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Part 2 of Selected Discography
Part 2 of Selected Discography Milt Hinton Solos Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. This is a chronological list of representative solos by Hinton as a sideman in a variety of settings throughout his career. Although not definitive, Milt was such a consistent soloist that one could cite many other equally accomplished performances. In some cases, particularly from the 1930s when bass solos were relatively rare, the recordings listed contain prominent bass accompaniment. November 4, 1930, Chicago Tiny Parham “Squeeze Me” (first Hinton recording, on tuba) 78: Recorded for Victor, unissued CD: Timeless CBC1022 (Tiny Parham, 1928–1930) January–March 1933, Hollywood Eddie South “Throw a Little Salt on the Bluebird’s Tail” (vocal) “Goofus” CD: Jazz Oracle BDW8054 (Eddie South and His International Orchestra: The Cheloni Broadcast Transcriptions) May 3, 1933, Chicago Eddie South “Old Man Harlem” (vocal) 78: Victor 24324 CD: Classics 707 (Eddie South, 1923–1937) June 12, 1933, Chicago Eddie South “My, Oh My” (slap bass) 78: Victor 24343 CD: Classics 707 (Eddie South, 1923-1937) March 3, 1937 Cab Calloway “Congo” 78: Variety 593 CD: Classics 554 (Cab Calloway, 1934–1937) January 26, 1938 Cab Calloway “I Like Music” (brief solo, slap bass) 78: Vocalion 3995 CD: Classics 568 (Cab Calloway, 1937–1938) August 30, 1939 Cab Calloway “Pluckin’ the Bass” (solo feature —slap bass) 78: Vocalion 5406 CD: Classics -
The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
What More Do We Need to Know About How to Prevent and Mitigate Displacement of Low- and Moderate-Income Households from Gentrifying Neighborhoods?
What More Do We Need to Know about How to Prevent and Mitigate Displacement of Low- and Moderate-Income Households from Gentrifying Neighborhoods? VICKI BEEN1 New York University he extent to which gentrification results in the displacement of low- and moderate-income households from neighborhoods undergoing signifi- cant change is still the subject of study and debate among urban policy researchers.2 Recent evidence suggests that, at least in areas outside low- vacancy “superstar cities”3 with intense gentrification, renters who likely Tare the most vulnerable to displacement generally do not move away from gentrifying neighborhoods at higher rates than such households move from nongentrifying areas.4 Elected officials, housing advocates, and the public, on the other hand, have no doubt that gentrification can and does cause displacement.5 There are a number of reasons the research findings on displacement may be less accu- rate or complete than reports from affected neighborhoods. First, there is considerable disagreement, especially early in the process, about which neighborhoods actually are gentrifying. Second, data tracking people’s moves to and from neighborhoods is limited because of concerns about the confidentiality of tax, social service, and other governmental data files that follow individuals over time, and because private sources of linked data, such as credit reporting bureau files, are incomplete in a variety of ways (some households don’t have credit files, for example). Third, even if residents of gentrifying neighborhoods may move no more often from gentrifying neighborhoods than similar households in other areas, they may move for different reasons. Residents of non-gentrifying neighborhoods may more often move voluntarily — seeking better neighborhoods or jobs, for example — while residents of gentrifying neighborhoods may more often move involuntarily, wanting to stay in the neighborhood but unable to afford it. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor Saxophone Musical Vocabulary
