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Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N. -
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. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot. -
Downbeat.Com September 2010 U.K. £3.50
downbeat.com downbeat.com september 2010 2010 september £3.50 U.K. DownBeat esperanza spalDing // Danilo pérez // al Di Meola // Billy ChilDs // artie shaw septeMBer 2010 SEPTEMBER 2010 � Volume 77 – Number 9 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser AdVertisiNg sAles Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] offices 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] customer serVice 877-904-5299 [email protected] coNtributors Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, How- ard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Jennifer -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
TELEVISION Part I of a Survey, by Leonard Feather
::3 TELEVISION Part I Of A Survey, By Leonard Feather FOR THE RECORD—and in the interests of enlightening Another one-shot special was Duke Ellington Swings posterity and giving credit that is seldom acknowledged— through Japan, a segment of the Columbia Broadcasting it should be said that the last few weeks of 1964 and the System's Twentieth Century series, seen just before Christ• first couple of months of 1965 were a fruitful period for mas. television jazz. In contrast with the Condon show, which could have The skeptic may reply: "Yeah? I didn't see Miles take said in a half-hour all it had to say, this was squeezed into over The Lawrence Welk Show." 30 minutes when it could well have run twice as long. Its But in assessing the manner and extent of the use of brevity was the only thing wrong with it; in almost every jazz in this medium it is reasonable to take certain facts other respect it was one of the best shows of its kind ever into consideration. One is that the prime-time evening screened. television program, for the most part, is aimed at securing Produced by Isaac Kleinerman and admirably written the attention of as many as possible of the 192,000,000 by Jack Beck, this was the story of a band on tour. It potential viewers in the United States. did not purport to be a program of music, though there Another is the inescapable logic of the argument that were enough extended excerpts from concerts to give it music per se is not visual, and that classical music, pop meaning on this level also. -
Bob Gordon Discography
BOB GORDON DISCOGRAPHY BOB GORDON RECORDINGS, CONCERTS AND WHEREABOUTS Bob Gordon was born in St. Louis, Missouri, June 11, 1928. He passed away in a car accident between Hollywood and San Diego, CA., August 28, 1955 by Kenneth Hallqvist, Sweden January 2019 Bob Gordon DISCOGRAPHY - Recordings, Concerts and Whereabouts by Kenneth Hallqvist - page No. 1 INTERNAL INFORMATION Colour markings for physical position: IKEA-boxes with Bob Gordon = GREEN IKEA-boxes with Lars Gullin = YELLOW IKEA-boxes with Gerry Mulligan = BLUE Shelves = ORANGE Cupboard = RED Bob played tenor sax with: Shorty Sherock (1946) Alvino Ray (1948-1951) Billy May (1952) Horace Heidt (1952-1953) George Redman (1954) Search for LPs/CDs: GNP J.S.L.P. 50.042: "Maynard Ferguson - Dimensions" (Trip Jazz LP available) EMArcy LP #MG 36044: "Lyle Murphy: Four saxophones in twelwe tones" (10" LP 1955) Mercury CD EJD-1016: COMPACT JAZZ - Maynard Ferguson with Bob Gordon (released in Japan 1989) EMArcy CD #3071: "Introducing Bob Gordon" Bob Gordon DISCOGRAPHY - Recordings, Concerts and Whereabouts by Kenneth Hallqvist - page No. 2 Abbreviations used in this discography acc accordion mda mandola arr arranger mdln mandolin as alto saxophone mel melodica b bass (contrabass or double bass) mgs Moog synthesizer b-cl bass clarinet oboe oboe b-tb bass trombone oca ocarina b-tp bass trumpet org organ bars baritone saxophone p piano bgs bongos panfl pan flute bjo banjo perc percussion bnd bandoneon saxes saxophones bs bass saxophone sop soprano saxophone bsn bassoon st-d steel drums cgs -
1 BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot. -
Ilgihletter 93024-0240 December 1990 V01
