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Old Wine New Bottles
Why must he waste his talent and the Wilber was never able to command a sit talent of his sidemen on an outmoded uation as could Bechet. He evidently conception that was hardly necessary in lacked Bechet’s utter self-confidence His the first place? (D.DeM.) vibrato, while similar to his mentor’s, uiiiimiimiimiimitiimiimmitiiiiiiiiimiiitiiiiiiiiiiiuiiimiiiiimiiitiiiimutimiiiM sounded nervous; Bechet’s was an indis pensable adjunct to his playing and en hanced his expressiveness rather than de OLD WINE tracted from it, as Wilber’s did. The HRS Bechet-Spanier sides are not NEW BOTTLES only Bechet gems, but are some of the best mimiiiiiiHiiuuiiimimimmmimiiiiumiitiiitiHiiiiiiitmitiiiitiiiimiiuHmiiiuiiiiM jazz records ever made, though collectors have tended to ignore them. There was no Sidney Bechet effort to re-create days beyond recall Four « IN MEMOR1AM—Riverside RLP 138/139; Sweet Lorraine; Up the Lazy River; China Boy; excellent jazzmen got together and just Four or Five Times; That's Aplenty; If / Could played. Of course, some of the intros and Be with You; Squeeze Me; Sweet Sue; I Got Rhythm; September Song; Whot; Love Me with endings were no doubt rehearsed, but the Feeling; Baby, Won't You Please Come Hornet; lasting value of these records lies in the Blues Improvisation; I’m Through, Goodbye; Waste No Tears; Dardanella; I Never knew; breathless Bechet solos and the driving Broken Windmill; Without a Home. ensembles. And if any of the kiddies com Personnel: Tracks 1-8: Bechet, clarinet, soprano ing along these days think that drums are saxophone; Muggsy Spanier, cornet; Carmen Mas tern. guitar; Wellman Braud, bass. -
Guide to the Milt Gabler Papers
Guide to the Milt Gabler Papers NMAH.AC.0849 Paula Larich and Matthew Friedman 2004 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Personal Correspondence, 1945-1993..................................................... 5 Series 2: Writings, 1938 - 1991............................................................................... 7 Series 3: Music Manuscripts and Sheet Music,, 1927-1981.................................. 10 Series 4: Personal Financial and Legal Records, 1947-2000............................... -
Guide to the Leonard Gaskin Papers
Guide to the Leonard Gaskin Papers NMAH.AC.0900 Vanessa Broussard-Simmons and Dr. Theodore Hudson 2019 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 4 Series 1: Personal Papers, 1937-2006, undated..................................................... 4 Series 2: Diaries and Planners, 1947-2004............................................................. 7 Series 3: Business Records, 1939-2000, undated................................................. 10 Series 4: Photographic Materials, 1956-2003, undated......................................... 12 Series 5: Scrapbooks, 1923-2004, undated.......................................................... -
Music Traditional Jazz Educators Network Resources
A Traditional Jazz Style Guide by Dave Robinson Foreword For the past 25 years I have been collecting, performing, arranging, teaching, broadcasting and writing about my first musical love, TRADITIONAL JAZZ (aka dixieland, classic jazz, vintage jazz, New Orleans jazz, etc.). This music is frequently misunderstood, and even knowledgeable fans, collectors and musicians disagree on terminology and stylistic divisions. This document presents my view of the most logical stylistic categories of traditional jazz. It is presented as informed opinion, not dogma, and your commentary is welcome. It is hoped that jazz educators will find this guide useful, and that directors of youth ensembles specializing in traditional jazz will make an effort to instill in their bandmembers an understanding of and proficiency in the full spectrum of "flavors" available to them. Towards a Definition of Traditional Jazz Before dividing this pie into logical pieces, we should describe the pie itself. What is "traditional jazz"? What are the common denominators that define it? In my view, "traditional jazz" in the proper sense of the term is jazz which exhibits all or most of the following characteristics: 1) Wind instruments playing polyphonically 2) Easily discernible chord patterns 3) 2/4 or 4/4 meter 4) Instrumentation approximating the following: "FRONT LINE" (HORNS): 1. Trumpet or cornet 2. Clarinet or soprano sax 3. Trombone 4. Tenor, alto or bary sax (sometimes) --or a subset of these RHYTHM SECTION: 1. Piano 2. Banjo or guitar 3. Tuba, string bass or bass sax 4. Drums or washboard --or a subset of these 5) Pre-bop harmonies and phrasing (the earlier the musical vocabulary employed, the greater the compliance to this part of our definition) The single most distinguishing characteristic of traditional jazz is the first element above--the wind instruments playing polyphonically (a New Orleans tradition). -
