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ELLINGTON '2000 - by Roger Boyes
TH THE INTERNATIONAL BULLETIN22 year of publication OEMSDUKE ELLINGTON MUSIC SOCIETY | FOUNDER: BENNY AASLAND HONORARY MEMBER: FATHER JOHN GARCIA GENSEL As a DEMS member you'll get access from time to time to / jj£*V:Y WL uni < jue Duke material. Please bear in mind that such _ 2000_ 2 material is to be \ handled with care and common sense.lt " AUQUSl ^^ jj# nust: under no circumstances be used for commercial JUriG w «• ; j y i j p u r p o s e s . As a DEMS member please help see to that this Editor : Sjef Hoefsmit ; simple rule is we \&! : T NSSESgf followed. Thus will be able to continue Assisted by: Roger Boyes ^ fueur special offers lil^ W * - DEMS is a non-profit organization, depending on ' J voluntary offered assistance in time and material. ALL FOR THE L O V E D U K E !* O F Sponsors are welcomed. Address: Voort 18b, Meerle. Belgium - Telephone and Fax: +32 3 315 75 83 - E-mail: [email protected] LOS ANGELES ELLINGTON '2000 - By Roger Boyes The eighteenth international conference of the Kenny struck something of a sombre note, observing that Duke Ellington Study Group took place in the we’re all getting older, and urging on us the need for active effort Roosevelt Hotel, 7000 Hollywood Boulevard, Los to attract the younger recruits who will come after us. Angeles, from Wednesday to Sunday, 24-28 May This report isn't the place for pondering the future of either 2000. The Duke Ellington Society of Southern conferences or the wider activities of the Ellington Study Groups California were our hosts, and congratulations are due around the world. -
Black, Brown and Beige
Jazz Lines Publications Presents black, brown, and beige by duke ellington prepared for Publication by dylan canterbury, Rob DuBoff, and Jeffrey Sultanof complete full score jlp-7366 By Duke Ellington Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP) International Copyright Secured. All Rights Reserved. Reprinted by Permission. Logos, Graphics, and Layout Copyright © 2017 The Jazz Lines Foundation Inc. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA duke ellington series black, brown, and beige (1943) Biographies: Edward Kennedy ‘Duke’ Ellington influenced millions of people both around the world and at home. In his fifty-year career he played over 20,000 performances in Europe, Latin America, the Middle East as well as Asia. Simply put, Ellington transcends boundaries and fills the world with a treasure trove of music that renews itself through every generation of fans and music-lovers. His legacy continues to live onward and will endure for generations to come. Wynton Marsalis said it best when he said, “His music sounds like America.” Because of the unmatched artistic heights to which he soared, no one deserves the phrase “beyond category” more than Ellington, for it aptly describes his life as well. When asked what inspired him to write, Ellington replied, “My men and my race are the inspiration of my work. I try to catch the character and mood and feeling of my people.” Duke Ellington is best remembered for the over 3,000 songs that he composed during his lifetime. -
Ellington! 11 AM 2015 2016 BROADEN the HORIZONS of YOUR CLASSROOM
LEARNING LINKS JazzReach: WEDNESDAY OCTOBER 21 2015 Ellington! 11 AM 2015 2016 BROADEN THE HORIZONS OF YOUR CLASSROOM. EXPERIENCE THE VIBRANT WORLD OF THE ARTS AT THE McCALLUM! McCALLUM THEATRE INSTITUTE PRESENTS “My men and my race JazzReach: Ellington! are the inspiration of my work. I try to catch the character and mood and feeling of my people.” WEDNESDAY OCTOBER 21 2015 Duke Ellington 11 AM Connecting to Curriculum and Students’ Lives! HISTORY • New York, African-American history ARTS • Jazz, musical instruments Expanding the Concept of Literacy What is a “text”? We invite you to consider the performances on McCallum’s Field Trip Series as non- print texts available for study and investigation by your students. Anyone who has shown a filmed version of a play in their classroom, used a website as companion to a textbook, or asked students to do online research already knows that “texts” don’t begin and end with textbooks, novels, and reading packets. They extend to videos, websites, games, plays, concerts, dances, radio programs, and a number of other non-print texts that students and teachers engage with on a regular basis. We know that when we expand our definition of texts to the variety of media that we use in our everyday lives, we broaden the materials and concepts we have at our disposal in the classroom, increase student engagement, and enrich learning experiences. Please consider how utilizing your McCallum performance as a text might align to standards established for reading, writing, speaking, listening, and language. How do we help students to use these texts as a way of shaping ideas and understanding the world? Please use this material to help you on this journey. -
