DOCSLIB.ORG

WGLT Program Guide, July, 1990

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WGLT Program Guide, July, 1990 Illinois State University ISU ReD: Research and eData WGLT Program Guides Arts and Sciences Summer 7-1-1990 WGLT Program Guide, July, 1990 Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/wgltpg Recommended Citation Illinois State University, "WGLT Program Guide, July, 1990" (1990). WGLT Program Guides. 101. https://ir.library.illinoisstate.edu/wgltpg/101 This Book is brought to you for free and open access by the Arts and Sciences at ISU ReD: Research and eData. It has been accepted for inclusion in WGLT Program Guides by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. PROGRAM GU IDE U L Y 9 9 0 PUBLIC RADIO FROM I.S.U. Band in Chicago, and Fletcher Armstrong, and archival interviews First 90 Years. Part one, The Kid Henderson's Orchestra in New York with Armstrong reveal still more from Algiers, a two-hour program City, until forming his own bands, facets of his musical personality. hosted by pianist Dr. Billy Taylor, the Hot Five and Hot Seven. focuses on Armstrong's musical The one-hour program, The greatness. The second part, The In the late '40s, Armstrong Second Line, is hosted by actor Second Line, a one-hour program formed another band called "Louis Ossie Davis. The title refers to the hosted by actor Ossie Davis, Armstong and his All-Stars." second generation of musicians explores how Armstrong's legacy Throughout the '40s, '50s and '60s, who followed in the footsteps of the lives on in performances by Armstrong and the All-Stars toured jazz masters in New Orleans street contemporary musicians. The Europe, Africa, South America, parades, and by contemporary specials will air on WGLT from 7-10 Australia, Japan, and the Far East, musicians who continue to PM, Wednesday, July 4th and again collecting millions of fans as his celebrate Armstrong's musical from 1-4 PM, Sunday, July 8th. travels expanded. legacy. Highlights include compositions recorded exclusively Louis Armstrong was one of The two-hour special, The Kid for this special tribute by the major creative forces of 20th from Algiers is hosted by pianist Dr. Armstrong's colleague Arvell Shaw century American music. In his Billy Taylor. The title refers to the and his All-Stars, and Doug book Jazz Masters of New Orleans, New Orleans neighborhood where Armstrong spent much of his youth. Richards and the Great American ops" ... distinguished jazz critic Martin This program celebrates Armstrong's Music Ensemble. Shaw was an "Dippermouth" Williams writes, "It could be said genius and draws upon the rich original member of Louis "The King of that this man changed the world; he treasure trove of the recordings he Armstrong's band the All-Stars. ► Jazz" ... "Rhythm did, at the very least change made. The program was devised in Interviews with Shaw and Jaws" - these Western music - all of it. And the collaboration with such celebrated Richards round out this are just a few of more that music spreads, the closer musicians as Dizzy Gillespie, contemporary homage to the titles it comes to being true that he Gunther Schuller, James Newton, Armstrong - a great American bestowed on changed all the world's music." and Peggy Lee. Some of musician whose music, 60 years Louis Armstrong. Armstrong's career spans Armstrong's significant works later, continues to astonish and But to millions around the world, most of the 20th century. Born in featured are "West End Blues," delight audiences everywhere. this legendary trumpeter is known 1900, he first learned to play the "Weather Bird." and "Big Butter and In March of 1971, Armstrong simply as "Satchmo", one of cornet, then the trumpet, at the Egg Man." Other aspects of the suffered a heart attack after an all-star America's greatest jazz figures and Colored Waifs Home for Boys in