Sweet Emma Barrett Sweet Emma Barrett and Her New Orleans Music Mp3, Flac, Wma

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Sweet Emma Barrett Sweet Emma Barrett And Her New Orleans Music mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Blues Album: Sweet Emma Barrett And Her New Orleans Music Country: US Style: Big Band, Dixieland MP3 version RAR size: 1710 mb FLAC version RAR size: 1512 mb WMA version RAR size: 1587 mb Rating: 4.1 Votes: 928 Other Formats: FLAC MIDI AIFF DXD AUD TTA AU Tracklist Hide Credits Good Man Is Hard To Find A1 Vocals – Sweet Emma Barrett* Jelly Roll Blues A2 Vocals – Sweet Emma Barrett* Big Butter And Egg Man A3 Vocals – Sweet Emma Barrett* A4 That's A Plenty B1 Bogalusa Strut B2 Breeze Pagan Love Song B3 Vocals – Don Albert B4 Take Me Out To The Ball Game Credits Banjo – Emmanuel Sayles* Clarinet – Louis Cottrell*, Raymond Burke (tracks: B1 - B4) Cover – John Larkins Double Bass [String Bass] – Placide Adams Drums – Paul Barbarin Liner Notes – Alan C. Webber Piano – Sweet Emma Barrett* Trombone – Jim Robinson , Frog Joseph* (tracks: B1 - B4) Trumpet – Alvin Alcorn, Don Albert (tracks: B1 - B4) Barcode and Other Identifiers Matrix / Runout (Side A on label): 12-BLP-281 Matrix / Runout (Side B on label): 12-BLP-282 Matrix / Runout (Side A etched runout): GHB 141 A AS/SCD Matrix / Runout (Side B etched runout): GHB 141 B AS/SCD Other versions Category Artist Title (Format) Label Category Country Year Southland Sweet Sweet Emma Barrett Southland LP Records, Southland LP Emma And Her New Orleans US 1963 241, SLP-241 Southland 241, SLP-241 Barrett* Music (LP) Records Sweet Emma Barrett Emma VC-2013 And Her New Orleans Dan VC-2013 Japan 1982 Barrett Music (LP, Mono) Sweet Emma Barrett Emma GHB-141 And Her New Orleans G.H.B. GHB-141 US Unknown Barrett Music (LP, Album) Sweet Emma Barrett Emma GHB-141 And Her New Orleans G.H.B. GHB-141 US Unknown Barrett Music (LP, Album) Related Music albums to Sweet Emma Barrett And Her New Orleans Music by Sweet Emma Barrett Emma - Emma Barrett Strong - Money I Apologize Allosaurus - Emma-Jane Syd Barrett - The Madcap Laughs / Barrett Sweet Emma And Her Preservation Hall Jazz Band - New Orleans' Sweet Emma And Her Preservation Hall Jazz Band John Otway And Wild Willy Barrett - Really Free Leo Kauppi Säest. A. Kosolan Orkesteri - Emma / Villiruusu John Otway & Wild Willy Barrett - Really Free Jimmie Dale - Emma Lee/My Pride And Joy Emma Ångström - Emma Ångström John Otway & Wild Willy Barrett - Headbutts Emma Roberts -.

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Newsletternewsletter March 2015
NEWSLETTERNEWSLETTER MARCH 2015 HOWARD ALDEN DIGITAL RELEASES NOT CURRENTLY AVAILABLE ON CD PCD-7053-DR PCD-7155-DR PCD-7025-DR BILL WATROUS BILL WATROUS DON FRIEDMAN CORONARY TROMBOSSA! ROARING BACK INTO JAZZ DANCING NEW YORK ACD-345-DR BCD-121-DR BCD-102-DR CASSANDRA WILSON ARMAND HUG & HIS JOHNNY WIGGS MOONGLOW NEW ORLEANS DIXIELANDERS PCD-7159-DR ACD-346-DR DANNY STILES & BILL WATROUS CLIFFF “UKELELE IKE” EDWARDS IN TANDEM INTO THE ’80s HOME ON THE RANGE AVAilable ON AMAZON, iTUNES, SPOTIFY... GHB JAZZ FOUNDATION 1206 Decatur Street New Orleans, LA 70116 phone: (504) 525-5000 fax: (504) 525-1776 email: [email protected] website: jazzology.com office manager: Lars Edegran assistant: Jamie Wight office hours: Mon-Fri 11am – 5pm entrance: 61 French Market Place newsletter editor: Paige VanVorst contributors: Jon Pult and Trevor Richards HOW TO ORDER Costs – U.S. and Foreign MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB JAZZ FOUNDATION. You will then receive your membership card by return mail or with your order. As a member of the Collector’s Club you will regularly receive our Jazzology Newsletter. Also you will be able to buy our products at a discounted price – CDs for $13.00, DVDs $24.95 and books $34.95. Membership continues as long as you order one selection per year. NON-MEMBERS For non-members our prices are – CDs $15.98, DVDs $29.95 and books $39.95. MAILING AND POSTAGE CHARGES DOMESTIC There is a flat rate of $3.00 regardless of the number of items ordered.
