Pi Kappa Alpha Cops 1956 Basketball Title
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Down Bea MUSIC '65 10Th YEARBOOK $1
down bea MUSIC '65 10th YEARBOOK $1 The Foundation Blues By Nat Hentoff Jazzmen As Critics By Leonard Feather The Academician Views De Jazz Musician ,By Malcolm E. Bessom The Jazz Musician Views The Academiciau By Marjorie Hyams Ericsson Jazz 1964: Good, Bad, Or Indifferent? Two Views Of The Year By Don DeMicheal And Tom Scanlan Articles by Stanley Dance, Vernon Duke, Don Heckman, George Hoefer, Dan Morgenstern, Pete Welding, and George Wiskirchen, C.S.C., Plus Many Other Features GUITARS Try a Harmony Soon ELECTRIC AT YOUR GUITARS gt AMPLIFIERS Favorite Music Dealer MANDOLINS BANJOS UKULELES Write for FREE full-color catalog •Address: Dept. 0Y5 Copyright 1964. The Harriony Co. Chicago 60632, U.S.A. introduces amajor current in Meateeee titiVe as COLTRANE presents SHEPP Highlighting a release of 12 distinguished new albums, is the brilliant debut A-68 J. J. JOHNSON - PROOF POSITIVE recording of ARCHIE SHEPP, who was discovered and introduced to us by A-69 YUSEF LATEEF LIVE AT PEP'S JOHN COLTRANE. We think you will agree that the young saxophonist's lucid A-70 MILT JACKSON - JAll 'N' SAMBA style and intuitive sense of interpretation will thrust him high on the list of A-71 ARCHIE SHEPP - FOUR FOR TRANE today's most influential jazz spokesmen. A-73 SHIRLEY SCOTT - EVERYBODY LOVES ALOVER A-74 JOHNNY HARTMAN - THE VOICE THAT IS As for COLTRANE himself, the 1964 Downbeat Poll's 1st place Tenor Man has A-75 OLIVER NELSON - MORE BLUES AND THE again produced a performance of unequalled distinction. ABSTRACT TRUTH Other 1st place winners represented by new Impulse albums are long-time favor- A-76 MORE OF THE GREAT LOREZ ALEXANDRIA ites J.J. -
Stomp 39 He Joint Was Packed, the Dance Floor Twas Jumping, and the Music Was HOT
Volume 36 • Issue 4 April 2008 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Stomp 39 he joint was packed, the dance floor Twas jumping, and the music was HOT. In a nutshell, the NJJS’s annual Pee Wee Russell Memorial Stomp delivered the goods for the 39th straight year. The fun began at noon with a set of modern The musician of the year award jazz classics, smoothly performed by a septet was presented to Eddie Bert. of Jersey college players, and was capped five The octogenarian trom- hours later by some rocking versions of bonist drove down from Swing Era standards by George Gee’s Jump, his home in Jivin’ Wailers Swing Orchestra, who closed Connecticut to pick the show to rousing applause. In between, up his award, but had the clock was turned back to the 1920s and to leave early to get ’30s as vocalist Barbara Rosene and group, back for a gig later in the Jon Erik-Kellso Group and the Smith the day! Street Society Band served up a tasty banquet And John Becker, who had been of vintage Jazz Age music. The Hot Jazz fans unable to attend the NJJS Annual in the audience ate it all up. Meeting in December, was on hand to There were some special guests in attendance receive the 2007 Nick Bishop Award. at the Birchwood Manor in Whippany on The event also featured the presenta- March 2. NJJS President Emeritus, and tion of annual NJJS Pee Wee Russell Stomp founder, Jack Stine, took the stage to scholarship awards to five New present Rutgers University Institute of Jazz Jersey jazz studies college students. -
Phil Woods, NEA Jazz Masters Statement, 2007