Armstrong legacy are also featured engagement in New York City. He the man who revolutionized New Orleans, where he was sent at in the program, including his died in his sleep on July 6, 1971. On American music. the age of 12 for illegally firing a classic collaborations with jazz the day of Armstrong's death, Duke To honor the man and his pistol. After leaving the home in greats such as Billie "Lady Day" Ellington, another jazz great, said "If music, on the Fourth of July, the 1914, Armstrong began performing Holiday, and Ella Fitzgerald. anyone was Mr. Jazz, it was Louis day Armstrong would have in various New Orleans parades and Jazz critic Martin Williams Armstrong. He was the epitome of celebrated his 90th birthday, WGLT honky-tonk clubs. During the '20s and trumpeter Wynton Marsalis jazz and always will be. He is what I presents a special two-part he joined Fate Marable's band in St. provide personal insights about call an American standard." program, Louis Armstrong: The Louis, King Oliver's Creols Jazz JONATHAN BUTLER side, "Stormy Weather." It's a great MINNEAPOLIS ARTISTS ENSEMBLE Deliverance (Jive) representation of her early years. Mozart & Hummel (GM) Guitarist Butler delivers The Minneapolis Artists TOMMY DORSEY Music Director John Kanya contemporary jazz with a decidedly Ensemble have turned a striking Yes Indeed (BMG/RCA) sez: "Hey! Check these out! " African feel, peppered with minimal transcription of Mozart's "Sinfonia vocals. Features Omar Hakim and Swing, Swing, Swing with Concertante" into the exhilarating CARMEN MCRAE Tommy D. and his orchestra that Hugh Masekela. "Grande Sestetto Concertante. " And Carmen Sings Monk (Novus) features the magnificent STAN GETZ Mozart's former student, Hummel, Vocal versions of standards arrangements by the great Sy 01 iver. Apasionado (A&M) would be delighted with the by Thelonious Monk. McRae is a The song "Well, Git it" makes the Produced by Herb Alpert, tenor effervescent quality of his "Quintet. " consummate storyteller, weaving whole CD worth the price An engaging recording that's worth the words across the melodies in a saxophonist Getz plays passionate, a listen. conversational tone. sweet and vibrant styles from Latin NAT "KING " COLE grooves to contemporary jazz. Unforgettable (Capitol) FLIM & THE BB'S What can I say about popular New Pants (Warner Bros.) GIL GOLDSTEIN JAMES GALWAY music's most distinctive of singers? Hot new tunes from the band City of Dreams (Blue Note) The Enchanted Forest - Melodies The phrasing is impeccable, the that began recording all digital Covers of Lennon /McCartney of Japan (BMG/RCA) recording is flawless and the albums in the early 80s. Their style and Jaco Pastorius combined with This creative work from one arrangements are unforgettable. is dynamic and completely modern original tunes highlight this release. of the world's finest flutists runs the Modern styles throughout, the throughout. LEON REDBONE gamut from contemporary works keyboard prevails. like "Enchanted Forest" to JACK DEJOHNETTE Sugar (BMG-August) traditional love songs such as Parallel Realities (MCA) DIRTY DOZEN BRASS BAND Absolutely a delightful 35 "Hietsuki Bushi." Is it my An unusual ensemble with The New Orleans Album (CBS) minutes of listening. His voice may imagination or does Galway just drummer DeJohnette, guitarist Pat An off-handed sweep of New be best described as a cross keep getting better and better? Metheny and pianist Herbie Orleans music history and a handy between Bing Crosby and George Hancock. Modern, original tunes vehicle for singers, stampers and Jessel. "What?!", you say. You'll destined to become classics. plungers. Rocker Elvis Costello love the classic jazz sound of the QUATOUR MUIR & sings on one track. contemporary crooner. JEAN-PHILLIP COLLARD MOSE ALLISON Mozart Piano Concertos No. 8, My Backyard (Blue Note) 11 & 14 (EMI) With a wealth of new material I ( I ( Austria's fair-haired boy would and some obscure chestnuts, vocalist have been proud of pianist Collard as Mose Allison recorded this album in he displays his mastery and affection his own backyard - New Orleans. Big Band Boy Marc Boon The heavens shake, thunder for Mozart's piano concertos. These touts these recordings ... SHADOWFAX rumbles, lightning flashes and performances sparkle with The Odd Get Even (Private Music) TONY BENNETT Lulu, goddess of Classical unpretentious ingenuity Featuring percussion, Astoria - Portrait of an Artist(CBS) Recordings, decends from Mt. electronics and violin, Shadowfax When he's not putting paint to Olympus with these suggestions ... PHILHARMONIA ORCHESTRA, WITH hits world music grooves with a canvas, Bennett colors the air with his NARRATOR JONATHON WINTERS punch. After hearing this, modern unmistakable voice. It's a rich, lush, DAVID HOPMAN Peter & the Wolf and jazz just isn't the same. lavish CD produced by Son Danny. Music for Guitar, Flute, Violin Carnival of the Animals (EMI) LEE RITENOUR LENA HORNE & Viola (Gajo) Clever ... witty ... charming. Stolen Moments (GRP) Stormy Weather 1941-1958 Guitarist David Hopman There just aren't enough adjectives to Ritenour returns to the roots (BMG/RCA) premiers a recording for classical describe Jonathon Winters' of jazz and revives the guitar of his Finally, a CD that brings you guitar of Beethoven's "Serenade," interpretations of these old favorites! youth - an electro-acoustic 22 songs by one of the greatest Opus 8. Also included are elegant They're chock full o' color, so grab Gibson L5. Includes the Miles' tune performers in popular jazz, Lena works by Granados and "Mountain your best buddy, kick back and en joy "Blue in Green." Horne, including her most famous Songs" by Robert Beaser. what's sure to become a classic. Let them know you appreciate their support of your public radio station. P.O. Box 68, Bloomington T C (309) 828-5211 Member FDIC M T W T F S S Morning Edition 5 Weekend Jazz and 5 All Things Considered Morning Edition News New Age COMMERCIAL PRINTING ASSOCIATES 8 515 North Center Street, Bkxxri'!JIOO Jazz (309) 829-6326 Music &Fine Arts Programming 415North Center Street P.O.
Load more

Recommended publications
  • Oral History T-0001 Interviewees: Chick Finney and Martin Luther Mackay Interviewer: Irene Cortinovis Jazzman Project April 6, 1971
    ORAL HISTORY T-0001 INTERVIEWEES: CHICK FINNEY AND MARTIN LUTHER MACKAY INTERVIEWER: IRENE CORTINOVIS JAZZMAN PROJECT APRIL 6, 1971 This transcript is a part of the Oral History Collection (S0829), available at The State Historical Society of Missouri. If you would like more information, please contact us at [email protected]. Today is April 6, 1971 and this is Irene Cortinovis of the Archives of the University of Missouri. I have with me today Mr. Chick Finney and Mr. Martin L. MacKay who have agreed to make a tape recording with me for our Oral History Section. They are musicians from St. Louis of long standing and we are going to talk today about their early lives and also about their experiences on the music scene in St. Louis. CORTINOVIS: First, I'll ask you a few questions, gentlemen. Did you ever play on any of the Mississippi riverboats, the J.S, The St. Paul or the President? FINNEY: I never did play on any of those name boats, any of those that you just named, Mrs. Cortinovis, but I was a member of the St. Louis Crackerjacks and we played on kind of an unknown boat that went down the river to Cincinnati and parts of Kentucky. But I just can't think of the name of the boat, because it was a small boat. Do you need the name of the boat? CORTINOVIS: No. I don't need the name of the boat. FINNEY: Mrs. Cortinovis, this is Martin McKay who is a name drummer who played with all the big bands from Count Basie to Duke Ellington.
