November 194? Vol. 7 No. 11
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Guide to the Red Norvo Papers
Guide to the Red Norvo Papers NMAH.AC.0858 Matthew Landau Friedman 2004 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 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 4 Series 1: Correspondence, 1939-1997.................................................................... 4 Series 2: Red Norvo Interview Transcripts, 1991, 1993.......................................... 5 Series 3: Miscellaneous Publications, 1945-1998.................................................... 6 Series 4: Miscellaneous Documents, 1941-1949.................................................... -
Country Music Special 1979
COUNTRY MUSIC SPECIAL 1979 Songwriters: Unsung Heroes The Future Looks Bright For Are Enjoying New Popularity Country Music Labels, Artists (continued from nage C-22) (continued from page C-20) very little monetary reward for some time," Songwriters Hall of Fame. Founded in 1970, "Television seems to be the primary that area slowing down either. Cavender noted. "It takes tenacity, dedica- the list of Hall of Famers now boasts some market in any country in getting the big "I've always contended that if country tion, hard work and total concentration for a 74 names. Four more songwriters will be word out," Walker said. "Getting the music could be heard more, it would long, thankless period. But the writer does immortalized this week (Oct. 7) when the awards show on would allow us to expose become more popular," said Walker. "That receive something very important - self association announces this year's new country music to a large group of people was the theory behind trying to get more fulfillment. I don't think you can ask for members. who 'may have never heard country music radio stations to program country music. much more of a reward than fulfillment of A nomination list is comprised yearly by before." That was our first goal when the CMA was self." the NSAI board of directors, the past presi- Of the countries the CMA is hoping to organized. I think the figures speak for The NSAI was formed in 1967 to aid the dent of the association and a selected elec- develop, Walker said that Germany would themselves. -
He Song Is Audrey! One of the Brightest Emerging Stars in Jazz
A Bio "..Wow! Audrey Shimkas, she can REALLY SING!" he song is Audrey! --Jules Broussard, S F Bay Area jazz One of the brightest emerging legend stars in jazz today. She’s a captivating performer with a singular sound and style, pioneering her own path as a uniquely placed artist. T Anyone who has ever heard Audrey sing responds to her warmth, her sensuality and her emotional expression. Audrey is a singer’s singer who takes risks. She surprises and thrills with notes that push a melody to new heights. Audrey’s choice of material is eclectic and fascinating; she improvises unique transformations inside familiar jazz tunes; introduces fresh interpretations of favorite pop tunes and melts into Brazilian rhythms as if she were inside the song itself. When Audrey interprets a song—whether it’s a ballad-story or an up-tempo romp; a blues lament or a Latin groove; a swing standard or a soul oldie--the experience is always fresh and exciting. Long before Audrey thought about being a vocal artist, she recalls that at a young age she was mesmerized by June Christy in concert. That experience remained a cameo, locked in her imagination, until music began to play a serious part of her life. A native of New York, Audrey was classically trained on piano; she played acoustic folk and electric rhythm guitar during the folk- rock generation of Dylan and the Beatles. She studied dance (ballet and jazz) and acting (ACT, Actor’s Workshop, etc.) and spent several years on stage in New York and in San Francisco. -
University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand marking: or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
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. -
Interpretive Performance Techniques and Lyrical Innovations on The