Volume 43 • Issue 10 November 2015 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. “Jazz will never perish. It’s forever music, and I like to think that my music is somewhere in there and will last, maybe not forever, but may influence others.” — Phil Woods, NEA Jazz Masters statement, 2007 Phil Woods listening to his fellow musicians during a performance at Zootfest at East Stroudsburg University, Oct. 21, 2012. Photo by Mitchell Seidel. Phil Woods 1 9 3 1 – 2 0 1 5 See page 8. New JerseyJazzSociety in this issue: New Jersey Jazz socIety Prez Sez. 2 Bulletin Board ......................2 NJJS Calendar ......................3 Jazz Trivia .........................4 Editor’s Pick/Deadlines/NJJS Info .......6 Prez Sez Crow’s Nest. 42 Change of Address/Support NJJS/ By Mike Katz President, NJJS Volunteer/Join NJJS. 43 NJJS/Pee Wee T-shirts. 44 New/Renewed Members ............44 ast evening Jackie Wetcher and I attended an Several programs are scheduled for November, outstanding concert at the Bickford Theater in including concerts featuring the Full Count Big storIes L Phil Woods ....................cover Morristown by Marty Eigen and his Beacon Hill Band on November 2 and New Orleans-based Big Band in the Sky ..................8 All-Stars, a sextet which included, among others, singer Banu Gibson on November 9. On Talking Jazz: Harvie S ...............12 pianist Rio Clemente and trumpeter Bill Ash (also November 16, they will be having what has A Little Weeknight Musc .............20 on flugelhorn and trombone), as well as singer become an annual fundraiser called the Bickford Live Recording at WPU ..............22 and NJJS Board member Carrie Jackson. -
Silver,Let'sgettonitty
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 contribution to this book provided by the Music in America Endowment Fund of the University of California Press Foundation, which is supported by a major gift from Sukey and Gil Garcetti, Michael Roth, and the Roth Family Foundation. LET’S GET TO THE NITTY GRITTY LET’S GET TO THE NITTY GRITTY THE AUTOBIOGRAPHY OF HORACE SILVER HORACE SILVER Edited, with Afterword, by Phil Pastras Foreword by Joe Zawinul 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. London, England © 2006 by The Regents of the University of California Excerpts from “How Calmly Does the Orange Branch,” by Tennessee Williams, from The Collected Poems of Tennessee Williams, copyright © 1925, 1926, 1932, 1933, 1935, 1936, 1937, 1938, 1942, 1944, 1947, 1948, 1949, 1950, 1952, 1956, 1960, 1961, 1963, 1964, 1971, 1975, 1977, 1978, 1979, 1981, 1982, 1983, 1991, 1995, 2002 by The University of the South. Reprinted by permission of New Directions Publishing Corp. -
Ray Evans Papers Ms
Ray Evans papers Ms. Coll. 860 Finding aid prepared by Finding aid prepared by Juliette L. Appold; additions and editing by John F. Anderies. Last updated on June 23, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2011 Ray Evans papers Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 5 Administrative Information........................................................................................................................... 6 Related Materials........................................................................................................................................... 7 Controlled Access Headings..........................................................................................................................7 Collection Inventory...................................................................................................................................... 9 Correspondence........................................................................................................................................9 Sheet music........................................................................................................................................... -
Jazz Discography Sixth Edition Upgraded 08/2010
