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Aaamc Issue 9 Chrono
of renowned rhythm and blues artists from this same time period lip-synch- ing to their hit recordings. These three aaamc mission: collections provide primary source The AAAMC is devoted to the collection, materials for researchers and students preservation, and dissemination of materi- and, thus, are invaluable additions to als for the purpose of research and study of our growing body of materials on African American music and culture. African American music and popular www.indiana.edu/~aaamc culture. The Archives has begun analyzing data from the project Black Music in Dutch Culture by annotating video No. 9, Fall 2004 recordings made during field research conducted in the Netherlands from 1998–2003. This research documents IN THIS ISSUE: the performance of African American music by Dutch musicians and the Letter ways this music has been integrated into the fabric of Dutch culture. The • From the Desk of the Director ...........................1 “The legacy of Ray In the Vault Charles is a reminder • Donations .............................1 of the importance of documenting and • Featured Collections: preserving the Nelson George .................2 achievements of Phyl Garland ....................2 creative artists and making this Arizona Dranes.................5 information available to students, Events researchers, Tribute.................................3 performers, and the • Ray Charles general public.” 1930-2004 photo by Beverly Parker (Nelson George Collection) photo by Beverly Parker (Nelson George Visiting Scholars reminder of the importance of docu- annotation component of this project is • Scot Brown ......................4 From the Desk menting and preserving the achieve- part of a joint initiative of Indiana of the Director ments of creative artists and making University and the University of this information available to students, Michigan that is funded by the On June 10, 2004, the world lost a researchers, performers, and the gener- Andrew W. -
Yesterday (Beatles Song)
Yesterday (Beatles song) "Yesterday" is a song by English rock band the Bea- whether they had ever heard it before. Eventually it be- tles written by Paul McCartney (credited to Lennon– came like handing something in to the police. I thought McCartney) first released on the album Help! in the if no one claimed it after a few weeks then I could have United Kingdom in August 1965. it.”[5] “Yesterday”, with the B-side "Act Naturally", was re- Upon being convinced that he had not robbed anyone leased as a single in the United States in September 1965. of their melody, McCartney began writing lyrics to suit While it topped the American chart in October the song it. As Lennon and McCartney were known to do at the also hit the British top 10 in a cover version by Matt time, a substitute working lyric, titled “Scrambled Eggs” Monro. The song also appeared on the UK EP “Yester- (the working opening verse was “Scrambled eggs/Oh my day” in March 1966 and the Beatles’ US album Yesterday baby how I love your legs/Not as much as I love scram- and Today released in June 1966. bled eggs”), was used for the song until something more McCartney’s vocal and acoustic guitar, together with a suitable was written. In his biography, Paul McCartney: string quartet, essentially made for the first solo perfor- Many Years from Now, McCartney recalled: “So first of mance of the band. It remains popular today with more all I checked this melody out, and people said to me, 'No, than 2,200 cover versions[2] and is one of the most cov- it’s lovely, and I'm sure it’s all yours.' It took me a little ered songs in the history of recorded music.[note 1] “Yes- while to allow myself to claim it, but then like a prospec- terday” was voted the best song of the 20th century in a tor I finally staked my claim; stuck a little sign on it and said, 'Okay, it’s mine!' It had no words. -
How Our Cultural Roots Inform Musical Heritage and Shape America's
How our cultural roots inform musical heritage and shape America’s sense of identity Music has an enduring power. Countries often call upon composers to create music that helps shape a national identity. To write music that captures America, many composers took inspiration from the folk music, spirituals and work songs of the African-American experience. By transforming these melodies and rhythms into art songs and symphonic works, composers remind us of the timeless relevance of music in our lives. Moreover, the presence of these authentic melodies in orchestral works acknowledges the role of music in shaping a national identity. Join us as we honor our classical American roots. Joseph Young, Conductor Dvorák’s landmark “New World Symphony” n the 1890’s, people in America were searching for music