Charm City Announces First Baltimore Jazz Fest
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Ellington-Lambert-Richards) 3
1. The Stevedore’s Serenade (Edelstein-Gordon-Ellington) 2. La Dee Doody Doo (Ellington-Lambert-Richards) 3. A Blues Serenade (Parish-Signorelli-Grande-Lytell) 4. Love In Swingtime (Lambert-Richards-Mills) 5. Please Forgive Me (Ellington-Gordon-Mills) 6. Lambeth Walk (Furber-Gay) 7. Prelude To A Kiss (Mills-Gordon-Ellington) 8. Hip Chic (Ellington) 9. Buffet Flat (Ellington) 10. Prelude To A Kiss (Mills-Gordon-Ellington) 11. There’s Something About An Old Love (Mills-Fien-Hudson) 12. The Jeep Is Jumpin’ (Ellington-Hodges) 13. Krum Elbow Blues (Ellington-Hodges) 14. Twits And Twerps (Ellington-Stewart) 15. Mighty Like The Blues (Feather) 16. Jazz Potpourri (Ellington) 17. T. T. On Toast lEllington-Mills) 18. Battle Of Swing (Ellington) 19. Portrait Of The Lion (Ellington) 20. (I Want) Something To Live For (Ellington-Strayhorn) 21. Solid Old Man (Ellington) 22. Cotton Club Stomp (Carney-Hodges-Ellington) 23. Doin’The Voom Voom (Miley-Ellington) 24. Way Low (Ellington) 25. Serenade To Sweden (Ellington) 26. In A Mizz (Johnson-Barnet) 27. I’m Checkin’ Out, Goo’m Bye (Ellington) 28. A Lonely Co-Ed (Ellington) 29. You Can Count On Me (Maxwell-Myrow) 30. Bouncing Buoyancy (Ellington) 31. The Sergeant Was Shy (Ellington) 32. Grievin’ (Strayhorn-Ellington) 33. Little Posey (Ellington) 34. I Never Felt This Way Before (Ellington) 35. Grievin’ (Strayhorn-Ellington) 36. Tootin Through The Roof (Ellington) 37. Weely (A Portrait Of Billy Strayhorn) (Ellington) 38. Killin’ Myself (Ellington) 39. Your Love Has Faded (Ellington) 40. Country Gal (Ellington) 41. Solitude (Ellington-De Lange-Mills) 42. Stormy Weather (Arlen-Köhler) 43. -
Duke Ellington-Bubber Miley) 2:54 Duke Ellington and His Kentucky Club Orchestra
MUNI 20070315 DUKE ELLINGTON C D 1 1. East St.Louis Toodle-Oo (Duke Ellington-Bubber Miley) 2:54 Duke Ellington and his Kentucky Club Orchestra. NY, November 29, 1926. 2. Creole Love Call (Duke Ellington-Rudy Jackson-Bubber Miley) 3:14 Duke Ellington and his Orchestra. NY, October 26, 1927. 3. Harlem River Quiver [Brown Berries] (Jimmy McHugh-Dorothy Fields-Danni Healy) Duke Ellington and his Orchestra. NY, December 19, 1927. 2:48 4. Tiger Rag [Part 1] (Nick LaRocca) 2:52 5. Tiger Rag [Part 2] 2:54 The Jungle Band. NY, January 8, 1929. 6. A Nite at the Cotton Club 8:21 Cotton Club Stomp (Duke Ellington-Johnny Hodges-Harry Carney) Misty Mornin’ (Duke Ellington-Arthur Whetsol) Goin’ to Town (D.Ellington-B.Miley) Interlude Freeze and Melt (Jimmy McHugh-Dorothy Fields) Duke Ellington and his Cotton Club Orchestra. NY, April 12, 1929. 7. Dreamy Blues [Mood Indigo ] (Albany Bigard-Duke Ellington-Irving Mills) 2:54 The Jungle Band. NY, October 17, 1930. 8. Creole Rhapsody (Duke Ellington) 8:29 Duke Ellington and his Orchestra. Camden, New Jersey, June 11, 1931. 9. It Don’t Mean a Thing [If It Ain’t Got That Swing] (D.Ellington-I.Mills) 3:12 Duke Ellington and his Famous Orchestra. NY, February 2, 1932. 10. Ellington Medley I 7:45 Mood Indigo (Barney Bigard-Duke Ellington-Irving Mills) Hot and Bothered (Duke Ellington) Creole Love Call (Duke Ellington) Duke Ellington and his Orchestra. NY, February 3, 1932. 11. Sophisticated Lady (Duke Ellington-Irving Mills-Mitchell Parish) 3:44 Duke Ellington and his Orchestra. -
Artists Are a Tool for Gentrification’: Maintaining Artists and Creative Production in Arts Districts
International Journal of Cultural Policy ISSN: 1028-6632 (Print) 1477-2833 (Online) Journal homepage: http://www.tandfonline.com/loi/gcul20 ‘Artists are a tool for gentrification’: maintaining artists and creative production in arts districts Meghan Ashlin Rich To cite this article: Meghan Ashlin Rich (2017): ‘Artists are a tool for gentrification’: maintaining artists and creative production in arts districts, International Journal of Cultural Policy, DOI: 10.1080/10286632.2017.1372754 To link to this article: https://doi.org/10.1080/10286632.2017.1372754 Published online: 06 Sep 2017. Submit your article to this journal Article views: 263 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=gcul20 INTERNATIONAL JOURNAL OF CULTURAL POLICY, 2017 https://doi.org/10.1080/10286632.2017.1372754 ‘Artists are a tool for gentrification’: maintaining artists and creative production in arts districts Meghan Ashlin Rich Department of Sociology/Criminal Justice, University of Scranton, Scranton, PA, USA ABSTRACT ARTICLE HISTORY This study investigates the relationship between arts-themed development Received 7 June 2017 and the strategies used by neighborhood stakeholders, including artists Accepted 16 August 2017 and other marginalized populations, to maintain their place in gentrifying KEYWORDS arts and cultural districts. Using a case study of a state-sanctioned Arts & Artist communities; creative Entertainment District in Baltimore, MD (U.S.A.), I find that the organizations placemaking; gentrification; that are ‘thoughtful’ in their development actively seek to maintain the urban planning and policy production of arts and the residency of artists in the neighborhood into perpetuity. -