    [Show full text]
  • CATALOGUE WELCOME to NAXOS JAZZ LEGENDS and NAXOS NOSTALGIA, Twin Compendiums Presenting the Best in Vintage Popular Music
    NAXOS JAZZ LEGENDS/NOSTALGIA CATALOGUE WELCOME TO NAXOS JAZZ LEGENDS AND NAXOS NOSTALGIA, twin compendiums presenting the best in vintage popular music. Following in the footsteps of Naxos Historical, with its wealth of classical recordings from the golden age of the gramophone, these two upbeat labels put the stars of yesteryear back into the spotlight through glorious new restorations that capture their true essence as never before. NAXOS JAZZ LEGENDS documents the most vibrant period in the history of jazz, from the swinging ’20s to the innovative ’40s. Boasting a formidable roster of artists who forever changed the face of jazz, Naxos Jazz Legends focuses on the true giants of jazz, from the fathers of the early styles, to the queens of jazz vocalists and the great innovators of the 1940s and 1950s. NAXOS NOSTALGIA presents a similarly stunning line-up of all-time greats from the golden age of popular entertainment. Featuring the biggest stars of stage and screen performing some of the best- loved hits from the first half of the 20th century, this is a real treasure trove for fans to explore. RESTORING THE STARS OF THE PAST TO THEIR FORMER GLORY, by transforming old 78 rpm recordings into bright-sounding CDs, is an intricate task performed for Naxos by leading specialist producer-engineers using state-of-the-art-equipment. With vast personal collections at their disposal, as well as access to private and institutional libraries, they ensure that only the best available resources are used. The records are first cleaned using special equipment, carefully centred on a heavy-duty turntable, checked for the correct playing speed (often not 78 rpm), then played with the appropriate size of precision stylus.
    [Show full text]
  • 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.
    [Show full text]
  • There Is Talk About Paul's Family. an Older Brother/ Andrew, Played a [Tin] Fife, but Did Not Take up Another Instrument
    .b'AU.LJ Cft.H.lN.&O Reel I [of 2]--Digest-Retype March 13, 1971 Also presents Jane Julian 1 The interview takes place at 1770 N- Dorgenois Street, Paul Barnes' home. There is talk about Paul's family. An older brother/ Andrew, played a [tin] fife, but did not take up another instrument. The fife was very v popular in New Orleans at that time. Also [Emile Barnes] played the fife. Paul played the fife at six years; Sidney Bechet played the fife. Andrew Barnes was accidentially sTaot. He was trying to stop a fight and got shot. He was three years older than Paul. EB is about ten years older than Paul. Andrew was called "Boose"/ [which rhymes with "moose"]. Nicknames were very popular in New Orleans at that time. Paul Barnes gives a list of his siblings: (oldest to youngest) Emile, called "Mealy" [according to EB, t1'iere is no correct spelling of this]; then came Emily, then Adam, then Andrew, called "Boose", then Alice, then Paul/ called "Polo" (common nickname for Paul in New Orleans then), and Frances, the youngest, a girl. She died at about five years; she was tlie first of the siblings to die. "She taken sick and she passed." PB's father played guitar, but not in a band. It was a musical family on both sides. His mother's sister [his aunt] played guitar. Her husband and children were Marreros: Simon Marrero, the oldest son, played bass? Billy Marrero, also known as Billy Moran, the husband, played Tbass, Jol'in, the next son, played banjo and guitar; Lawrence, the next son/ played banjo and guitar? Eddie, the next son, played bass.
    [Show full text]
  • JREV3.6FULL.Pdf
    KNO ED YOUNG FM98 MONDAY thru FRIDAY 11 am to 3 pm: CHARLES M. WEISENBERG SLEEPY I STEVENSON SUNDAY 8 to 9 pm: EVERYDAY 12 midnite to 2 am: STEIN MONDAY thru SATURDAY 7 to 11 pm: KNOBVT THE CENTER OF 'He THt fM DIAL FM 98 KNOB Los Angeles F as a composite contribution of Dom Cerulli, Jack Tynan and others. What LETTERS actually happened was that Jack Tracy, then editor of Down Beat, decided the magazine needed some humor and cre• ated Out of My Head by George Crater, which he wrote himself. After several issues, he welcomed contributions from the staff, and Don Gold and I began. to contribute regularly. After Jack left, I inherited Crater's column and wrote it, with occasional contributions from Don and Jack Tynan, until I found that the well was running dry. Don and I wrote it some more and then Crater sort of passed from the scene, much like last year's favorite soloist. One other thing: I think Bill Crow will be delighted to learn that the picture of Billie Holiday he so admired on the cover of the Decca Billie Holiday memo• rial album was taken by Tony Scott. Dom Cerulli New York City PRAISE FAMOUS MEN Orville K. "Bud" Jacobson died in West Palm Beach, Florida on April 12, 1960 of a heart attack. He had been there for his heart since 1956. It was Bud who gave Frank Teschemacher his first clarinet lessons, weaning him away from violin. He was directly responsible for the Okeh recording date of Louis' Hot 5.