that might reflect their national identity. At the same time, of course, they were asking “what is America?” and “what does it mean to be American?” IOrchestral music of the day often imitated a grand European tradition. Could there be a uniquely American “sound”? Did we have music that conveyed a sense of America? Would American composers ever achieve Henry “Harry” T. Burleigh: recognition in the world? The Man Who Introduced Dvor˘ák to Spirituals To address those questions,˘ a visionary woman named Jeannette Thurber planned a As a young boy, new National Conservatory of Music in New York City, and sought to recruit an important American European composer to oversee the conservatory and hopefully to elevate the caliber composer of American music. She set her sights on a Czech composer named Antonin Dvor˘ák Henry (1841-1904) [pronounced di-VOR-zhak]. -
Tommy Dorsey 1 9
Glenn Miller Archives TOMMY DORSEY 1 9 3 7 Prepared by: DENNIS M. SPRAGG CHRONOLOGY Part 1 - Chapter 3 Updated February 10, 2021 TABLE OF CONTENTS January 1937 ................................................................................................................. 3 February 1937 .............................................................................................................. 22 March 1937 .................................................................................................................. 34 April 1937 ..................................................................................................................... 53 May 1937 ...................................................................................................................... 68 June 1937 ..................................................................................................................... 85 July 1937 ...................................................................................................................... 95 August 1937 ............................................................................................................... 111 September 1937 ......................................................................................................... 122 October 1937 ............................................................................................................. 138 November 1937 ......................................................................................................... -
Songs of the Century
Songs of the Century T. Austin Graham hat is the time, the season, the historical context of a popular song? When is it most present in the world, best able Wto reflect, participate in, or construct some larger social reality? This essay will consider a few possible answers, exploring the ways that a song can exist in something as brief as a passing moment and as broad as a century. It will also suggest that when we hear those songs whose times have been the longest, we might not be hearing “songs” at all. Most people are likely to have an intuitive sense for how a song can contract and swell in history, suited to a certain context but capable of finding any number of others. Consider, for example, the various uses to which Joan Didion is able to put music in her generation-defining essay “Slouching Towards Bethlehem,” a meditation on drifting youth and looming apocalypse in the days of the Haight-Ashbury counterculture. Songs create a powerful sense of time and place throughout the piece, with Didion nodding to the Grateful Dead, Jefferson Airplane, Quick- silver Messenger Service, and “No Milk Today” by Herman’s Hermits, “a song I heard every morning in the cold late spring of 1967 on KRFC, the Flower Power Station, San Francisco.”1 But the music that speaks most directly and reverberates most widely in the essay is “For What It’s Worth,” the Buffalo Springfield single whose chiming guitar fifths and famous chorus—“Stop, hey, what’s that sound / Everybody look what’s going down”—make it instantly recognizable nearly five decades later.2 To listen to “For What It’s Worth” on Didion’s pages is to hear a song that exists in many registers and seems able to suffuse everything, from a snatch of conversation, to a set of political convictions, to nothing less than “The ’60s” itself. -
The Sam Eskin Collection, 1939-1969, AFC 1999/004
The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia. -
NEW MUSIC on COMPACT DISC 4/16/04 – 8/31/04 Amnesia