The Development of Duke Ellington's Compositional Style: a Comparative Analysis of Three Selected Works
University of Kentucky UKnowledge University of Kentucky Master's Theses Graduate School 2001 THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Eric S. Strother University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Strother, Eric S., "THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS" (2001). University of Kentucky Master's Theses. 381. https://uknowledge.uky.edu/gradschool_theses/381 This Thesis is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Master's Theses by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF THESIS THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Edward Kennedy “Duke” Ellington’s compositions are significant to the study of jazz and American music in general. This study examines his compositional style through a comparative analysis of three works from each of his main stylistic periods. The analyses focus on form, instrumentation, texture and harmony, melody, tonality, and rhythm. Each piece is examined on its own and their significant features are compared. Eric S. Strother May 1, 2001 THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS By Eric Scott Strother Richard Domek Director of Thesis Kate Covington Director of Graduate Studies May 1, 2001 RULES FOR THE USE OF THESES Unpublished theses submitted for the Master’s degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors. -
Charm of the Baltimore Region HOST COMMITTEE’S GUIDE
DISCOVER THE Charm of the Baltimore Region HOST COMMITTEE’S GUIDE The Maryland City/County Management Association and ICMA’s 2018 Conference Host Committee are excited to welcome you to Baltimore for ICMA’s 104th Annual Conference. From the bustling Inner Harbor, where the Baltimore Convention Center is located, to the city’s many historical sites, renowned museums, inspiring architecture, and diverse neighborhoods, Baltimore has something for everyone. So get out and discover the many reasons why Baltimore is known as Charm City! wrote some of the early stories that would make him the father of the modern short story, creating and Historical Sites defining the modern genres of mystery, horror, and History abounds in Baltimore. A must-see stop while science fiction. you’re in town is Fort McHenry. During the War of 1812, Westminster Hall is a beautiful building troops at Fort McHenry stopped a British advance into located at the intersection of Fayette and the city, inspiring Francis Scott Key to pen our national Greene Streets in downtown Baltimore. anthem. Administered by the National Park Service since This restored historic church features 1933, Fort McHenry is the only area of the National Park stained glass windows, an 1882 pipe System to be designated as both a national monument organ, cathedral ceilings, and raised and a historic shrine. balconies. The Westminster Burying History enthusiasts may also want to visit the Star-Spangled Grounds, one of Baltimore’s Banner Flag House, Mary Pickersgill’s 1793 home where oldest cemeteries, features the she made the 30-by-42-foot flag that flew over Fort gravesite of Edgar Allan Poe. -
National Endowment for the Arts Annual Report 1989
National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216 -
Space and Governance in the Baltimore DIY Punk Scene: An
Wesleyan University The Honors College Space and Governance in the Baltimore DIY Punk Scene An Exploration of the postindustrial imagination and the persistence of whiteness as property by Mariama Eversley Class of 2014 A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors in Anthropology Middletown, Connecticut April, 2014 Table of Contents Images of Baltimore 3 Introduction 5 I: COMMON SENSE, CITIZENSHIP, AND HORIZONTALISM 16 A) DIY ethics and Common Sense 30 B) Insurgent Citizenship and Grassroots Space making 46 C) Horizontalism: Leaderlessness and Empowerment 67 D) Conclusion to Chapter I 83 II: BALTIMORE AS THE SETTING OF THE PUNK SCENE 87 A) Social History and Cheap Space 91 B) The effects of Neoliberalism in Baltimore 108 C) Whiteness