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“Please Tell Me Where's Her Head”
“Please Tell Me Where’s Her Head”: Pearl Bryan in Song and Story, by Paul Slade. © 2011, all rights reserved. “Please Tell Me Where’s Her Head” Pearl Bryan in Song and Story By Paul Slade All the material in this book first appeared in Sept. 2011 on www.PlanetSlade.com Please visit the site for information on many other murder ballads, including Stagger Lee, Frankie & Johnny, Knoxville Girl, Hattie Carroll and Tom Dooley. www.PlanetSlade.com 1 “Please Tell Me Where’s Her Head”: Pearl Bryan in Song and Story, by Paul Slade. © 2011, all rights reserved. Contents Chapter One: In which a pregnant girl’s body is found, but not her head. 3 Blood-stained leaves testify to the killer’s brutality; Arthur Carter’s famous bloodhounds join the hunt; The dead girl’s unborn child is exhibited in a candy jar; And a surprising clue is revealed. Chapter Two: In which we meet the victim and her killers. 12 The girl’s shoes identify her as Pearl Bryan; Police arrest her lover Scott Jackson; A reluctant witness is brought to Cincinnati; Jackson makes sure his friend Alonzo Walling is arrested too: And a severed head is carried round the city’s bars. Chapter Three: In which Miss Bryan’s final hours are described. 23 New evidence links both Jackson and Walling to the murder scene; Discarded clothing is recovered from a sewer; A glass of sarsaparilla is spiked with cocaine; And a crucial witness is almost lynched for his pains. Chapter Four: In which the first Pearl Bryan songs are heard. -
Adrian Rollini M M C – a Klasszikus
M������� M������ C������� a klasszikus jazz stílusjegyei Korb Attila Attila, a Bohémekhez egykor 13 évesen kerülõ harsonás, kornettes, zongorista, énekes a magyar jazzpaletta egyik legtehetségesebb figurája. Segítségével érthetõbbé válik a klasszikus jazz és más füllel hallgat majd zenét az olvasó. Kirkeby több néven is eladta a Ramblerst Nem tudom kikerülni, hogy megemlítsem, Adrian Rollini különbözõ lemezkiadóknak. Little illetve egyfajta párhuzamot vonjak Rollini Ramblers, Golden Gate Orchestra, Palace és a kiváló fekete tenor szaxofonos Cole- Garden Orchestra, Goofus Five az man Hawkins között. Hawkinst a swing- utóbbi Rollini egy különleges hangszerérõl szaxofonozás atyjaként tartják számon, s kapta a nevét. A goofus egy szaxofon- nevével bizonyára többen találkoztak, mint formájú melódika, ami harmónikaszerûen Rolliniéval. Mégis jogos a mostanában több hangot is meg tud szólaltatni. Érdemes többször felmerülõ vita, miszerint Rollini meghallgatni az 1927-es -t, játékmódja semmivel nem volt kisebb amiben Rollini elõször fütyül, majd goofus- volumenû, mint Hawkinsé. A korábbi Louis on is játszik. Természetesen basszusszaxo- Armstrong-cikkekben már említettem, hogy fonozást is hallhatunk, a szám elsõ felében Hawkins ebben az idõben (1923-tól) virtuózan egészít bele a szólóhangszerek Fletcher Henderson zenekarának tagja volt. játékába, teljesen kilépve a basszusfunk- Arról talán nem volt szó, hogy Hawkins cióból. Az utolsó tutti közepén egy 4 üte- nem csak tenorszaxofonozott, de klariné- mes breakben fültanúi lehetünk Rollini tozott és basszusszaxofonozott is a Hender- Adrian Rollini (1903-1956) Bix könnyed, de mégis folyamatosan zakatoló, son-zenekarban. Az 1925-bõl való Beiderbecke-hez hasonlóan zongo- swingelõ játékmódjának. De menjünk még ban képet kaphatunk Hawkins rista csodagyerekként kezdte karrierjét (sõt visszább az idõben, hiszen 1927 már bõven basszusszaxofonozásáról. -
Purches Collection a to Z List of Principal Artists and Performers
Purches Collection A to Z List of Principal Artists and Performers Organization of this list: The principal performer is listed surname first in bold type with role/s in (parentheses); after the forward slash / any associated performers, or groups are listed; for groups using a pseudonym the 'real name’ / identity of group is shown in [square brackets] ; the original Cutter number (assigned to most performers who were primarily featured on the recordings) is listed on the far right hand side. A Aaronson, Irving (Bandleader) - A111 Abrams, Irwin (Bandleader) - A161 Adler, Larry (Harmonica) - A236 Adrian, Lou (Orchestra) / Eddy Howard (Vocal) Adrian's Ramblers (Danceband) / Adrian Rollini (Bandleader) Alamo, Tony (Vocal) / Sammy Kaye (Bandleader) Alberts, Al (Vocal) / The Four Aces (Vocal) Alexander, Archie (Bandleader) / George Barclay (Vocal) Les Allen (Vocal) Alexander, Jeff (Chorus, Choir)/ Bing Crosby (Vocal), Frank Sinatra (Vocal) Alfredo (Bandleader) - A391 Allen, Bob (Vocal) / Hai Kemp (Bandleader) Allen, Fred (Vocal)/ Bing Crosby (Vocal) Allen, Gracie (Comedienne)/ George Bums (Comedian) Allen, Henry 'Red' (Bandleader) - A425 Allen, Les (Vocal) - A427 Allen, Rosalie (Vocal) / Elton Brett (Vocal) Allen, Terry (Vocal) / Red Norvo (Bandleader) Alley, Ben (Vocal) All Star Band - A4412 All Star Orchestra - A4415 All Star Stompers - A4418 Alper, Rose (Vocal) / Joe Loss (Bandleader) Alston, Ovie (Vocal) / Claude Hopkins (Bandleader) Ambassador Trio, The (Vocal) / Gus Arnheim (Bandleader) Ambassadors, The (Danceband) - A491 Ambrose (Bandleader) -