NEW MUSIC ON COMPACT DISC 4/16/04 – 8/31/04 Amnesia / Richard Thompson. AVRDM3225 Flashback / 38 Special. AVRDM3226 Ear-resistible / the Temptations. AVRDM3227 Koko Taylor. AVRDM3228 Like never before / Taj Mahal. AVRDM3229 Super hits of the '80s. AVRDM3230 Is this it / the Strokes. AVRDM3231 As time goes by : great love songs of the century / Ettore Stratta & his orchestra. AVRDM3232 Tiny music-- : songs from the Vatican gift shop / Stone Temple Pilots. AVRDM3233 Numbers : a Pythagorean theory tale / Cat Stevens. AVRDM3234 Back to earth / Cat Stevens. AVRDM3235 Izitso / Cat Stevens. AVRDM3236 Vertical man / Ringo Starr. AVRDM3237 Live in New York City / Bruce Springsteen & the E Street Band. AVRDM3238 Dusty in Memphis / Dusty Springfield. AVRDM3239 I'll be around : and other hits. AVRDM3240 No one does it better / SoulDecision. AVRDM3241 Doin' something / Soulive. AVRDM3242 The very thought of you: the Decca years, 1951-1957 /Jeri Southern. AVRDM3243 Mighty love / Spinners. AVRDM3244 Candy from a stranger / Soul Asylum. AVRDM3245 Gone again / Patti Smith. AVRDM3246 Gung ho / Patti Smith. AVRDM3247 Freak show / Silverchair. AVRDM3248 '60s rock. The beat goes on. AVRDM3249 ‘60s rock. The beat goes on. AVRDM3250 Frank Sinatra sings his greatest hits / Frank Sinatra. AVRDM3251 The essence of Frank Sinatra / Frank Sinatra. AVRDM3252 Learn to croon / Frank Sinatra & Tommy Dorsey and his orchestra. AVRDM3253 It's all so new / Frank Sinatra & Tommy Dorsey and his orchestra. AVRDM3254 Film noir / Carly Simon. AVRDM3255 '70s radio hits. Volume 4. AVRDM3256 '70s radio hits. Volume 3. AVRV3257 '70s radio hits. Volume 1. AVRDM3258 Sentimental favorites. AVRDM3259 The very best of Neil Sedaka. AVRDM3260 Every day I have the blues / Jimmy Rushing. -
Annotated Bibliography of African American Carillon Music
Revised February 3, 2021 Annotated Bibliography of African American Carillon Music by Tiffany Ng User’s Guide T his comprehensive annotated bibliography lists carillon scores by African American composers and/or based on African American music. While most of the items are published, a few are unpublished but in informal circulation, or are pending publication. Carillonneurs are invited to use this resource to identify music to perform and teach. Despite the length of this bibliography, there are currently only four published original carillon works by African American composers. The vast majority of items are arrangements by white composers, and most of these arrange- ments are of spirituals, pointing to an essentialization of African American music that omits major genres (ex. jazz, soul, and rhythm and blues, to name a few) and freezes musical development in the 19th century. These imbalances point to an ongoing need for the commissioning of original works by Black composers. This survey also indicates that there are only four original carillon works by Black women, all of which I helped com- mission. Furthermore, of the 74 carillon arrangements of works that can be attributed to specific composers, only 11 arrangements (15%) are of works originally composed or co-written by women—Katherine Stockwell Hazzard, Betty Jackson King, Florence Beatrice Price, and contemporary songwriters Beyoncé and Mary J. Blige. Carillonneurs seeking to commission composers are thus encouraged to explore the intersection of race and gender when identifying potential collaborators, and to ask colleagues of races and genders other than their own for outside referrals to composers who will diversify their collaborative relationships. -
Benny Goodman's Band As Opening C Fit Are Russell Smith, Joe Keyes, Miller Band Opened a Week Ago Bassist
orsey Launches Brain Trust! Four Bands, On the Cover Abe Most, the very fine fe« Three Chirps Brown clarinet man. just couldn't mm up ’he cornfield which uf- 608 S, Dearborn, Chicago, IK feted thi» wonderful opportunity Entered as «cwwrf Hom matter October 6.1939. at the poet oHice at Chicano. tllinou, under the Act of March 3, 1379. Copyright 1941 Taken Over for shucking. Lovely gal io Betty Bn Down Beat I’ubliAing Co., Ine. Janney, the Brown band'* chirp New York—With the open anil rumored fiancee of Most. ing of his penthouse offices Artene Pie- on Broadway and the estab VOL. 0. NO. 20 CHICAGO, OCTOBER 15, 1941 15 CENTS' lishment of his own personal management bureau, headed by Leonard Vannerson and Phil Borut, Tommy Dorsey JaeÆ Clint Brewer This Leader's Double Won Five Bucks becomes one of the most im portant figures in the band In Slash Murder business. Dorsey’s office has taken New York—The mutilated body of a mother of two chil- over Harry James’ band as Iren, found in a Harlem apartment house, sent police in nine well as the orks of Dean Hud lates on a search for Clinton P. Brewer last week. Brewer is son, Alex Bartha and Harold ihe Negro composer-arranger who was granted a parole from Aloma, leader of small “Hawaiian” style combo. In Addi the New Jersey State Penitentiary last summer after he com tion. Dorsey now is playing father posed and arranged Stampede in G-Minor, which Count to three music publishing houses, the Embassy, Seneca and Mohawk Ie’s band recorded. -
Newsletter Volume Xxix Big Band Jump Newsletter November-December 1993