C.W.U. MUSIC LIBRARY JAZZ DISCOGRAPHY SIXTH EDITION UPGRADED 08/2010 FIRST EDITION: JENNIFER GOOKIN SECOND EDITION: STACIE KUDAMATSU THIRD EDITION: CYNTHIA MORS, ANGELA SCHUTT, KRISTINE BRYAN FOURTH EDITION: MELANIE TEBAY, CHRISTINE JOLLEY FIFTH EDITION: CARYN WRZESINSKI SIXTH EDITION: JONI HERBERT ADDENDUM TO SIXTH EDITION: CHRIS THOMAS SEVENTH EDITION: ANDREA PAINE EIGHTH EDITION: SEAN LA SHIER ALL RECORDINGS LISTED IN THE FOUR PARTS OF THE JAZZ DISCOGRAPHY ARE LOCATED IN THE LISTENING AREA OF THE C.W.U. MUSIC LIBRARY, ROOM 401, OF THE MAIN LIBRARY. JAZZ: GENERAL COLLECTIONS A) GENERAL COLLECTIONS, ETC: CD-2146 ANTHOLOGY OF AMERICAN FOLK MUSIC (Jazz, Blues, and Folk) Volume 1 (2 cd‟s) Ballads Volume 2 (2 cd‟s) Social Music Volume 3 (2 cd‟s) Songs CD-2333 BEST OF DIXIELAND Loveless Love – Kid Ory‟s Creole Jazz Band, Beale Street Blues – George Lewis and his Band, Someday You‟ll Be Sorry – Louis Armstrong and His All Stars, Canal Street Blues – Henry Red Allen Orchestra, Eccentric Rag – Maz Kamindk and his All Star Dixieland Band, St. Louis Blues – Eddie Condon and his Boys, Basin Street Blues – Jack Teagarden and his Sextett, Eh-La-Bas – The Original Tuxedo “Jass” Band, Over in the Glory Land – Dejan‟s Original Olympia Brass Band, Ken Coyler – Ballin‟ the Jack, Hindustan – Alex Welsh and his Jazz Band, Saturday Night Function – Monty Sunshine‟s Jazz Band, Perdido Street Blues – Mr. Acker Bilk and his Paramount Jazz Band, Savoy Blues – Terry Lightfoot, Stevedore Stomp – Chris Barber‟s Jazz Band, Christopher Columbus – Humphrey Lyttelton and his Band. RD-4856 THE DIZZY GILLESPIE BIG BAND; CARNEGIE HALL CONCERT Manteca, This is the way, Ool ya koo, Kush, Tunisian Fantasy. -
Here Are Your Final Complete Tabulations
Here Are Your Final Complete Tabulations (Jumped from Page 7) Three Haircuts (Sid Caesar) . ........ Pet* Candoll . Fontana Sisters ..................................... Gen McCarthy though Shorty Rogers and Gerry Mul Tattletales ............................................. Jack ligan made it an interesting race. The Clovers ........................................... Hilly Buttorfleld Cheerleaders ........................................... Kenny Dorham The complete results follow. Names (None Under 15 Listed) in large type are plaque-winners who Ralph Marterie ...................................... Charlie Spivak ..................................... take over seats in Down Boat’s mythi MALE SINGER Rusty Dodrlck ..................................... cal all-star band. Muggsy Spanier ..................................... Frank Sinatra 2155 (Nona Under it Listed! DANCE BAND Nat Cole ............. 670 Perry Como .... 462 TROMBONE Le« Brown .. 1905 Summy Davis Jr 361 Obet Baker........ 170 J. Les Elgart .. 950 Eddie Fisher . 148 J. Johnson ... Count Basie 582 Matt Dennis ... 127 Bob Brookmeyer Ralph Marterte Billy Eckstine Kai Winding .... 591 Ray Anthony- . 488 28* Louis Armstrong W'v’v Hermi n 246 Bill Harris .... Ralph Flanagan Tommy Dorsey 232 Harry James Urble Green 14» Harry Belafonte . Billy Byers . Lawrence Welk ................. Jackie Paris ......................................... Jack Teagarden Tommy and Jin my Dorsey Frankie Laine ....................................... Benny Green ... Billy May-Sam Donahue . Bing Crosby -
Master's Recital in Jazz Pedagogy: a Performance-Demonstration of Rhythm Section Instruments, Compositions and Arrangements by Nicholas Leo