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Was Named Rosimore [Spelling?] John Frazier. Jfts Father Had
J05IAH )tCIEn FRAZIER Also present: William ûssel-l I [of 2]--Digest"-Retyped Ralph Collins December 1^., I960 Recorded at:20l4 Onzaga Street New Orleans Josiah "Cie" Frazier was born February 23, 1904. The Frazlers >, are related to tê (Emile and Paul) Barnes and the (John, Simon, Lawrence and Eddie) Marreros; ,tê mother of the Barnes was JFT s I father's sister, and the mother of the Marreros was also the /' sister of JF's father. JF's father played guitar years ago, i n St. Bernard Parish; his occupation was mattress making, the same / as that of Emile Barnes. JFf3 oldest brother, Sam Prazier^ once was a drummer (lives at 1717 Forstall Street); Alec Frazier (died in 1949), another brother, was a piano player, who gave a start to pianist Dave Williams, and to a "cousin" of JF, Mitchel Frazier (youngest brother of JF's father). Dave WilliamsTs mother is a cousin of JF's mother. Williams was in the [Barnes-Marrero] Band of last year, which went to Cincinnati. His [Williams^s] mother*s father was JF^s fathers brother. His [Willlams^s grandfather?] was named Rosimore [spelling?] John Frazier. JFTs father had two brothers-Michel [Mitchel?] Frazier and John Frazier--and tw 0 sisters-Kafherine Frazier and Jeannette Frazier; Je annette was the mother of the Marreros. JF1s father was named Samson Frankli n Frazier; Rosimore John was oldest, Samson Franklin the second and Mlchel was the youngest of the brothers. Mitchel dl^d about ten years ago. A younger brother of JF, Simon Frazier, who li ves in the t 2500 block of Dumalne, also learned piano from Ales Frazi er.
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New Orleans Jazz & Heritage Foundation
New Orleans' Welcome to Jazz country, where Maison Blanche our heartbeat is a down beat and salutes the the sounds of music fill the air . Welcome to Maison Blanche coun• New Orleans Jazz try, where you are the one who calls the tune and fashion is our and Heritage daily fare. Festival 70 maison blanche NEW ORLEANS Schedule WEDNESDAY - APRIL 22 8 p.m. Mississippi River Jazz Cruise on the Steamer President. Pete Fountain and his Orchestra; Clyde Kerr and his Orchestra THURSDAY - APRIL 23 12:00 Noon Eureka Brass Band 12:20 p.m. New Orleans Potpourri—Harry Souchon, M.C. Armand Hug, Raymond Burke, Sherwood Mangiapane, George Finola, Dick Johnson Last Straws 3:00 p.m. The Musical World of French Louisiana- Dick Allen and Revon Reed, M. C.'s Adam Landreneau, Cyprien Landreneau, Savy Augustine, Sady Courville, Jerry Deville, Bois Sec and sons, Ambrose Thibodaux. Clifton Chenier's Band The Creole Jazz Band with Dede Pierce, Homer Eugene, Cie Frazier, Albert Walters, Eddie Dawson, Cornbread Thomas. Creole Fiesta Association singers and dancers. At the same time outside in Beauregard Square—for the same $3 admission price— you'll have the opportunity to explore a variety of muical experiences, folklore exhibits, the art of New Orleans and the great food of South Louisiana. There will be four stages of music: Blues, Cajun, Gospel and Street. The following artists will appear throughout the Festival at various times on the stages: Blues Stage—Fird "Snooks" Eaglin, Clancy "Blues Boy" Lewis, Percy Randolph, Smilin Joe, Roosevelt Sykes, Willie B. Thomas, and others.
