S.M.A. Makes Impressive Showing in G.I. Inspection
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Great Escape Vol. 5
THE GREAT ESCAPE!* ♪ *“Anything that is good jazz is a great escape. When you’re involved in playing or listening to great jazz, no one can get to you.” -Woody Herman Vol. 1 No. 5 November/December 2007 Presented by: www.dixieswing.com Buddy Hughes: One Night on the Stand with Thornhill By Bob Knack While rummaging through my record room recently, I the most exciting band ever.” In the review, DB magazine came across a dusty cardboard box containing a morsel of real reported that Vannerson had recently left the band leaving treasure. It was an October 21, 1946 copy of Downbeat Thornhill without a personal manager or press agent making it Magazine, with the headline, “Claude Thornhill, Band of the difficult for the band to compete for bookings. Year”. The article highly praised the Thornhill band reviewed “After playing some smaller eastern ballrooms and “live” at the Hotel Pennsylvania in New York City. theatres,” Buddy continues, “the appearance at the It saved the highest accolades for the guy singer, Pennsylvania was a big event for the band, and had the Buddy Hughes, saying he had “the freshest, best voice to be attention of show business and band personalities who packed heard with a band”. I asked my friend and Glen Ellyn, Illinois the place for the big night”. “I was introduced by my manager resident, Buddy to reminisce about this night and his time with to Mildred Bailey, Paula Kelly and the Modernaires, Les Brown the CT band, and, as always, he brought the era back to mind (with his arranging pad in hand), singer Buddy Clark and many with his stories as if it were yesterday. -
B E E N W E R E W E '
VOLUME XXXVI BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1995 UPCOMING BBJ PROGRAM TITLES Hackett plays his mellow cornet, combinations develop. The very best of Lionel Hampton both sings and plays the late 40’s Sauter-Finegan will be January 7-8,1995 (This list- sweet and swing, Bobby Haggart’s heard, some very old but very good VOCALISTS ing repeat- contributions include playing, writ Artie Shaw, Bobby Sherwood’s short 1936 TO 1948/ ed from ing and arranging, and Woody lived band will perform and to lighten PIANO PLAYERS previous Herman swings without restraint. issue for the overall sound, the talented George new subscriber convenience.) The vo- January 21-22, 1995 W hile we Shearing will contribute his excellent calists KEATING/ were piano magic. have al- KAEMPFERT/ checking w a y s KENTON & KRUPA out artists February 18-19, 1995 Truth is, been alphabeti BROWN/BARNET this foolin' with us, cally, we ran across four varied sounds BUTTERFIELD around in but they in the “K’s”. The seldom-heard Brit & BASIE the old were part ish orchestra of Johnny Keating, the r e c o r d ofthe Big German 60’s thumping recording of stacks in the back room is more fun Bands in Bert Kaempfert, the later 40’s Stan than an older adult ought to have. For the era Kenton from radio transcriptions, and this one we’ve teamed Les Brown, covered Gene Krupa’s excellent band, so often by this under-rated. This alphabetical tie-in is Charlie Barnet, Count Basie and the hour, not fun! seldom-heard Billy Butterfield. -
Capitol Records.” They Removed That Word from Their Logo in 1951, Helping Us Distinguish First Pressings from Later Copies
Capitol Albums, 180 to 300 Piano Moods CC-180 = CCF-180 < H-180 Diana Lynn [1950] Released November, 1949. The LP has two bonus tracks. Gypsy Dreams Capitol H-181 Jascha & His Gypsy Ensemble Released November, 1949. A reissue of CC-100. Tango Capitol H-182 Georges Tzipine Orchestra Released 1950. A reissue of CC-147. Pete Daily's Dixieland Band CC-183 = CCF-183 < H-183 Pete Daily Released March, 1950 The LP has two bonus tracks that are not listed on the front cover. Paul Weston Conducts Chopin, Debussy, Ravel Capitol H-184 Paul Weston Released late 1949. A reissue of CC-174. Classics in Modern – Capitol H-185 Frank DeVol & His Orchestra Released 1950. A reissue of CC-88. More College Medleys – Capitol H-186 Jan Garber & His Orchestra Released 1950 A reissue of CC-173. Honky Tonk Piano – CC-187 = CCF-187 < H-188 Various Artists Other formats released March, 1950; LP released slightly later. The LP has two bonus tracks. Innovations in Modern Music, Vol. 1 EDL-189 = KDM-189 = P-189 Stan Kenton Released March, 1950 Both the 78 RPM singles and the LP are 12” in diameter. Stan Kenton's Milestones Capitol CDF 190 = H-190 Stan Kenton Released 1950. Records that were actually released during 1950 have the word “Hollywood” underneath “Capitol Records.” They removed that word from their logo in 1951, helping us distinguish first pressings from later copies. Piano Highlights Capitol CCF-191 < H-191 Barclay Allen Released March, 1950. The LP has two bonus tracks. Cocktail Time Capitol CCF-192 < H-192 Ernie Felice Quartet Released March, 1950. -