RCA Victor LJM 3000 10 Inch Jazz Series
RCA Discography Part 34 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor LJM 3000 10 Inch Jazz Series The LJM releases were dedicated to jazz recordings. LJM 3000 – Brad Gowans and His New York Nine – Brad Gowans [1954] Poor Butterfield/I'm Coming Virginia/Jazz Me Blues/Stompin' At The Savoy/Singin' The Blues/Clari-Jama/Carolina In The Morning/Jada LJM 3001 – Progressive Piano – Various Artists [1954] Cover by Andy Warhol. Out of Nowhere - Art Tatum/Erroll’s Blues - Erroll Garner/Get Happy - Andre Previn/Just Judy - Lennie Tristano/Oop’s My Lady - Beryl Booker/Plus one song by Ellis Larkins, Eddie Heywood, and Mary Lou Williams LJM 3002 – Mundell Lowe Quintet - Mundell Lowe [1954] Spring Will Be A Little Late This Year/Pantomime/Prelude To A Kiss/There Goes Rusty!/How Long Has This Been Going On/Darn That Dream/Spring Is Here/Street Of Dreams/Takin' The Blues For A Walk LJM 3003 – Jazz on the Campus – Max Kaminsky [1954] Jazz On The Campus/I Wish I Could Shimmy Like My Sister Kate/Shim-Me-Sha-Wabble/Whiffenpoof Song/If I Had My Way/Ugly Chile/Satanic Blues/Carey Me Back To Old Kaminsky RCA Victor LJM 1000 12 Inch Jazz Series LJM 1000 – Hot Mallets – Lionel Hampton [4/54] Stompology/I'm On My Way From You/Ring Dem Bells/Confessin' (That I Love You)/Shufflin' At The Hollywood/Memories Of You/Hot Mallets/I Surrender, Dear/Rhythm, Rhythm/I Can't Get Started/I Just Couldn't Take It, Baby/After You've Gone LJM 1001 – Barbara Carroll Trio – Barbara Carroll Trio [1954] I Want A Little Girl/What's The Use -
Mount Harissa Full Score
Jazz Lines Publications Presents Mount harissa From ‘IMPRESSIONS OF THE FAR EAST SUITE’ Arranged by duke ellington Prepared for Publication by Peter Jensen, Dylan Canterbury, Rob DuBoff, and Jeffrey Sultanof full score jlp-7405 By Duke Ellington Copyright © 1967 (Renewed) by Tempo Music, Inc., Music Sales Corporation All Rights for Tempo Music, Inc. administered by Music Sales Corporation (ASCAP) International Copyright Secured. All Rights Reserved. Used by Permission. Logos, Graphics, and Layout Copyright © 2015 The Jazz Lines Foundation Inc. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA duke ellington/billy strayhorn series mount harissa [from impressions of the far east suite] (1964) Biographies: Duke Ellington influenced millions of people both around the world and at home. In his fifty-year career, he played over 20,000 performances in Europe, Latin America, and the Middle East as well as Asia. Simply put, Ellington transcends boundaries and fills the world with a treasure trove of music that renews itself through every generation of fans and music-lovers. His legacy continues to live onward and will endure for generations to come. Wynton Marsalis said it best when he said, “His music sounds like America.” Because of the unmatched artistic heights to which he soared, no one deserves the phrase “beyond category” more than Ellington, for it aptly describes his life as well. When asked what inspired him to write, Ellington replied, “My men and my race are the inspiration of my work. -
An Evening with the Duke
An Evening with the Duke The University Musical Society presents Duke Ellington and His Orchestra in a Special Benefit Concert SATURDAY EVENING, NOVEMBER 11, 1972, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN Mood Illdigo Mood ltldigo Sophisticatfd Lady Sophisticated Lady Solitllde Solitude I Lei A SOllg Go I Let A Song Go Out of My Hearl Out of My Heart DOIl't Get Around Don't Get Aroulld Milch A Ilymore Much Altymore I Got It Bad I Got It Bad Do N otMltg Til l'au Do Nothing Til You Hear From Me Hear From Me I'm Beginllillg to I'm Begilm ing to See Ihe Ligltt See the Light I'm Just A Lucky The Ann Arbor and University community I'm Just A Lucky So-alld-So welcomes Duke Ellington and his colleagues. So-and-So Just Squeeze Me Just Squeeze Me Satill Doll Their cooperation in making this evening pos Satin Doll Blac k alld Tall sible for the benefit of the University Musical Black ana Tall Fantasy Fantasy Creole Love Call Society is deeply appreciated. Creole Love Call The Mooche The Mooche Rockill' ill Rhythm Rockill' in Rhythm Warm Valley Warm Valley C Jam Bllles C Jam Blues III a Mellotone 111 a Mellotone Happy-Go-Lucky Happy-Go-Lucky Local Special Benefit Committee Local Afro-Bossa Afro-Bossa Black, Browll and Black, Brown alld Beige Sarah G. Power, Chairman Beige The Liberiall Suite Mary S. Palmer, Hazen J. Schumacher, Jr., The Liberian Suite The Perfume Suite The Perfume Suite Deep SOltth Suite Lois U. -
Jazz Notes TM the Journal of the Jazz Journalists Associationsm