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Dr. Michael White: Biography
DR. MICHAEL WHITE: BIOGRAPHY Dr. Michael White is among the most visible and important New Orleans musicians today. He is one of only a few of today’s native New Orleans born artists to continue the authentic traditional jazz style. Dr. White is noted for his classic New Orleans jazz clarinet sound, for leading several popular bands, and for his many efforts to preserve and extend the early jazz tradition. Dr. White is a relative of early generation jazz musicians, including bassist Papa John Joseph, clarinetist Willie Joseph, and saxophonist and clarinetist Earl Fouche. White played in St Augustine High School’s acclaimed Marching 100 and Symphonic bands and had several years of private clarinet lessons from the band’s director, Edwin Hampton. He finished magna cum laude from Xavier University of Louisiana with a degree in foreign language education. He received a masters and a doctorate in Spanish from Tulane University. White began teaching Spanish at Xavier University in 1980 and also African American Music History since 1987. Since 2001 he has held the Charles and Rosa Keller Endowed Chair in the Humanities at Xavier. He is the founding director of Xavier’s Culture of New Orleans Series, which highlights the city’s unique culture in programs that combine scholars, authentic practitioners, and live performances. White is also a jazz historian, producer, lecturer, and consultant. He has developed and performed many jazz history themed programs. He has written and published numerous essays in books, journals, and other publications. For the last several years he has been a guest coach at the Juilliard Music School (Juilliard Jazz).
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New Orleans' Sweet Emma Barrett and Her Preservation Hall Jazz Band
“New Orleans' Sweet Emma Barrett and her Preservation Hall Jazz Band”--Sweet Emma and her Preservation Hall Jazz Band (1964) Added to the National Registry: 2014 Essay by Sammy Stein (guest post)* Sweet Emma Emma Barrett started playing piano aged seven and by 1910, aged just 12, she was performing regularly in bars and clubs in New Orleans. She had a strident, barrelhouse way of playing and quickly became a popular musician. Her penchant for wearing a red woven cap and garters with Christmas bells attached which jingled their accompaniment to the music, earned her the nickname of “Bell Gal.” She was also dubbed “Sweet” because of her artistic temperament apparently. Before forming her own band, Barrett played with Oscar “Papa” Celestin's Original Tuxedo Orchestra from 1923-1928 and, when that band split into two parts, Emma stayed with William “Bebe” Ridgley in his Tuxedo Jazz Orchestra until the mid 1930s when she began performing with trumpeter Sidney Desvigne, violinist player Armand Piron and bandleader, drummer and violinist John Robichaux. After a break from 1938 until 1947, Emma returned to music, playing at the Happy Landing Club in Pecaniere, which led to a renewed interest in her. In the late 1950s, after working with trumpeter Percy Humphrey and Israel Gordon, Barrett formed a band with Percy and his brother Willie, a clarinet player. In the 1960s, Barrett assembled and toured with New Orleans musicians in an ensemble called Sweet Emma and The Bells. She also recorded a live session at the Laura Lea Guest House on Mardi Gras in 1960 with her band: “Sweet Emma Barrett and her Dixieland Boys: Mardi Gras 1960.” It was not released until 1997 on 504 Records.
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Various New Orleans: the Living Legends Mp3, Flac, Wma
Various New Orleans: The Living Legends mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: New Orleans: The Living Legends Country: US Released: 1961 Style: Dixieland MP3 version RAR size: 1789 mb FLAC version RAR size: 1983 mb WMA version RAR size: 1300 mb Rating: 4.8 Votes: 742 Other Formats: DTS AU WAV DMF MP4 WMA AC3 Tracklist Hide Credits St. Louis Blues –"Sweet Emma" Barrett Bass – McNeal BreauxClarinet – Willie HumphreyDrums – Josiah A1 5:00 And Her Dixieland Boys Fraiser*Guitar – Emanuel SaylesPiano, Vocals – Emma BarrettTrombone – Jim Robinson Trumpet – Percy Humphrey Take My Hand, Precious Lord Banjo – "Creole George" Guesnon*Bass – Alcide (Slow Drag) –Jim Robinson's New A2 PavageauClarinet – Louis Cottrell*Drums – Alfred 2:54 Orleans Band WilliamsTrombone – Jim Robinson Trumpet – Ernest CagnolattiVocals – Annie Pavageau* I Shall Walk Through The Streets Of The City –Percy Humphrey's Banjo – Emanuel SaylesBass – Louis JamesClarinet – Albert A3 Crescent City 3:18 BurbankDrums – Josiah Fraiser*Trombone – Louis Nelson Joymakers* Trumpet – Percy Humphrey Billie's Gumbo Blues A4 –Billie & De De Pierce 3:24 Cornet – De De PierceDrums – Albert JilesPiano – Billie Pierce Mack The Knife –Kid Thomas And His Banjo – Homer EugeneBass – Joseph ButlerClarinet – Albert A5 4:36 Algiers Stompers BurbankDrums – Samuel Penn*Piano – Joe James Trombone – Louis Nelson Trumpet – Kid Thomas* Yearning –Jim Robinson's New Banjo – "Creole George" Guesnon*Bass – Alcide (Slow Drag) B1 3:52 Orleans Band PavageauClarinet – Louis Cottrell*Drums –
