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Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel
Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel Suhadolnik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Musicology) in the University of Michigan 2016 Doctoral Committee: Associate Professor Charles Hiroshi Garrett, Chair Professor David Ake, University of Miami Associate Professor Stephen Berrey Associate Professor Christi-Anne Castro Associate Professor Mark Clague © Sarah Ezekiel Suhadolnik 2016 DEDICATION To Jarvis P. Chuckles, an amalgamation of all those who made this project possible. ii ACKNOWLEDGEMENTS My dissertation was made possible by fellowship support conferred by the University of Michigan Rackham Graduate School and the University of Michigan Institute for the Humanities, as well as ample teaching opportunities provided by the Musicology Department and the Residential College. I am also grateful to my department, Rackham, the Institute, and the UM Sweetland Writing Center for supporting my work through various travel, research, and writing grants. This additional support financed much of the archival research for this project, provided for several national and international conference presentations, and allowed me to participate in the 2015 Rackham/Sweetland Writing Center Summer Dissertation Writing Institute. I also remain indebted to all those who helped me reach this point, including my supervisors at the Hatcher Graduate Library, the Music Library, the Children’s Center, and the Music of the United States of America Critical Edition Series. I thank them for their patience, assistance, and support at a critical moment in my graduate career. This project could not have been completed without the assistance of Bruce Boyd Raeburn and his staff at Tulane University’s William Ransom Hogan Jazz Archive of New Orleans Jazz, and the staff of the Historic New Orleans Collection. -
Wavelength (February 1983)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 2-1983 Wavelength (February 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (February 1983) 28 https://scholarworks.uno.edu/wavelength/28 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ... ,.. i .,. #pf r f~ ~ I ~ t J t .. ~ • '~ -- •-- .. I ' I . r : • 1 ,, ' ,,. .t, '~'. • .·' f I .. ""' - • ,, ' ' 4. ,I • , /rl. • 4 . • .•, .' ./j ·. ~ f/ I. • t • New Orleans is a live! A day and night kaleido scope of the gaud y, raucous, erotic and exotic Mardi Gras, Steamboats, Parades, Seafood, Jazz and the French Quarter. Discover it all in the award-winning books Mardi Gras! A Celebration and New Orleans: The Passing Parade. Brilliant color photographs by Mitchel L. Osborne are complimented by delightful and informative texts. A vail able in fine bookstores or order directly from Picayune Press, Ltd .: Mardi Gras!: A C!oth $29.95, Paper$15.95 · New Orleans: The Passing Parade: 326 Picayune Place # 200 New Orleans, LA 70130 Paper $14.95 Postage and Handhng $1.50 • LA res1dents add 3% tax • V1sa & Mastercharge accepted. ' ISSUE NO. 28 • FEBRUARY 1983 "I'm not sure, but I'm almost positive, rhar all music came from New Orleans. " Ernie K-Doe, 1979 Available in American Oak, American Walnut, Teak, Mahogany and White Features Melamine at no change In cost. -
E a R L Y I N F L U E N C
ProfessorEARLY INFLUENCES Longhair “The Bach of Rock,” New Orleans composer Allen Tous- In the period 1953-64, Professor Longhair waxed sides for a saint called him . The cornerstone of New Orleans rhythm & number of labels, but their popularity was limited to the New blues piano, Professor Longhair’s astounding music influenced Orleans area at least in part because of the artist’s unwilling the work of Fats Domino, Dr. John, James Booker, Huey “Pi ness to travel. In 1964, Longhair created the Mardi Gras an ano ’ Smith, Art Neville, and Allen Toussaint himself. Long them “Big Chief’ for Watch. But he soon sank into obscurity, hair’s unique appeal lay in his offbeat songs, his warbling and by the end of the decade was sweeping out a record shop voice and the infectiously syncopated piano style which he and playing cards for his meager living. once described as a blend of “rhumba, mambo and calypso.” Unbeknownst to ‘Fess* he had become a mysterious legend He was born Henry Roeland Byrd on December 19, 1918 in among blues record collectors on both sides of the AtlantltS Bogalusa, Louisiana and moved to New Orleans with his He was eventually tracked down by Quint Davis and Allison mother two years later. As a youth he tap-danced for tips on Minor, organizers of the first New Orleans Jazz & Heritage Bourbon Street, and later beat on lard cans and orange crates Festival. “He wasn’t playing at all then,” Davis later recalled. with a “spasm band.” By the early Thirties, young Henry was “He was in a totally depreciated state physically, along with frequenting the South Rampart Street honky tonks to hear bar poverty and rejection. -