    [Show full text]
  • “If Music Be the Food of Love, Play On
    As Fate Would Have It Pat Sajak and Vanna White would have been quite at home in New Orleans in January 1828. It was announced back then in L’Abeille de Nouvelle-Orléans (New Orleans Bee) that “Malcolm’s Celebrated Wheel of Fortune” was to “be handsomely illuminated this and to-morrow evenings” on Chartres Street “in honour of the occasion”. The occasion was the “Grand Jackson Celebration” where prizes totaling $121,800 were to be awarded. The “Wheel of Fortune” was known as Rota Fortunae in medieval times, and it captured the concept of Fate’s capricious nature. Chaucer employed it in the “Monk’s Tale”, and Dante used it in the “Inferno”. Shakespeare had many references, including “silly Fortune’s wildly spinning wheel” in “Henry V”. And Hamlet had those “slings and arrows” with which to contend. Dame Fortune could indeed be “outrageous”. Rota Fortunae by the Coëtivy Master, 15th century In New Orleans her fickle wheel caused Ignatius Reilly’s “pyloric valve” to close up. John Kennedy Toole’s fictional protagonist sought comfort in “The Consolation of Philosophy” by Boethius, but found none. Boethius wrote, “Are you trying to stay the force of her turning wheel? Ah! Dull-witted mortal, if Fortune begins to stay still, she is no longer Fortune.” Ignatius Reilly found “Consolation” in the “Philosophy” of Boethius. And Boethius had this to say about Dame Fortune: “I know the manifold deceits of that monstrous lady, Fortune; in particular, her fawning friendship with those whom she intends to cheat, until the moment when she unexpectedly abandons them, and leaves them reeling in agony beyond endurance.” Ignatius jotted down his fateful misfortunes in his lined Big Chief tablet adorned with a most impressive figure in full headdress.
    [Show full text]
  • Newsletternewsletter March 2015
    NEWSLETTERNEWSLETTER MARCH 2015 HOWARD ALDEN DIGITAL RELEASES NOT CURRENTLY AVAILABLE ON CD PCD-7053-DR PCD-7155-DR PCD-7025-DR BILL WATROUS BILL WATROUS DON FRIEDMAN CORONARY TROMBOSSA! ROARING BACK INTO JAZZ DANCING NEW YORK ACD-345-DR BCD-121-DR BCD-102-DR CASSANDRA WILSON ARMAND HUG & HIS JOHNNY WIGGS MOONGLOW NEW ORLEANS DIXIELANDERS PCD-7159-DR ACD-346-DR DANNY STILES & BILL WATROUS CLIFFF “UKELELE IKE” EDWARDS IN TANDEM INTO THE ’80s HOME ON THE RANGE AVAilable ON AMAZON, iTUNES, SPOTIFY... GHB JAZZ FOUNDATION 1206 Decatur Street New Orleans, LA 70116 phone: (504) 525-5000 fax: (504) 525-1776 email: [email protected] website: jazzology.com office manager: Lars Edegran assistant: Jamie Wight office hours: Mon-Fri 11am – 5pm entrance: 61 French Market Place newsletter editor: Paige VanVorst contributors: Jon Pult and Trevor Richards HOW TO ORDER Costs – U.S. and Foreign MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB JAZZ FOUNDATION. You will then receive your membership card by return mail or with your order. As a member of the Collector’s Club you will regularly receive our Jazzology Newsletter. Also you will be able to buy our products at a discounted price – CDs for $13.00, DVDs $24.95 and books $34.95. Membership continues as long as you order one selection per year. NON-MEMBERS For non-members our prices are – CDs $15.98, DVDs $29.95 and books $39.95. MAILING AND POSTAGE CHARGES DOMESTIC There is a flat rate of $3.00 regardless of the number of items ordered.
