DOCSLIB.ORG

BIG BAWD Jim P

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BIG BAWD Jim P IN THIS ISSUE: ♦ An in-person interview with ♦ LETTERS TO THE EDITOR FRANK TIBERI with comments about BBJ - LOUIE PRIMA - IN THE ♦ A mini-bio of JIMMY CRAWFORD MOOD and more ♦ The history of the STARLITE BALLROOM in Hershey, PA ♦ Information about some BIG BATTLES OF THE BANDS BAWD ♦ Star Statement TRIVIA QUIZ jim p ♦ Sidelight stories about ZUTTY SINGLETON - ERNIE SCHAFF - NEWSLETTER JUAN TIZOL and others BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE Atlanta, GA 30355 PAID Atlanta, GA Permit No. 2022 BIG b a n d NEWSLETTER VOLUME LIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1998 F R A N K T IB E R I IN T E R V IE W The Background Reed man Frank Tiberi has been leading the Woody Herman Orchestra since Woody’s death in 1987, and for brief periods before that when Woody was ill and could not appear. He had been a sideman with the Herman organization since 1969, and because of his long tenure, was a logical choice to direct the current Herman orchestra. Frank was also a fan and a friend as well as a sideman. The year Woody died, Frank Tiberi was quoted as saying of Woody, “He always had an old-fashioned kind of loyalty which you don’t always find in people of his stature. I felt that intimacy that we had. He was also a damn good player. He was the best lead alto player, and he could really ‘slurp’ on the alto. Of course, Johnny Hodges was his mentor. He played that way, but Woody ‘slurped’ even more. He was also a great singer. My association with him, needless to say, has been the best part of my life.” Herman bandleader Frank Tiberi Frank said he was a little frightened seeing his name on took over the full-time leadership of the band. Just as the marquee during the first year or so he led the Woody Herman seemed to be able to recognize talent in Herman band, but determined to make it as innovative a player, so he was apparently able to recognize talent in as it was when Woody led it. “I’m not going to give any a leader. less effort than Woody did,” Frank was quoted as saying. “Woody never played a polka in his life. I still The Scene wouldn’t play a polka, and I wouldn’t play anyone else’s arrangements. We’re going to remain with what Since the Woody Herman Orchestra had been on the he was doing.” s/s Norway cruises several times, we’d become ac­ quainted with Frank, and phoned him at his Massachu­ It’s been over a decade since Frank Tiberi dedicated setts home. We had to coordinate the phone call with his himself to making the Herman “ghost” band one Woody classes, for he’s a teacher as well as a player of jazz, as could be proud of. Just as Woody did, Frank gives will be pointed out in the interview. Frank is a nice man young players an opportunity to hone their skills with who, like Woody, doesn’t let his status as a public figure the band, even if they weren’t always capable at the get in the way of a natural, down-to-earth approach to beginning. Just as with Woody, Frank likes to see that life.... or to an interview. It was logical that our first talent grow and develop. question to Frank be related to that very subject, the way Woody Herman related to his sidemen. Next year will mark 30 years since Frank Tiberi joined the Woody Herman band, and a dozen years since he BBJ: Did Woody treat his sidemen well? VOLUME LIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1998 FT: He was just really great. He was appreciative popular and he would play them, and we do them also. of all the talents that he’s had over the years; As a matter of fact we have a new CD that’s just been young kids. Many of them had their first gig with the released and we play a lot of the old tunes on there, and band, and he’s always been a musician right on through. we’ve invited special guests who have performed on He had loyalty. His editing was just superb. I’ve seen them some years back. Buddy DeFranco and Terry him go through many arrangements and accepting them Gibbs on LEMON DROP, Frank Foster did his compo­ and just turning them around the first time he heard it. sition, MAKE SOMEONE HAPPY, we even had Pete Condoli come in and do WOODCHOPPER’S BALL. BBJ: How was Woody as a musician? Urbie Green did BIJOU. We do everything we think people want to hear. We have contemporary things as FT: He was my favorite saxophonist.... soloist, well. every time. He was really great to hear. He was a great clarinetist, as well. As far as the musicians were BBJ: Woody was responsible for the words being written for LAURA. concerned, he always hung out with them, and he was just as young as they were. We had many who were 22, FT : Exactly. He liked the Milt Raksin theme from 23.... 