Herman Leonard's Stolen Moments June 6,7,8
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Seeing (For) Miles: Jazz, Race, and Objects of Performance
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College -
Downbeat Article June 2007
»By Eric Harabadian GOSPEL»Photos By Michael Weintrob OFGOOD D N A EVIL Rachel Z and Her Trio Embark on a Fervent Jazz Caravan achel Z wears all black. Purple angel wings jut out from her back as she stands in front Rof an ominous sky. With her pasty white skin and dark eye shadow, the pianist resembles late-night horror TV host Elvira or Siouxsie Sioux of the ’80s alternative band The Banshees—an image a bit more macabre than that of a traditional jazz artist. “Jazz is not dead!! It is alive and well right here!!” The paradox between the words and imagery on the promotional flyer for Z’s new eponymous CD from her trio, The Dept. Of Good And Evil, offers a bold and brash invitation to discover what possible musical inventions Z and her group have in store. Z serves as the musical temptress, so to speak. “A lot of people were looking at the flyers and wondering what to make of my band, my look,” Z said before a March show with the trio at the Firefly Club in Ann Arbor, Mich. “I had to laugh because my friends who know me would see the humor in it right away.” The inside joke lays in Z’s penchant for layer- ing dark chords and ominous 20th century classical harmonies—dubbed playfully as the “evil” by a fellow musician—over the upbeat and swinging “good” grooves of her rhythm section. The Dept. Of Good And Evil includes drummer Bobbie Rae and bassist Maeve Royce. “We wanted to go with the Dept. -
BIOGRAPHIES, INTERVIEWS, ITINERARIES, WRITINGS & NOTES BOX 1: BIOGRAPHY,1940S-1950S
HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 1: PAPERS SUBSERIES D: BIOGRAPHIES, INTERVIEWS, ITINERARIES, WRITINGS & NOTES BOX 1: BIOGRAPHY,1940s-1950s 1D.1.1: Biography, 1942: “Iola Whitlock marries Dave Brubeck,” Pacific Weekly, 9-25-42 1.D.1.2: Biography, 1948: Ralph J. Gleason. “Long awaited Garner in San Francisco…Local boys draw comment” [Octet at Paradise in Oakland], Down Beat (12-1-48), pg. 6 1.D.1.3: Biography, 1949 a- “NBC Conservatory of Jazz,” San Francisco, Apr 5, 1949 [radio program script for appearance by the Octet; portion of this may be heard on Fantasy recording “The Dave Brubeck Octet”; incl. short biographies of all personnel] b- Lifelong Learning, Vol. 19:6 (Aug 8, 1949) c- [Bulletin of University of California Extension for 1949-50, the year DB taught “Survey of Jazz”] d- “Jazz Concert Set” 11-4-49 e- Ralph J. Gleason. “Finds little of interest in lst Annual Jazz Festival [San Francisco],” Down Beat (12-16-49) [mention of DB Trio at Burma Lounge, Oakland; plans to play Ciro’s, SF at beginning of 1950], pg. 5 f- “…Brubeck given musical honors” Oakland Tribune, December 16, 1949 g- DB “Biographical Sketch,” ca Dec 1949 h- “Pine Tree Club Party at Home of Mrs. A. Ellis,” <n.s.> n.d. [1940s] i- “Two Matrons are Hostesses to Pine Tree Club,” <n.s.> n.d. [1940s] (on same page as above) 1.D.1.4: Biography, 1950: “Dave Brubeck,” Down Beat, 1-27-50 a- Ralph J. Gleason. “Swingin the Golden Gate: Bay Area Fog,” Down Beat 2- 10-50 [DB doing radio show on ABC] 1.D.1.5: BIOGRAPHY, 1951: “Small band of the year,” Jazz 1951---Metronome Yearbook, n.d. -
BROWNIE the Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet
BROWNIE The Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet Dan Morgenstern Grammy Award for Best Album Notes 1990 Disc 1 1. DELILAH 8:04 Clifford Brown-Max RoaCh Quintet: (V. Young) Clifford Brown (tp), Harold Land (ts), Richie 2. DARN THAT DREAM 4:02 Powell (p), George Morrow (b), Max RoaCh (De Lange - V. Heusen) (ds) 3. PARISIAN THOROUGHFARE 7:16 (B. Powell) 4. JORDU 7:43 (D. Jordan) 5. SWEET CLIFFORD 6:40 (C. Brown) 6. SWEET CLIFFORD (CLIFFORD’S FANTASY)* 1:45 1~3: Los Angeles, August 2, 1954 (C. Brown) 7. I DON’T STAND A GHOST OF A CHANCE* 3:03 4~8: Los Angeles, August 3, 1954 (Crosby - Washington - Young) 8. I DON’ T STAND A GHOST OF A CHANC E 7:19 9~12: Los Angeles, August 5, 1954 (Crosby - Washington - Young) 9. STOMPIN’ AT TH E SAVOY 6:24 (Goodman - Sampson - Razaf - Webb) 10. I GET A KICK OUT OF YOU 7:36 (C. Porter) 11. I GET A KICK OUT OF YOU* 8:29 * Previously released alternate take (C. Porter) 12. I’ LL STRING ALONG WITH YOU 4:10 (Warren - Dubin) Disc 2 1. JOY SPRING* 6:44 (C. Brown) Clifford Brown-Max RoaCh Quintet: 2. JOY SPRING 6:49 (C. Brown) Clifford Brown (tp), Harold Land (ts), Richie 3. MILDAMA* 3:33 (M. Roach) Powell (p), George Morrow (b), Max RoaCh (ds) 4. MILDAMA* 3:22 (M. Roach) Los Angeles, August 6, 1954 5. MILDAMA* 3:55 (M. Roach) 6. -