INTERPRETIVE PERFORMANCE TECHNIQUES AND LYRICAL INNOVATIONS ON THE BASS TROMBONE: A STUDY OF RECORDED PERFORMANCES BY GEORGE ROBERTS, “MR. BASS TROMBONE” Jonathan K. Yeager, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2006 APPROVED: Vern Kagarice, Major Professor Darhyl Ramsey, Minor Professor Tony Baker, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Yeager, Jonathan K., Interpretive performance techniques and lyrical innovations on the bass trombone: A study of recorded performances by George Roberts, “Mr. Bass Trombone.” Doctor of Musical Arts (Performance), December 2006, 82 pp., 18 illustrations, bibliography, 25 titles. Nicknamed “Mr. Bass Trombone” for his role as a prominent, trailblazing recording artist, George Roberts (b. 1928) has often been recognized as redefining the role of the bass trombone in popular music as well as setting new standards for technical refinement and expressive possibilities of the instrument. Through two interviews and a comparison between ten recorded performances by Roberts and corresponding lead sheets, I make observations about Roberts’ performance techniques and illustrate various examples of those techniques. The document includes 35 pp. of interview transcriptions. Copyright 2006 by Jonathan K. Yeager ii ACKNOWLEDGEMENTS I wish to thank those who assisted in the preparation of this document. Specifically, I would like to thank George Roberts for providing his time and thoughts; Vern Kagarice for his guidance and assistance in securing sources; Matthew Litwaitis for his help in locating resources; Ben van Dijk, Bob Hughes, and Douglas Yeo for providing comments; Keith Pawlak at the University of Arizona, John R. -
BOBBY HACKETT “MELLOW MAN with a HORN” by Music Librarian CHRISTOPHER POPA with Comments by Bobby’S Son ERNIE HACKETT
MAY 2017 A FRESH BIOGRAPHICAL SKETCH BOBBY HACKETT “MELLOW MAN WITH A HORN” by Music Librarian CHRISTOPHER POPA with comments by Bobby’s son ERNIE HACKETT VITAL STATS given name Robert Leo Hackett birth January 31, 1915, Providence, Rhode Island father William F. Hackett, a railroad blacksmith mother Rose A. (nee Mulvaney) Hackett siblings six sisters and two brothers education Commercial High School [ now Central High School ], Providence, Rhode Island (he left school at age 14) spouse Edna Lillian (nee Lee) Hackett, b.April 7, 1915; m.July 26, 1937; d.April 15, 2000 son Ernest “Ernie” Hackett, b.April 6, 1949 daughter Barbara Traynor grandchildren two physical description “a short, trim man who sometimes wore a thin mustache” death June 7, 1976, Chatham, Massachusetts, heart attack grave Seaside Cemetery, Chatham, Massachusetts Bobby Hackett’s own big band didn’t last very long; he made a much greater musical impression as a sideman in such orchestras as Horace Heidt, Glenn Miller, and Glen Gray (not to mention his trumpet solos on various Jackie Gleason record albums afterwards). Hackett had been playing music since he was about eight years old. “His first instrument was the violin. Then on to banjo & guitar!,” his son, Ernie, reminded me. “Later he switched over to trumpet & landed on cornet!” Hackett played with various groups at restaurants, hotels, ballrooms across the northeast, and in 1935 received his Musicians Union card from Local 9-535 in Boston. He formed his own group, a small band, not long afterwards, and in 1938 began recording under his own name for the Vocalion label, employing, on various dates, such sidemen as George Brunies (trombone), Brad Gowans (valve trombone), Pee Wee Russell (clarinet), Ernie Caceres (baritone sax), Eddie Condon (guitar), Johnny Blowers (drums), and Linda Keene (vocal). -
Walt Disney's Sleeping Beautywalt Disney's Sleeping Beauty Once