Glenn Miller 1939 the Year He Found the Sound
GLENN MILLER 1939 THE YEAR HE FOUND THE SOUND Dedicated to the Glenn Miller Birthpace Society June 2019 Prepared by: Dennis M. Spragg Glenn Miller Archives Alton Glenn Miller (1904-1944) From Glenn Miller Declassified © 2017 Dennis M. Spragg Sound Roots Glenn Miller was one of the foremost popular music celebrities of the twentieth century. The creative musician and successful businessman was remarkably intuitive and organized, but far from perfect. His instincts were uncanny, although like any human being, he made mistakes. His record sales, radio popularity, and box-office success at theaters and dance halls across the nation were unsurpassed. He had not come to fame and fortune without struggle and was often judgmental and stubborn. He had remarkable insight into public taste and was not afraid to take risks. To understand Miller is to appreciate his ideals and authenticity, essential characteristics of a prominent man who came from virtually nothing. He sincerely believed he owed something to the nation he loved and the fellow countrymen who bought his records. The third child of Lewis Elmer Miller and Mattie Lou Cavender, Alton Glen Miller was born March 1, 1904, at 601 South 16th Street in Clarinda, a small farming community tucked in the southwest corner of Iowa. Miller’s middle name changed to Glenn several years later in Nebraska. His father was an itinerant carpenter, and his mother taught school. His older brother, Elmer Deane, was a dentist. In 1906 Miller’s father took his family to the harsh sand hills of Tryon, Nebraska, near North Platte. The family moved to Hershey, Nebraska, in the fall of 1912 and returned to North Platte in July 1913, where Glenn’s younger siblings John Herbert and Emma Irene were born. -
The Story Behind Glenn Band, His Style, His Life
October 20. 1951 DOWN BEAT —PART 2 3 The Story Behind Glenn Miller—His Band, His Style, His Life, His Death On a thickly-befogged afternoon in December, tlton Glenn Miller, born of a farmer father and a 1944, an army specialist» corp» major tossed his schoolteacher mother in Clarinda, Iowa, March 1, 1905, gear into a battered C-47 at an RAF base near ac«(uired his first horn, a broken-down trombon«. from a butcher, for whom he ran errand« as a child. He was Bedford, England, and asked a rhetorical ques a relentless plugger from the start, ami bv the time he tion of a fellow officer. waa a teen-ager, working after high-school clashes in a “Whei'e,” inquired Major Glenn Miller, “are the para barbershop and later, in a sugar-beet factory, Glenn al chutes?” ready was playing concerts »ilh the town band. When the “What the hell, Miller,” jokingly replied Lt. Col. Nor ink waa hardly dry on hia high school diploma, ihe mal' Baes*el, “do you want to live forever?" hard-working Glenn was playing with bis first hand—that Throughout most of the nearly 10 years since the dis of Boyd Senter. - appearance of the well-known bandleader on that ill-fated Next came college «lays in Boulder, Colo., where Miller flight across the English Channel, many a wishful rumor began trying his hand at arranging. He left college to was heard to the effect that Miller, somehow, had man land a job in California with Ben Pollack’s band, the aged to cheat death, after all. -
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. -
334 XIII. Revivals and Recreations; The
