. The second will focus on the Artist Run Spaces and the third will focus on artists. We will be using some content from this facebook site and from the remix.org.au site. You can also submit your ideas and images specifically for the Remix publications at http://www.remix.org.au/pages/ contact-us-01-2/ Just put ‘newsletter’ in the ‘post tag’ field. Hope to hear from you soon!# ariremix “... despite the work that has been done, there remains a general perception that there is not much to either write about or exhibit when it comes to the history of Artist-Run projects in Brisbane...” Peter Anderson Marginal Notes: towards a history of an artist-run scene, Brisbane, the 1980s Eyeline 82, p62 nothing happened.. -
Of Audiotape
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. DAVID N. BAKER NEA Jazz Master (2000) Interviewee: David Baker (December 21, 1931 – March 26, 2016) Interviewer: Lida Baker with recording engineer Ken Kimery Date: June 19, 20, and 21, 2000 Repository: Archives Center, National Museum of American History Description: Transcript, 163 pp. Lida: This is Monday morning, June 19th, 2000. This is tape number one of the Smithsonian Jazz Oral History Project interview with David Baker. The interview is being conducted in Bloomington, Indiana, [in] Mr. Baker’s home. Let’s start with when and where you were born. David: [I was] born in Indianapolis, December 21st, 1931, on the east side, where I spent almost all my – when I lived in Indianapolis, most of my childhood life on the east side. I was born in 24th and Arsenal, which is near Douglas Park and near where many of the jazz musicians lived. The Montgomerys lived on that side of town. Freddie Hubbard, much later, on that side of town. And Russell Webster, who would be a local celebrity and wonderful player. [He] used to be a babysitter for us, even though he was not that much older. Gene Fowlkes also lived in that same block on 24th and Arsenal. Then we moved to various other places on the east side of Indianapolis, almost always never more than a block or two blocks away from where we had just moved, simply because families pretty much stayed on the same side of town; and if they moved, it was maybe to a larger place, or because the rent was more exorbitant, or something. -
59Th Annual Critics Poll
Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
Trevor Tolley Jazz Recording Collection
TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre. -
View Was Provided by the National Endowment for the Arts
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOOTS THIELEMANS NEA Jazz Master (2009) Interviewee: Toots Thielemans (April 29, 1922 – August 22, 2016) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: August 31 and September 1, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 80 pp. Brown: Today is August 31, 2011. My name is Anthony Brown, and I am conducting the Smithsonian Institution Oral History with NEA Jazz Master, harmonica virtuoso, guitarist and whistler, Toots Thielemans. Hello… Thielemans: Yes, my real name is Jean. Brown: Jean. Thielemans: And in Belgium… I was born in Belgium. Jean-Baptiste Frédéric Isidor. Four first names. And then Thielemans. Brown: That’s funny. Thielemans: And in French-speaking Belgium, they will pronounce it Thielemans. But I was born April 29, 1922. Brown: That’s Duke Ellington’s birthday, as well. Thielemans: Yes. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: All right. Thielemans: Yes, same day. Brown: Yeah, same day. Just a few years later. [laughs] Thielemans: [laughs] Oh, Duke. Okay. Brown: Where in Belgium? What city? Thielemans: In Brussels. Brown: That’s the capitol. Thielemans: In a popular neighborhood of Brussels called Les Marolles. There was… I don’t know, I wouldn’t know which neighborhood to equivalent in New York. Would that be Lower East Side? Or whatever… popular. And my folks, my father and mother, were operating, so to speak, a little beer café—no alcohol but beer, and different beers—in this café on High Street, Rue Haute, on the Marolles. -
User's Guide To
User’s Guide to Garritan Jazz & Big Band—Version 3 1 User’s Guide to GARRITAN JAZZ & BIG BAND Version 3 Including the ARIATM Player This guide written by: Gary Garritan, Chuck Israels, Gary Lindsay and Tom Hopkins Produced by: Gary Garritan & Tom Hopkins Director of Programming: Tom Hopkins ARIA Engine Development: Plogue Art et Technologie Inc. Additional Programming: Eric Patenaude, Jeff Hurchalla Document Editing: The Extraordinary Team of Beta Testers MIDI Programming: Markleford Friedman Art Direction: James Mireau Project Management: Max Deland Software Development: Jeff Hurchalla Manual Layout: Adina Cucicov Sound Editing: Jeannot Welter Garritan Jazz & Big Band™ is a trademark of Garritan Corp. Use of the Garritan Jazz & Big Band library and the contents herein are subject to the terms and conditions of the license agreement distributed with the library. You should carefully read the license agreement before using this product. The sounds presented in Garritan Jazz & Big Band are protected by copyright and cannot be distributed, whether modified or unmodified. The Guide to Gar- ritan Jazz & Big Band and instrument lists contained herein are also covered by copyright. ARIA™ is a trademark of Garritan and Plogue Art et Technologie Inc., Finale is a trademark of MakeMusic, Steinway™ is a trademark of Steinway & Sons and any other trademarks of third-party programs are trademarks of their respective owners. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Garritan Corporation. The information contained herein may change without notice and does not represent a commitment on the part of Garritan Corporation.