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A Feminist Perspective on New Orleans Jazzwomen
A FEMINIST PERSPECTIVE ON NEW ORLEANS JAZZWOMEN Sherrie Tucker Principal Investigator Submitted by Center for Research University of Kansas 2385 Irving Hill Road Lawrence, KS 66045-7563 September 30, 2004 In Partial Fulfillment of #P5705010381 Submitted to New Orleans Jazz National Historical Park National Park Service 419 Rue Decatur New Orleans, LA 70130 This is a study of women in New Orleans jazz, contracted by the National Park Service, completed between 2001 and 2004. Women have participated in numerous ways, and in a variety of complex cultural contexts, throughout the history of jazz in New Orleans. While we do see traces of women’s participation in extant New Orleans jazz histories, we seldom see women presented as central to jazz culture. Therefore, they tend to appear to occupy minor or supporting roles, if they appear at all. This Research Study uses a feminist perspective to increase our knowledge of women and gender in New Orleans jazz history, roughly between 1880 and 1980, with an emphasis on the earlier years. A Feminist Perspective on New Orleans Jazzwomen: A NOJNHP Research Study by Sherrie Tucker, University of Kansas New Orleans Jazz National Historical Park Research Study A Feminist Perspective on New Orleans Jazz Women Sherrie Tucker, University of Kansas September 30, 2004 Table of Contents Acknowledgments ................................................................................................ iii Introduction ...........................................................................................................1
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Third Annual New Orleans Jazz & Heritage Festival
lOLMES HOLMES ORIGINAL STORE 1842 As traditional as New Orleans jazz, Creole cooking or southern hospitality, D. H. Holmes has been part of the beat of New Orleans since 1842. We're New Orleans' own honne-owned department store, right on the edge of the French Quarter. While in New Orleans we invite you to join an old tradition in New Orleans . arrange to meet your friends "under the clock" at Holmes ... to shop ... or to lunch or dine in our famous Creole restau• rant. In our record department you'll find one of the finest selections of true New Orleans Dixieland music on records. Holmes, itself proud to be a New Orleans tradition, salutes the Jazz and Heritage Festival and welcomes its international supporters to the birthplace of Jazz. Third Annual New Orleans Jazz & Heritage Festival HONORARY PRESIDENT MARDI-GRAS INDIAN CO-ORDINATOR Mayor Moon Landrieu Emile Dollis OFFICERS SECRETARIES Arthur Q. Davis, President Virginia Broussard, Suzanne Broussard Lester E. Kabacoff, Vice-Pres. Winston Lill, Vice-Pres. EVENING SECURITY Clarence J. Jupiter, Vice-Pres., Treasurer Jules Ursin Roy Bartlett 11, Secretary BOARD OF DIRECTORS THE HERITAGE FAIR Archie A. Casbarian, Dr. Frederick Hall, William V. Music Director - Quint Davis Madden, Larry McKinley, George Rhode 111, Charles B. Rousseve, Harry V. Souchon PROGRAM DIRECTOR Karen Helms - Book-keeper Allison Miner PRODUCER PERSONNEL George Wein Mark Duffy ASST. PRODUCER DESIGN Dino Santangelo - Curtis & Davis Architects; AO Davis, Bob Nunez DIRECTOR ' ' CONSTRUCTION Quint Davis Foster Awning;
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Collection of Jazz Articles
1 Table of Contents Adams, Dolly 3 Albert, Don 6 Alexis, Richard 12 Allen, Red 14 Almerico, Tony 16 Anderson, Andy 27 Bailey, Buster 38 Barbarin, Paul 39 Barnes, “Polo” 43 Barrett, Emma 48 Barth, George 49 Bauduc, Ray 50 Bechet, Sidney 65 Bechet, Leonard 69 Bigard, Barney 70 Bocage, Peter 53 Boswell, Sisters 84 Boswell, Connie 88 Bouchon, Lester 94 Braud, Wellman 96 Brown, Tom 97 Brownlee, Norman 102 Brunies, Abbie 104 Brunies, George 106 Burke, Ray 116 Casimir, John 140 Christian, Emile 142 1 2 Christian, Frank 144 Clark, Red 145 Collins, Lee 146 Charles, Hypolite 148 Cordilla, Charles 155 Cottrell, Louis 160 Cuny, Frank 162 Davis, Peter 164 DeKemel, Sam 168 DeDroit, Paul 171 DeDroit, John 176 Dejan, Harold 183 Dodds, “Baby” 215 Desvigne, Sidney 218 Dutrey, Sam 220 Edwards, Eddie 230 Foster, “Chinee” 233 Foster, “Papa” 234 Four New Orleans Clarinets 237 Arodin, Sidney 239 Fazola, Irving 241 Hall, Edmond 242 Burke, Ray 243 Frazier, “Cie” 245 French, “Papa” 256 Dolly Adams 2 3 Dolly‟s parents were Louis Douroux and Olivia Manetta Douroux. It was a musical family on both sides. Louis Douroux was a trumpet player. His brother Lawrence played trumpet and piano and brother Irving played trumpet and trombone. Placide recalled that Irving was also an arranger and practiced six hours a day. “He was one of the smoothest trombone players that ever lived. He played on the Steamer Capitol with Fats Pichon‟s Band.” Olivia played violin, cornet and piano. Dolly‟s uncle, Manuel Manetta, played and taught just about every instrument known to man.