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. DELFEAYO MARSALIS NEA Jazz Master (2011) Interviewee: Delfeayo Marsalis (July 28, 1965 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: January 13, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 38 pp. Brown: Ferdinand Delfeayo Marsalis. Good to see you again. Marsalis: You too, brother. Brown: It’s been, when? – since you were working with Max and the So What brass quintet. So that was about 2000, 2001? Marsalis: That was. Brown: So that was the last time we spent some time together. Marsalis: Had a couple of chalupas since then. Brown: I knew you had to get that in there. First of all, we reconnected just the other night over – Tuesday night over at the Jazz Masters Award at Lincoln Center. So, what did you think? Did you have a good time? Marsalis: I did, to be around the true legends and masters of jazz. It was inspiring and humbling, and they’re cool too. Brown: What do you think about receiving the award? For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Marsalis: I still feel I might be on the young side for that, but I think that my life has been, so far, dedicated to jazz and furthering the cause of jazz, and it’s something that I hope to keep doing to my last days. Brown: We’ll go ahead and start the formal interview. -
Jack Kerouac and the Influence Of
JACK KEROUAC AND THE INFLUENCE OF BEBOP by David Kastin* _________________________________________________________ [This is an excerpt from David Kastin’s book Nica’s Dream: The Life and Legend of the Jazz Baroness, pages 58-62.] ike many members of his generation, Jack Kerouac had been enthralled by the dynamic rhythms of the swing era big bands he listened to on the radio as a L teenager. Of course, what he heard was the result of the same racial segregation that was imposed on most areas of American life. The national radio networks, as well as most of the independent local stations, were vigilant in protecting the homes of the dominant culture against the intrusion of any and all soundwaves of African American origin. That left a lineup of all-white big bands, ranging from "sweet" orchestras playing lush arrangements of popular songs to "hot" bands who provided a propulsive soundtrack for even the most fervent jitterbugs. Jack Kerouac: guided to the riches of African American culture… ________________________________________________________ *David Kastin is a music historian and educator who in 2011 was living in Brooklyn, New York. He was the author of the book I Hear America Singing: An Introduction to Popular Music, and a contributor to DownBeat, the Village Voice and the Da Capo Best Writing series. 1 After graduating from Lowell High School in 1939, Kerouac left the red-brick Massachusetts mill town for New York City, where he had been awarded a football scholarship to Columbia University. In order to bolster his academic credentials and put on a few pounds before his freshman season, Jack was encouraged to spend a year at Horace Mann, a Columbia-affiliated prep school popular with New York's middle-class intellectual elite. -
SCHEDULE for MAYOR BILL DE BLASIO CITY of NEW YORK Saturday, February 01, 2014
SCHEDULE FOR MAYOR BILL DE BLASIO CITY OF NEW YORK Saturday, February 01, 2014 9:40 - 10:10 AM COMMUNICATIONS CALL Staff: Monica Klein 10:15 - 10:45 AM TOBOGGAN RUN Location: Drop off: In front of 575 7th avenue Attendees: (t)Commissioner Roger Goodell , (t)Senator Charles E. Schumer, First Lady, Dante de Blasio Press Staff: Wiley Norvell 11:00 - 11:30 AM SUPERBOWL BOULEVARD FIELD GOAL KICK Location: Superbowl Boulevard, Broadway bewtween 45th & 46th Streets Attendees: Dante de Blasio 1:50 - 3:00 PM SUPER BOWL XLVIII HANDOFF CEREMONY Location: Roman Numerals Stage Drop Off: 7th avenue b/w 42nd and 43rd street Attendees: (t) Governor Christie; (t) Governor Cuomo; Governor Brewer(Arizona); Woody Johnson, NY/NJ Super Bowl Host Committee Co-Chair & NY Jets Owner; Jonathan Tisch, NY/NJ Super Bowl Host Committee Co-Chair & NY Giants Owner ; Al Kelly, NY/NJ Super Bowl Host Committee President and CEO (Emcee); Michael Bidwill, Arizona Cardinals Owner; David Rousseau, Arizona Super Bowl Host Committee; Jay Parry, Arizona Super Bowl Host Committee CEO Press Staff: Wiley Norvell, Marti Adams 3:00 - 3:30 PM DEPART BOWL XLVIII HANDOFF CEREMONY EN ROUTE RESIDENCE Drive Time: 30 mins Car : BdB, DdB, Follow: Javon SCHEDULE FOR MAYOR BILL DE BLASIO CITY OF NEW YORK Sunday, February 02, 2014 7:00 - 7:45 AM STATEN ISLAND GROUNDHOG DAY CEREMONY Location: Staten Island Zoo 614 Broadway, Staten Island, NY Attendees: Audience: 700 people On Stage: Comptroller Scott Stringer (t); Council Member Vincent Gentile; Reginald Magwood, NYS Park Director, representing -
Minimum Parking Requirements, Transit Proximity and Development in New York City