    [Show full text]
  • Remember Your August the Nineteenth, by The
    AL MORGAN Reel X [of 2] August 19, 1958 Also present; William Russell rRussell:1 O.K., I guess it's going if .you want to give your name. You don't have to get close; just sit back and relax. [Morgan: 1 0. K. d' .t [Russell:1 It'll pick up anthing in the room. [M0rqan:1 Well, my name is Al Morgan- [Russell:1 Is [there?] any middle name by the way? [Norcran:1 No, well they-my full name-call me Albert, but I've always-everybody-I went [ j with says ?] they liked Al- [Russell:1 That's right. Th:at's all I ever heard. [Morgan:] For short. (Laughs) ? [Russell:1 [ . .I- ] I didn't know until last night I heard somebody call you Albert. When were you born? Remember your birth date? [Morgan :1 Oh yes, I was born, about forty-two years ago. That's August the nineteenth, by the way, today is my birthday. (Laughs) [Russell:] [ ? ?] Oh my; What a time to hit [ » What was tl-ie year then? Let me see:,, nineteen-- [Morgan:] Oh boy, let me see. We have to go- [Russell:] Porty-two- *t [Morgan:] Back, that should be from now, about- [Russell:1 1916, would that be about- [Morgan:] 19-uh-about 1912- [Russell:] 1912. [ Morgan:1 Something like that. [Russell:1 Yeah, well, anyway- [Morgan:] Just about. Well, it's close. AL MORGAN 2 Reel I [of 2] August 19, 1958 [Russell:] Yeah, do you remember your first music you ever heard when you were a kid? Was it your brothers' playing or [your folks?] [Morq-an:1 Well, yes, I remember lots about my brothers' playing, way before I ever started, you see.
    [Show full text]
  • Bb King Solo Transcription
    Bb King Solo Transcription Ruperto usually globe-trots wherefor or outputs tomorrow when ichthyophagous Tomkin popple elementally and digressively. Eliminative and interferometric Val freewheels, but Anders proscriptively upturn her epilogs. Engelbart misgovern northerly while extrovert Andres barbequed unpitifully or overglanced instrumentally. Download foundation hall of bb continued strengthening his solos as the transcriptions on the blues soloing lines and body should sound. Classic blues quite the guitar playing great man responsible for this page for saxophone music jazz orchestras, and can always different styles of all! The transcriptions archive? Guitar transcription i made by the transcriptions are a vocal chart table of king cole because it features a rock music? Pepper carries the blues, ibanez tube screamer, vocal chart jazz. Again in this is the pdf sheet music for the solo collection until the. Fancy a guitarist you download with the minor blues soloing with lyrics, handmade pieces by. The bb b b b flat blues rhythm tribute band at crafting interesting facts and bb king elements of the licks out learning. The solos by joseph kosma and soloing lines that jazz standards for accordion improvisation is a soloist, king line is. Handslide models are free. We solo transcription transcribed from congo to play basic chord. Sheet music transcriptions: kent hewitt transcription to be practice in bb king of these solos are committed to william tell you can sort by carles margarit. Unlike jazz transcriptions available to spot in bb king, solos by misc you. It for bb king solo transcriptions. Delbert mcclinton song, transcriptions on guitar soloing, johnny mercer in music? Advertising fees by.