NVDJS NEWS on June 11, 2017 1:00 - 4:00 June July 2017 the Dixie Giants
NVDJS NEWS on June 11, 2017 1:00 - 4:00 June July 2017 The Dixie Giants NVDJS NEWS FIRST CLASS MAIL Napa Valley For the past 4 years the Sonoma County- Dixieland Jazz Society based group, The Dixie Giants, have P.O. Box 5494, brought their own special version of New Napa, CA 94581 Sunday,NAPA June VALLEY 11,2017 Orleans music to the Bay Area. Whether they’re playing in clubs or on the streets, DIXIELAND JAZZ SOCIETY Sunday, July 9, 2017 The Dixie Giants are infamous for radiat- ing an infectious energy and always hav- 1:00-4:00 pm ing a blast. While continuing to play the music of their heroes (Louis Armstrong & The All Stars and Preservation Hall Jazz Band, ), they at have also been writing original music in an effort to continue to evolve the idiom of Traditional New Orleans Jazz. Grant Hall- Casey Jones -Clarinet/ Dan Charles - Banjo Veteran’s Home Yountville, CA Tenor Sax Ricky Lomeli - Drums Jesse Shantor - Alto Sax Taylor Cuffie - Drums Jason Thor - Trombone Nick Pulley - Sousaphone on July 9, 2017 1:00 - 4:00 RENEWALS that are DUE Ray Skjelbred and His Cubs Ray Skjelbred and his Cubs play hot Chi- June NAPA VALLEY DIXIELAND JAZZ SOCIETY cago jazz mixed with New Orleans influ- MEMBERSHIP Athens Abell ences, early swing and plenty of blues. Each musician in this five piece group is notable Name_______________________________ Bruce & Sue Balala in the current traditional jazz scene, and Karen Brooks Anthony Address_____________________________ Monthly Admission they have many years of playing experi- Gerri Eggers City___________________Zip___________ Donations ence, enhanced by a strong historic under- Elizabeth Candish/ Phil Ingalls Telephone:______________Date:________ NVDJS $8.00 standing of the music they play. -
Down Beat Now Finds Its Way Into GE' the Second Question Is Socio-Poli- “Russian” Jazz
f1,’0 OSlJj-j Hl I 1 < < I U ¿0 A ! *T, HENDRICKS ’OSS, INC. Oll sou CRAFT TAPE because Soundcraft is the world’s best L recording tape! Always buy V UI1J< l.d I I >f>f, wR- ’ .• s , -i i.. n, ■ REEVES SOUNDCRAFT CORF., GREAT PASTURE RD., DANDURT, CONN.. CHICAGO 2S EAST JACKSON BLVD . LOS ANGELES 342 N.laBREA TORONTO TOO WESTON ID Send 10c for 8 x 10" print ROGERS of these drummers the big new name in drums with amazing new SWIV-O-MATIC comes to HOLLYWOOD And Hollywood drummers come to Rogers. Here arc just two of the West Coast’s top drum names who are swinging aboard the Rogers bandwagon They like the snappy tone. They like the Swiv-o-Matic equipment that keeps things exactly where they're spotted all night long. They like Rogers. (You will, too.) iti Tapes st nu more! IRV COTTIER. TV staff man with Dinah Shore FRANK CAPP with Andre Previn Check this ROGERS TOP HAT outfit Hnÿto.-) with SWIV-O-MATIC Elegant and complete, yet compact. A set to be proud of, with the snappiest tone in the land. All hardware chrome plated, choice of pearl finishes. Just $575 less cymbals, tax paid to break into the big time...they've got to be GOOD RugETA DRUMS for name of Rogers dealer Nothing and free 60-page drum catalog world’s largest and most complete on drums and accessories—write Joseph Rogers ) 700 WESTON O Inc.. 744 Bolivar, Cleveland 15, Ohio. ol an official American representa the first chorus tive, albeit an electronic one, will they be satisfied with just the me ____________________ By Charles Suber answer? How much “proletai ian hunger” is there among them lor The United Slates of America ex- citizens of America (excluding Can our music? position in Moscow features a ada, which presumably has its own 11 RAMAC needs some hints be RAMAC machine that has 4,000 Dream). -
Ernesto Caceres “Ernie”
1 The BARITONESAX of ERNESTO CACERES “ERNIE” Solographers: Jan Evensmo with Arne Bryn and Ola Rønnow Last update: Oct. 7, 2020 2 Born: Rockport, Texas, Nov. 22, 1911 Died: San Antonio, Texas, Jan. 10, 1971 Introduction: The day I heard Ernie Caceres play “Body And Soul” with Eddie Condon, I realized that he was one of the best baritonesax players ever in the swing tradition , regardless of colour. Incredible how such a good musician can be almost forgotten! During the year 1944 he made more beautiful soli on his instrument than most challengers do in a lifetime! Early history: Clarinet from an early age, also studied guitar and saxophone. Worked with local bands from 1928, then worked with the “family” trio. Long spell with brother Emilio’s small band including residencies in Detroit and New York. Joined Bobby Hackett in summer of 1938, played tenorsax in Jack Teagarden’s band from February 1939. Briefly in big band led by Bob Zurke, then with Glenn Miller from February 1940 until summer of 1942. With Johnny Long’s band from March 1943, with Benny Goodman in October 1943. Joined Tommy Dorsey in December 1943. Worked with Benny Goodman and Woody Herman in 1944, U.S. Army service from spring 1945. Took part in many recordings with Eddie Condon alumni during the 1940s and 1950s (ref. John Chilton). Message: I am very sorry I did not realize how fine a clarinet player EC was! When you below find reference to ‘have EC’ it means baritonesax only. However, he may play beautiful clarinet soli, not noted. -