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2018 Master's recital in jazz pedagogy: A performance-demonstration of rhythm section instruments, compositions and arrangements by Nicholas Leo Nicholas Leo University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2018 Nicholas Leo Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Composition Commons, and the Music Performance Commons Recommended Citation Leo, Nicholas, "Master's recital in jazz pedagogy: A performance-demonstration of rhythm section instruments, compositions and arrangements by Nicholas Leo" (2018). Dissertations and Theses @ UNI. 574. https://scholarworks.uni.edu/etd/574 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. MASTER’S RECITAL IN JAZZ PEDAGOGY: A PERFORMANCE-DEMONSTRATION OF RHYTHM SECTION INSTRUMENTS, COMPOSITIONS AND ARRANGEMENTS BY NICHOLAS LEO An Abstract of a Recital Submitted in Partial Fulfillment of the Requirements of the Degree Master of Music in Jazz Pedagogy Nicholas Leo University of Northern Iowa May 2018 ii APPROVAL PAGE This Recital Abstract by: Nicholas Leo Entitled: Master’s Recital in Jazz Pedagogy: A Performance-Demonstration of Rhythm Section instruments, Compositions and Arrangements by Nicholas Leo Has been approved as meeting the thesis requirement for the Degree of Master of Music Jazz Pedagogy ___________ _____________________________________________________ Date Christopher Merz, Chair, Thesis Committee ___________ _____________________________________________________ Date Dr. -
David Schildkraut “Dave” “Davey”
1 The ALTOSAX & TENORSAX of DAVID SCHILDKRAUT “DAVE” “DAVEY” Solographer: Jan Evensmo Last update: April 2, 2020 2 Born: NYC. Jan. 7, 1925 Died: Jan. 1, 1998 Introduction: Dave Schildkraut was one of the few white altosax players who played in the Charlie Parker tradition, and he does it with bravura. It is amazing how little his brilliant playing is known even to well informed jazz collectors. This solography aims to correct this flaw. I once had the pleasure to meet Dave in his apartment in New York City. He was such a nice man, and he played “Lover Man” for me on his altosax, beautiful! We called Bill Triglia, who said that “you are in the apartment of one of the greatest jazz altosax players”. I think he had a good point. Quotes from Endgame Records CD 005: “As far as I’m concerned, the two most original saxophonists after Charlie Parker were Lee Konitz and Dave Schildkraut” – Bill Evans “Dave Schildkraut was the only saxophonist to capture the rhythmic essence of Bird” – Dizzy Gillespie “Dave Schildkraut was one of the greatest saxophonists I ever heard” – Stan Getz History: Father played clarinet and bought him his first horn. Studied clarinet and altosax at high school. Professional debut with Louis Prima 1941. Off and on with Buddy Rich combos and bands from 1947, also with Anita O’Day 1947. In addition to free-lancing around NYC., worked as floor manager for Woolworth’s 1949, office job at Decca 1952. European tour with Stan Kenton summer 1953, Pete Rugulo 1954, George Handy combo 1955, rejoined Kenton summer 1959, then led own quartet at Café Bohemia, NYC. -
Discography Preview for the Time Label
The Album Discography’s of the Bob Shad Labels Discography Of The Time Label The Time Label was started in New York City by Bob Shad in 1959. Time Records was located at 2 West 45th Street in New York. The output of the label was popular, folk, blues, country, R&B, jazz and gospel. Bob Shad was responsible for A&R for the label. Shad had a long history in the record business, he started the label “Sittin’ In With” in the late 1940’s. He sold that label to Mercury Records and started to do A&R work for them, mainly on their jazz subsidiary Emarcy. After Mercury, he did A&R work for the giant Decca label. Time had two subsidiary labels Brent and Shad, but it is believed that both these labels issued singles only. Time was a primarily a MOR label although it did release a few jazz and blues titles. Hugo Montenegro, Hal Mooney and Al Caiola were staples on the label. The Time label was very similar to the Command label issuing many orchestral percussion albums where the stereo effect was exaggerated. Time operated into 1966 when it ceased operations. Jazz/Blues Series: 1 - Blues-Folk Volume 1 - Lightnin' Hopkins [1962] Hello Central/Coffee Blues/Long Way From Texas/Mad as I Can Be/New Short-Haired Woman/Gotta Move//Everybody’s Down on Me/Freight Train/Prayin’ Ground Blues/Don’t Think I’m Crazy/Dirty House Blues/Everything Happens to Me 2 - Blues-Folk Volume 2 - Ray Charles [1962] I Found My Baby There - Ray Charles/Guitar Blues- Ray Charles/I Wonder Why - Lightnin Hopkins/Buck Dance Boogie- Lightnin Hopkins/Junco Partner - James Wayne/Please, -