P.O. Box 240 Ojai, Calif. ilgihletter 93024-0240 December 1990 V01. 9 N0. 12 brochures, newspaper cuttings, handbills, etc. Mail Bag At the risk of overstretching your generosity, if you have copies of any of your books available, these would also help During the Great Depression, a man came into a soup kitchen the cause. and, because he couldn’t see very well, needed help filling out If we can reciprocate in any way, do let me know. the forms. The next day, a volimteer brought him an old pair Kind regards, of magnifying glasses. The next week she brought a shoebox Graham Langley fiill of discarded glasses. Librarian This was the start of what is now known as New Eyes for British Institute of Jazz Studies the Needy. Based in Short Hills, New Jersey, they supply 17 The Chase, Edgcumbe Park qlilions of glasses to people _all over the world. They don’t Crowthorn, Berkshire, RG11 6HT cit money, only discarded jewehy, glasses, and old trmkets. England In my work, I visit schools all over Maine presenting a jazz improvisation workshop. I’ve recently been to Vinalhaven with If anybody on our side of the Atlantic has anything to a talented, spirited group of fourth, fifth, and sixth grade kids, contribute, I know that Graham will deeply appreciate it. who are determined to have a band. There, as in most other schools in Maine, there are kids who want to play an instru- ment and whose families can’t afford it. Rental to purchase plans are available, but for a lot of families, $20 to $40 per The Good Gray Fox month for a musical instrument just isn’t possible, so another kid falls through the cracks. -
JOE MORELLO by MARVIN BUROCK a Thesis Submitted to the School Of
JOE MORELLO By MARVIN BUROCK A thesis submitted to the School of Graduate Studies Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by ____________________________________ ____________________________________ Newark, New Jersey May 2018 ©2018 Marvin Burock ALL RIGHTS RESERVED ABSTRACT OF THE THESIS Joe Morello by MARVIN BUROCK Thesis Director: Dr. Lewis Porter Dr. Henry Martin This thesis explores legendary jazz drummer Joe Morello’s early years and musical training as well as a portion of his body of recorded drum solos. It also examines his breadth of influence across genres as well as his influence as an educator. Joe’s approach to teaching is also explored. Although hand development was one of his primary areas of focus, he also taught drum set coordination as well as the more musical aspects of drumming such as understanding song form and approaches to improvisation. This thesis also provides a unique glimpse into Joe’s drum equipment and set-up as well as his approach to tuning. The history of his drum and cymbal endorsements is also explored. The information found in this thesis is based on my more than twenty years as his pupil and drum technician. I currently serve as archivist for all of Joe’s personal effects from throughout his long and illustrious career. ii ACKNOWLEDGEMENTS AND DEDICATION I would like to express my sincere thanks to Dr. Lewis Porter and Dr. -
Spectrum Celebrates Birthday
BEACHCOMBERS BASKETBALL UNIVERSITY OF CALIFORNIA SANTA BARBARA COLLEGE BALL TONIGHT Cal Poly— 8:15 p.m. Sat., March 1 Vol. XXXVII GOLETA, CALIFORNIA, FEBRUARY 25, 1958 No. 29 SPECTRUM CELEBRATES BIRTHDAY SBC Groups Compete ‘Little Magazine’ Reviews For Awards; Annual Year One in Writers’ Realm Blood Drive Nears Celebrating its first anniversary, Spectrum, Santa Barbara Col Living-group participation in lege’s literary magazine, went on sale yesterday at the Graduate the annual Larry Adams Blood Manager’s office. Drive, slated for Friday, March Included in the anniversary issue are the first six 7, will be stressed by the award pages o f The Unnamable, a work by Samuel Beckett, never ing of two trophies. before published in English. Donald Davie and Hugh Ken Inter-Fraternity Council, spon ner have authored critical articles on Beckett’s work, which soring organization of the drive, also appear in the issue. Also will present a trophy to the liv featured in Spectrum’s W in Issue are Cy Epstein, Betty Ja ing group with the largest per ter Issue is an excerpt from mieson and Lucy Matteson. centage