as Property 115 D) Conclusion to Chapter II 133 III: CONCLUSION 136 2 1: Olson, Sherry H. Baltimore, The Building of an American City. Baltimore: Johns Hopkins UP 1980: 59 3 2: Olson, Sherry H. Baltimore, The Building of an American City. Baltimore: Johns Hopkins UP, 1980: 398 3: Olson, Sherry H. Baltimore, The Building of an American City: Johns Hopkins UP, 1980: xvi 4 Introduction The first Do-it-yourself (DIY) music show I ever went to was in my senior year of high school. I went with two other friends from my private high school in Baltimore County to see two local bands; a punk set from Dope Body and a hip-hop duo called The Rap Dragons. We drove from my friend’s white wealthy suburban enclave called Homeland toward east Baltimore, not too far from Johns Hopkins University. -
About Baltimore—Charm City
Baltimore, Maryland - Charm City, USA Baltimore is the principal city and port of entry of Maryland and is the 13th largest city in the US, with a metropolitan area population in excess of 2.5 million. More than 100,000 students live in the Baltimore metropolitan area. Baltimore was named for the first Lord Baltimore, George Calvert, who was granted a charter key by King Charles in 1632 to establish an English colony in the New World. The first settlement on the site was made in 1662, and the town of Baltimore was laid out in 1730. The city owes its existence to the natural, deep- water harbor formed where the Patapsco River empties into the mammoth Chesapeake Bay. From its 1730 founding to the present, Baltimore has been a vital shipbuilding center and one of the nation’s largest commercial ports. Baltimore is centrally located and is only 40 miles away from Washington D.C., 70 miles away from Philadelphia, and is about 180 miles away from the New York City. By Maryland’s MARC train it costs about $5 and takes less than an hour to reach Washington, D.C. and by Amtrak train it costs about $60 and takes about 2.5 hours to Reach New York City. You can also reach New York by Greyhound bus for $25-35 (about 4-hour trip). Baltimore–Washington International Airport is one of the biggest and busiest airports in the nation and is a hub for US Airways, Southwest and United Airlines. One can catch a direct flight from Baltimore to almost any major city in America. -
Duke Ellington
FROM: AMERICAN BALLET THEATRE 890 Broadway New York, New York 10003 (212) 477-3030 DUKE ELLINGTON Duke Ellington, born April 29, 1899 in Washington, D.C., was an American pianist who was the greatest jazz composer and bandleader of his time. One of the originators of big-band jazz, Ellington led his band for more than half a century, composed thousands of scores and created one of the most distinctive ensemble sounds in all Western music. Ellington grew up in a secure middle-class family in Washington, D.C. His family encouraged his interests in the fine arts, and he began studying piano at age seven. He became engrossed in studying art during his high-school years, and he was awarded, but did not accept, a scholarship to the Pratt Institute, Brooklyn, New York. Inspired by ragtime performers, he began to perform professionally at age 17. Ellington first played in New York City in 1923. Later that year he moved there and, in Broadway nightclubs, led a seXtet that grew in time into a 10-piece ensemble. The singular blues-based melodies; the harsh, vocalized sounds of his trumpeter, Bubber Miley (who used a plunger [“wa-wa”] mute); and the sonorities of the distinctive trombonist Joe (“Tricky Sam”) Nanton (who played muted “growl” sounds) all influenced Ellington’s early “jungle style,” as seen in such masterpieces as “East St. Louis Toodle-oo” (1926) and “Black and Tan Fantasy” (1927). Extended residencies at the Cotton Club in Harlem (1927–32, 1937–38) stimulated Ellington to enlarge his band to 14 musicians and to expand his compositional scope. -
Made in Owings Mills
MADE IN OWINGS MILLS FIFTY YEARS OF REMARKABLE PRODUCTIONS Assembled for the first time ever, the following lists represent programs made by personnel at the Maryland Center for Public Broadcasting, Maryland Public Television, and Maryland Instructional Television (MITV) or by College of the Air (COA) and International University Consortium (IUC) teams over the years. The information below, arranged in alphabetical order by what we believe to be the full, official titles of productions, has been compiled from various lists, materials in the MPT Archives, Program Guides, and other sources by alumni volunteers, MPT staffers, and other resource people. Because of space limitations, not included are short-form interstitials or public