Walt Disney's Sleeping BeautyWalt Disney's Sleeping Beauty Once upon a time, in a kingdom far away, a beautiful princess was born ... a princess destined by a terrible curse to prick her finger on the spindle of a spinning wheel and become Sleeping Beauty. Masterful Disney animation and Tchaikovsky's celebrated musical score enrich the romantic, humorous and suspenseful story of the lovely Princess Aurora, the tree magical fairies Flora, Fauna and Merryweather, and the valiant Prince Phillip, who vows to save his beloved princess. Phillips bravery and devotion are challenged when he must confront the overwhelming forces of evil conjured up by the wicked and terrifying Maleficent. Embark on a spectacular adventure of unprecedented scale and excitement in this thrilling, timeless Disney Classic. distributed by Buena Vista film distribution co., inc. Walt Disney presents Sleeping Beauty Technirama(r) Technicolor(r) With the Talents of Mary Costa Bill Shirley Eleanor Audley Verna Felton Barbara Luddy Barbara Jo Allen Taylor Holmes Bill Thompson Production Supervisor . Ken Peterson Sound Supervisor . Robert O. Cook Film Editors . Roy M. Brewer, Jr. Donald Halliday Music Editor . Evelyn Kennedy Special Processes . Ab Iwerks Eustace Lycett (c)Copyright MCMLVIII - Walt Disney Productions - All Rights Reserved Music Adaptation George Bruns Adapted from Tchaikovsky's "Sleeping Beauty Ballet" Songs 1 George Bruns Erdman Penner Tom Adair Sammy Fain Winston Hibler Jack Lawrence Ted Sears Choral Arrangements John Karig Story Adaptation Erdman Penner From the Charles Perrault version of Sleeping Beauty Additional Story Joe Kinaldi Winston Hibler Bill Peet Ted Sears Ralph Wright Milt Banta Production Design Don Da Gradi Ken Anderson McLaren Stewart Tom Codrick Don Griffith Erni Nordli Basil Davidovich Victor Haboush Joe Hale Homer Jonas Jack Huber Kay Aragon Color Styling Eyvind Earle Background Frank Armitage Thelma Witmer Al Dempster Walt Peregoy Bill Layne Ralph Hulett Dick Anthony Fil Mottola Richard H. -
HA-Bio New 2010
Howard Alden- Jazz Guitarist “He may be the best of his generation,” writes Owen Cordle in JAZZ TIMES. George Kanzler of the NEWARK STAR LEDGER proclaims that he is “the most impressive and creative member of a new generation of jazz guitarists.” And Chip Deffaa of the NEW YORK POST observes that he is “ ...one of the very finest young guitarists working today.” It seems that the only thing regarding Howard Alden on which the critics have debate is whether the remarkable jazz guitarist is one of the best or simply the best. Born in Newport Beach, California, in 1958, Howard began playing at age ten, inspired by recordings of Louis Armstrong, Count Basie and Benny Goodman, as well as those by guitarists Barney Kessel, Charlie Christian, Django Reinhardt and George Van Eps. Soon he was working professionally around Los Angeles playing in groups ranging from traditional to mainstream to modern jazz. In 1979, Alden went east, for a summer in Atlantic City with vibraphone legend Red Norvo, and continued to perform with him frequently for several years. Upon moving to New York City in 1982, Aldenʼs skills, both as soloist and accompanist, were quickly recognized and sought-out for appearances and recordings with such artists as Joe Bushkin, Ruby Braff, Joe Williams, Warren Vache` and Woody Herman. He has continued to win accolades from critics and musicians alike, adding Benny Carter, Flip Phillips, Mel Powell, Bud Freeman, Kenny Davern, Clark Terry, Dizzy Gillespie and George Van Eps, as well as notable contemporaries such as Scott Hamilton and Ken Peplowski to his list of impressive credits. -
Stu Davis: Canada's Cowboy Troubadour
Stu Davis: Canada’s Cowboy Troubadour by Brock Silversides Stu Davis was an immense presence on Western Canada’s country music scene from the late 1930s to the late 1960s. His is a name no longer well-known, even though he was continually on the radio and television waves regionally and nationally for more than a quarter century. In addition, he released twenty-three singles, twenty albums, and published four folios of songs: a multi-layered creative output unmatched by most of his contemporaries. Born David Stewart, he was the youngest son of Alex Stewart and Magdelena Fawns. They had emigrated from Scotland to Saskatchewan in 1909, homesteading on Twp. 13, Range 15, west of the 2nd Meridian.1 This was in the middle of the great Regina Plain, near the town of Francis. The Stewarts Sales card for Stu Davis (Montreal: RCA Victor Co. Ltd.) 1948 Library & Archives Canada Brock Silversides ([email protected]) is Director of the University of Toronto Media Commons. 