19 years old coming out from school. the movie and he went to Johnny Mercer and asked him to write some lyrics, and he won a gold record BBJ: How did you get to be leader? for the recording. FT: I was actually the oldest. He accepted me a BBJ: Are audiences disappointed when the solos aren’t little more. I would hang with him in clubs for the same as they are on the old familiar records? a taste after a gig. I was close to his vintage and we got along quite good right on through. I actually cooked for FT : We consider those past soloists and don’t make him on a Coleman burner sometimes when we were in it too contemporary. desolate areas. We hung out and had a ball. BBJ: How is the split between concerts and dances? I’d been with him 20 years and 1 ’d been in that seat. He never wanted a ghost band, so when he got ill I took it FT : We do the Norway, and that’s a dance, but we over and he got so many letters from his friends saying also do a concert on one afternoon. We do a lot the band should continue with the same policy; he was of concert halls.... we do more concerts actually. Enter­ happy about that. When he returned after being ill he tainment centers and subscription areas where they have said he wanted me to have the band. That was it. particular engagements. We also do schools, we do colleges, we do a mix of everything. It’s actually pretty BBJ: Did the IRS lien worry Woody on the road? well split up. FT: (Laughs) No, not at all. He would get his BBJ: What do you do when you’re not out with the $200.00 a day, and it didn’t bother him at all. band? It was all being taken care of by the business manager; he had no remorse of the fellow that put him in that FT : Just last night I played a concert over in Boston, position. He even contacted the family of the guy who and during the summer time I’m an agent for a got him into the IRS mess. He enjoyed what he was festival there, and I teach at Berkley once a week. doing on the road playing. Fifteen students in a jazz studies class for performers. BBJ: Woody wasn’t too happy about playing the old BBJ: Can you learn how to be a jazz player? stuff. How do you feel about that? FT : Absolutely, you can. We have a great faculty up FT: I always felt the same way he did. He said he in Berkley, and the exchange students come in, was responsible for the tunes that made him and other students as well, and they get other ideas. I’ve 2 VOLUME LIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1998 seen some stu­ orchestra or be a working musician? dents who were a little back­ FT: As long as I can stand up! I’m teaching at ward coming in Berkley and running that jazz festival and I’m and wind up working the band. I’m doing a recording right now as a being great. soloist, scheduled for November. Why die now? What can I say? BBJ: Is there a BBJ: How old are you? certain talent necessary be­ FT: I’m going to be 70 on December 4th. fore a musi­ cian gets to It's obvious that people in the entertainment field, and school? A young Woody Herman talks that includes musicians o f course, seldom retire. That’s to someone to your left, his right. true o f Martha Tilton, who will appear on these pages next issue. Martha Tilton is the girl singer who is best FT: Yeah, this is a perfect example. When I was remembered for her Benny Goodman recording of eight years old I listened to Benny Goodman. AND THE ANGELS SING. I was a clarinet player at eight. At the age of twelve I was ready for Curtis Institute. I just knew.... I just liked LETTERS TO THE EDITOR the feeling of jazz, the pulsation and Benny really snapped me and that was the scene right there.
Load more

Recommended publications
  • GLENN MILLER ORCHESTRA Highlights
    GLENN MILLER ORCHESTRA Highlights Glenn Miller was born on March 1, 1904, in Clarinda, Iowa. Glenn Miller originally wrote the music for Moonlight Serenade (later to become his theme song) as an exercise when he was studying with noted arranger, Joseph Schilinger. The first Glenn Miller Orchestra, formed in 1937, was a financial failure. In March 1938, Glenn Miller launched his second band, and unlike the first band, it became an enormous success with multiple hit records and huge box office sales. At the height of the orchestra’s popularity, Glenn Miller disbanded his musical organization in 1942 to volunteer for the army. He then organized the famous Glenn Miller Army Air Force Band. On December 15, 1944, Major Glenn Miller took off in a single engine plane from England – against his better judgment – to precede his band to France, never to be seen again. The army officially declared him dead one year later. Due to popular demand, the Miller Estate authorized the formation of the present Glenn Miller Orchestra in 1956. In 1941, Glenn Miller and His Orchestra had more hit records in one year, including A String of Pearls, than anybody in the history of the recording industry. Although other songs had sold over a million record copies, in 1941 Glenn Miller’s recording of Chattanooga Choo Choo received the first Gold Record ever to be awarded. The Glenn Miller Orchestra has been “on the road” longer and more continuously than any other Big Band ever. The Glenn Miller Orchestra travels over 100,000 miles each year, playing nearly 300 dates.