Jazz Notes TM The Journal of the Jazz Journalists AssociationSM Vol. 18, No. 4 • Winter 2008 From the Editor 2 Arriving at jazz criticism by way of the city desk. President’s Report 3 Reporting on Jazz 8 By Ashante Infantry Somewhere Over 4 Nine Minutes riting about jazz h a s b e e n t he In The Other Room — that didn’t appeal to By Cyril Moshkow most challenging yet adaptable the Star’s jazz critic. W undertaking of my journalism Interest piqued, I began to help out on the After You’ve Gone 5 career. I’d worked primarily on the city beat — reviewing a festival appearance By John McDonough news side after joining the Toronto Star by Joshua Redman, interviewing Sonny staff in 1995. But I always contributed to Rollins for an advancer — and audited the entertainment pages, writing mostly Tom Terrell 7 a university course on jazz history and about hip-hop and R&B, out of personal criticism. Before long I was hooked by the interest in music that wasn’t being cov- beauty and tradition of the music and its Book Reviews 8 ered in the paper and for the opportunity personalities, controversies and complex- By David R. Adler, Stuart Broomer to write more creatively. ities. I eventually assumed the mantle in and Ken Dryden the wake of the retirement of the paper’s I had a passing familiarity with jazz longtime jazz critic. Though juggling pop News of Members 8 (Miles, Billie, the Marsalises) when and jazz criticism is sometimes hectic, I pitched a few years ago by a Verve pub- hope that those who read me for J.Lo and licist about a series of recordings — Jamie New Members 13 Cullum, RH Factor, Diana Krall’s The Girl continued on page 17 | » Dale Lind Retires 15 By arnold jay smith R.I.P., 2007 19 IN THIS ISSUE IN ON THE COVER: Ornette Coleman at the 2004 JVC Jazz Festival in Newport, Rhode Island. -
EARL HINES PLAYS New World Records 80361 DUKE ELLINGTON
EARL HINES PLAYS New World Records 80361 DUKE ELLINGTON When time pulled the rug from under Earl Hines in 1983, he was still enjoying a comeback that had lasted almost twenty years. That comeback was one of the most important events in recent jazz history and the music included here was recorded when his return to action was in high gear. In 1964, when Stanley Dance talked him into appearing for two performances at the Little Theater in New York, Hines had been in near obscurity and on the verge of retiring. Few at that point understood or valued his position in the development of jazz. Like too many others, Hines had by then begun to experience the dismay of one who had not only been of seminal significance to the language of his instrument but had also been very popular at one time. But as of that engagement in 1964, at fifty-eight, he was working again, and in circumstances that did not reduce him to “bookings with a trio into the kind of after-theater clubs that feature self-effacing music, as an unobtrusive accompaniment to the patrons' conversation,” as Martin Williams wrote of Hines's worst professional period. That episode had been so appalling because Hines was the “seer” of modern piano-playing, in just the same way that Louis Armstrong was the seer of modern trumpet-playing: the solutions found within his approach indelibly influenced his contemporaries, in absolute terms, and the future by implication. To the orchestral style of Afro-American piano formed of ragtime, stride, and blues, Hines added a linear approach that was a counterpoint to what Armstrong was doing on his horn. -
Guide to the John Gensel Collection of Duke Ellington Music
Guide to the John Gensel Collection of Duke Ellington Music NMAH.AC.0763 Will Crafton 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 Scope and Contents note................................................................................................ 2 Biographical/Historical note.............................................................................................. 2 Arrangement..................................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Joe Morgen Correspondence and Records, 1946-1979........................... 4 Series 2: Photographs, Slides, and Negatives, 1960s-1970s.................................. 5 Series 3: Judy Garland Show Sheet Music, 1963-1964.......................................... 6 Series 4: Ellington Materials, 1950s-1960s.............................................................. 7 Series 5: Sound -
Derick Cordoba Dissertation