ERROLL GARNER by Mimi Clar
how many of these great CONTEMPORARY ALBUMS are in your collection ROUNDS! nrT?TF N,EHAUS UCTET.^ mm C3540 Niehaus, one of the top alto men in jazz, long time leader of the Kenton sax section, stars with two swinging C3538 Red Mitchell, one of the nation's Octets featuring such famous jazzmen favorite bassists, in a swinging program as Bill Perkins, Pepper Adams, Shelly C3542 Leroy Vinnegar, a bass player who of modern jazz classics by Parker, Roll• Manne, Frank Rosolino, Mel Lewis, Jack "walks the most!" presents his first album ins, etc. New star James Clay plays tenor Montrose, Red Mitchell, Lou Levy, the as a leader. Featured on a selection of & flute, with Lorraine GelLer, piano, and late Bob Gordon, etc. standards with a walking motif ("I'll Billy Higgins, drums. Mitchell's bass solos Walk Alone," "Walkin' My Baby Back are standouts! Home," "Would You Like To Take a Walk," etc.) are Teddy Edwards, tenor, Gerald Wilson, trumpet, Victor Feldman, vibes, the late Carl Perkins, piano, and Tony Bazley, drums. You get more , %i bounce with Curtis \ CounceL5i temporary C3544 Bob Cooper's extended "Jazz Theme & Four Variations" is a major work by C3539 The Curtis Counce Group comes up a major jazzman. Side two features with some West Coast "cooking." Tasty, Coop's tenor in swinging combo perform• with plenty of funk and soul. Bassist ances (including an intriguing "Frankie Counce's group includes ace tenorman & Johnny") with Victor Feldman, Frank C3541 Vibist, pianist, drummer, composer- Harold Land, trumpeter Jack Sheldon, Rosolino, and an all-star rhythm section: arranger Feldman is the most important the late Carl Perkins on piano, and the ianist Lou Levy; Max Bennett, bass; Mel British import in the fleld of modern jazz. -
The History of Remembered Innovation: Tradition and Its Role in the Relationship Between Musical Works and Their Performances Author(S): José A
The History of Remembered Innovation: Tradition and Its Role in the Relationship between Musical Works and Their Performances Author(s): José A. Bowen Reviewed work(s): Source: The Journal of Musicology, Vol. 11, No. 2 (Spring, 1993), pp. 139-173 Published by: University of California Press Stable URL: http://www.jstor.org/stable/764028 . Accessed: 09/11/2011 15:37 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 California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology. http://www.jstor.org The History of Remembered Innovation: Tradition and Its Role in the Relationship between Musical Works and Their Performances* JOSE A. BOWEN of the most fundamental assumptions musi- cologists make are that musical works exist and that they are stable. T7o 139 We assume that we can study the same works studied by Schumann and Schenker, and we also assume that these musical works are some- how related to certain basic musical elements which remain the same from performance to performance. (Our primary tool, analysis, deals only with this fixed part of the work.) By looking first at the admit- tedly extreme example of jazz, and then at some more canonic Eu- ropean genres, I want to focus on what differs in a musical work from performance to performance, and thereby to reexamine its ontologi- cal status.