    [Show full text]
  • Jazz Lines Publications Fall Catalog 2009
    Jazz lines PubLications faLL CataLog 2009 Vocal and Instrumental Big Band and Small Group Arrangements from Original Manuscripts & Accurate Transcriptions Jazz Lines Publications PO Box 1236 Saratoga Springs NY 12866 USA www.ejazzlines.com [email protected] 518-587-1102 518-587-2325 (Fax) KEY: I=Instrumental; FV=Female Vocal; MV=Male Vocal; FVQ=Female Vocal Quartet; FVT= Femal Vocal Trio PERFORMER / TITLE CAT # DESCRIPTION STYLE PRICE FORMAT ARRANGER Here is the extended version of I've Got a Gal in Kalamazoo, made famous by the Glenn Miller Orchestra in the film Orchestra Wives. This chart differs significantly from the studio recorded version, and has a full chorus band intro, an interlude leading to the vocals, an extra band bridge into a vocal reprise, plus an added 24 bar band section to close. At five and a half minutes long, it's a (I'VE GOT A GAL IN) VOCAL / SWING - LL-2100 showstopper. The arrangement is scored for male vocalist plus a backing group of 5 - ideally girl, 3 tenors and baritone, and in the GLENN MILLER $ 65.00 MV/FVQ DIFF KALAMAZOO Saxes Alto 2 and Tenor 1 both double Clarinets. The Tenor solo is written on the 2nd Tenor part and also cross-cued on the male vocal part. The vocal whistling in the interlude is cued on the piano part, and we have written out the opening Trumpet solo in full. Trumpets 1-4: Eb6, Bb5, Bb5, Bb5; Trombones 1-4: Bb4, Ab4, Ab4, F4; Male Vocal: Db3 - Db4 (8 steps): Vocal key: Db to Gb.
    [Show full text]
  • Guide to Ella Fitzgerald Papers
    Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 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 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996.................................................................
    [Show full text]
  • Finding Aid for the Sheldon Harris Collection (MUM00682)
    University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr.
    [Show full text]
  • Selected Observations from the Harlem Jazz Scene By
    SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan.
    [Show full text]
  • Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
    Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A.
    [Show full text]
  • Big Band Arrangers of the Swing Era Selected List
    Big Band Arrangers of the Swing Era Selected list Band leader Arrangers Tex Beneke Henry Mancini Jimmy Dorsey Tutti Camarata Sonny Burke Tommy Dorsey Paul Weston Sy Oliver Axel Stordahl Benny Goodman Eddie Sauter Buster Harding Fletcher Henderson Horace Heidt Frank DeVol Woody Herman Heil Hefti Ralph Burns Igor Stravinsky Harry James Leroy Holmes Dave Mathews Isham Jones Gordon Jenkins Hal Kemp John Scott Trotter Elliot Lawrence Gerry Mulligan Ray McKinley Eddie Sauter Red Norvo Eddie Sauter Artie Shaw Ray Conniff Johnny Mandel Buster Harding Charlie Spivak Nelson Riddle Claude Thornhill Gil Evans Leader/Arranger Arranger Count Basie Buster Smith Jimmy Mundy Andy Gibson Herschel Evans Cab Calloway Foots Thomas Harry White Duke Ellington Billy Strayhorn Earl Hines Jimmy Mundy Budd Johnson Stan Kenton Pete Rugolo Bill Holman Andy Kirk Mary Lou Williams Earl Thompson Glen Miller Bill Finegan Billy May Claude Thornhill Gil Evans Bill Borden Gerry Mulligan Chick Webb Edgar Sampson Charlie Dixon Andy Gibson Herschel Evans Leader/Arranger Les Brown Benny Carter Larry Clinton Will Hudson Elliot Lawrence Russ Morgan Ray Noble Boyd Raeburn Raymond Scott Musicians in Bands that were Important Arrangers Leader Arranger Instrument Bob Crosby Bob Haggart bass Matty Matlock saxophone Deane Kincaide saxophone Jimmy Dorsey Tutti Camarata trumpet Joe Lipman piano Woody Herman Heil Hefti trumpet Ralph Burns piano Hal Kemp John Scott Trotter piano Gene Krupa Gerry Mulligan saxophone Jimmy Lunceford Sy Oliver trumpet Glen Miller Henry Mancini piano Artie Shaw Ray Conniff trombone Johnny Mandel trombone Charlie Spivak Nelson Riddle trombone .