14SUM Syllabus NO Music
MUGN V-246-W01 History of New Orleans Music 3 Credits Summer, 2014 May 19, to July 14, 2014 Instructor: Sanford Hinderlie, E-mail [email protected] Office hours: By appointment via email because I will be administering this course from overseas for most of the summer session. (No calls on my cell). Online Technical Source Contacts: Jonathan Gallaway Blackboard Support [email protected] 504 864 7168 Brian Sullivan Course Support [email protected] 504 864 7129 Phil Rollins Media Support [email protected] 504 864 7167 Class Meeting Time: Via Internet: To be determined in the syllabus following and on Blackboard in “Course Materials.” Course Description This course is a comprehensive study of the history of New Orleans music, dating from the nineteenth century music in Congo Square and opera to the present-day musicians of rhythm- and-blues, rock, jazz and rap. The sources of the music, listening, music identity, social and racial influences, and the history of the music business in New Orleans are components of this course. Prerequisites: English T-122; or English A-205; or English H-233; or TSSAT verbal 680 or higher; or TSSAT2 verbal 680 or higher; or TSSAT English 30 or higher; TSSAT1 English 30 or higher; or is required for this class. Textbooks and Other Materials Purchased by Student: Armstrong, Louis. Satchmo: My Life in New Orleans. Englewood Cliffs, New Jersey: Prentice Hall, 1954. Berry, Jason, Foose, Jonathan, and Jones, Tad. 2009 Up from the Cradle of Jazz, New Orleans Music since World War II, New Addition Edition. Lafayette, LA: University of Louisiana at Lafayette Press. -
New Orleans Music As a Circulatory System Author(S): Matt Sakakeeny Reviewed Work(S): Source: Black Music Research Journal, Vol
New Orleans Music as a Circulatory System Author(s): Matt Sakakeeny Reviewed work(s): Source: Black Music Research Journal, Vol. 31, No. 2 (Fall 2011), pp. 291-325 Published by: Center for Black Music Research - Columbia College Chicago and University of Illinois Press Stable URL: http://www.jstor.org/stable/10.5406/blacmusiresej.31.2.0291 . Accessed: 21/11/2011 12:34 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press and Center for Black Music Research - Columbia College Chicago are collaborating with JSTOR to digitize, preserve and extend access to Black Music Research Journal. http://www.jstor.org New Orleans Music as a Circulatory System Matt Sakakeeny This essay provides a roughly chronological history of a single musical tra- dition in New Orleans, the brass band parade, as a case study that supports a more expansive proposition. The first half of this proposition is specific to New Orleans: I note that the city has become largely identified with African American musical practices and repertoires and, further, that the associations between music, race, and place can be adequately subsumed under the categorical term New Orleans Music. -
21S NOLA Syllabus Part I Graphicsa
HISTORY OF NEW ORLEANS MUSIC 2021S History of New Orleans Music 21S- MUGN-O246-W01 Spring 2021 16-Week Session 1/19/2021 - 5/7/2021 Instructor Information Name: Sanford Hinderlie Phone: (504) 865 2773 (Not to be used with Online course) Email: [email protected] (Preferred contact method. I usually reply to emails within 1-12 hours.) Office Location: World Wide Web Office Hours: By email appointment Terms of Use A student's continued enrollment in this course signifies acknowledgment of agreement with the statements, disclaimers, policies, and procedures outlined within this syllabus and elsewhere in the Canvas environment. This Syllabus is a dynamic document. Elements of the course structure (e.g., dates and topics covered, but not policies) may be changed at the discretion of the professor. Sanford Hinderlie, jazz piano Course Information Prerequisite Courses: ENGL T122 or Equivalent Course Location: Online in Canvas (NOTE: This is an asynchronous online course. However, it is NOT self-paced. Readings as well as all learning activities must be completed according to the weekly schedule provided in this syllabus.) Credit Hours: 3 Credit hours Weeks and Dates of the Course: 16 weeks (full semester), from Wednesday, Jan. 20, 2021 to Friday, May 5, 2021 Class Meeting Time: Each week begins on Monday at 12:00 am and ends on Sunday at 11:59 pm in Canvas Expectations of Workload: e.g. According to the Loyola University Credit Hour Policy http://academicaffairs.loyno.edu/credit-hour-policy, you are supposed to spend at least 6300 minutes (that is 105 hours including 35 hours of classwork and 70 hours of out-of-class work) for the whole semester regardless of how many weeks it is offered. -
Producing Africa at the New Orleans Jazz & Heritage Festival