McDonnell, Madar & Been 1 Minimum Parking Requirements, Transit Proximity and Development in New York City Simon McDonnell* Josiah Madar Vicki Been Furman Center for Real Estate and Urban Policy New York University 110 West 3rd Street Room 209F New York 10012 *Corresponding Author ABSTRACT New York City policymakers are planning for a city of over 9 million residents by 2030, a large increase from today. A central goal of City officials is to accommodate this increase while simultaneously improving the City’s overall environmental performance, addressing externalities arising from traffic congestion and providing increased access to affordable housing. The requirement in the City’s zoning code that new residential construction be accompanied by a minimum number of off-street parking spaces, however, may conflict with this goal. Critics argue that parking requirements bundle the cost of unnecessary new parking with new housing, not only increasing the cost of housing, but also reducing the density at which it can be built. Facilitating car ownership by requiring parking may also lead to increases in auto-related externalities. In this research, we combine a theoretical discussion of parking requirements in New York City with a quantitative analysis of how they relate to transit and development opportunity. Using lot-level data and GIS we estimate two measures of the parking requirement for each lot and at a City, borough and neighborhood level. Our results indicate that the per unit parking requirement is, on average, lower in areas near rail transit stations, consistent with the City’s development goals. However, we also find that the required number of spaces per square foot of land area is higher, on average, in these areas. -
CONGRESSIONAL RECORD— Extensions Of
March 1, 2007 CONGRESSIONAL RECORD — Extensions of Remarks E443 ideals, if we do not forget that our nation was modern pop culture. LL Cool J, known as the TRIBUTE TO THE LATE STATE founded on the premise that all men are crea- Hip-Hop Statesman hails from Hollis, Queens SENATOR SHERMAN JONES tures of God’s making, the world will come to as well. know that it is free men who carry forward the From the sports world, The Great Joe true promise of human progress and dignity.’’ Louis—World Heavyweight Boxing Champion HON. DENNIS MOORE Indeed, Josh’s life was the embodiment of from 1937 to 1949, and Jackie Robinson, the OF KANSAS this. He was a man who was known by per- first Black major league baseball player in the sons of all races, ages, and religions for both country, lived in Addisleigh Park. Former IN THE HOUSE OF REPRESENTATIVES his kind deeds and his loving, unselfish heart. Knicks’ forward Anthony Mason was born and Thursday, March 1, 2007 Madam Speaker, dedicated service to others raised in St. Albans. has been the embodiment of Josh’s life. May The Sixth Congressional District has been Mr. MOORE of Kansas. Madam Speaker, I we all use his wisdom and selflessness as a home to many African American Statesmen, rise today to pay a personal tribute to my beacon of direction and a source of true en- including Ralph Bunche—the 1950 Nobel good friend and trusted advisor for many lightenment. Indeed, may God bless to all of Peace Prize Winner, Roy Wilkins—civil rights years, former State Senator Sherman Jones of our memories the life and legacy of Private leader, Andrew Young—former Ambassador to Kansas City, Kansas, who died on February Joshua Mozingo. -
Milt Hinton Institute Convenes at Oberlin & Milt Hinton Day Scheduled for June 16
Milt Hinton Institute convenes at Oberlin & Milt Hinton Day scheduled for June 16 by Mike Telin For seven decades, bassist Milt Hinton played with the most influential artists in American music. While doing so, Hinton chronicled his experiences through the lens of his everpresent camera. This week the Oberlin Conservatory will celebrate its ties to the late performer with the Milt Hinton Institute for Studio Bass, a biennial summer program for developing musicians that takes place on the Oberlin campus from June 12 to 19. Designed for bass students ages 1321 of all ability levels, the Institute consists of a week of master classes, performances, bass ensembles, studio sessions, lectures, and workshops. It focuses on a comprehensive range of genres: classical, early music, jazz, slap, Latin, and electric. Directed by Oberlin’s Professor of Jazz Studies and Double Bass Peter Dominguez, the Institute