NJA British Jazz Timeline with Pics(Rev3) 11.06.19
British Jazz Timeline Pre-1900 – In the beginning The music to become known as ‘jazz’ is generally thought to have been conceived in America during the second half of the nineteenth century by African-Americans who combined their work songs, melodies, spirituals and rhythms with European music and instruments – a process that accelerated after the abolition of slavery in 1865. Black entertainment was already a reality, however, before this evolution had taken place and in 1873 the Fisk Jubilee Singers, an Afro- American a cappella ensemble, came to the UK on a fundraising tour during which they were asked to sing for Queen Victoria. The Fisk Singers were followed into Britain by a wide variety of Afro-American presentations such as minstrel shows and full-scale revues, a pattern that continued into the early twentieth century. [The Fisk Jubilee Singers c1890s © Fisk University] 1900s – The ragtime era Ragtime, a new style of syncopated popular music, was published as sheet music from the late 1890s for dance and theatre orchestras in the USA, and the availability of printed music for the piano (as well as player-piano rolls) encouraged American – and later British – enthusiasts to explore the style for themselves. Early rags like Charles Johnson’s ‘Dill Pickles’ and George Botsford’s ‘Black and White Rag’ were widely performed by parlour-pianists. Ragtime became a principal musical force in American and British popular culture (notably after the publication of Irving Berlin’s popular song ‘Alexander’s Ragtime Band’ in 1911 and the show Hullo, Ragtime! staged at the London Hippodrome the following year) and it was a central influence on the development of jazz. -
J2P and P2J Ver 1
Decca 94312 in Album A-I942, Bob Grant's 38324, Les Orchestra; Columbia 36620.) Brown; Dec. 24550, Mills Broth- (Available on the following records: Dec. ers RCA Victor THAT RUSSIAN WINTER 20.3302, Ray Noble's Orches- 25046, Mills Brothers; Capitol 20124 let tra; Capitol llongy Carmichael (Available on Capitol record 15330, The Starlighters; 8D.57, Benny Goodman duo.) 128, Ray Mc- 10348, Art MGM Kinley and his orchestra.) Lund with Johnny Thompson's Orchestra; (Bony) has 1933-LAZY BONES Irom Delta 24083, Hoagland Carmichael Co. Selections. "This Is the Army" are Ray Ross Orchestra.) known music since his mother cradled Lyrics by Johnny Mercer. Southern Musk available In Decca Album 1938-ALEXANDER'S In As1933, A-340 with Irving RAGTIME BAND him on two chairs while she played piano (Available on Dec. record 24067 Berlin, Stuart Churchill, Ezra A 20th CenturyFox Stone, Phillip film with Tyrone Power, for college dunces and supplied musical Charles Baum orchestra.) Truex, Julie °shins, Earl Oxford, James Alice Faye, Don MAN HARLEM Cross Ameche, Jack Haley and backgrounds for silent films. Baseball, OLD and Robert Shanley: "I Left My Ethel Merman. Southern Music Co. Heart at the his love, was gone he dis- With Rudy Vallee. Stage Door Canteen," "The NOW IT first when record 23933, Hoag). Car- Army's Made a CAN BE TOLD covered his musical talent. (Available on Decca Man Out of Me," "I'm Getting Tired (Available on michael.) So 1 Decca record 25093, Bing Can Sleep," "American Crosby.) Under the tutelage of Reggie Duval he Eagles," "What the developed 1934-JUDY Well-Dressed Man in Harlem that talent. -
VIDO MUSSO Discography Thanks to Daniel Gugolz, Bob Sunenblick and Leo T
VIDO MUSSO Discography Thanks to Daniel Gugolz, Bob Sunenblick and Leo T. Sullivan for Research Assistance Vido Musso, tenor saxophone on all tracks: Benny Goodman (cl) and His Orchestra: Pee Wee Erwin, Sterling Rose, Gordon Griffin, tpts; Red Ballard, Murray McEachern, trbs; Hymie Schertzer, Bill DePew, as; Dick Clark, Arthur Rollini, ts; Jess Stacy, pno; Alan Reuss, gtr; Harry Goodman, sb; Gene Krupa, dms; Fletcher Henderson, arr*; Jimmy Mundy, arr**; Helen Ward, vcl*** Hollywood, CA, August 21, 1936 97748-1 St. Louis Blues* Victor 25411 97750-1 Love Me or Leave Me* Victor 25406 97751-2 Bugle Call Rag Victor LP LPM-10022 Teddy Wilson (pno) and His Orchestra: Gordon Griffin, tpt; Benny Goodman, cl*; Alan Reuss, gtr; Harry Goodman, sb; Gene Krupa, dms; Lionel Hampton, vibes; Helen Ward (as Vera Lane), vcl**; Red Harper, vcl*** Los Angeles, August 24, 1936 LA-1158-A You Came To My Rescue*/** Brunswick 7739 LA-1159-A Here's Love In Your Eyes*/** - LA-1160-A You Turned The Tables On Me*** Brunswick 7736 LA-1161-A Sing, Baby, Sing*** - Benny Goodman (cl/as#) and