Producing Africa at the New Orleans Jazz & Heritage Festival Helen A. Regis he gangly teenager in the black frame glasses also Smith, this issue). Davis is one of only two white men who saunters up to the camera with a lively step. His appear in the Osborn film. His is thus a notable presence in a image flashes across the screen then is gone (Fig. documentary whose major actors, cultural historians, carnival 1). But the laughter in the audience suggests experts, and cultural workers are all African American. In docu- something else. I thought I recognized the young mentary films about black culture, white faces are more likely man, but I wasn’t sure, so I asked the filmmaker to appear as the historians or other experts than as the research later. In a broad, knowing smile, he confirmed my speculation. subjects. Osborn’s film cleverly reverses the gaze with this wink TBut did everyone in the room recognize him too? Or were they at documentary filmmaking tradition. Davis’s cameo as a wiry laughing because of the incongruity of his presence? What is this young second liner arouses knowing smiles among the viewers white young man doing here, among the deeply etched faces and of the film who know this history. Decades later, Davis would had often never met him. The personalization of the festival in the 1 Quint Davis circa 1963, marching with the Eureka Brass Band. dignified dance steps of the African American elders leading the become the producer of one of the most successful music festi- figure of one person, of course, erases the complexity -
16 SUMMER Sylabus NOLA Music
MUGN V-246-W01 History of New Orleans Music 3 Credits Summer, May 31 to July 21, 2016 Instructor: Sanford Hinderlie, E-mail: [email protected] Office hours: By appointment via email because I will be administering this course from overseas for most of the summer session. (No phone calls on my cell). Communications with Professor Online Your professor will monitor your progress after the due-dates of all assignments. He will contact you via email to make suggestions regarding your work. You can also contact him via email anytime and he will respond within the day, usually within 2 to 12 hours. Online Technical Source Contacts: Jonathan Gallaway Blackboard Support [email protected] 504 864 7168 Brian Sullivan Course Support [email protected] 504 864 7129 Phil Rollins Media Support [email protected] 504 864 7167 Class Meeting Time: Via Internet: To be determined in the syllabus following and on Blackboard in “Course Materials.” Brief Course Overview/Bulletin Description This course is a comprehensive study of the history of New Orleans music, dating from the nineteenth century music in Congo Square and opera to the present-day musicians of rhythm-and-blues, rock, jazz and rap. The sources of the music, listening, music identity, social and racial influences, and the history of the music business in New Orleans are components of this course. Prerequisites: English T-122; or Equivalent Content Disclaimer This class contains content that the instructor believes may be problematic for some students. Please inform your instructor if you require further information or if you feel unable to participate in any or all of the requirements of the class. -
Thursday, April 25, 2019
Thursday, April 25, 2019 Sheraton Allison Miner Cultural Acura Gentilly Congo Square Blues Economy Hall New Orleans Jazz & Gospel Lagniappe Exchange WWOZ Kids Tent Music Heritage Stage Stage Stage Tent Tent Fais Do-Do Heritage Stage Tent Stage Pavilion Jazz Tent Stage Stage World Journey OUTDOOR CAROUSEL 12:00pm - 6:00pm Chouval Bwa Traditionnel 11:15 am 11:15 am 11:15 am 11:15 am 11:15 am 11:15 am 11:15 am 11:15 am of Martinique 11:20 am Kid Simmons’ Goldman Fi Yi Yi The Loyola & the Mandingo Mia Borders Nigel Hall University Local Thibodeaux Wimberly Family 11:30 am 11:30 am 11:30 am Jonathon Long Warriors Gospel Singers Jazz Band International & the Lawtell Mardi Gras Indians Michael Skinkus Young Makueto Rumba Buena 11:55 am 11:55 am Audiences 12:00 pm 12:00 pm 12:00 pm Allstars Playboys and Moyuba Groove 12:05 pm 12:05 pm 12:05 pm with guest Performing Arts & Friends 12:05 pm Michael Ray Showcase 12:15 pm 12:15 pm 12:20 pm 12:15 pm 12:20 pm 12:20 pm 12:20 pm 12:20 pm 12:20 pm Arrianne 12:25 pm 12:25 pm Keelen Gal Holiday Grayson 12:30 pm & the Bill Summers Brockamp 101 Runners 12:35 pm 12:35 pm 12:40 pm J. Monque'D Charlie Gabriel 12:50 pm 12:40 pm Grayhawk James Rivers Honky Tonk & Jazalsa and the Balfa Toujours Revue New Orleans Blues Revue and Friends 1:00 pm presents Interviewer: Pride of Zulu Kinfolk 1:05 pm Wildlife Band Tom Leggett Native American Matt Sakakeeny of South Africa 1:10 pm 1:10 pm 1:00 pm Lore & Tales Brass Band 1:15 pm 1:15 pm 1:15 pm Band 1:15 pm Cynthia Girtley’s 1:20 pm 1:20 pm 1:20 pm Tribute to 1:30 pm 1:25 pm 1:30 pm 1:30 pm Mahalia Jackson 1:35 pm 1:30 pm 1:35 pm 1:35 pm 1:35 pm 1:45 pm When women speak, Smitty Dee's they make a difference! Russell Batiste New Orleans Brass Band 1:45 pm Mia X, Keedy Black, 1:45 pm Amy Helm Rev. -