will feature the nation’s finest teachers and performers across a variety of styles. This year’s faculty will include John Clayton Jr., Max Dimoff, Scott Dixon, Diana Gannett, Robert Hurst III, Mimi Jones, John Kennedy, Audrey Melzer, Tracy Rowell, Donovan Stokes, Inez Wyrick, and Derek Zadinsky. At the heart of the program is Milt Hinton Day, a daylong celebration of the life and legacy of Hinton through film, music, and more. Free and open to the public, Milt Hinton Day takes place on Thursday, June 16, in multiple venues on campus. See our concert listings page for a complete list of Milt Hinton Day activities. The Institute is part of an ongoing relationship between Oberlin and the Hinton estate which assures that the legacy of “The Dean of Jazz bassists” will be kept alive well into the future. -
2016-1: in the Matter of Campaign for One New York and United for Affordable NYC
2016-1: In the Matter of Campaign for One New York and United for Affordable NYC July 6, 2016 The New York City Campaign Finance Board (the “Board” or “CFB”) issues this determination concerning a complaint received on February 22, 2016 from Common Cause/NY (“the Complaint”). The issue presented is whether a candidate, Bill de Blasio (“Mr. de Blasio”), and his 2017 campaign for Mayor (the “2017 Campaign”) have violated the Campaign Finance Act (“the Act”) and Board Rules by establishing and cooperating closely with Campaign for One New York (“C41NY”) and United for Affordable NYC (“UFANYC”). The Board’s central mandate is to protect the integrity of the Act and administer the Campaign Finance Program (“the Program”). The effectiveness of the Program depends on the Act’s contribution and expenditure limits, which restrict the potential influence of large special interest donors. The Board is concerned about candidates engaging in cooperation with outside organizations that have made expenditures on issue advocacy communications promoting the candidate, especially organizations that raise contributions that would be otherwise impermissible under the Act. Such cooperative activity raises the question of whether these organizations are making expenditures in connection with a covered election. The Board simultaneously issues Advisory Opinion 2016-1 to provide further guidance in this area of the law. The Advisory Opinion provides a basis for the Board to review the issue presented by the Complaint, and establishes a set of factors the Board will consider to determine whether coordinated expenditures were made in connection with a covered election. The Board has determined that C41NY is not independent of the 2017 Campaign. -
Restaurant Etakn Ititgosu P
20160222-NEWS--0001-NAT-CCI-CN_-- 2/19/2016 8:41 PM Page 1 CRAINS ® FEBRUARY 22-28, 2016 | PRICE $3.00 NEW YORK BUSINESS GHOST RESTAURANT Order online, but don’t try to show up for a meal PAGE 13 ALSO Closing Rikers [in 5 steps] P. 6 MEATPACKING DISTRICT GROWS UP P.8 THE LIST: NEW YORK’S TOP VC FIRMS P. 11 VOL. XXXII, NO. 8 WWW.CRAINSNEWYORK.COM 08 5 NEWSPAPER 71486 01068 0 Presents The Inaugural Heritage Healthcare Innovation Awards 2016 Innovation. Commitment. Community. Join us in celebrating the healthcare leaders in the New York metropolitan community*. This May, Heritage Provider Network honors the exceptional leaders, pioneers, and trailblazers in New York healthcare in the fi rst ever Heritage Healthcare Innovation Awards. These prestigious awards recognize the best of today’s healthcare clinicians, administrators and researchers who are pioneering new modes of diagnosis, treatment and care delivery, and also impacting long-term aff ordability. Their commitment provides our communities, and our society at large, better access to more cost-eff ective and higher quality care. Finalists will be honored at a luncheon in NYC on May 16. Winners will be awarded in the following categories: Heritage Innovation in Healthcare Delivery Heritage Healthcare Leadership Award: Award: Recognizing an innovator in the Recognizing a leader in the New York area who has development of new modes of diagnosis, treatment made a signifi cant impact in their healthcare fi eld. and care who actively improves access to services This forward-thinker has forever changed the way and improves the overall quality of healthcare. -
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.