BIG BAND JUMP NEWSLETTER VOLUME XXIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1993 HENRY MANCINI INTERVIEW THE BACKGROUND The promotion people put us in touch with Henry Mancini as part of the advertising campaign for a concert tour he was making at the time. He talked on a “live” local radio program with Don Kennedy. Mancini and Kennedy grew up within twelve miles of each other in the steel-making area of Western Pennsylvania, just thirty miles from Pittsburgh, although separated in time by half a generation. Mancini was a contemporary of Kennedy’s older musician brothers, so there were some common memories tied with the stories of his early years playing in steel-town beer joints. THE SCENE Unlike some celebrities of Henry Mancini’s stature, the Mancini at work. interview wasn’t difficult to arrange. He is so approach able and unaffected by his success, however, that he has BBJ: What kind of musical experience did you have a tendency to be off-hand with his answers, resulting in there? an interview with shorter answers and in some instances less depth than most musical celebrities. Mancini’s HM: Every kind! (Laughs) I started playing flute when answer to a couple of questions was something such as I was a kid, when my Dad gave one to me. He was a flute “Oh, sure.” Some of those one and two word answers player, too. That was at the age of eight, and then I were edited out in places where Kennedy’s persistence started playing piano about eleven and then took up eventually resulted in a longer, more meaningful answer, arranging on my own at about fourteen. -
Artie Shaw 1938-1939
Glenn Miller Archives ARTIE SHAW 1938-1939 Prepared by: Reinhard F. Scheer-Hennings and Dennis M. Spragg In Cooperation with the University of Arizona Updated December 11, 2020 1 Table of Contents I. 1938 ................................................................................................................... 3 June 1938 ............................................................................................................... 3 July 1938 ................................................................................................................ 4 August 1938 ......................................................................................................... 12 September 1938 ................................................................................................... 15 October 1938 ........................................................................................................ 32 November 1938 .................................................................................................... 37 December 1938 .................................................................................................... 60 II. 1939 ............................................................................................................... 101 January 1939 ...................................................................................................... 101 February 1939 .................................................................................................... 131 March 1939 ........................................................................................................ -
Tv Advertised Lp's
AUSTRALIAN RECORD LABELS TV ADVERTISED LABELS 1970 to 1992 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, SEPTEMBER 2018 1 ACKNOWLEDGEMENTS MANY THANKS TO PAUL ELLWOOD FOR HELP WITH J & B. ANDREW RENAUT’S WEBSITE LISTS MANY OF THE MAJESTIC / K-TEL COMPILATIONS: https://majesticcompilations.com/ CONCEPT RECORDS CONCEPT RECORD PTY LTD, 139 MURRAY ST, PYRMONT, 2009 // 37 WHITING ST, ARTARMON, 2064. BEGUN BY THEO TAMBAKIS AS A J & B SPECIAL PRODUCTS LABEL. ACTIVE FROM 1984. CC 0001 BREAKIN’ IT UP VARIOUS 1984 CC 0002 HOWLIN’ FOR HITS 2LP VARIOUS 1984 CC 0003 LOVE THEMES INSPIRED BY TORVILL & DEAN VARIOUS CC 0004 THAT’S WHAT I CALL ROCK ‘N’ ROLL VARIOUS CC 0005 THE BOP WON’T STOP VARIOUS 1985 CC 0006 THE HITS HITS HITS MACHINE 2LP VARIOUS 1985 CC 0007 MASTERWORKS COLLECTION VARIOUS 1985 CC 0008 CC 0009 LOVE ME GENTLY VARIOUS CC 0010 4 STAR COUNTRY 2LP DUSTY, REEVES, WHITMAN, WILLIAMS CC 0011 CC 0012 THE DANCE TAPES VARIOUS 1985 CC 0013 KISS-THE SINGLES KISS 1985 CC 0014 THE VERY BEST OF BRENDA LEE 2LP BRENDA LEE 1985 CC 0015 SOLID R.O.C.K. VARIOUS 1985 CC 0016 CC 0017 CC 0018 HIT AFTER HIT VARIOUS 1985 CC 0019 BANDS OF GOLD 2LP VARIOUS CC 0020 THE EXTENDED HIT SUMMER 2LP VARIOUS 1985 CC 0021 METAL MADNESS 2LP VARIOUS 1985 CC 0022 FROM THE HEART VARIOUS 1986 CC 0023 STEPPIN’ TO THE BEAT VARIOUS 1986 CC 0024 STARDUST MELODIES NAT KING COLE CC 0025 THE VERY BEST OF OZ ROCK 2LP VARIOUS 1986 CC 0026 SHE BOP VARIOUS 1986 CC 0027 TI AMO VARIOUS 1986 CC 0028 JUMP ‘N’ JIVE VARIOUS 1986 CC 0029 TRUE LOVE WAYS VARIOUS 1986 CC 0030 PUTTIN’ ON