service announcements. We regret any inaccuracies or omissions. Please email corrections to: [email protected]. Notes to readers: • The article “the” has been omitted from the start of many titles below. • Productions that earned regional Emmy®Awards from the National Capital Chesapeake Bay Chapter of the National Association of Television Arts & Sciences are shown in bold face. Productions that earned national Emmys® are shown in BOLD UPPERCASE letters. SECTION 1: MARYLAND CENTER FOR PUBLIC BROADCASTING & American Stakes in the Mid-East (1970) MARYLAND PUBLIC TELEVISION PRODUCTIONS An Apple, An Orange (1977) An Interview with Arthur Ashe (1970) 3 Mo’ Divas: A New Concert Smashing Musical Barriers (2008) And Baby Makes Two (1982) A City Celebrates: Opening of Harborplace (1980) And Justice for All? (1992) A Day in the Life of the Mayor (1974) Anna Russell Farewell Special (1985) A Day to Remember (1988) Annapolis 300: A Capital Celebration (2008) A Day With Conrad Green (1980) Anna’s Story (1976) A Festival of Carols (1978) Anne Arundel’s Legacy (1999) A Journey of Faith: The Creation of the Reginald F. -
DUKE ELLINGTON Vol.7
120738bk Duke7 17/8/04 5:20 PM Page 2 1. Jack The Bear 3:18 9. Bojangles 2:56 17. Across The Track Blues 3:03 Transfers & Production: David Lennick (Duke Ellington) (Duke Ellington) (Duke Ellington) Digital Noise Reduction: K&A Productions Ltd. Victor 26536, mx BS 044888-1 Victor 26644, mx BS 050321-1 Victor 27235, mx BS 053579-1 Original monochrome photo of Duke Ellington Recorded 6 March 1940, Chicago Recorded 28 May 1940, Chicago Recorded 28 October 1940, Chicago from Michael Ochs Archives / Redferns 2. Morning Glory 3:20 10. A Portrait Of Bert Williams 3:12 18. The Sidewalks Of New York 3:17 (Duke Ellington–Rex Stewart) (Duke Ellington) (Chas. B. Lawlor-James W. Blake) Personnel Victor 26536, mx BS 044890-1 Victor 26644, mx BS 050322-1 Victor 27380, mx BS 053780-1 Recorded 6 March 1940, Chicago Recorded 28 May 1940, Chicago Recorded 28 December 1940, Chicago DUKE ELLINGTON & HIS FAMOUS ORCHESTRA 3. Ko-Ko 2:46 11. Harlem Air-Shaft 3:02 19. Flamingo 3:27 Cootie Williams, Wallace Jones, trumpets; Rex (Duke Ellington) (Duke Ellington) (Ted Grouya–Edward Anderson) Stewart, cornet; Tricky Sam Nanton, Lawrence Victor 26577, mx BS 044889-2 Victor 26731, mx BS 054606-1 Herb Jeffries, vocal Brown, trombones; Juan Tizol, valve trombone; Recorded 6 March 1940, Chicago Recorded 22 July 1940, New York Victor 27326, mx BS 053781-1 Johnny Hodges, alto & soprano sax; Otto 4. Concerto For Cootie (Do Nothing Till 12. Sepia Panorama 3:27 Recorded 28 December 1940, Chicago Hardwick, alto & bass sax; Ben Webster, tenor You Hear From Me) 3:23 (Duke Ellington) 20. -
The Cambridge Companion to Duke Ellington Edited by Edward Green Frontmatter More Information
Cambridge University Press 978-0-521-88119-7 - The Cambridge Companion to Duke Ellington Edited by Edward Green Frontmatter More information The Cambridge Companion to Duke Ellington Duke Ellington is widely held to be the greatest jazz composer and one of the most significant cultural icons of the twentieth century. This comprehensive and accessible Companion is the first collection of essays to survey, in-depth, Ellington’s career, music, and place in popular culture. An international cast of authors includes renowned scholars, critics, composers, and jazz musicians. Organized in three parts, the Companion first sets Ellington’s life and work in context, providing new information about his formative years, method of composing, interactions with other musicians, and activities abroad; its second part gives a complete artistic biography of Ellington; and the final section is a series of specific musical studies, including chapters on Ellington and songwriting, the jazz piano, descriptive music, and the blues. Featuring a chronology of the composer’s life and major recordings, this book is essential reading for anyone with an interest in Ellington’s enduring artistic legacy. edward green is a professor at Manhattan School of Music, where since 1984 he has taught jazz, music history, composition, and ethnomusicology. He is also on the faculty of the Aesthetic Realism Foundation, and studied with the renowned philosopher Eli Siegel, the founder of Aesthetic Realism. Dr. Green serves on the editorial boards of The International Review of the Aesthetics and Sociology of Music, Haydn (the journal of the Haydn Society of North America), and Проблемы Музыкальной Науки (Music Scholarship), which is published by a consortium of major Russian conservatories, and is editor of China and the West: The Birth of a New Music (2009).