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Brand New Beat
Ready for a BRAND NEW BEAT How “DANCING IN THE STREET” Became the Anthem for a Changing America MARK KURLANSKY Riverhead Books A member of Penguin Group (USA) Inc. New York 2013 C H APT E R O N E ARE YOU RE ADY? or my generation rock was not a controversy, it was a fact. F My earliest memory of rock ’n’ roll is Elvis Presley. For others it may be Bill Haley or Chuck Berry. For people born soon after World War II, rock ’n’ roll was a part of childhood. The rock- ers, especially Elvis, are remembered as controversies. But there was no controversy among the kids. They loved the songs, their sense of mischief and especially the driving beat. The controversy came from adults. Only adults attacked Elvis or rock ’n’ roll. The controversy was only in their minds—on their lips. It was the begin- ning of what came to be known as “the generation gap,” a phrase coined by Columbia University president Grayson Kirk in April 1968, shortly before students seized control of his campus. There has never been an American generation that so identified with its music, regarded it as its own, the way the Americans who grew up in the 1950s and 1960s did. The music that started as a subversive movement took over the culture and became a huge, commercially dominant industry. The greatest of the many seismic shifts in the music industry is that young people became the target audience. In no previous generation had the main thrust of popular music been an attempt to appeal to people in their teens. -
88-Page Mega Version 2016 2015 2014 2013 2012 2011 2010
The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! 88-PAGE MEGA VERSION 2017 2016 2015 2014 2013 2012 2011 2010 COMBINED jazz & blues report jazz-blues.com The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! INDEX 2017 Gift Guide •••••• 3 2016 Gift Guide •••••• 9 2015 Gift Guide •••••• 25 2014 Gift Guide •••••• 44 2013 Gift Guide •••••• 54 2012 Gift Guide •••••• 60 2011 Gift Guide •••••• 68 2010 Gift Guide •••••• 83 jazz &blues report jazz & blues report jazz-blues.com 2017 Gift Guide While our annual Gift Guide appears every year at this time, the gift ideas covered are in no way just to be thought of as holiday gifts only. Obviously, these items would be a good gift idea for any occasion year-round, as well as a gift for yourself! We do not include many, if any at all, single CDs in the guide. Most everything contained will be multiple CD sets, DVDs, CD/DVD sets, books and the like. Of course, you can always look though our back issues to see what came out in 2017 (and prior years), but none of us would want to attempt to decide which CDs would be a fitting ad- dition to this guide. As with 2016, the year 2017 was a bit on the lean side as far as reviews go of box sets, books and DVDs - it appears tht the days of mass quantities of boxed sets are over - but we do have some to check out. These are in no particular order in terms of importance or release dates. -
Modeling Musical Influence Through Data
Modeling Musical Influence Through Data The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:38811527 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Modeling Musical Influence Through Data Abstract Musical influence is a topic of interest and debate among critics, historians, and general listeners alike, yet to date there has been limited work done to tackle the subject in a quantitative way. In this thesis, we address the problem of modeling musical influence using a dataset of 143,625 audio files and a ground truth expert-curated network graph of artist-to-artist influence consisting of 16,704 artists scraped from AllMusic.com. We explore two audio content-based approaches to modeling influence: first, we take a topic modeling approach, specifically using the Document Influence Model (DIM) to infer artist-level influence on the evolution of musical topics. We find the artist influence measure derived from this model to correlate with the ground truth graph of artist influence. Second, we propose an approach for classifying artist-to-artist influence using siamese convolutional neural networks trained on mel-spectrogram representations of song audio. We find that this approach is promising, achieving an accuracy of 0.7 on a validation set, and we propose an algorithm using our trained siamese network model to rank influences. -