    [Show full text]
  • A Researcher's View on New Orleans Jazz History
    2 TABLE OF CONTENTS Introduction 6 Format 6 New Orleans Jazz 7 Brass & String Bands 8 Ragtime 11 Combining Influences 12 Party Atmosphere 12 Dance Music 13 History-Jazz Museum 15 Index of Jazz Museum 17 Instruments First Room 19 Mural - First Room 20 People and Places 21 Cigar maker, Fireman 21 Physician, Blacksmith 21 New Orleans City Map 22 The People Uptown, Downtown, 23 Lakefront, Carrollton 23 The Places: 24 Advertisement 25 Music on the Lake 26 Bandstand at Spanish Fort 26 Smokey Mary 26 Milneburg 27 Spanish Fort Amusement Park 28 Superior Orchestra 28 Rhythm Kings 28 "Sharkey" Bonano 30 Fate Marable's Orchestra 31 Louis Armstrong 31 Buddy Bolden 32 Jack Laine's Band 32 Jelly Roll Morton's Band 33 Music In The Streets 33 Black Influences 35 Congo Square 36 Spirituals 38 Spasm Bands 40 Minstrels 42 Dance Orchestras 49 Dance Halls 50 Dance and Jazz 51 3 Musical Melting Pot-Cotton CentennialExposition 53 Mexican Band 54 Louisiana Day-Exposition 55 Spanish American War 55 Edison Phonograph 57 Jazz Chart Text 58 Jazz Research 60 Jazz Chart (between 56-57) Gottschalk 61 Opera 63 French Opera House 64 Rag 68 Stomps 71 Marching Bands 72 Robichaux, John 77 Laine, "Papa" Jack 80 Storyville 82 Morton, Jelly Roll 86 Bolden, Buddy 88 What is Jazz? 91 Jazz Interpretation 92 Jazz Improvising 93 Syncopation 97 What is Jazz Chart 97 Keeping the Rhythm 99 Banjo 100 Violin 100 Time Keepers 101 String Bass 101 Heartbeat of the Band 102 Voice of Band (trb.,cornet) 104 Filling In Front Line (cl.
    [Show full text]
  • The Origin of Armstrong's Hot Fives and Hot Sevens Gene H
    University of Richmond UR Scholarship Repository Music Faculty Publications Music 2003 The Origin of Armstrong's Hot Fives and Hot Sevens Gene H. Anderson University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/music-faculty-publications Part of the African American Studies Commons, American Popular Culture Commons, and the Musicology Commons Recommended Citation Anderson, Gene H. "The Origin of Armstrong's Hot Fives and Hot Sevens." College Music Symposium 43 (2003): 13-24. This Article is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. The Originof Armstrong's Hot Fives and Hot Sevens Gene Anderson has been almostfifty years since Louis Armstrong'sHot Five and Hot Seven ecordingsof 1925-19281were first recognized in print as a watershedof jazz history andthe means by which the trumpeter emerged as thestyle's first transcendent figure.2 Sincethen these views have only intensified. The Hot Fives and Hot Sevens have come to be regardedas harbingersof all jazz since,with Armstrong's status as the"single mostcreative and innovative force in jazz history"and an "Americangenius" now well beyonddispute.3 This study does notquestion these claims but seeks, rather, to deter- minethe hitherto uninvestigated origin of such a seminalevent and to suggestthat Armstrong'sgenius was presentfrom the beginning of the project. /:Historical Background The seedsof the idea thatgerminated into the Hot Five and Hot Sevenmay have been sownin theearly morning hours of June8, 1923 at theConvention of Applied MusicTrades in Chicago'sDrake Hotel.
    [Show full text]
  • The Genesis of King Oliver's Creole Jazz Band Gene H
    University of Richmond UR Scholarship Repository Music Faculty Publications Music Fall 1994 The Genesis of King Oliver's Creole Jazz Band Gene H. Anderson University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/music-faculty-publications Part of the African American Studies Commons, and the Musicology Commons Recommended Citation Anderson, Gene H. "The Genesis of King Oliver's Creole Jazz Band." American Music 12, no. 3 (Fall 1994): 283-303. doi:10.2307/ 3052275. This Article is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. GENE ANDERSON The Genesis of King Oliver's Creole Jazz Band On Thursday, April 5, 1923, the Creole Jazz Band stopped off in Rich- mond, Indiana, to make jazz history. The group included Joe Oliver and Louis Armstrong (comets), Johnny Dodds (clarinet), Honor4 Dutrey (trombone), Bill Johnson (banjo), Lil Hardin (piano), and Warren"Baby" Dodds (drums) (fig. 1). For the rest of that day and part of the next, the band cut nine portentous sides, in sessions periodically interrupted by the passage of trains running on tracks near the Gennett studios where the recording took place. By year's end, sessions at OKeh and Columbia Records expanded the number of sides the band made to thirty-nine, creating the first recordings of substance by an African American band--the most significant corpus of early recorded jazz - surpassing those of such white predecessors as the Original Dixieland Jazz Band and the New Orleans Rhythm Kings.
    [Show full text]