His Orchestra: Gordon Griffin, Zeke Zarchy, Ziggy Elman, tpts; Red Ballard, Murray McEachern, trbs; Hymie Schertzer, Bill DePew, as; Arthur Rollini, ts; Jess Stacy, pno; Alan Reuss, gtr; Harry Goodman, sb; Gene Krupa, dms; Fletcher Henderson, arr*; Jimmy Mundy, arr**; Helen Ward, vcl*** New York City, October 7, 1936 0798-1 When a Lady Meets a Gentleman Down South*** Victor 25434 0799-1 You're Giving Me a Song and Dance*** - 02101-1 Organ Grinder's Swing Victor 25442 02102-1 Peter -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JOE WILDER NEA Jazz Master (2008) Interviewee: Joe Wilder (February 22, 1922 – May 9, 2014) Interviewer: Julie Burstein Date: August 25-26, 1992 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 129 pp. Burstein: I wanted to start by asking you about your beginnings in Colwyn, I guess. [She pronounces it as “coal-win.”] Wilder: Colwyn, it’s pronounced. [Wilder says “coll-win,” as in collar.] Burstein: Colwyn. Wilder: Yeah, Colwyn. Burstein: . Colywn, Pennsylvania, and about your family. Where were your folks from? Wilder: My – I think – I know my father’s family are from North Carolina. I think my mother’s family were also from North Carolina. Apparently they had come North much earlier than my father’s family, because my mother was born in Pennsylvania. My father was born in North Carolina. He left – my grandfather brought his family to Philadelphia – to Colwyn, as a matter of fact. That’s something I don’t really understand. I don’t know how they managed to end up in Colwyn, but that’s where they did. My father was 12 years old at that time. He’s now – he’ll be 92 in November – the 23rd of November. Burstein: So this was in 1912 that they came there. Wilder: Yeah, in 1912 he came – they came to Colwyn. There were – in Colwyn, I think there was my paternal grandparents and my maternal grandparents, and my aunts and uncles, and my family. -
June 2021 ITG Journal
International Trumpet Guild® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet June 2021 ITG Journal The International Trumpet Guild® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on electronic devices for the sole use of the end-user • Print a single copy of this file • Quote fair-use passages of this file in not-for-profit research papers as long as the ITG Journal, date, and page number are cited as the source. The International Trumpet Guild®, under the umbrella of United States and international copyright laws, prohibits the following without prior writ ten permission from the Publications Editor of the ITG: • Duplication or distribution of this file or its contents in any manner that does not conform with the uses as stated above • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any party, including such a device intended to be used wholly within an institution. By scrolling past this page you agree to the fair use guidelines stated above. http://www.trumpetguild.org This cover sheet must accompany this file. The removal of this information is strictly prohibited and can result in expulsion from the organization and legal action. -
Artie Shaw, 1940-1941
Glenn Miller Archives ARTIE SHAW January 1940 – March 1941 “The West Coast Band” Prepared by: Reinhard F. Scheer-Hennings and Dennis M. Spragg In Cooperation with the University of Arizona Updated December 11, 2020 Table of Contents January 1940 ..................................................................................................................... 3 February 1940 .................................................................................................................... 9 March 1940....................................................................................................................... 16 April 1940 ......................................................................................................................... 22 May 1940 .......................................................................................................................... 24 June 1940 ........................................................................................................................ 29 July 1940 .......................................................................................................................... 34 August 1940 ..................................................................................................................... 42 September 1940 ............................................................................................................... 53 October 1940 .................................................................................................................. -
Highlights in Th Is Issue