Omc Special Offer Modified
The OMC Gallery - NEW website - Special offers for a limited time only Pierre Alechinsky (1927 Belgium) One of the founders of the CoBrA group, whose dedication to primitive form and often violent strokes of color paralleled the American abstract expressionist movement. The group was formed as a reaction to the formal, refined art popular in other European cities immediately after World War II. The artist's style, anguished during the CoBrA period, softened perceptibly as acceptance for his art grew, but it remains strongly expressionistic. He is particularly adept at achieving subtleties and intensities of color in the lithographic process. The recipient of the Andrew Mellon Prize in 1977, Alechinsky is represented in the collections of sixty-five of the world's leading museums, incl. Fine Arts Museums of San Francisco and the Museo Reina Sofía in Madrid. He has also been honored with a permanent room in the Louisiana Museumin Denmark. The winner of the first Andrew W. Mellon Prize for Painting (1977) and the French Grand Prix National for painting in 1984, Alechinsky has been recognized in recent years as one of the most significant living artists. (The art market has also noticed his stature: one of his paintings sold at auction several years ago for over $2,000,000.) Alechinsky was just barely out of his teens when he burst onto the art scene as one of the original members of the COBRA group, and over the years he has emerged as one of the most imaginative and witty artists of our times. Alechinsky fans are everywhere. -
European Journal of American Studies, 12-4
European journal of American studies 12-4 | 2017 Special Issue: Sound and Vision: Intermediality and American Music Electronic version URL: https://journals.openedition.org/ejas/12383 DOI: 10.4000/ejas.12383 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference European journal of American studies, 12-4 | 2017, “Special Issue: Sound and Vision: Intermediality and American Music” [Online], Online since 22 December 2017, connection on 08 July 2021. URL: https:// journals.openedition.org/ejas/12383; DOI: https://doi.org/10.4000/ejas.12383 This text was automatically generated on 8 July 2021. European Journal of American studies 1 TABLE OF CONTENTS Introduction. Sound and Vision: Intermediality and American Music Frank Mehring and Eric Redling Looking Hip on the Square: Jazz, Cover Art, and the Rise of Creativity Johannes Voelz Jazz Between the Lines: Sound Notation, Dances, and Stereotypes in Hergé’s Early Tintin Comics Lukas Etter The Power of Conformity: Music, Sound, and Vision in Back to the Future Marc Priewe Sound, Vision, and Embodied Performativity in Beyoncé Knowles’ Visual Album Lemonade (2016) Johanna Hartmann “Talking ’Bout My Generation”: Visual History Interviews—A Practitioner’s Report Wolfgang Lorenz European journal of American studies, 12-4 | 2017 2 Introduction. Sound and Vision: Intermediality and American Music Frank Mehring and Eric Redling 1 The medium of music represents a pioneering force of crossing boundaries on cultural, ethnic, racial, and national levels. Critics such as Wilfried Raussert and Reinhold Wagnleitner argue that music more than any other medium travels easily across borders, language barriers, and creates new cultural contact zones (Raussert 1). -
SKIVLISTA SU VT 17 (+ Tips) SEM 1: CHARLIE PARKER
SKIVLISTA SU VT 17 (+ tips) SEM 1: CHARLIE PARKER - ”Cherokee”, 1942 (The Baronesse) - ”Confirmation” -53 (CP Quartet, In Person) DIZZY GILLESPIE - ”Woodyn´You” (DG the Verve & Philips small group sessions) - ”Hot House” 1945, (Charlie Parker Quintet) MILES DAVIS - ”Little Willie Leaps” 1947 (Parker på tenorsax) - ”On Green Dolphin Street” -59 (Kind of Blue, Legacy) - ”Jean Pierre”, 1982 (We Want Miles) STAN GETZ - ”Three Little Words”, -58 (SG and the Oscar Peterson Trio) - ”Blood Count”, 1987 (m Kenny Barron, Live at Montmartre) ”I´m late, I´m late”, 1961 (Focus) CANNONBALL ADDERLY MED JOHN COLTRANE - ”Limehouse Blues” -59, (Cannonball Quintet in Chicago) SEM 2: SONNY STITT - ”I´ll Remember April”, -59, (SS with the Oscar Peterson Trio) - ”I Want to be Happy”, -51, (SS Quartet with Bud Powell) - ”Dark Eyes”, -58, (For Musicians Only, m Dizzy, Getz) J. J. JOHNSON - ”Lover Man”, -53 (m Clifford Brown, Brownie Speaks) - ”Riviera”, (All That Jazz vol 76, Jay & Kai) JULIAN CANNONBALL ADDERLEY - ”Star Eyes”, (The very Best of CA Quintet ) - Limehouse Blues” (CA Quintet Live in Chicago -59) CLIFFORD BROWN - ”Come Rain or Come Shine”, (Gigi Gryce – Clifford Brown Sextet, Paris -53) - ”Stardust”, (CB with Strings, -55) SEM 3. DIZZY GILLESPIE - ”Manteca”, (D.G. Big Band 1947 m Cano Pozo – congas) - ”Groovin High” (Live at Birdland, NYC, 1956) COUNT BASIE - ”April in Paris”, (April in Paris, Verve, 1957) - ”Midnight Blue”, (The Atomic Basie, 1957) DUKE ELLINGTON - ”Black & Tan Fantasy”, (D.E. at Newport 1956) - ”Diminuendo in Blue” , (------- @ --------) STAN KENTON - ”Lover” , (100 years anniversary edition) HARRY ARNOLD - ”Easy Living”, (Live radio 1959, voc Monica Z) GERRY MULLIGAN - ”Broadway”, (G.M. -
Downbeat.Com April 2011 U.K. £3.50
£3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, -
Savoy and Regent Label Discography
Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli. -
Cash Box , Music Page 30 April 18, 1959
"the Cash Box , Music Page 30 April 18, 1959 A.R.M.A.D.A RECORD MFRS. Officers: Record President: E. G. Abner Jr. Vee-Jay Records and Chicago Rumblings mm. Vice Pres. Sam Phillips lllllllllllllllllllllllllllllilllillllllllllllllllllllllllllllllllllllli Urgent need for an industry-wide organization to Sun Records Memphis, Tenn. (Continued from page 28) deal with the ever-increasing problems of record singer Gina Lombardi doing deejay appearances in Southern California to Secretary promote her Mark 56 waxing, “Wishing” b/w “Dancing Teenage Style.” . manufacturers and distributors prompted the Nelson Verbit Don Ralke’s ork, just completing Tab Hunter’s Warner Bros. LP “When I Marnel Dist. formation in July, 1958, of the Philadelphia Fall In Love,” is skedded to back Dennis Weaver (Chester of “Gunsmoke”) in his initial platter for Fess Parker’s Cascade label. The Count Basie Treasurer band closing a 2-week stint at Las Vegas’ Flamingo and doing SRO biz. American Harry Schwartz Jazz pianist Errol Garner back in New York and working on several new Record Manufacturers Schwartz Bros. Dist. compositions prior to resuming his concert activities 4/25. Chatton Dis- Washington, D. C. tributing informs that “Side Saddle,” by the John Buzon Trio on Liberty, in . and Distributors’ Association Legal Counsel is causing a lot of excitement among the DJ’s the Bay Area Keen Roy Scott Records artist, Sam Cooke, pacted to a personal man- agement agreement with Jess Rand. Jimmy Since that time, A.R.M.A.D.A.'s officers and board Memphis, Tenn. Boyd returning to the recording field under contract Board of Directors: of directors, acting on the mandate of fellow to MGM Records with his first four sides, all rock- Al Schulman and-roll, out this week in Hollywood. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
II: Teresa Brewer Collections
CONTENTS Teresa’s Singles Section I Teresa’s Collections Section II Multi-Artist Collections featuring Teresa Brewer Section III Radio, TV & Movie Appearances by Teresa Brewer Section IV Sheet Music of Teresa Brewer Songs Section V Reprinted from the Teresa Brewer Center, http://www.teresafans.org 6/7/2019 t Section II CONTENTS Teresa’s Collections (by Title) Page A – B III-2 C – K III-5 L – N III-9 O – S III-15 T III-19 U – Z III-34 Reprinted from the Teresa Brewer Center, http://www.teresafans.org 6/7/2019 Page II-1 Teresa Brewer ProduCt List – SeCtion II / Teresa’s ColleCtions (by title) Teresa’s Collections: (BY TITLE) A Bouquet of Hits from Teresa Brewer (1954) Original release: October 20, 1954 Jilted Baby Baby Baby Orchestra directed by Jack Pleis. My Sweetie Went Away (10" LP/Mono Coral 56072) [B0010] ChiCago Style Skinnie Minnie I Had Someone Else Before I Had You Danger Signs Au ReVoir A Sophisticated Lady (1981) With Shelly Manne & His Men. Featuring Benny Carter, It Don't Mean a Thing If It Ain't Got That Swing Oscar Brashear, Chuck Domanico & Mike Lang. Don't Get Around MuCh Anymore Recorded at TTG Studios in Los Angeles. SophistiCated Lady (Instrumental) Solitude (LP Columbia FC 37363) [B0080] Duke's PlaCe Come Sunday (Cassette Columbia FCT 37363) [B0090] I'm Beginning to See the Light (CD Columbia CK 37363) [B0100] I Got It Bad and That Ain't Good I Let a Song Go Out of My Heart (CD My Music Boutique TB131 – 2010) [B0081] A Sweet Old Fashioned Girl (1995) Collection of previously released recordings.