participation. Students William Carlos Williams’ new International Scope who attempt to donate but who book of poetry, Paterson. Established a year ago un are rejected by the Blood Bank, Student writers whose work der the Associated Students personnel will be counted as par appears in the Spectrum Winter By-Laws, Spectrum since has ticipating. had international recogni Max Caulk Award tion. The first number, The Associated Student Body brought out by Editor James is also presenting the Max Caulk DAVIE PRESENTS Bell, included work by Don Memorial Trophy to the', living ald Davie, William Carlos group participating in and con Williams, Leland Hickman, tributing most to student activi ENGLISH Y E W Jane Silver, Kent Chapman, ties and events. -
Airwaves (1981-07 And
- AIRW\VES A Service of Continuing Education and Extension l5il University of Minnesota, Duluth VOL. 2 NUMBER 8 JULY 1981 AUGUST 1981 Elbo Grease, appearing at Cornstock Festlval, August 14-16. 1 SU PPORT PU BLIC Re crl to the Listener RADIO WUTt1 itaff Station Manager .. ... Tom Livingston By Tom Livingston, Station Manager Program Director ..... ... John Ziegler Asst. Program Director .. .. Paul Schmitz Engineering . • . Kirk Kirsten GOOD NEWS/BAD NEWS Cuts will be made in two major areas. 5. Other Programs-possibilities Producer/ Outreach ....... Jean Johnson First, about half of the funding cut will include "Ja;.z Alive," "Folk Festival Layout ...... ....... - ... Cathe Hice This has been a month of good news come from money that was scheduled to USA," "NPR Theatre" and many be used for purchase of new equipment, and bad news, that all came on the same more. AIRWAVES is the monthly program dayl and the other half will come from the guide of WDTH, which is the 100,000 areas of programming, maintenance, While none of these changes will take wall public radio station at the First, the good news is that as reported office supplies, travel, and the program place until we can arrange to get access University of Minnesota-Duluth. in this column last month, the guide. Hopefully, the only area where to the programs (perhaps as much as a WDTH is part of University Media Corporation for Public Broadcasting you will immediately notice these cuts year from now), we'd like to hear what Resources, a department of Continuing , has officially qualified WDTH for will be in the program guide, which you think about these possibilities. -
Young Sudbury Singers to Present the Legendary Jerry Granelli, and Are Thrilled to Help Present the Nostalgic, Heartwarming Tunes We All Know from Charlie Brown
Inside cover – Jazz Sudbury ad (1/2 page) Approx 4.8”wide by 3.8” high Travelway Inn ad (1/2 page) Approx 4.8”wide by 3.8” high Welcome, and Christmas Greetings! This holiday season, Jazz Sudbury would like to thank you for your tremendous support of jazz music and all arts and culture initiatives throughout our community. Your continued engagement allows us to pursue our dream of promoting jazz culture and music excellence in our community. We also want to recognize all of our community partners who continue to help us build upon the rapidly growing artistic landscape of Greater Sudbury. Entering our 9th season, we’re honored to partner with the Young Sudbury Singers to present the legendary Jerry Granelli, and are thrilled to help present the nostalgic, heartwarming tunes we all know from Charlie Brown. We hope you enjoy this one-of-a-kind experience as we continue to bring you more than just jazz, all year long! Marc Gareau| Festival Manager | Jazz Sudbury The Jerry Granelli Trio’s Tales of A Charlie Brown Christmas It was fifty-one years ago, 1965; drummer Jerry Granelli, the newest member of the Vince Guaraldi Trio, with Fred Marshall on bass, went into a San Francisco studio one afternoon. In one three-hour session, they recorded the soundtrack for a scrappy little animated Christmas special featuring the Peanuts gang. The trio had never even seen any of the artwork. No one knew that this would become the iconic soundtrack to the classic A Charlie Brown Christmas. They were in and out of the studio in a flash, quickly packing up their instruments for another gig that night.