H IG H LIG H TS IN THIS ISSUE: A CD now avail able Johnny Mercer made for himself A biography of Paul Desmond now available A Billy Butterfield profile ....and the conclusion of the two part interview with Paul Weston. FIRST-CLASS MAIL U.S. POSTAGE PAID Atlanta, G A Permit No. 2022 BIG BAND JIMP NEWSLETTER VOLUME 99 BIG BAND JUMP NEWSLETTER JULY-AUGUST 2005 PAUL WESTON INTERVIEW - The first question involves his initial work at Capitol Records in 1942. PART TWO BBJ: Everyone who was involved says those early days at Capitol were probably the greatest days in the recording business. PW: They were fun days. It started for me when I was working at Paramount and I did a picture, “Star Spangled Rhy thm.” Johnny Mercer was working on that while I was working on “Road To Morocco,” I guess, one of the Crosby/ Hope things. And I got to know Mercer and so he and Glenn Wallichs had been talking about getting a record com Weston & Stafford in a quiet moment pany together. Glenn had a little recording stu dio in the back of Music Phil Silvers who spoke a The Background single line on record__ City, just a one room This is second of the two installments of an interview place and so John said, “Well, look, would you get of Paul Weston, one of the premier arrangers and studio some guys together and we’re gonna make this thing conductors of his time. It’s taken from a conversation called STRIP POLKA I’ve written.” So we got three with Weston by veteran radio personality Fred Hall and girls to sing the “take it off, take it o ff’ line and Jimmy excerpted from his book “Dialogues In Swing.” As Van Heusen was our piano player. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ARTIE SHAW NEA Jazz Master (2005) Interviewee: Artie Shaw (May 23, 1910- December 30, 2004) Interviewer: Bruce Talbot Date: October 7 and 8, 1992 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 100 pp. Note: Expletives have been deleted from this Web version of the transcript, and are marked thus: [expletive deleted]. An unaltered transcript is available for use by researchers at the Archives Center, National Museum of American History. Talbot: This is October the 7th [1992], and this is day . the first of two days’ interviews with Artie Shaw. Shaw: Are we o.k.? [recording engineer:] Yeah, we got a great level. Shaw: Before we get into this, or maybe as a way of getting into it, I showed you this material on the book I’ve been working on on-and-off since about 1978. What is it now? This is . It’s been 12 years. I’ve published another book in between. I’ve done some CDs. I’ve done a lot of other stuff. But this one . I’ll tell you the point of it. I wanted to do a trilogy. I had at one time . I don’t know. You’re a reader, so you may know the book. Most people don’t even know of it. Romain Rolland wrote a book called Jean- Christophe. Did you ever read it or hear of it? For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Talbot: Heard of it. -
Billy Butterfield & Trumpet to Star at Openings
TUESDAY • TUESDAY Edition t Edition Washington and Lee Semi-Wukly Newspaper Number 4 Volume LVIII LEXINGTON, VIRGINIA, OCTOBER 1, 1957 Billy Butterfield & Trumpet To Star At Openings President's Report Indicates Flu, Peddling Orchestra Several [mhrovement Needs Discussed. at To Feature T IFC Meetmg (Editor's Note: T he President's Report is annually sent to Dixie Group the members of the Board of T rustees and includes the reports The threatened AriQtic Flu epi demiC, regulation Of peddler.~ tn of the Deans and most administrative officers of the Universi Billy Butterfield will bring fraternity houses and cooperation his fabulous trumpet and or ty. The report for the academic year 1956-57 was published at homecoming and Openings were this week as the October issue of the U niversity Bulletin.) among the subjects discussed al the chestra to Washington and Lee Interfraternity Council's first week on Friday night of Openings "Reviewing in my own mind the• ly meebng last night in the Student total history of this year, I am frank ment of the work in the dean's of Union. Dances, October 25, it was an· to call it good, unusually good," said flee and m admissions processes. Dr. F. A. Feddeman, University BU'ITERFlELD DOTrY DARE nounced today by Harry Brunett, Dr. F'rancis P. Gaines in his lntro- First, "there IS a clearly defined Physician, asked that the fratem1- ----------------------------:*Dance Board President. duclion to the annual report. Pres- and urgent demand for a third ad Lies make preparations for the Flu Buterfield's orchestra comes to ident Gaines commented on lhe rec- minlslrative official in the joint epidemic expected to strike the stu ati::r ognition giVen to Washington and Dean of Students-Admissions oper dent body this fall.