Title Format Released & His Orchestra South Pacific 12" 1958 Abdo
Title Format Released & His Orchestra South Pacific 12" 1958 Abdo, George & The Flames of Araby Orchestra Joy of Belly Dancing 12" 1975 Abdo, Geroge & The Flames of Araby Orchestra Art of Belly Dancing 12" 1973 Abney, Don, Jimmy Raney, Oscar Pettiford Music Minus One: A Rhythm Background Record For Any Musician Or Vocalist 12" 19NA Abrams, Muhal Richard Duet 12" 1981 Adderley, Cannonball The Cannonball Adderley Collection - Vol. 7: Cannonball in Europe 12" 1986 Somethin' Else 12" 1984 Domination 12" 1964 Cannonball Adderley Quintet In Chicago 12" 1959 African Waltz 12" 1961 Cannonball Takes Charge 12" 1959 Adderley, Cannonball Quintet Mercy, Mercy, Mercy! Live at 'The Club' 12" 19NA Ade, King Sunny Synchro System 12" 1983 Adelade Robbins Trio, Barbara Carroll Trio Lookin' for a Boy 12" 1958 Akiyosh, Toshiko-Lew Tabackin Big Band Road Time 12" 2 LPs 1976 Akiyoshi, Toshiko Lew Tabackin Big Band Tales of a Courtesan (Oirantan) 12" 1976 Albam, Manny Jazz Heritage: Jazz Greats of Our Time, Vol. 2 12" 1958 Alexander, Monty Alexander The Great 12" 1965 Facets 12" 1980 Monty Strikes Again: Monty Alexander Live In Germany 12" 1976 Duke Ellington Songbook 12" 1984 Spunky 12" 1965 Alexander, Monty & Ernest Ranglin Just Friends 12" 1981 Alexandria, Lorez The Band Swings Lorez Sings 12" 1988 Alexandria the Great 12" 1964 Lorez Sings Pres: A Tribute to Lester Young 12" 1987 For Swingers Only 12" 1963 Page 1 of 67 Title Format Released Alexandria, Lorez This Is Lorez 12" 1958 More Of The Great Lorez Alexandria 12" 1964 Allen, "Red" With Jack Teagarden And Kid Ory At Newport 12" 1982 Allen, Henry "Red" Giants Of Jazz 3 LP Box Set 1981 Ride, Red, Ride in Hi-Fi 12" 1957 Ridin' With Red 10" 1955 Allison, Mose V-8 Ford Blues 12" 1961 Back Country Suite 12" 1957 Western Man 12" 1971 Young Man Mose 12" 1958 Almeida, Laurindo with Bud Shank Brazilliance, Vol. -
BARNEY KESSEL by to Swing Or Not to Swing CONTEMPORARY C3521 Barnev Kessel Vol
Barnewe're proud to say... y KesseMM l• & first place 1956,1957 and 1958 Down Beat, Metronome and Playboy polls recordexclusivelsy for Contemporary I -and has since 1953! J0 MUSIC TO LISTEN TO BARNEY KESSEL BY to swing or not to swing CONTEMPORARY C3521 Barnev Kessel Vol. 3 Barney's first CR album, with Barney & quintet featuring Barney in a free-wheeling ses- Barney and his arrangements Bud Shank or Buddy Collette Bob Cooper, oboe & tenor sax, sion with"Sweets" Edison, Bill of standards for woodwind or- featured on alto sax & flute, on 12 favorites like My Old Perkins, Georgie Auld, Red chestra. Laura, Makin' Whoo- Red Mitchell,Claude William- Flame, Speak Low, Love Is Mitchell, Jimmie Rowles, pee, Carioca, Indian Summer, son, Shelly Manne, etc. C3511 Here To Stay, etc. C3512 Shelly Manne, etc. C3513 etc. C3521 & Stereo S7001 THE POLL WINNERS RISE AGADt! BARNEY KESSEL WITH SHELLY MANNE & BAY BROWN eWmatPOfttBY C 3181 SSJJB; Barney, with Shelly Manne & Barney, Shelly and Ray again Great standards from the hit The first modern jazz album Ray Brown (who also were 1st demonstrate their supremacy. movie done in modern jazz ... of an opera—Barney's adapta• in the '56, '57, and '58 Down Volare, Be Deedle Dee Do, The Runnin' Wild, Sweet Sue, etc., tion of Bizet's music with or• Beat, Metronome, Playboy Merry Go Round Broke Down, with Art Pepper, Joe Gordon, chestra & stars like Previn, polls). C3535 and Stereo S7010 etc. C3556 and Stereo S7029 etc. M3565 and Stereo S7565 Manne. M3563, Stereo S7563 monophonic albums, $4.98; stereophonic albums, $5.98 —at dealers everywhere (nationally advertised manufacturer's suggested list prices) 8481 MELROSE PLACE CONTEMPORARY RECORDS LOS ANGELES 46, CALIFORNIA sion, his harmonic vision was more traditional qualities of swing, strongly related to the use of the earthiness and a blues tinged im• LETTERS upper partials of conventionally tri- provisatory base. -
Louis Armstrong -Portrait of the Artist As a Young Man 1923-1934