    [Show full text]
  • Louis Armstrong
    A+ LOUIS ARMSTRONG 1. Chimes Blues (Joe “King” Oliver) 2:56 King Oliver’s Creole Jazz Band: King Oliver, Louis Armstrong-co; Honore Dutrey-tb; Johnny Dodds-cl; Lil Hardin-p, arr; Arthur “Bud” Scott-bjo; ?Bill Johnson-b; Warren “Baby” Dodds-dr. Richmond, Indiana, April 5, 1923. first issue Gennett 5135/matrix number 11387-A. CD reissue Masters of Jazz MJCD 1. 2. Weather Bird Rag (Louis Armstrong) 2:45 same personnel. Richmond, Indiana, April 6, 1923. Gennett 5132/11388. Masters of Jazz MJCD 1. 3. Everybody Loves My Baby (Spencer Williams-Jack Palmer) 3:03 Fletcher Henderson and his Orchestra: Elmer Chambers, Howard Scott-tp; Louis Armstrong-co, vocal breaks; Charlie Green-tb; Buster Bailey, Don Redman, Coleman Hawkins-reeds; Fletcher Henderson-p; Charlie Dixon- bjo; Ralph Escudero-tu; Kaiser Marshall-dr. New York City, November 22-25, 1924. Domino 3444/5748-1. Masters of Jazz MJCD 21. 4. Big Butter and Egg Man from the West (Armstrong-Venable) 3:01 Louis Armstrong and his Hot Five: Louis Armstrong-co, voc; Edward “Kid” Ory-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; May Alix-voc. Chicago, November 16, 1926. Okeh 8423/9892-A. Maze 0034. 5. Potato Head Blues (Armstrong) 2:59 Louis Armstrong and his Hot Seven: Louis Armstrong-co; John Thomas-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; Pete Briggs-tu; Warren “Baby” Dodds-dr. Chicago, May 10, 1927. Okeh 8503/80855-C. Maze 0034. 6. Struttin’ with Some Barbecue (Armstrong) 3:05 Louis Armstrong and his Hot Five.
    [Show full text]
  • Louis Armstrong La Vie En Rose Mp3, Flac, Wma
    Louis Armstrong La Vie En Rose mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: La Vie En Rose Country: US Released: 1950 MP3 version RAR size: 1901 mb FLAC version RAR size: 1486 mb WMA version RAR size: 1352 mb Rating: 4.1 Votes: 455 Other Formats: AIFF AC3 ASF AU DMF MIDI MP2 Tracklist Hide Credits La Vie En Rose A 3:20 Written-By – Louiguy, Mack David C'est Si Bon B 2:59 Written-By – Andre Hornez*, Henri Betti, Jerry Seelen Credits Orchestra – Sy Oliver And His Orchestra Vocals [Vocal Chorus By] – Louis Armstrong Other versions Category Artist Title (Format) Label Category Country Year Louis Armstrong Louis Armstrong With Sy 12 993 With Sy Oliver And Oliver And His Orchestra - Brunswick 12 993 Europe 1964 His Orchestra La Vie En Rose (7") Louis Armstrong, Sy Louis Armstrong, Oliver And His Orchestra - 27113 Sy Oliver And His Decca 27113 Canada Unknown La Vie En Rose / C'est Si Orchestra Bon (Shellac, 10") Related Music albums to La Vie En Rose by Louis Armstrong Louis Armstrong And His Hot Seven - The Louis Armstrong Story, Volume II: Louis Armstrong And His Hot Seven Louis Armstrong, King Oliver, Bessie Smith, - Louis Armstrong, King Oliver and Bessie Smith – The Blues Heritage Louis Armstrong And His All-Stars, The Sy Oliver Choir - Louis And The Good Book Louis Armstrong - Louis Armstrong Vol.16 Louis Armstrong - Hello Satchmo - His Golden Favorites Louis Armstrong - Satchmo Serenades Louis Armstrong - Ella Fitzgerald - Dream A Little Dream Of Me / Can Anyone Explain? Ella Fitzgerald & Louis Armstrong - Can Anyone Explain / Dream A Little Dream Of Me.
    [Show full text]
  • 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.
    [Show full text]
  • The Recordings
    Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr.
    [Show full text]
  • A Special New Book Includes the 306Th
    A Special New Book Includes the 306th By Vernon L. Williams 306th Bomb Group Historical Project East Anglia Air War Archives To Kingdom Come: An Epic Saga of Survival in the Air War Over Germany By Robert J. Mrazek (published March 2011) The 306th‘s own Martin ―Andy‖ Andrews, pilot with the 423rd Bomb Squadron at Thurleigh is featured in this book, along with Generals Hap Arnold and Ira Eaker and a few others from nearby bomb groups who participated in the Stuttgart mission on September 6, 1943. The author weaves a fascinating story that reads almost like a novel, griping and filled with drama. I highly recommend this new book to anyone who is interested in the Eighth Air Force and the 306th Bomb Group in World War II. You will learn a great deal about the forces at work that surrounded the 306th during those first years of war in ―merry olde England.‖ ~ ~ ~ A recent review of the book by Military Book Club is being circulated in several places, and it gives a good overview of the book: On September 6, 1943, three hundred and thirty-eight B-17 "Flying Fortresses" of the American Eighth Air Force took off from England, bound for Stuttgart, Ger- many. It was the largest force ever assembled against a single target in the war. The 20-mile-long armada of Fortresses was on a mission to bomb Nazi weapons facto- ries at Stuttgart. Another force of B-24 bombers was tasked with flying diversionary raids across the North Sea and Holland in order to draw the Luftwaffe fighter squadrons away The aerial bombing mission resulted in a staggering defeat of U.S.
    [Show full text]