© 2017 Derick Cordoba LITURGICAL JAZZ: THE LINEAGE OF THE SUBGENRE IN THE MUSIC OF EDGAR E. SUMMERLIN BY DERICK CORDOBA DISSERTATION Submitted in partial fuLfiLLment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Jazz Performance in the Graduate CoLLege of the University of IlLinois at Urbana-Champaign, 2017 Urbana, IlLinois Doctoral Committee: Associate Professor Lawrence Gray, Chair Professor GabrieL SoLis, Director of Research Associate Professor Tito CarriLLo Professor Erik Lund ABSTRACT This dissertation discusses the Lineage of Liturgical jazz with a particuLar focus on Edgar Eugene “Ed” SummerLin (1928-2006). This Lineage stretches back into the Late 1950s, but has LargeLy been unexplored beyond a seLect few high-profiLe artists. I trace the evoLution of Liturgical jazz from several composers’ earLiest attempts to the present day. ALthough the Liturgical jazz movement began in the Late 1950s, it was primariLy a product of the turbuLent 1960s in America. This was a period of great change and expLoration not onLy in jazz but in organized reLigion as weLL. A deep and frank discussion emerged as to what Liturgical music shouLd and wouLd be alLowed to sound Like. These decisions at the highest LeveLs of denominations had ramifications that are stiLL being feLt today in the churches of America; however, the primary focus of this dissertation is on the formative period of Liturgical jazz during the 1960s and earLy 1970s. These years give a basis for better understanding and appreciating the deveLopment and defining features of Liturgical jazz. SummerLin is a figure that is often cited as a pioneer in Liturgical jazz, but no one has offered a history of his Life, his music, or why his Liturgical music was so revoLutionary. -
Remembering Duke Ellington
555017 rr DukeEU 21/07/2004 03:10pm Page 1 CMYK N ‘He moved with all the influences of the time, from blues to bebop and the moderns, and transmuted AXOS them into his own…’ (Alistair Cooke). For most of his long and illustrious career Duke Ellington was a major figure in jazz, and an active participant in the evolution of recordings spanning the years 1923 to 1973. By the early 1930s he was already established as a top bandleader, and celebrated both as an 8.555017 arranger and a composer in his own right. Always willing to adapt, Duke mirrored and often anticipated new directions and it is to this that we owe the existence of many of the great standards DDD recorded on this CD in arrangements by Richard Hayman. 8.555017 Remembering Duke Ellington Playing Time REMEMBERING DUKE ELLINGTON 56:11 1 Take The ‘A’ Train * 3:45 2 Do Nothing Till You Hear From Me * 2:42 3 I Got It Bad And That Ain’t Good 4:00 4 Mood Indigo 3:01 5 I Let A Song Go Out Of My Heart * 2:46 6 Caravan 4:31 7 Sophisticated Lady 3:45 8 Satin Doll 2:34 9 I’m Beginning To See The Light 2:49 www.naxos.com Made in the EU Booklet notes in English • Kommentar auf Deutsch International Limited. h 0 Solitude 3:14 1995 & ! Sweet Georgia Brown * 4:00 @ Black And Tan Fantasy * 3:43 # Alcibiades (from Timon of Athens) 2:53 g 2004 Naxos Rights $ The Mooch 3:34 % It Don’t Mean A Thing If It Ain’t Got That Swing 2:32 REMEMBERING DUKE ELLINGTON ^ Love Scene 2:15 & Don’t Get Around Much Anymore 2:58 RTÉ Concert Orchestra, Dublin • Richard Hayman All tracks by Duke Ellington except: 1 Strayhorn; 2 Ellington / Russell; 8.555017 5 Ellington / Mills / Nemo / Redmond; ! Bernie / Casey / Pinkard; @ Miley / Ellington Recorded in the RTÉ Studio 1, Dublin, 5th-7th January and 6th-7th April 1993 Producer: Chris Craker • Engineer: David Harries • Booklet Notes: Peter Dempsey AXOS Cover Image: Duke Ellington, Chicago (undated publicity photo), AKG London N. -
Duke Ellington
FROM: AMERICAN BALLET THEATRE 890 Broadway New York, New York 10003 (212) 477-3030 DUKE ELLINGTON Duke Ellington, born April 29, 1899 in Washington, D.C., was an American pianist who was the greatest jazz composer and bandleader of his time. One of the originators of big-band jazz, Ellington led his band for more than half a century, composed thousands of scores and created one of the most distinctive ensemble sounds in all Western music. Ellington grew up in a secure middle-class family in Washington, D.C. His family encouraged his interests in the fine arts, and he began studying piano at age seven. He became engrossed in studying art during his high-school years, and he was awarded, but did not accept, a scholarship to the Pratt Institute, Brooklyn, New York. Inspired by ragtime performers, he began to perform professionally at age 17. Ellington first played in New York City in 1923. Later that year he moved there and, in Broadway nightclubs, led a seXtet that grew in time into a 10-piece ensemble. The singular blues-based melodies; the harsh, vocalized sounds of his trumpeter, Bubber Miley (who used a plunger [“wa-wa”] mute); and the sonorities of the distinctive trombonist Joe (“Tricky Sam”) Nanton (who played muted “growl” sounds) all influenced Ellington’s early “jungle style,” as seen in such masterpieces as “East St. Louis Toodle-oo” (1926) and “Black and Tan Fantasy” (1927). Extended residencies at the Cotton Club in Harlem (1927–32, 1937–38) stimulated Ellington to enlarge his band to 14 musicians and to expand his compositional scope.