Electronic Press
Do U Want It? An ABIS Productions Film Directed by Josh Freund and Sam Radutzky Produced by Josh Freund, Sam Radutzky, & Alex Mallonee Editor: Josh Freund, Sam Radutzky, & Manuel Tsingaris Running Time: 01:34:55 (95 Minutes) Still Photography available upon request Do U Want It? Page | 1 Praise for Do U Want It? “Just like John Gros and the music of Papa Grows Funk itself, the film explodes with the life, rhythm, and soul of New Orleans.” Quint Davis, Producer and Director, New Orleans Jazz & Heritage Festival "Do U Want It? captures the joy and the difficulties of being a band and of being a leader and sideman. There are so many intricacies that go into being a musician, and I don't think that most people recognize them. This documentary reveals those intricacies in a way that shows the deep and complex relationships between the music, the musicians, the road life, and the great city and tradition of New Orleans. I was transfixed!" Jeff Coffin, Dave Matthews Band "This documentary, in all truthfulness, is the story of most of our lives as New Orleans musicians over the last fifty years. New Orleans Musicians, as well versed as we are in our craft, have a hard time breaking into the mainstream music scene. That causes frustrations which are honestly portrayed in this movie. This movie represents not just this band but our collective reality." George Porter, Jr., The Meters "Having covered the New Orleans music scene for 25 years now, its portrayal in 'Do U Want It?,' as personified by the members of Papa Grows Funk, struck me as both authentic and accurate. -
Third Annual New Orleans Jazz & Heritage Festival
lOLMES HOLMES ORIGINAL STORE 1842 As traditional as New Orleans jazz, Creole cooking or southern hospitality, D. H. Holmes has been part of the beat of New Orleans since 1842. We're New Orleans' own honne-owned department store, right on the edge of the French Quarter. While in New Orleans we invite you to join an old tradition in New Orleans . arrange to meet your friends "under the clock" at Holmes ... to shop ... or to lunch or dine in our famous Creole restau• rant. In our record department you'll find one of the finest selections of true New Orleans Dixieland music on records. Holmes, itself proud to be a New Orleans tradition, salutes the Jazz and Heritage Festival and welcomes its international supporters to the birthplace of Jazz. Third Annual New Orleans Jazz & Heritage Festival HONORARY PRESIDENT MARDI-GRAS INDIAN CO-ORDINATOR Mayor Moon Landrieu Emile Dollis OFFICERS SECRETARIES Arthur Q. Davis, President Virginia Broussard, Suzanne Broussard Lester E. Kabacoff, Vice-Pres. Winston Lill, Vice-Pres. EVENING SECURITY Clarence J. Jupiter, Vice-Pres., Treasurer Jules Ursin Roy Bartlett 11, Secretary BOARD OF DIRECTORS THE HERITAGE FAIR Archie A. Casbarian, Dr. Frederick Hall, William V. Music Director - Quint Davis Madden, Larry McKinley, George Rhode 111, Charles B. Rousseve, Harry V. Souchon PROGRAM DIRECTOR Karen Helms - Book-keeper Allison Miner PRODUCER PERSONNEL George Wein Mark Duffy ASST. PRODUCER DESIGN Dino Santangelo - Curtis & Davis Architects; AO Davis, Bob Nunez DIRECTOR ' ' CONSTRUCTION Quint Davis Foster Awning; -
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions by Ned Hémard
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard Jazz Fest Family Ties The 46th annual New Orleans Jazz & Heritage Festival came to a close Sunday, May 3, 2015, with attendance figures the largest since before Hurricane Katrina. The festival's producers approximated the crowds at 460,000, an increase of 25,000 from the previous year. Jazz Fest even had to shut down its stages an hour early on the first Friday of the Fest (April 24) due to severe weather. Big name acts like Elton John, The Who, Jimmy Buffett, Tony Bennett and Lady Gaga and “The Killer,” Jerry Lee Lewis, performed this year. Saturday (May 2) had three highly popular headliners: On the Congo Square Stage was Clifford Joseph Harris, Jr., aka T.I., American rapper, record producer and actor. Elton John hit the Acura Stage and former London street busker Ed Sheeran wowed the crowds from the Gentilly Stage (opening with his two hits, “I’m a Mess” and “Lego House”). Great music and sublime weather on a Saturday made for a fantastic day at the Fair Grounds. Dr. John and Davell Crawford at Jazz Fest Other crowd favorites played the Fest, too, such as Steve Winwood, the indomitable O’Jays and Reggae icon Jimmy Cliff. Local faves were on hand to please, as well, such as Irma Thomas, The Meters and Dr. John. And on Sunday, Trombone Shorty & Orleans Avenue closed the Acura Stage to a greater audience than the year before. Shorty’s cousin, Glen David Andrews was back this year and Davell Crawford presented a wonderful tribute to Fats Domino, entitled “To Fats with Love.” Dr.