Pi Kappa Alpha Cops 1956 Basketball Title
A l l ) am pghtre VOLUME NO. 46 ISSUE 3 U N IV E R SIT Y OF N E W H AM PSH IR E, D U R H AM , N. H. — Feb. 23, 1956 PRICE — SEVEN CENTS INTRAMURALS Enthusiastic Participation In Carnival Pi Kappa Alpha Cops Events Makes Weekend A Success The thirty-fifth annual Winter Carnival at UNH can be termed 1956 Basketball Title a huge success. Almost every event planned by the Outing Club By Mary Emanuel Campus Chest Aids was attended by a capacity audience, after thorough advance publici ty- v “Pike” Big Red hoopsters knocked off Acacia Fraternity 60-55 The Carnival opened with a movie “Scotch on the Rocks” high before a large and enthusiastic crowd. Marty Brown was high scorer Negro College Fund lighting the program at the Franklin Theater early Thursday night. with 26 tallies for the winners and Big Jim Walker paced the losers Campus Chest, which makes its annual There was standing room only. After the with 22 points. Alexander Hall notched the third place honors by drive April 7-14, is presenting the hasic movie, a torchlight parade led the way to forfeit win over East-West. idea of eleven national and regional or the front of T-Hall where President ganizations. In April, small chests will Eldon L. Johnson installed Miss Betty PiKA got off to a fast start with Marty Brown hitting for be placed in each dorm and a large chest Ann Clark as Winter Carnival Queen at fabulous 19-point total in the first half. -
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. -
Alabama African American Historic Sites
Historic Sites in Northern Alabama Alabama Music Hall of Fame ALABAMA'S (256)381-4417 | alamhof.org 617 U.S. Highway 72 West, Tuscumbia 35674 The Alabama Music Hall of Fame honors Alabama’s musical achievers. AFRICAN Memorabilia from the careers of Alabamians like Lionel Richie, Nat King Cole, AMERICAN W. C. Handy and many others. W. C. Handy Birthplace, Museum and Library (256)760-6434 | florenceal.org/Community_Arts HISTORIC 620 West College Street, Florence 35630 W. C. Handy, the “Father of the Blues” wrote beloved songs. This site SITES houses the world’s most complete collection of Handy’s personal instruments, papers and other artifacts. Information courtesy of Jesse Owens Memorial Park and Museum alabama.travel (256)974-3636 | jesseowensmuseum.org alabamamuseums.org. 7019 County Road 203, Danville 35619 The museum depicts Jesse Owens’ athletic and humanitarian achieve- Wikipedia ments through film, interactive exhibits and memorabilia. Scottsboro Boys Museum and Cultural Center (256)609-4202 428 West Willow Street, Scottsboro 35768 The Scottsboro Boys trial was the trial pertaining to nine black boys allegedly raping two white women on a train. This site contains many artifacts and documents that substantiate the facts that this trial of the early 1930’s was the beginning of the Civil Rights Movement. State Black Archives Research Center and Museum 256-372-5846 | stateblackarchives.net Alabama A&M University, Huntsville 35810 Unique archive museum center which serves as a repository of African Ameri- can history and culture providing a dialogue between present and past through archival collections and exhibits. Weeden House Museum 256-536-7718 | weedenhousemuseum.com 300 Gates Avenue, Huntsville 35801 Ms. -
Of Music. •,..,....SPECIAUSTS • RECORDED MUSIC • PAGE 10 the PENNY PITCH
BULK ,RATE U.S. POSTAGE PAID Permit N•. 24l9 K.C.,M •• and hoI loodl ,hoI fun! hoI mU9;cl PAGE 3 ,set. Warren tells us he's "letting it blow over, absorbing a lot" and trying to ma triculate. Warren also told PITCH sources that he is overwhelmed by the life of William Allan White, a journalist who never graduated from KU' and hobnobbed with Presidents. THE PENNY PITCH ENCOURAGES READERS TO CON Dear Charles, TR IBUTE--LETTERSJ ARTICLES J POETRY AND ART, . I must congratulate you on your intelli 4128 BROADWAY YOUR ENTR I ES MAY BE PR I NTED. OR I G I NALS gence and foresight in adding OUB' s Old KANSAS CITY, MISSDURI64111 WI LL NOT BE RETURNED. SEND TO: Fashioned Jazz. Corner to PENNY PITCH. (816) 561·1580 CHARLES CHANCL SR. Since I'm neither dead or in the ad busi ness (not 'too sure about the looney' bin) EDITOR .