Louis Armstrong—Portrait of the Artist as a Young Man 1923-1934 Dan Morgenstern Grammy Award for Best Album Notes 1994 Columbia/Legacy Smithsonian Institution Press C4K 57176 Transcript provided by Hank Hehmsoth – National Endowment for the Arts 2019 INDEX OF RECORDINGS: for discographical reference and music commentary, see designated page next to each selection. Title Page A Monday Date ............................................................................................................................. 19 Ain’t Misbehavin’ .......................................................................................................................... 16 Alone at Last .................................................................................................................................. 10 Anybody Here Want to Try My Cabbage? .................................................................................... 07 Basin Street Blues (rec. 1928) ...................................................................................................... 20 Basin Street Blues (rec. 1933) ...................................................................................................... 33 Beau Koo Jack ............................................................................................................................... 21 Between the Devil and the Deep Blue Sea .................................................................................... 33 Big Butter and Egg Man ................................................................................................................ -
The Recordings of Sidney Bechet; in Fact It Does Not Include Much Release Information at All
The Recordings of SIDNEY BECHET Mal Collins June 2011 Introduction This is not a discography in the most accepted sense of that word: it does not itemise every commercial release of the recordings of Sidney Bechet; in fact it does not include much release information at all. The Recordings here are – at the time of writing, June 2011 - almost all free of recording copyright in many territories: 50 years from the first publication date, recordings may be freely - and legally - used, without paying royalties to the artist (not the case in the USA, and the situation is changing in Europe). This means that it is difficult - not to say impossible - to keep track of the many uses of his work: not only of his classic performances which have been free of this copyright for some time, but also now of his many French recordings, which count for more than 50% of his output. So to detail the original release information is of less and less interest (and this has already been done. None of the original shellac or vinyl releases is available, except as a collector’s item; many CD releases are also no longer available; we are into an era driven by the most popular end of the music market: the digital/download age.So to itemise ALL commercial releases is a thankless task which serves less & less benefit with every year that passes. What this document does do is: to collect together all the known recordings of Sidney Bechet; to clear up a number of anomalies and uncertainties (others will always remain); to identify all the occasions on which he plays soprano sax and/or clarinet; and to fully index all sessions by title and performer. -
Frank 'Josh' Billings
Frank ‘Josh’ Billings a suitable suitcase for treatment by Gerry Paton Copyright © Gerry Paton 2020 Originally published 2011 by brushbeat. This file may be stored on your computer and a single copy printed for personal use. All other reproduction or circulation, even if in part, whether for commercial use or otherwise, is prohibited without the written permission of the author. Contact: [email protected] Frank ‘Josh’ Billings is perhaps best remembered as the suitcase-drumming dandy in the Jazz outfit The Mound City Blue Blowers . The Blowers were captured on celluloid in 1929 and 1931 and clips from these performances have been posted on the internet, raising some interest in Billings on account of his antics. This article is in response to that interest and is an attempt to collate, and add to, what little is known about the man. So who was this all-singing-all-dancing eccentric, ‘Josh’ Billings? Well, there was certainly more to him than at first meets the eye. Somewhat of a free spirit, Billings had a gift for painting and drawing, becoming a professional lithographer in later life. He was witty and good company, freely associating with virtually all of the major Chicago jazz musicians of the 1920s and many of New York’s finest in the 1930s. Through his work with the Blue Blowers he mingled with society bigwigs, instructing more than a few on the finer points of playing the suitcase. It has even been claimed that he invented the Zoot Suit. And he was the first (and possible only?) suitcase- drummer of his generation to be captured on film, and certainly the first to achieve any sort of fame.