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GEOFF BULL: an INTERVIEW by Eric Myers ______
GEOFF BULL: AN INTERVIEW by Eric Myers _________________________________________________________ [This interview appeared in the December 1981 edition of Jazz Magazine] he Sydney cornet player Geoff Bull has been a strong advocate of traditional New Orleans jazz since1958, when he attended the Australian jazz Convention T in Sydney, and became interested in records by early black musicians. Self- taught, he began playing in 1959. In 1962 he formed the Olympia Jazz Band. He has visited New Orleans many times and has toured the US, Europe and Japan with various traditional jazz musicians. He now leads a group which plays at the Cat & Fiddle Hotel, Balmain. Eric Myers: What was the difference between the Bunk Johnson-George Lewis revival of New Orleans jazz in the 1940s, and the original jazz played earlier in the century? Geoff Bull: Well, “revival” is a word that’s been used for it, because they got Bunk [Johnson] playing again - he hadn’t played for many years. But, all through that time, the others were making a living out of playing. It was not a real revival for them. Maybe it was a revival of interest in their music. EM: Had the music evolved much over that time? GB: All sorts of music change in different ways, according to what’s happening at the time, and those guys were playing songs that hadn’t been written in the 20s. They were playing songs from the 40s, but they still played them in much the same Geoff Bull, snapped in 1964-65: he has visited New Orleans many times, and has toured the US, Europe and Japan with various traditional jazz musicians… PHOTO CREDIT NORM LINEHAN 1 style.
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The Jazzarchivist
THE JAZZ ARCHIVIST A newsletter of the William Ransom Hogan Jazz Archive Volume XXIX, 2016 Contributors: Jerry Brock, Wayne D. Shirley, Charles Suhor, Dr. Michael White THE JAZZ ARCHIVIST Volume XXIX, 2016 In This Issue: © Tulane University Libraries, 2016. Permission to reproduce in whole and 2 “Don Suhor - From Dixieland to in part must be obtained in writing Bopsieland” from Tulane University Libraries. by Charles Suhor ISSN 1085-8415 16 “Dr. Michael White: My Years among the Elders (1980-1995)” Cover: A seldom seen photo of the King by Michael G. White Oliver Band, reportedly taken at the “Entertainer Club” in Oakland, California, perhaps at a Christmas banquet, 39 “In the Archive” presumably in 1921. This cropped version affords a good, close look at the musicians. 42 “Bessie Smith: Three Puzzles, Two with Standing from left to right: unknown, King Oliver, Honore Dutrey, Ed Garland, Answers” Johnny Dodds, Lil Hardin, and Baby by Wayne D. Shirley Dodds. One might wonder if Kid Ory, who apparently helped open the door for this great band’s West Coast appearances, 50 “Chula Bungo! The Seminoles in New was about to pop out from behind Baby Orleans!” Dodds’s head. We recently excavated by Jerry Brock this artifact from a backlog of materials in the collection of Orin Blackstone, the New Orleans-based jazz discographer 65 “Curator’s Commentary” and publisher of Jazzfinder and Playback by Bruce Boyd Raeburn magazines. It was originally obtained from West Coast saxophonist Paul Howard by jazzologist Irving Jacobs, who wrote an article on Howard for the July 1949 issue of Playback.
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1 FINAL REPORT Panel of Experts, New Orleans City Council Street
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