1. Census of Manitoba, Saskatchewan and Alberta 1916, Saskatchewan, District 31 Weyburn, Subdistrict 22, Township 13 Range 15, W2M, Schedule No. 1, 3. This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. CAML REVIEW / REVUE DE L’ACBM 47, NO. 2-3 (AUGUST-NOVEMBER / AOÛT-NOVEMBRE 2019) PAGE 27 managed to keep the farm going for more than a decade, but only marginally. In 1920 they moved into Regina where Alex found employment as a gardener, then as a teamster for the City of Regina Parks Board. The family moved frequently: city directories show them at 1400 Rae Street (1921), 1367 Lorne North (1923), 929 Edgar Street (1924-1929), 1202 Elliott Street (1933-1936), 1265 Scarth Street for the remainder of the 1930s, and 1178 Cameron Street through the war years.2 Through these moves the family kept a hand in farming, with a small farm 12 kilometres northwest of the city near the hamlet of Boggy Creek, a stone’s throw from the scenic Qu’Appelle Valley. -
STAN KENTON “Eager Beaver”
120703bk Kenton 4 15/9/03 10:10 PM Page 2 1. Eager Beaver 3:02 13. You Betcha 3:25 (Stan Kenton) (Johnny Lange–Ralph Wolf) Also available in the Naxos Jazz Legends series 2. I’ll Remember April 3:07 Anita O'Day, vocal (Don Raye–Gene dePaul) 14. The Hour Of Parting 2:43 Gene Howard, vocal (Mischa Spoliansky–Gus Kahn) 3. Ride On 2:28 15. In A Little Spanish Town 1:59 (Skeets Tolbert) (Mabel Wayne–Sam Lewis–Joe Young) Anita O'Day, vocal Anita O'Day, vocal 4. Russian Lullaby 2:20 16. Begin The Beguine 3:12 (Irving Berlin) (Cole Porter) 1-4: MacGregor LB 34, mx MM0 584 13-16: MacGregor LB 37, mx MMO 587 Recorded 15 May 1944 Recorded 15 May 1944 5. Clair de lune 3:26 17. Blues 3:29 (Debussy, arr. Joe Rizzo) (Dave Matthews–Anita O'Day) 6. Build It Up And Tear It Down 3:21 Anita O'Day, vocal 8.120517* 8.120518* 8.120684* (Johnny Meyer–Al Jacobs) 18. Tico Tico 2:15 Anita O'Day, vocal (Zequinda Abreu–Aloysio Oliveira–Ervin 7. Moon Song 3:59 Drake) (Arthur Johnston–Sam Coslow) 19. Special Delivery 2:25 Gene Howard, vocal (Anita O'Day) 8. I Know That You Know 2:00 Anita O'Day, vocal (Vincent Youmans–Anne Caldwell) 20. Conversin’ With The Brain 2:36 5-8: MacGregor LB 35, mx MMO 585 (Boots Mussulli) Recorded 15 May 1944 17-20: MacGregor LB 128, mx MMO 671 9. Opus A Dollar Three Eighty 2:16 Recorded December 1944 (Pete Rugolo) All selections recorded at C. -
This Model TV Ford Slows up the Show
TELEVISION NEWS Chicago. August 10,1951 gets him as he is about to elude cops and gangsters. Recreate Speakeasy Era For Pete Kelly’ Preview Pete and his boys punctuate the finding with ■* mournful blues, assisted by singer Maggie Jacksor (played by Meredith Howard) NBC. Wednesday», 6:30 p.m. Each episode is complete in itself PDST and tins may or may not be Radio’s first drama series with typical. characters and background tied in with jazz, the story got off to an Band figuring in the story, and interesting atari with first episode. which provides the only back Scene is in a Kansas City speak ground music, is comprised of Dick easy in the torrid ’20s, in which Cathcart, cornet; Elmer Schneider, Pete Kelly (played by Jack Webb), trombone; Matty Matlock, clarinet. hot cornet player, heads a jazz Ray Shet man, piano; Nick Fatool, combo. An old friend and former drums; Morty Corb, bass, and Bill musician, Gus Trudo, who has been Newman, guitar. serving time for a murder he did They play a good brand of jaz. not commit, has escaped from the and no one can argue that it penitentiary. doesn’t belong io the period. “Jazz Ask« Aid authorities’* will l av« to fight only a» to whether it’s “true Kansai- Ho appeals to Kelly to help him City style” of the times or some escape to Mexico to elude not only derivation thereof—and they will. police but mobsters who aim to avenge the death of their pal in the manner of the times.