XIII. Revivals and Recreations; The Sociology of Jazz By the early 1970s, as we have seen, jazz was in a state of stylistic chaos. This was one reason why the first glimmers of “smooth jazz” came about as both an antidote to fusion and an answer to “outside jazz.” But classical music was also in a state of chaos. The majority of listen- ers had become sick of listening to the modern music that had come to dominate the field since the end of World War II and had only become more abrasive and less communicative to a lay audience. In addition, the influx of young television executives in that period had not only led to the cancellation of many well-loved programs who they felt only appealed to an older audience demographic, but also the chopping out of virtually all arts programming. Such long-running programs as The Voice of Firestone and The Bell Telephone Hour were already gone by then. Leonard Bernstein had been replaced at the New York Philharmonic by Michael Tilson Thomas, an excellent conductor but not a popular communicator, and thus CBS’s “Young People’s Con- certs” no longer had the same appeal. In addition, both forms of music, classical and jazz, were the victims of an oil shortage that grossly affected American pressings of vinyl LPs. What had once been a high quality market was now riddled with defective copies of discs which had blis- ters in the vinyl, scratchy-sounding surfaces and wore out quickly. Record buyers who were turned off by this switched to cassette tapes or, in some cases, the new eight-track tape format. -
The Victor Black Label Discography
The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig ISBN 978-1-7351787-3-8 ii The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig American Discography Project UC Santa Barbara Library © 2017 John R. Bolig. All rights reserved. ii The Victor Discography Series By John R. Bolig The advent of this online discography is a continuation of record descriptions that were compiled by me and published in book form by Allan Sutton, the publisher and owner of Mainspring Press. When undertaking our work, Allan and I were aware of the work started by Ted Fa- gan and Bill Moran, in which they intended to account for every recording made by the Victor Talking Machine Company. We decided to take on what we believed was a more practical approach, one that best met the needs of record collectors. Simply stat- ed, Fagan and Moran were describing recordings that were not necessarily published; I believed record collectors were interested in records that were actually available. We decided to account for records found in Victor catalogs, ones that were purchased and found in homes after 1901 as 78rpm discs, many of which have become highly sought- after collector’s items. The following Victor discographies by John R. Bolig have been published by Main- spring Press: Caruso Records ‐ A History and Discography GEMS – The Victor Light Opera Company Discography The Victor Black Label Discography – 16000 and 17000 Series The Victor Black Label Discography – 18000 and 19000 Series The Victor Black -
The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas the the Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas the Dave Oliphant
Oliphant: The Wisconsin Texas Jazz Nexus The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas The The Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas The Dave Oliphant The institution of slavery had, of course, divided the nation, and Chicago. Texas blacks had earlier followed the cattle trails and on opposite sides in the Civil War were the states of Wis- north, but, in the 1920s, they also felt the magnetic pull of consin and Texas, both of which sent troops into the bloody, entertainment worlds in Kansas City and Chicago that catered decisive battle of Gettysburg. Little could the brave men of the to musicians who could perform the new music called jazz that Wisconsin 6th who defended or the determined Rebels of the had begun to crop up from New Jersey to Los Angeles, beholden Texas Regiments who assaulted Cemetery Ridge have suspected to but superseding the guitar-accompanied country blues and that, one day, musicians of their two states would join to pro- the repetitive piano rags. The first jazz recordings had begun to duce the harmonies of jazz that have depended so often on the appear in 1917, and, by 1923, classic jazz ensembles had begun blues form that was native to the Lone Star State yet was loved performing in Kansas City, Chicago, and New York, led by such and played by men from such Wisconsin towns and cities as seminal figures as Bennie Moten, King Oliver, Fletcher Jack Teagarden, courtesy of CLASSICS RECORDS. Teagarden, Jack Fox Lake, Madison, Milwaukee, Waukesha, Brillion, Monroe, Henderson, and Duke Ellington. -
Red Nichols from Wikipedia, the Free Encyclopedia