•...•. Charles Chance, Sr. PENNY PITCH BROADWAY and he is my real Ole Unkel Bob I would ASSISTING •.• Rev. Dwight Frizzell 4128 appreciate being placed on your mailing K.C. J MO 64111 ••. Jay Mandeville I ist in order to keep tabs on the old reprobate. CONTRIBUTORS: Dear Mr. Chance, Thank you, --his real niece all the way Chris Kim A, LeRoi, Joanie Harrell, Donna from New Jersey, Trussell, Ole Uncle Bob Mossman, Rosie Well, TIME sure flies, LIFE is strange, and NEWSWEEK just keeps on getting strang Beryl Sortino Scrivo, Youseff Yancey, Rev. Dwight Pluc1cemin, NJ Frizzell, Claude Santiago, Gerard and er. And speaking of getting stranger, l've Armell Bonnett, Michael Grier, Scott been closely following the rapid develop ~ Dear Beryl: . -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz. -
Magic City Jazz: John T. “Fess” Whatley and the Roots of the Birmingham Jazz Tradition
MAGIC CITY JAZZ: JOHN T. “FESS” WHATLEY AND THE ROOTS OF THE BIRMINGHAM JAZZ TRADITION Burgin Mathews A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Folklore. Chapel Hill 2020 Approved by: Glenn Hinson Bill Ferris Patricia Sawin Tolton Rosser © 2020 Burgin Mathews ALL RIGHTS RESERVED ii ABSTRACT: Burgin Mathews: Magic City Jazz: John T. “Fess” Whatley and the Roots of the Birmingham Jazz Tradition (Under the direction of Glenn Hinson) The city of Birmingham, Alabama, was once home to a thriving music community that helped shape the sound and culture of jazz nationwide; at the heart of this tradition was a public schoolteacher named John T. “Fess” Whatley. Often consigned by historians to the footnotes or overlooked altogether, Black educators like Whatley played a key role in the development of jazz. But these educators’ training and impact were much more than musical. In the depths of the Jim Crow South, the music provided Black individuals and communities a means of affirmation and unity, communicated a set of cultural values, and equipped students with essential strategies for survival. Remarkably, this revolutionary work was achieved through the channels of formal education and in the face of pervasive segregation. As Whatley’s own innovations demonstrated, the very restrictions of African American industrial education could be refigured as an opportunity for creativity and empowerment. iii ACKNOWLEDGEMENTS Many thanks to the four members of my thesis committee— Glenn Hinson Patricia Sawin Bill Ferris and Tolton Rosser —for graciously lending their time, support, insight, experience, and enthusiasm to this project. -
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. -
Birmingham-Travel-Planners-Guide.Pdf
TRAVEL PLANNERS GUIDE *Cover Image: The Lyric Theatre was built in 1914 as a venue for performances by national vaudeville acts. Listed on the National Register of Historic Places, the Lyric 2has | beenTRAVEL restored andPLANNERS is part of Birmingham’s GUIDE historic theater district which also includes the Alabama Theatre, a 1920s movie palace. TABLE OF CONTENTS WELCOME 07 WHAT TO DO 09 WHERE TO STAY 29 WHERE TO EAT (BY LOCATION) 53 BESSEMER/WEST 54 DOWNTOWN/SOUTHSIDE 54 EASTWOOD/IRONDALE/LEEDS 55 HOMEWOOD/MOUNTAIN BROOK/INVERNESS 55 HOOVER/VESTAVIA HILLS 55 BIRMINGHAM AREA INFORMATION 57 TRAVEL PLANNERS GUIDE | 3 GREATER BIRMINGHAM HOTELS 4 | TRAVEL PLANNERS GUIDE NORTH BIRMINGHAM DOWNTOWN BIRMINGHAM EAST BIRMINGHAM SOUTH BIRMINGHAM Best Western Plus Anchor Motel (45) American Interstate Motel (49) America’s Best Value Inn - Gardendale (1) Homewood/Birmingham (110) Apex Motel (31) America’s Best Inns Birmingham Comfort Suites Fultondale (5) Airport Hotel (46) America’s Best Value Inn & Suites - Cobb Lane Bed and Breakfast (43) Homewood/Birmingham (94) Days Inn Fultondale (8) America’s Best Inn Birmingham East (54) Courtyard by Marriott Birmingham Baymont Inn & Suites Fairfield Inn & Suites Birmingham Downtown/West (28) Americas Best Value Inn - Birmingham/Vestavia (114) Fultondale/I-65 (6) East/Irondale (65) Days Inn Birmingham/West (44) Best Western Carlton Suites Hotel (103) Hampton Inn America’s Best Value Inn - Leeds (72) Birmingham - Fultondale (4) DoubleTree by Hilton Birmingham (38) Candlewood Suites Birmingham/ Anchor Motel