Red Nichols From Wikipedia, the free encyclopedia Background information Birth name Ernest Loring "Red" Nichols the hood man Born May 8, 1905 Ogden, Utah, US Died June 28, 1965 (aged 60) The Mint Las Vegas Genres Jazz Occupation(s) Musician, bandleader, composer Instruments Cornet Associated acts California Ramblers, Paul Whiteman Ernest Loring "Red" Nichols (May 8, 1905 – June 28, 1965) was an American jazz cornettist, composer, and jazz bandleader. Over his long career, Nichols recorded in a wide variety of musical styles, and critic Steve Leggett describes him as "an expert cornet player, a solid improviser, and apparently a workaholic, since he is rumored to have appeared on over 4,000 recordings during the 1920s alone." Biography Early life and career Nichols was born on May 8, 1905 in Ogden, Utah. His father was a college music professor, and Nichols was a child prodigy, because by twelve he was already playing difficult set pieces for his father's brass band. Young Nichols heard the early recordings of the Original Dixieland Jazz Band, and later those of Bix Beiderbecke, and these had a strong influence on the young cornet player. His style became polished, clean and incisive. In the early 1920s, Nichols moved to the Midwest and joined a band called The Syncopating Seven. When that band broke up he joined the Johnny Johnson Orchestra and went with it to New York City in 1923. New York would remain his base for years thereafter. In New York he met and teamed up with trombonist Miff Mole, and the two of them were inseparable for the next decade. -
Children of the Heav'nly King: Religious Expression in the Central
Seldom has the folklore of a particular re- CHILDREN lar weeknight gospel singings, which may fea gion been as exhaustively documented as that ture both local and regional small singing of the central Blue Ridge Mountains. Ex- OF THE groups, tent revival meetings, which travel tending from southwestern Virginia into north- from town to town on a weekly basis, religious western North Carolina, the area has for radio programs, which may consist of years been a fertile hunting ground for the HE A"' T'NLV preaching, singing, a combination of both, most popular and classic forms of American .ft.V , .1 the broadcast of a local service, or the folklore: the Child ballad, the Jack tale, the native KING broadcast of a pre-recorded syndicated program. They American murder ballad, the witch include the way in which a church tale, and the fiddle or banjo tune. INTRODUCTORY is built, the way in which its interi- Films and television programs have or is laid out, and the very location portrayed the region in dozens of of the church in regard to cross- stereotyped treatments of mountain folk, from ESS A ....y roads, hills, and cemetery. And finally, they include "Walton's mountain" in the north to Andy Griffith's .ft. the individual church member talking about his "Mayberry" in the south. FoIklor own church's history, interpreting ists and other enthusiasts have church theology, recounting char been collecting in the region for acter anecdotes about well-known over fifty years and have amassed preachers, exempla designed to miles of audio tape and film foot illustrate good stewardship or even age. -
Jemf Quarterly
JEMF QUARTERLY JOHN EDWARDS MEMORIAL FOUNDATION VOL. XII SPRING 1976 No. 41 THE JEMF The John Edwards Memorial Foundation is an archive and research center located in the Folklore and Mythology Center of the University of California at Los Angeles. It is chartered as an educational non-profit corporation, supported by gifts and contributions. The purpose of the JEMF is to further the serious study and public recognition of those forms of American folk music disseminated by commercial media such as print, sound recordings, films, radio, and television. These forms include the music referred to as cowboy, western, country & western, old time, hillbilly, bluegrass, mountain, country ,cajun, sacred, gospel, race, blues, rhythm' and blues, soul, and folk rock. The Foundation works toward this goal by: gathering and cataloguing phonograph records, sheet music, song books, photographs, biographical and discographical information, and scholarly works, as well as related artifacts; compiling, publishing, and distributing bibliographical, biographical, discographical, and historical data; reprinting, with permission, pertinent articles originally appearing in books and journals; and reissuing historically significant out-of-print sound recordings. The Friends of the JEMF was organized as a voluntary non-profit association to enable persons to support the Foundation's work. Membership in the Friends is $8.50 (or more) per calendar year; this fee qualifies as a tax deduction. Gifts and contributions to the Foundation qualify as tax deductions. DIRECTORS ADVISORS Eugene W. Earle, President Archie Green, 1st Vice President Ry Cooder Fred Hoeptner, 2nd Vice President David Crisp Ken Griffis, Secretary Harlan Dani'el D. K. Wilgus, Treasurer David Evans John Hammond Wayland D.